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2024, Journal of the Oriental Numismatic Society 256
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5 pages
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The recent discovery in Pakistan of coins depicting Vaishnava imagery relating to Varāha, the boar incarnation of Vishnu, throws light on similar coins acquired by the British Museum in the 1920s. The imagery and context of these coins suggests they are coins issued under the Hindu Shahi rulers of Gandhāra in the ninth century. The identity of their issuers is not known, perhaps local Shahi rulers or previously unknown Shahi kings. 1 Since the completion of this article a piece struck from these dies has been offered in the CNG electronic auction 557 (6.3.2024), lot 206, 2.22 grams, 19.5 millimetres).
Spread & significance of Harappa Script hieroglyphs and profiles of metalworkers of Bharata on Bharhut and Sanchi friezes. It is demonstrated by systematic data ininining that all the hieroglyphs/hypertexts on ancient coins of Bharata are knowledge discovery of the tradition of Harappa Script cipher to render in rebus Meluhha, metalwork catalogues, documing the contributions of artisans/seafaring merchants to Bronze Age Revolution. वृष्णि is a term in Rigveda. A Vrishni silver coin from Alexander Cunningham's Coins of Ancient India: From the Earliest Times Down to the Seventh Century (1891) (loc.cit., Lahiri, Bela (1974). Indigenous States of Northern India (Circa 200 B.C.E to 320 C.E.), Calcutta: University of Calcutta, pp.242 3). वृष्णि [p= 1013,2] वृष्ण्/इ or व्/ऋष्णि, mfn. manly , strong , powerful , mighty RV.m. a ram VS. TS. S3Br.m. a bull L.m. a ray of light L.m. N. of शिव MBh.m. of विष्णु-कृष्ण L.m.of इन्द्र L.m. of अग्नि L.m. pl. N. of a tribe or family (from which कृष्ण is descended , = यादव or माधव ; often mentioned together with the अन्धकs) MBh. Hariv. &cn. N. of a सामन् A1rshBr. (Monier-Williams) An identical ancient silver coin (perhaps produced from the same ancient mint) of Vrishni janapada ca. 10 CE with kharoṣṭhī, Brahmi inscriptions and Harappa Script hieroglyphs was sold in an auction in Ahmedabad (August 2016) for Rs. 27 lakhs. In fact, the treasure is priceless and defines the heritage of Bhāratam Janam, 'metalcaster folk' dating back to the 7th millennium of Vedic culture. It signifies a spoked wheel which is the centre-piece of Bharat's national flag. I suggest that the successful bidder in Ahmedabad auction should volunteer to donate it to the National Museum, Janpath, New Delhi as a treasure to be cherished by the present and future generations of Bhāratam Janam. It is a composite animal with ligatured elephant-tiger pictorial motifs. It signifies a skambha topped by a pair of fish-fins (khambhaṛā 'fish-fin' rebus: kammaṭa 'mint'.). It is a tiger (kola 'tiger' rebus: kol 'blacksmith'). It is an elephant (karba, ibha 'elephant' rebus: karba, ib 'iron' ibbo 'merchant'). It is a yupa with caṣāla signifying a Soma samsthā Yāga. It is a cakra, a vajra in Vedic tradition (eraka 'nave of wheel' rebus: erako 'moltencast' eraka, arka 'copper, gold'). arā 'spokes' rebus: āra 'brass' kund opening in the nave or hub of a wheel to admit the axle (Santali) Rebus: kunda 'turner' kundār turner (A.) It is a professional calling card of a metalcaster, e.g. dhokra kamar who is a śilpi, artificer of cire perdue bronze and metal alloy pratimā. सांगड sāṅgaḍa 'joined animal', rebus: sangaDa ‘lathe’ sanghaṭṭana ‘bracelet’ rebus 1: .sanghāṭa ‘raft’ sAngaDa ‘catamaran, double-canoe’rebusčaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats, also rafts. 