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). 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). So, they start with ओम् Om pratimā which is प्रणव, praṇava. Om is the last sound a Yogi hears before entering the state of Turīya level of language, script and reality. The mystic syllable is affirmation of something divine in the narration and scripted text of Mahābhārata. Why does Gaṇeśa uttar Om assenting to be a scribe of Vyasa's oral narrative? Om (ॐ) is the pratigara (agreement) with a hymn. Likewise is tatha (so be it) with a song. But Om is something divine, and tatha is something human. — Aitareya Aranyaka 23.6 तस्य वाचकः प्रणवः ॥२७॥ His word is Om. — 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. — Ramakali Dakkhani, Adi Granth 929-930, Translated by Pashaura Singh. 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. Indus Script writing system -- perhaps the earliest system on the globe -- was created ca. 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. the writing system was linked to the R̥gveda ākhyāna of Gaṇapati; 3. Gaṇapati iconography is based on Indus Script orthographic cipher to signify iron workers and an artisan guild of Marut Gaṇa. Early writing samples in ब्राह्मी Brāhmī script appear on ancient coins and on Sohgaura copper plate inscription. See: Sohgaura tāmra-sāsana with Indus Script hypertexts & Brahmī epigraph to protect metalwork wealth & merchandise of traders https://tinyurl.com/ybdljjzq vedisa in Brāhmī script, Pre-Śātavāhana Vidisha, die-struck AE, wheel type Weight: 1.18 gm., Dimensions: 13 mm. 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. 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. Tiwari collection, p. 196, var.3 / Pieper 489 (plate coin) http://coinindia.com/galleries-eran2.html vagapalasa in Brāhmī script, c. 150 BCE Vangapala, AE half karshapana, c. 150-130 BCE Weight: 5.77 gm., Diam: 18.5 mm. Ref: Shrimali Fig. II.13, Pl. XII.7 Ashmolean Museum, Oxford. (Photo, courtesy Shailendra Bhandare) This coin of Vangapala (the legend reads vagapalasa) is overstruck on a coin of Damagupta (whose name can be made out on the image below the Vangapala punch). Shailen Bhandare, in a post on Facebook, informs us that "Inscriptions in Pabhosa caves (near Kaushambi, dist. Allahabad) record that king Shonakayaniputra Vangapala of Ahichchhatra was the father of king Tevaniputra Bhagavata and grandfather of king Vaihidariputra Ashadhasena, who was the maternal uncle of king Gopaliputra Brhaspatimitra. The last ruler is known from Kaushambi coins inscribed in his name ('Bahasatimitasa')." http://coinindia.com/galleries-panchala-kingdom.html Gaṇeśa is the scribe who wrote down the Mahābhārata. During the sarpa satra (snake yajña),वैशम्पायन narrates Mahābhārata to King Janamejaya. (S3Br. xi , xiii AitBr.S3a1n3khS3r. xvi MBh. &c; Gr2S. TA1r. &c (cf. IW. 371 n. 1). King Janamejaya was the son of King Parīkṣit. परिक्षित् was the grandson of अर्जुन and son of अभिमन्यु. A remarkable narrative of the sarpa sattra includes the role of Astika,, a boy who pleads with Janamejaya. āstīka's mother Manasā was a Naga and his father a Brahmin. Manasā is the sister of Vasuki, king of Nāgas (snakes) and wife of sage Jagatkāru (Jaratkāru). Janmejaya listened to the sage counsel of the learned āstīka and sets the then-imprisoned Takṣaka free. तक्षक [p= 431,3] is a विश्वकर्मन्, a carpenter. Janamejaya also stopped the massacre of the Nagas and ended all enmity with them (1,56). From that time onward, the Nagas and Kurus lived in peace. आस्तीक [p= 161,2] is a मुनि, the son of जरत्कारु and भगिनी जरत्कारु MBh. Hariv. जरत्--कारु [p= 413,3] is a ऋषि of यायावर's family MBh. BrahmaP. ii , 1 and 43. Yāyāvar have no fixed abode and are a wandering gaṇa. I suggest that the Yāyāvar (jaratkāru, āstīka, तक्षक, विश्वकर्मन्) were the itinerant metalsmith and artisan gaṇa of the Bronze Age who actively contributed to the wealth of the nation. .The leader of such gaṇa is Gaṇeśa who has mastered the art of writing. Orthographic