150 BCE Vangapala, AE half karshapana, c. 196, var.3 / Pieper 489 (plate coin) vagapalasa in Brāhmī script, c. Railed tree in centre elephant on left and railed Indradhvaja on right river at the bottom on top right taurine in fixed railing and on top left legend punch reading rajno bhumidatasa Blank reverse Reference: S. Obv.: Eight-spoked wheel Rev.: Brahmi legend reading vedisa Reference: Pieper collection rajno bhumidatasa in Brāhmī script, Pre-Śātavāhana Eran-Vidisha AE 1/2 karshapana, Bhumidata, six punch type Weight: 5.10 gm., Dimensions: 21x21 mm. See: Sohgaura tāmra-sāsana with Indus Script hypertexts & Brahmī epigraph to protect metalwork wealth & merchandise of traders vedisa in Brāhmī script, Pre-Śātavāhana Vidisha, die-struck AE, wheel type Weight: 1.18 gm., Dimensions: 13 mm. Early writing samples in ब्राह्मी Brāhmī script appear on ancient coins and on Sohgaura copper plate inscription. Gaṇapati iconography is based on Indus Script orthographic cipher to signify iron workers and an artisan guild of Marut Gaṇa. the writing system was linked to the R̥gveda ākhyāna of Gaṇapati 3. 3300 BCE, evidenced by the discovery in Harappa (by Harvard HARP team) of an inscribed potsherd proclaiming a tin forge: kolom 'three' rebus: kolimi 'smithy, forge' tagaraka 'tabernae montana' rebus: tagara 'tin' 2. Indus Script writing system - perhaps the earliest system on the globe - was created ca. Tibetan, Siddham, Devanagari (also Gujarati, Marathi) Tamil, Grantha, Kannada, Chinese, Bali, Java, Jaina A synoym of Rāṣṭrī (RV 10.125) is the name atrributed to the earliest script of Bhārat, the first in a list of scripts mentioned in the Lalitavistara Sūtra the script is called ब्राह्मी Brāhmī The thesis is that 1. Ramakali Dakkhani, Adi Granth 929-930, Translated by Pashaura Singh. Yogasutra 1.27 ओं नमः (Oṃ namaḥ) Siddhanam (6 syllables), Om Nhi (2 syllables) and just Om (1 syllable) are the short forms of the Paramesthi-Mantra, also called Namokar Mantra or Navkar Mantra in Jainism "Om Mani Padmi Hum" to be AUM, the totality of sound, existence and consciousness in Bauddham Oankar ('the Primal Sound') created Brahma, Oankar fashioned the consciousness, From Oankar came mountains and ages, Oankar produced the Vedas, By the grace of Oankar, people were saved through the divine word, By the grace of Oankar, they were liberated through the teachings of the Guru. But Om is something divine, and tatha is something human. Likewise is tatha (so be it) with a song. Why does Gaṇeśa uttar Om assenting to be a scribe of Vyasa's oral narrative? Om (ॐ) is the pratigara (agreement) with a hymn. The mystic syllable is affirmation of something divine in the narration and scripted text of Mahābhārata. Om is the last sound a Yogi hears before entering the state of Turīya level of language, script and reality. So, they start with ओम् Om pratimā which is प्रणव, praṇava. Om is part of the iconography, pratimā, 'ādhyātmikā symbol' which refers to ātman (soul, self within) and Brahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). Gaṇeśa - the leader of Marut Gaṇa, a scribe with dāt, an ivory stylus - and Kṣṇadwaipāyana Vyāsa - the black narrator, a Ganga-island dweller - unite together after Gaṇeśa consents to be a scribe uttering om and together start with an invocation for success to Nara and Nārāyaṇa (nārāyaṇaṃ namaskṛtya naraṃ caiva narottamam 1.1.0) and to goddess Sarasvatī (devīṃ sarasvatīṃ caiva tato jayam udīrayet 1.1.0).
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