2 jangaḍia 'military guard accompanying treasure into the treasury' ചങ്ങാതം čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. rebus 3: जाकड़ ja:kaṛ जांगड़ jāngāḍ‘entrustment note’ जखडणें tying up (as a beast to a stake) rebus 4: sanghāṭa ‘accumulation, collection’ rebus 5. sangaDa ‘portable furnace, brazier’ rebus 6: sanghAta ‘adamantine glue‘ rebus 7: sangara ‘fortification’ rebus 8: sangara ‘proclamation’ 9: samgraha, samgaha 'arranger, manager'. On the VRSNi coin, tiger and elephant are joined to create a composite hyperext. This is Harappa Script orthographic cipher. The orthographic style of creating 'composite animals' is also evident from the following examples of artifacts: Terracotta. Tiger, bovine, elephant, Nausharo NS 92.02.70.04 h. 6.76 cm; w. 4.42; l. 6.97 cm. Centre for Archaeological Research Indus Balochistan, Musée Guimet, Paris. harappa.com "Slide 88. Three objects (harappa.com) Three terra cotta objects that combine human and animal features. These objects may have been used to tell stories in puppet shows or in ritual performances. On the left is a seated animal figurine with female head. The manner of sitting suggests that this may be a feline, and a hole in the base indicates that it would have been raised on a stick as a standard or puppet. The head is identical to those seen on female figurines with a fan shaped headdress and two cup shaped side pieces. The choker with pendant beads is also common on female figurines. Material: terra cotta Dimensions: 7.1 cm height, 4.8 cm length, 3.5 cm width Harappa, 2384 Harappa Museum, HM 2082 Vats 1940: 300, pl. LXXVII, 67 In the center is miniature mask of horned deity with human face and bared teeth of a tiger. A large mustache or divided upper lip frames the canines, and a flaring beard adds to the effect of rage. The eyes are defined as raised lumps that may have originally been painted. Short feline ears contrast with two short horns similar to a bull rather than the curving water buffalo horns. Two holes on either side allow the mask to be attached to a puppet or worn as an amulet. Material: terra cotta Dimensions: 5.24 height, 4.86 width Harappa Harappa Museum, H93-2093 Meadow and Kenoyer, 1994 On the right is feline figurine with male human face. The ears, eyes and mouth are filled with black pigment and traces of black are visible on the flaring beard that is now broken. The accentuated almond shaped eyes and wide mouth are characteristic of the bearded horned deity figurines found at Harappa and Mohenjo-daro (no. 122, 123). This figurine was found in a sump pit filled with discarded goblets, animal and female figurines and garbage. It dates to the final phase of the Harappan occupation, around 2000 B. C. Harappa, Lot 5063-1 Harappa Museum, H94-2311 Material: terra cotta Dimensions: 5.5 cm height, 12.4 cm length, 4.3 cm width http://www.harappa.com/indus/88.html masks/amulets Slide72. Two composite anthropomorphic / animal figurines from Harappa. Whether or not the attachable water buffalo horns were used in magic or other rituals, unusual and composite animals and anthropomorphic/animal beings were clearly a part of Indus ideology. The ubiquitous "unicorn" (most commonly found on seals, but also represented in figurines), composite animals and animals with multiple heads, and composite anthropomorphic/animal figurines such as the seated quadruped figurines with female faces, headdresses and tails offer tantalizing glimpses into a rich ideology, one that may have been steeped in mythology, magic, and/or ritual transformation. Approximate dimensions (W x H(L) x D) of the larger figurine: 3.5 x 7.1 x 4.8 cm. (Photograph by Richard H. Meadow) See: http://bharatkalyan97.blogspot.in/2015/01/multiplex-as-metaphor-ligatures-on.html The pellet border is composed of: goṭā 'seed', round pebble, stone' rebus: goṭā ''laterite, ferrite ore' 'gold braid' खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted down). The railing for the pillar is Vedi, sacred fire-altar for Soma samsthā Yāga. There is evidence dated to ca. 2500 BCE for the performance of such a yajna in Binjor (4MSR) on the banks of Vedic River Sarasvati. The fire-altar yielded an octagonal pillar, which is detailed in ancient Vedic texts as a proclamation of Soma samsthā Yāga. Three