and iconographic signifiers of Gaṇeśa are the Indus Script hieroglyphs: elephant trunk, human body, mouse, dance-step, tusk: karabha, ibha 'elephant' rebus: karba, ib 'iron'; meḍ 'body' rebus: meḍ 'iron'; meḍ 'dance-step' rebus: meḍ 'iron'; mūṣa 'mouse' rebus: mūṣa 'crucible'. Thus, together, the hypertext signifies iron smelting (to produce crucible steel). The dāt (dānt) 'tusk' rebus: dhātu 'mineral ore' is the writing instrument. Mlecchita vikalpa , a cypher system of writing, is a collateral form (VarBr2S.), a contrivance, art, to signify words by hieroglyphs read rebus. Combinations of hieroglyphs result in hypertexts such as composite animals and composite orthographic constructs like the elephant-headed Gaṇeśa and his dance-step in a Candi-Sukuh sculptural frieze. R̥gveda proclamation of a ketu to signify a Soma yajña is a similar construct of an octagonal or aṣṭāśri yūpa which constitutes the Rudra-bhāga of Śivalinga. A variant ekamukha Śivalinga is also a Mlecchita vikalpa or Meluhha Indus Script cipher to signify: mũh 'a face' rebus: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' The iconography of Varāha signifies the role of caṣāla 'snout of boar' rebus: caṣāla 'godhūma, fumes of wheat chaff atop a flaming aṣṭāśri yūpa, to infuse carbon into and harden moltenmetal in furnace/smelter'. This Mlecchita vikalpa or Meluhha Indus Script cipher is signified by the snout of Varāha in Khājuraho adorned with the sculptural frieze of Brāhmī, the divinity of speech or vāk. After the invention of Brāhmī syllabic wrting system, the text of Mahābhārata itihāsa is rendered in writing by Gaṇeśa, the scribe, who is signified iconographically in the tradition of Mlecchita vikalpa or Meluhha Indus Script cipher. It is hypothesised that this should have happened sometime after ca. 3300 BCE and ca. 1st mllennium BCE, close to 1. the date of Sohgaura copper plate which is a bilingual Rosetta stone inscription presented in two scripts -- Indus Script and Brāhmī script; and 2. the date of Amaravati fiery pillar of light topped by a hypertext in Indus Script of khambhaṛā 'fin' rebus: kammaṭa 'coiner, coinage, mint' PLUS aya 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS dula 'pair' rebus: dul 'metalcasting' to signify dul ayo kammaṭa, 'alloy metal casting mint.'. The Amaravati sculptural friezes are an echo of King Janamejaya's sarpa sattra which resulted in the peace with Naga-s, thanks to the intervention of āstīka and the release of imprisoned Takṣaka by Janamejaya. I submit that Gaṇeśa as a scribe in an Indus Script is a signifier of the leadership provided by metalworker Gaṇa who created the wealth of the nation and documented them as wealth accounting ledgers on over 8000 Indus Script Corpora of Inscriptions. R̥gveda of 10,800 r̥ca-s venerates Gaṇeśa. Indus Script Corpora of over 8000 inscriptions celebrates Gaṇeśa as the embodiment of the wealth of the Rāṣṭram. The celebration is an echo of R̥ṣikā Vāgāmbhr̥ṇī's celebration of Brāhmī, the mover of wealth of the nation --sangamanī vasūām Rāṣṭrī. A synoym is the name atrributed to the script of a writing system, the first in a list of scripts mentioned in the Lalitavistara Sūtra. : ब्राह्मी ब्राह्मी [p= 742,1] f. (of ब्राह्म्/अ q.v.) the शक्ति or personified energy of ब्रह्मा (regarded as one of the 8 मातृs or divine mothers of created beings ; in MBh. ix , 2655 they are said to attend स्कन्द) L.; speech or the goddess of speech (= सरस्वती) MBh. i , 19; brāhmī ब्राह्मी Speech; संस्कारो- पगतां ब्राह्मीं नानाशास्त्रोपबृंहिताम् Mb.1.1.19. -A tale or narrative. -A pious usage or custom, Vedic rituals; ब्राह्म्या संवर्तयामासू राङ्कवास्तरणावृताम् Rām.6.111.113. Varāha in Khājuraho वैशम्पायन [p= 1026,1]m. (patr. fr. विशम्-प) N. of an ancient sage (teacher of the तैत्तिरीय-संहिता [q.v.], in epic poetry is a pupil of व्यास). शुक [p= 1079,2] N. of a son of व्यास is narrator of the भागवत-पुराण to king परिक्षित्) MBh. Pur. also taught the Mahābhārata text to gandharva-s, rākṣasa-s and yakṣa-s.

