--- In IndiaArchaeology@yahoogroups.com
, Malolan Cadambi
If Dravidian languages differentiated only in 1100 BCE (as Bh.
Krishnamurthy claims), would it not be right to posit a substrate,
linguistic area 5000 years Before Present, say mleccha, a Prakrit
dialect spoken by Vidura and Yudhishthira?
The first line of the Shogaura copper plate inscription which adorns
the Home Page of this group has been read as a legacy of artisan
guilds, vis'vakarma, who created the Sarasvati Hieroglyphs.
The framework for deciphering the writing system of the civilization
is to interpret the symbols used as hieroglyphs, comparable to the
system of Egyptian hieroglyphs. The principle used is called rebus,
that is, use of pictures to denote similar sounding words.
The language of the civilization is declared to a Proto-Indic
language which is the precursor or substratum of all the language
families of Bharat: Indo-Aryan, Dravidian and Mundarica (also called
Austro-Asiatic). This Proto-Indic language is called Mleccha
(Meluhha in cuneiform records of Mesopotamian Civilization on
Tigris-Euphrates river valleys near Baghdad, Iraq).
Mleccha is the language which explains many technical terms used by
artisan guilds including metallurgists (called pancha kammaalar in
Tamil). The language contains words to denote minerals, metals,
furnaces and tools of trade of metal- and fire-workers. These are
the property items which are depicted through the writing system on
seals, tablets, copper plates, bangles and even weapons of the
civilization. The animals denote minerals, metals and furnaces used
by metallurgists. So do many glyptic representations used on these
objects called 5000 epigraphs which have been discovered so far.
The practice of denoting symbols on epigraphs continues on glyphs
imprinted on punch-marked coins and copper-plate inscriptions during
the historical periods in Bharat, most of which are related to work
of artisan guilds and economic transactions of various regions of
the country ranging from Takshasila in the northwest to
Coimbatore.in the south of Bharat.
This constitutes a revolutionary breakthrough in the 150-year old
unresolved problem of Bharatiya civilization. This should lead to
more intense language studies and studies related to the traditions
of artisan guilds which spread all over Bharat, adoring Sarasvati as
Kalaimagal, the divinity presiding over arts and crafts of
vis'vakarma artisans. The tradition of arupat.ai veedu in Tamilnadu
celebrating Subrahmanya is exemplified by Eraka Subrahmanya in
Swamimalai. Eraka means copper and is relatable to weapons made of
alloys with copper as the base metal and the tradition of making
pancha loha images in Swamimalai using the cire perdue (lost-wax)
technique which is a tradition of making bronze statues traceable to
Sarasvati civilization, 5000 years Before Present. Two bronze
statues have been found in Mohenjodaro.
The bronze statue of a woman wearing bangles and holding a small
bowl in her right hand, Mohenjo-daro (DK 12728; Mackay 1938: 274,
pl. LXXIII, 9-11); was made using cire perdue (lost wax) method, a
method used by vis'vakarma-s in Swamimalai (South India) to make
bronze figurines of deities vis'vakarma tradition lives on in
India. Details at http://www.hindunet.org/saraswati