hour-glass shaped vajra-s are shown in a cartouche below the yupa on the coin. Normally Vajrapani is shown such a vajra which has octagonal edges. kolom 'three' rebus: kolimi, kole.l 'smithy, forge' kole.l 'temple' It is a record of the performance of a Soma samsthā Yāga. It is Vrishni Janapada coin of ca. 10 CE. Cakra, pavi in Vedic tradition is also a vajra. Rudra is vajrabāhu 'vajra weapon wielder'; said also of Agni and Indra. ... वज्र [p=913,1] mn. " the hard or mighty one " , a thunderbolt (esp. that of इन्द्र , said to have been formed out of the bones of the ऋषि दधीच or दधीचि [q.v.] , and shaped like a circular discus , or in later times regarded as having the form of two transverse bolts crossing each other thus x ; sometimes also applied to similar weapons used by various gods or superhuman beings , or to any mythical weapon destructive of spells or charms , also to मन्यु , " wrath "RV. or [with अपाम्] to a jet of water AV. &c ; also applied to a thunderbolt in general or to the lightning evolved from the centrifugal energy of the circular thunderbolt of इन्द्र when launched at a foe ; in Northern Buddhist countries it is shaped like a dumb-bell and called Dorje ; » MWB. 201 ; 322 &c ) RV. &c; a diamond (thought to be as hard as the thunderbolt or of the same substance with it) , Shad2vBr. Mn. MBh. &c; m. a kind of column or pillar VarBr2S.; m. a kind of hard mortar or cement (कल्क) VarBr2S. (cf. -लेप); n. a kind of hard iron or steel L. Vrishni Tribal Silver Coin Realises A Whopping Rs. 27-Lakhs in Ahmedabad Auction 10 Aug 2016 Wed A beautiful silver drachm issued by the Republic of Vrishni People between 10 and 40 CE was auctioned off by Classical Numismatic Gallery at the Coin and Currency Fair that was held between August 5th and 7th at Ahmedabad. The obverse of this rare silver coin bears a standard topped by a nandipada finial with an elephant’s head and the forepart of a leaping lion below it in an ornamental railing. The Brahmi legend reads “(Vr)shni Rajana Ganasya Tratarasya”. The reverse bears an ornate 14-spoked wheel with a scalloped outer rim along with the legend in Kharoshthi which reads “Vrshni Rajana Ganasa (Trata)...” The coin is of a Very Fine grade and is Exceedingly Rare. While Classical Numismatic Gallery estimated the price between Rs. 1 Lakh and Rs. 1.5 Lakh, the final price realised in the auction was a jaw-dropping Rs. 27 Lakhs!
This paper examines enigmatic, small, Arabic-inscribed copper coins that were minted or circulated in the environs of a Hindu cave temple complex in northern Gandhara. Based on legends and typology, most of these issues can be attributed to the Ghaznavid period. This new numismatic evidence calls into question long-standing narratives of the Ghaznavid invasion of Hindustan, which posit that the Ghaznavids pursued a uniformly iconoclastic policy toward Hindu sacred sites. The evidence also suggests that the Ghaznavids embraced diverse modes of interaction with the Hindustani frontier zones. These went beyond the well documented raiding expeditions to realize shortterm fijinancial gains. Rather, the Ghaznavids may also have had long-term economic objectives, which necessitated preserving existing sacred institutions and their administrative and fijiscal machinery and patronage networks.
2019
Coins as a symbol of ideas and ideals, working behind the mind of the rulers at different periods, open up a most comprehensive and interesting study. Although references to coins occur in the early Indian Literature, punch-marked coins are found the earliest ones spread over a large area 2 from Pakistan in the northwest to Tamilnadu (India) in the south; from Taxila (Pakistan) in the west to Chandraketugarh (India) in the east. These comprise both silver and copper coins; in the first group, bent bar coins from Taxila are also included. Their chronology is not definite, however, their beginning may be assigned to the sixth-fifth century BC.