At the outset, Bruno Lo Turco should be congratulated for a vividly narrated episode from the the Mahābhārata related to Gaṇeśa as a lekhaka, 'scribe'. In Bruno's view, 'presence of Gaṇeśa emphasizes precisely the relevance of the technology of writing and its professionals.' Mahābhārata as constructed in the BORI critical edition by Vishnu S. Sukthankar is a testament of oral transmission of the episodes of the Great Epic as a monument of dharma and bhakti. The text is also an 'inscribed' document in the annals of ancient Bhāratiya literature. The theatre of activities of Sarasvati Civilization and the locus of action of most of the episodes in the Mahābhārata is Sarasvati River Basin. Vedic texts are also framed on the life-experiences and insights of r̥ṣi-s introspecting on the banks of Sarasvati River and in the Himalayan sacred spaces. In the course of the decipherment of over 8000 inscriptions of Indus Script documented in three volumes of Epigraphia Indus Script -- Hypertexts and Meanings (2018), it has been underscored that the continuum of the writing tradition is vivid on early punch-marked coins and in sculptural friezes of Sanchi, Bharhut, Sohgaura copper plate inscription. The inscriptions have been presented in Meluhha rebus readings as wealth accounting ledgers, metalwork catalogues prepared by artisans and seafaring merchants of Sarasvati Civilization. I will present just one episode recorded in the Javanese version of Mahābhārata titled Bhimaswarga. This episode is presented on a sculptural frieze of Candi Sukuh, Java, Indonesia. The episode is a metallurgical narrative par excellence. The actors shown on this frieze are Bhima as swordsmith, Gaṇeśa in a dance-step and Arjuna as bellows-blower. In my view, the role of Gaṇeśa as a lekhaka, 'scribe' is central on this sculptural frieze narrative and also in the narrative of the written text of Mahābhārata. On the Candi Sukuh narrative dance-step of Gaṇeśa signifies in Meluhha vāc, 'speech' meḍ 'dance step' rebus: meḍ 'iron' (Mu.Ho.Santali), med 'copper' (Slavic languages). Thus, the intervention of Gaṇeśa is a semantic expansion that the ongoing metalwork narrated on the frieze relates to iron work. Arjuna is dhamaka, m. "a blower " , blacksmith (as blowing the forge)' Un2. ii , 35 Sch. Bhima is कर्मार karmāra smith working at the forge forging a kris sword. Paralleling this Indus Script inscription of Candi Sukuh is the role of Gaṇeśa as a lekhaka, 'scribe' of the written-down, inscribed Mahābhārata text-- inscribed because the incisions are made using the sharp edge of the tusk of Gaṇeśa. The role of Gaṇeśa in the continuum of Indus Script rebus writing system tradition is elaborated in the following monographs: 1. Hypertext Gaṇeśa on a pedestal of skulls Hieroglyph kapāla, 'skull' rebus: kapāla, 'dish for पुरोडाश offering' त्रि--धातु m. गणे*श rebus पुरोडाश, 'oblation of Soma, rice ball' https://tinyurl.com/yd8otx6r 2. Gardez Gaṇeśa with Indus Script hypertexts फड 'cobra hood' (फडनीस phaḍanīsa 'scribe' of) karaṇḍa mukuṭa to signify खरडा kharaḍā,'wealth-accounting ledger', करडा karaḍā 'hard alloy of iron' https://tinyurl.com/yd4abfq 3. R̥gveda gaṇa, Varāha & Gaṇeśa associated with temple frescos, from Badami to Afghanistan, Dunhuang (China), Indonesia, Vietnam, Japan in Ancient Far East https://tinyurl.com/y6uf4v3z On the pratima of Gardez Gaṇeśa the Indus script hypertexts deployed