World of Coins, 2016
The Gupta Empire is rightfully considered the "Golden Age of Indian History" with Gupta Coins considered as one of the most beautiful in the world and a pristine example of native Indian art. This paper commences with an imaginary introduction story about the life and coronation of Samudragupta, and includes selective coinage of the Gupta Empire; a table of common legends with its translation found on coins ; and detailed explanation for certain coin types eg Lion Slayer, Veena (Lyrist), Asvamedha (Horse Sacrifice), Archer, etc.
India’s living mythology is unique among world cultures, and it is reflected in all aspects of its civilization. While a misnomer, its ‘33 crore Gods and Goddesses’ are to be found in all spheres of life in India, and numismatics is no exception. This paper aims to document all the important coins with deities in ancient Indian numismatic history. The time frame in question is around 6th century BC when coins were first produced, down to the Gupta era in around 500 CE. Though this is primarily an account of the deities issued on coins, the paper also traces some parallel religious and iconographic developments through the eras.
The Silver Damma: On the mashas, daniqs, qanhari dirhams and other diminutive coins of India, 600-1100 CE, 2018
The result of over a decade of study, this work presents in 423 pages a vast range of new material on a super-series of coins which uniquely bridges Hindu and Islamic India from the 7th century CE onwards; its interpretations open a whole new horizon in the numismatic history of early medieval India. The book comprehensively examines the nature and historical context of the earliest native tiny silver dammas as well as all their various Islamic and Hindu descendants, traversing the early coinages of Sindh, Punjab and ancient Gandhara, as well as the later Sindhi, Multani and Ghaznavid types, and subsequent coins from north-western and central India, covering the period from about 600 to 1100 CE. A survey of later coins from western, central and south India is included in the Addendum to the main work for the sake of completeness and to demonstrate the pervasiveness of the tiny silver damma over time and throughout India. Comprehensive descriptions, translations and historical notes are provided for every one of the hundreds of coin types, together with illustrations of one or more specimens of each, including line drawings where appropriate. Selected reviews: This book opens up a whole new horizon in early medieval monetary history... a key resource, of interest to a wide range of numismatic, historical and economic researchers and writers... It offers a wealth of new information, a most impressive corpus that will serve to guide and inform us for many years. – John S. Deyell, author of "Living Without Silver" Fishman and Todd lead us along the difficult trail of the silver damma of western India, an important coinage series that brought together the worlds of India and the Middle East in the medieval period. In thirteen dense chapters, they offer a significant description and understanding of the complex numismatics, especially the three dot coinage of Multan, but their study also raises important issues concerning the socioeconomic foundations of this critical period when major portions of India participated as equal partners in the maritime and overland commerce of the Caliphates. The book is highly recommended for professional numismatists, collectors, and scholars of the medieval period. – Derryl N. MacLean, author of "Religion and Society in Arab Sind", Simon Fraser University Fishman and Todd have produced an analysis and catalog of silver dammas that would have been unthinkable just a decade or two ago. These once obscure and poorly understood gems have a wealth of meaningful history attached, sure to entice the interest of coin collectors and historians. – Stephen Album, author of "Checklist of Islamic Coins"
JuniKhyat (UGC Care Group I Listed Journal), Vol-14, Issue-12, No.02, December: 2024, pp. 111-118, ISSN: 2278-4632, 2024
The study explores two Samataṭa gold coins, recently exhibited by the Department of Archaeology, Government of Bangladesh, during celebrating the International Museum Day 2023. These coins, one based on the Kushāṇa prototype and the other on the Gupta prototype, offer insights into the numismatic history of the ancient Samataṭa region. The study identifies gaps in the catalogue's descriptions of the coins, resolving issues of incomplete and conflicting information through detailed physical analysis, comparisons with known Kushāṇa and Gupta coins and decipherment of their legends. The Kushāṇa prototype coins are inspired in design and weight to Kushāṇa coins, features unique local iconography, such as a female deity instead of Śiva, highlighting regional adaptations. The Gupta-inspired coin follows Gupta imagery, but with local variations, including a distinct weight standard and stylistic elements like joined dots forming rectangular shapes. The study reveals how Samataṭa coinage integrated external imperial influences while asserting a regional identity, reflecting broader political, economic, and religious trends. The findings contribute to the understanding of cultural exchanges in ancient Bengal and the evolution of coinage in the Samataṭa region, offering new perspectives on its historical trajectory and the interplay of local and foreign traditions.
Indus Script hieroglyphs on the following Ādivarāha Mihira Bhoja dramma coins, 9th cent. are: 1. Boar கட்டிவராகன் kaṭṭi-varākaṉ , n. < கெட்டி +. A gold coin, the varākaṉ. கட்டிலோ மெத் தையோ கட்டிவராகனோ. (குற்றா. குற.). வராகன்¹ varākaṉ , n. < Varāha. 1. Viṣṇu, in His boarincarnation; வராகரூபியான திருமால். (பிங்.) 2. Pagoda, a gold coin = 3½ rupees, as bearing the image of a boar; மூன்றரை ரூபாய் மதிப்புள்ளதும் பன்றிமுத்திரை கொண்டதுமான ஒரு வகைப் பொன்நாணயம். (அரு. நி.) (Tamil) varāhá -- , varāˊhu -- m. ʻ wild boar ʼ RV.Pa. Pk. varāha -- m. ʻ boar ʼ; A. B. barā ʻ boar ʼ (A. also ʻ sow, pig ʼ), Or. barāha, (Sambhalpur) barhā, (other dial.) bā̆rihā, bāriā, H. bā̆rāh m., Si. varā.(CDIAL 11325) badiga 'artifiicer' (Kannada) बडगा baḍagā m A cudgel; बाडगा bāḍagā 'refractory man' (Marathi) vāḍhi 'merchant' (Gujarati) 2. Lion siṁhá m. ʻ lion ʼ, siṁhīˊ -- f. RV.Pa. sīha -- m. ʻ lion ʼ, sīhī -- f., Dhp. siha m., Pk. siṁha -- , siṁgha -- , sīha -- m., sīhī -- f.; Wg. sī ʻ tiger ʼ; K. sah, süh m. ʻ tiger, leopard ʼ; P. sī˜h, sihã̄ m. ʻ lion ʼ, bhaṭ. sīh ʻ leopard ʼ; WPah.khaś. sīˋ ʻ leopard ʼ, cur. jaun. sīh ʻ lion ʼ; Ku. syū̃, syū ʻ tiger ʼ; Mth. sī˜h ʻ lion ʼ, H. sī˜gh, sīh m., OG. sīha m.; -- Si. sī, siha ← Pa. -- L. śĩh, khet. śī ʻ tiger ʼ with ś -- from Pers. lw. śer ʻ tiger ʼ. -- Pa. sīhinī<-> f. ʻ lioness ʼ; K. sīmiñ f. ʻ tigress, leopard ʼ; P. sīhaṇī f. ʻ tigress ʼ; WPah.bhal. se_hiṇi f. ʻ leopard withcubs ʼ, jaun. sī˜haṇ ʻ tigress ʼ; H. sĩghnī f. ʻ lioness ʼ.Addenda: siṁhá -- : WPah.kṭg. sīˊ m. ʻ lion, leopard, brave man ʼ, sĩˊəṇ, sī˜ṇ (with high level tone) f. ʻ lioness ʼ (also sī˜ṇ Him.I 214 misprint with i?).(CDIAL 13384) Rebus: சிங்கச்சுவணம் ciṅka-c-cuvaṇam , n. prob. siṃhala + svarṇa. A kind of superior gold; ஒருவகை உயர்தரப் பொன். தீதுதீர் சிறப்பிற் சிங்கச் சுவணமென் றோசைபோகிய வொண்பொன் (பெருங். வத்தவ. 11, 23). 3. Dotted circle PLUS emanating from the centre, three arrows, three fish-fins (śrivatsa), following the punch-marked coin tradition. Dotted circle and six arms emanating from centre manjhi 'centre, middle' Rebus mã̄jhī 'cargo boat with raised platform'; kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ (Oriya)(CDIAL 3023). ayaskāṇḍa 'a quantity of iron, excellent iron' (Pāṇ.gaṇ) Rebus: khaṇḍa, khāṇḍā 'tools, pots and pans, metalware'; khambhaṛā 'fish fin' Rebus:kammaṭa, kambār̥a signify 'coiner (mint)/blacksmith'. See: Maritime trade by Meluhha artisan guilds of three types of stone ferrite (iron) ores signified on silver kārṣāpaṇá of Candragupta Maurya, 400 BCE https://tinyurl.com/ypbyyks6 Five Indus Script hieroglyphs on three silver kārṣāpaṇá of Candragupta Maurya, 4th cent. BCE signify metalwork wealth of seafaring merchants https://tinyurl.com/2ba5sv9c Coin #26:Gurjara Pratiharas, Bhoja I, Silver or billon drachm, c. 9th