include: फड phaḍa 'cobrahood' rebus: फड phaḍa, paṭṭaḍe 'metals manufactory' panja 'claw, feline paw' rebus: panja 'kiln' of metals manufactory' kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' Gaṇeśa is a dancer in नाचण्याचा फड A nachhouse, a dance-house. His dance-step is meḍ 'dance step' rebus: meḍ 'iron' (Mu.Ho.Santali), med 'copper' (Slavic languages). Gardez Gaṇeśa wears a crown of करंडी karaṇḍī f (Dim. of करंडा) A little covered basket of bamboo. karaṇḍa 'wicker-basket' rebus: करडा karaḍā 'Hard from alloy--iron, silver &38' A similar sounding word signifies that Gaṇeśa is a scribe, writer: खरड kharaḍa f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch.खरडा kharaḍā a day-book; a note-book. Thus, Gaṇeśa is keeper of a day-book, wealth-accounting ledger. As a lekhaka, 'scribe', Gaṇeśa documents the wealth accounting ledgers, metalwork catalogues. The association of Gaṇeśa with metalwork is emphatic and attested by the continuum of Indus Script Cipher. I submit that the new interpretation of the Gaṇeśa episode by Bruno Lo Turco should be modulated with the interpretations provided by the evidence of Indus Script inscriptions and by the sculptural metaphors of Hindu traditions as divinity of fortune, of wealth. He is also tri-dhātu, 'three minerals'. Gaṇeśa 'scribe' is कारणिक 'judge, teacher'; కరణము karaṇamu [Skt.] n. A village clerk, a writer, an accountant. S.Kalyanaraman The divine scribe: a new interpretation of the Gaṇeśa episode from the Mahābhārata (Bruno Lo Turco, 2018) DRAFT definitive version in: Rivista degli Studi Orientali N.S. 90 (2018) Supplemento 1, Palaeography Between East & West. Proceedings of the Seminars on Arabic Palaeography at Sapienza University of Rome, ed. by A. D’Ottone Rambach, pp. 153-178 1. INTRODUCTION Gaṇeśa seems to be unknown to the Mahābhārata,1 with a single exception: he appears in a wellknown brief passage that explains the circumstances in which the MBh itself was first written. This passage is generally considered a late addition, or rather an addition to a passage that is already an addition, occurring only in Devanāgarī manuscripts.2 That being said, my main concern here is not the status of this episode in the MBh — whether it is an integral part of the epic or not — but its significance. The episode, according to Satchidanandan (2009: 6), «raises several unresolved questions and theoretical puzzles that seek to be heard and responded to». The narrative content can be synthesized as follows. In the early addition, after composing the Bhārata, Vyāsa ponders on the way to teach it to his pupils. Aware of Vyāsa’s concern, Brahmā appears to him. Vyāsa tells him that he has created a poem containing a great heritage of knowledge, even if no scribe (lekhaka) can be found for it on earth.3 However, Brahmā expresses his approval to Vyāsa. In the supplementary addition, object of the present essay, Brahmā suggests that Vyāsa think of Gaṇeśa as a scribe and goes back to his dwelling. Then Vyāsa asks Gaṇeśa to write down the whole epic at his dictation. Gaṇeśa accepts on one condition: Vyāsa should dictate all the stanzas without interrupting himself. Vyāsa agrees and imposes, in turn, the condition that Gaṇeśa write down only what he understands. In order to delay Gaṇeśa, Vyāsa occasionally formulates a difficult verse. While Gaṇeśa tries to decode it, Vyāsa completes new verses and gains time.