century CE King Bhoja standing triumphant right, foot resting on lion below, Various Vaishnavite symbols at right / Two-line legend: srimad adi / varaha, symbols below Weight: 4.03 gm., Diam: 17-18 mm. Ref: Mitchiner Non-Islamic 335 Coin 26 is a very interesting companion to the previous coin. It is a silver drachm issued by the Pratihara king Bhoja I (836-885), who chose for himself the name Adivaraha, which was also a name of Lord Vishnu. The front of the coin features an image that appears to be Lord Vishnu in his form as the boar Adivaraha. The style and pose closely parallel an image of Adivaraha at the 6th century Gupta site of Udaigiri, in which the great boar is shown trampling the demon Naga as he rescues the goddess Ganga, and with her the world. Udayagiri. 6th cent. Most coins of this type do not show the creature under Adivaraha's foot, as it is typically off the flan. But this coin clearly shows the animal to be a lion. However, the myth of Adivaraha does not include a lion. Therefore, the figure on the coin must not actually be Adivaraha. It must represent Bhoja himself. A natural question to ask is, what does the lion represent? It may have been Wilfried Pieper who first suggested that the lion represents the Rashtrakutas, a dynasty whose symbol was the lion and with which Bhoja was in a constant struggle for supremacy. The coin therefore is another masterly piece of propaganda, in which Bhoja identifies himself as the savior of the world, Adivaraha, as he crushes his demon enemies, the Rashtrakutas, underfoot. This coin was featured on the cover of the August 2010 issue of The Celator.To see the approximate geographical location of where this coin was issued, look for the letter D on this map. http://coinindia.com/fifty-coins3.html The Adivaraha drammas, coinage of the Pratihara ruler Bhoja I who is known by the same title, 850-900 CE. Obv: Boar, incarnation of Vishnu, and solar symbol. Rev: "Traces of Sasanian type". Legend: Srímad Ādi Varāha "The fortunate primaeval boar", a title also known to have been used for king Bhoja I. Adivaraha Dramma coin, circa 836 - 885 CE The carpenter, iron worker words evolve with pronunciation variants as seen in Oriya: ବଢ଼ଇ— Baṟḍ̠ẖai, ବଢ଼େଇ— Baṟḍ̠ẖei, ବର୍ଦ୍ଧକୀ— Barddhakī Further pronunciation variants are found in words such as: बढई baḍhaī m ( H) A carpenter. वाढया vāḍhayā m (वर्द्धकि S through H) vaṭṭaki’ 'metal worker' (Pali) This word is cognate with Śaila-vardhakin, Prakrit Sela-vaḍhākī (EI 20); a stone mason and वर्धकिन् vardhakin 'A carpenter' (Skt.). This pronunciation variant is further exemplified in the following sets of cognates: vardhaka in cmpd. ʻ cutting ʼ, m. ʻ carpenter ʼ R. [√vardh]Pa. cīvara -- vaḍḍhaka -- m. ʻ tailor ʼ; Kho. bardog, ˚ox ʻ axe ʼ (early → Kal. wadók before