The Gaṇeśa episode from the Mahābhārata, widely regarded as a late addition, narrates the mythical circumstances that led to the first written record of the poem: Vyāsa asks Gaṇeśa to write down the whole epic at his dictation. In the past, the episode was claimed to represent an attempt to promote the figure of Gaṇeśa, a god on the rise. Nevertheless, this explanation fails to account for the connection between the god and the act of writing an original work. A closer examination of the episode is therefore needed, with a view to reaching a more satisfactory interpretation. Our assumption is that the passage should be read as a realistic staging of the questions raised by the relationship between author, symbolised by Vyāsa, and scribe, symbolised by Gaṇeśa. In this context, the figure of Gaṇeśa serves to emphasize the relevance of the technology of writing and its professionals.

This is an addendum to: Gaṇeśa is scribe of Mahābhārata pañcamaṃ veda is itihāsa to protect dharma https://tinyurl.com/y9slvdfa Angkor wat image shows Gaṇeśa as scribe. Candi Sukuh sculptural frieze shows dance-step of Ganeśa. The rebus Meluhha reading: karaṇa 'dance posture' rebus: karaṇa 'scribe, accountant'. ibha 'elephant' rebus: ib 'iron'. Hieroglyph of young antelope in front of Ganeśa karaḍū 'a kid, young antelope' Rebus: karaḍā 'hard metal alloy'. Bhima is smith; Arjuna is bellows-blower. In Bhimasvarga, Bhima leads the Pāṇḍava-s to rescue Pāṇḍu from Naraka and take him to Svarga. Bhimasvarga is Javanese MBh. version.. In a brilliant excursus, Jayasree Saranathan provides textual references evidencing Ganeśa as scribe of MBh. [quote] The next morning (after the coronation of Yudhiṣṭhira), Kr̥ṣṇa and the Pāṇḍava-s left for Kurukshetra without the accompaniment of the army...and reached the river Drishadvati and bathed in the river... The verse runs like this: (Mahabharata: 12-58-30 ) dṛṣad vatīṃ cāpy avagāhya suvratāḥ; kṛtoda kāryāḥ kṛtajapya maṅgalāḥ upāsya saṃdhyāṃ vidhivat paraṃtapās; tataḥ puraṃ te viviśur gajāhvayam Meaning: “The destroyers of foes (who happened to be) the strict followers of religious vows bathed in the river Drishadvati in the evening twilight, preformed the prescribed religious vows, worshiped with japa for welfare and happiness according to the prescribed rules and went back home to Hastinapur.” In addition to the usual ‘Kritoda karya’, they did ‘kṛtajapya maṅgalāḥ upāsya’ Mangala- Upāsana is not part of Sandhyopāsana. And this activity getting mentioned specifically on the 2nd day, that happened to be Śukla Caturthi, it implies that they did the worship meant to ward off the evil effect of sighting the 4th phase of the moon! Seeing the 4th phase (Śukla Caturthi moon) is supposed to bring evil to a person. According to an astrological text on religious austerities, the one who happens to see the 4th phase must immediately do a propitiatory worship to ward off the evil. This practice started after Kr̥ṣṇa was blamed for the missing Syamantaka gem, which it was believed to be the result of Kr̥ṣṇa having sighted the 4th phase of the moon. Yudhiṣṭhira started this practice which came to be known as Siddhi Vināyaka Vrata in due course.(“ஜோதிட வருஷாதி நூல்” (Tamil), p. 385). This practice seems to have evolved into the festival of Ganesh Caturthi in Bhadrapada month – the month in all likelihood being the time Kr̥ṣṇa watched the 4th phase and subsequently was blamed for the missing gem. This memory had continued until 150 years ago, is known from an entry in the Journal of Literature and Science, by the British writers in describing the Ganesh festival as was celebrated in the then Madras Province. The reference to Kr̥ṣṇa having sighted the 4th phase of the moon is reproduced from the Journal.