v -- > b -- in Kho.); <-> Wg. wāṭ ʻ axe ʼ, Paš.dar. wāˊṭak (ṭ?).vardhaki m. ʻ carpenter ʼ MBh. [√vardh]Pa. vaḍḍhaki -- m. ʻ carpenter, building mason ʼ; Pk. vaḍḍhaï -- m. ʻ carpenter ʼ, ˚aïa -- m. ʻ shoemaker ʼ; WPah. jaun. bāḍhōī ʻ carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaï, baṛahi, A. bārai, B. bāṛaï, ˚ṛui, Or. baṛhaï, ˚ṛhāi, (Gaṛjād) bāṛhoi, Bi. baṛahī, Bhoj. H. baṛhaī m., M. vāḍhāyā m., Si. vaḍu -- vā. WPah.kṭg. báḍḍhi m. ʻ carpenter ʼ; kṭg. bəṛhe\i, báṛhi, kc. baṛhe ← H. beside genuine báḍḍhi Him.I 135), J. bāḍhi, Garh. baṛhai, A. also bāṛhai AFD 94; Md. vaḍīn, vaḍin pl. †*vardhakikarman -- ʻ carpentry ʼ. [vardhaki -- , kár- man -- ]Md. vaḍām ʻ carpentry ʼ.(CDIAL 11374, 11375) *vārdhaka ʻ pertaining to a carpenter ʼ. [vardhaki -- ] S. vāḍho m. ʻ carpenter ʼ, P. vāḍḍhī, bā˚ m. (< *vārdhika -- ?); Si. vaḍu ʻ pertaining to carpentry ʼ. vārdhanī -- see vardhanī -- . Addenda: *vārdhaka -- [Dial. a ~ ā < IE. o T. Burrow BSOAS xxxviii 73] (CDIAL 11568) In this set, the particular phonetic variants of words explain how badhi evolves into vardhaki: WPah. jaun. bāḍhōī ʻ carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaï, baṛahi, A. bārai, B. bāṛaï, ˚ṛui, Or. baṛhaï, ˚ṛhāi, (Gaṛjād) bāṛhoi, Bi. baṛahī, Bhoj. H. baṛhaī m., M. vāḍhāyā m., Si. vaḍu -- vā. WPah.kṭg. báḍḍhi m. ʻ carpenter ʼ; kṭg. bəṛhe\i, báṛhi, kc. baṛhe ← H. beside genuine báḍḍhi Him.I 135), J. bāḍhi, Garh. baṛhai, A. also bāṛhai AFD 94; Md. vaḍīn, vaḍin varāhá -- , varāˊhu -- m. ʻ wild boar ʼ RV.Pa. Pk. varāha -- m. ʻ boar ʼ; A. B. barā ʻ boar ʼ (A. also ʻ sow, pig ʼ), Or. barāha, (Sambhalpur) barhā, (other dial.) bā̆rihā, bāriā, H. bā̆rāh m., Si. varā.f (CDIAL 11325) Śaila-vardhakin.—(LL), cf. Prakrit Sela-vaḍhākī (EI 20); a stone mason. In the Aṅgavijjā, we get the word ‘vaṭṭaki’ which denotes a metal worker. vardhaka m. a carpenter, R.vardhaki m. a carpenter, MBh. ; R. ; Hariv. ; VarBṛS. (also °kin). (Monier-Williams) वर्धक vardhaka a. [वृध्-णिच् ण्वुल्] 1 Increasing. -2 Cutting, dividing. -3 Filling. -कः 1 A carpenter. - वर्धकिः vardhakiḥ, वर्धकिन् vardhakin m. A carpenter; पुनरपि धृता कुन्दे किंवा न वर्धकिना दिवः N.19.54; Rām.1.13,7;7.91.24; त्रिदशानां च वर्धकिः (विश्वकर्मा) Mb.1.66.28; वर्धकिहस्तः a carpenter's measure of 42 inches. (Apte) Vardhakin (वर्धकिन्) refers to a “carpenter”, and is mentioned in the Naiṣadha-carita 19.54.—(“vardhakinā divaḥ”). Source: archive.org: Personal and geographical names in the Gupta inscriptions Vardhakin (वर्धकिन्, “carpenter”).—In Sāñcī Stūpa Inscriptions we get the word ‘vaḍakina’ which is the same as Sanskrit ‘vardhakin’ and means ‘carpenter’. Also see Viṣṇuvardhakikṣetra: a place-name classified as a kṣetra and mentioned in the Gupta inscription No. 52.
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