( “The Journal of Literature and Science”, October 1833, J.C.Morris, F.R.S., p.17-18)(Figure 1) The practice of immersing in water the image of Ganeśa worshiped for the event could perhaps be part of the vrat proposed by Yudhiṣṭhira. Perhaps initially they conducted the worship only in water on Shukla Caturthi. Fig 1: Kr̥ṣṇa sighted Shukla Caturthi moon The specific mention of “maṅgalāḥ upāsya” seems to be a reference to Lord Ganeśa, whose form is supposed to be ‘Mangala’. The planet Mars attained the title Mangala after having seen the Mangala form of Ganeśa on his wedding with Siddhi (this gave him the name Siddhi Vinayaka), according to Vinayaka Purana. “Mangalarambha” is an epithet of Ganeśa– referring to starting any work after worshiping Ganeśa. The Caturthi ‘Maṅgalopāsana’ done by the returnees including Vyāsa in that group seems to settle down the controversy over whether Ganeśa as a scribe for Vyāsa was originally present in the text written by Vyāsa. The missing reference to Ganeśa as a scribe in the Southern manuscripts of Mahabharata and its appearance only in 37 out of 59 manuscripts resulted in the dropping of the Ganeśa reference in the critical edition of Mahabharata. The Shukla Caturthi performance of the vrat having certain prescribed rules goes to show that some method of worship of Ganeśa, the lord of Caturthi tithi, must have been in place at the time of Mahabharata.(Vinayaka was a household deity even as early as Ramayana times. Valmiki says that Vinayaka is fixated in the houses where Ramayana is heard. VR: 6-128-116) There is scope to presume that Vyāsa did some form of ‘Maṅgalopāsana’ for the successful completion of the text of Mahabharata that he included it as well in the text as Ganeśa, the scribe. By that he assigned the responsibility of completing the text to Lord Ganeśa, which is very much in line with the purport of the Caturthi vrat done even today...[unquote]

This is an addendum to 1. Dance-step as Indus Script hieroglyph, Bhirrana potsherd, Candi Sukuh sculptural frieze signifies metal 2.Itihāsa. Mohenjodaro dancing girls' posture is ಕರಣ (Kannada) rebus: करण m. writer,scribe; a class whose occupation is writing, accounts https://tinyurl.com/yatjse 3. Gaṇeśa is Brāhmī scribe of Mahābhārata in the tradition of Indus Script cipher of Bronze Age https://tinyurl.com/y79j8rxp This monograph presents Gaṇeśa's dance posture in Candi Sukuh and Badami sculptural friezes and explains it as an Indus Script hypertext: karaṇa 'dance posture' rebus karaṇa 'scribe'. This Meluhha rebus rendering in Indus Script is an evocation of Gaṇeśa is a karaṇa 'scribe' of the Great Epic. In Bharatiya Itihāsa, Gaṇeśa is a scribe of the Great Epic narrated by Veda Vyāsa.. Vyāsa narrating the Mahabharata to Gaṇeśa, his scribe, Sculptural frieze of Angkor Wat. meḍ 'dance' (Remo) meD 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D. Stampe's Munda etyma) meṭṭu to tread, trample, crush under foot, tread or place the foot upon (Te.); meṭṭu step (Ga.); mettunga steps (Ga.). maḍye to trample, tread (Malt.)(DEDR 5057) మెట్టు (p. 1027) [ meṭṭu ] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు, నడుచు, త్రొక్కు. "మెల్ల మెల్లన మెట్టుచుదొలగి అల్లనల్లనతలుపులండకు జేరి." BD iv. 1523. To tread on, to trample on. To kick, to thrust with the foot.మెట్టిక meṭṭika. n. A step , మెట్టు, సోపానము (Telugu) rebus: meḍ 'iron' med 'copper' (Slavic languages) Santali glosses Forge scene stele. Forging of a keris or kris (the iconic Javanese dagger) and other weapons. The blade of the keris represents the khaNDa. Fire is a purifier, so the blade being forged is also symbolic of the purification process central theme of the consecration of gangga sudhi specified in the inscription on the 1.82 m. tall, 5 ft. dia. lingga hieroglyph, the deity of Candi Sukuh. http://bharatkalyan97.blogspot.in/2015/01/sekkizhar-periya-puranam-candi-sukuh.html The sculptural of Candi Sukuh narrative depicts Bhima as the blacksmith in the left forging the metal holding a steel sword on his right hand, Gaṇeśa in the center with a dance-step (med 'dance step' rebus: meD 'iron'), and Arjuna in the right operating bellows Gaṇeśa as dancer on a Candi Sukuh sculpture in the context of smelting processes to produce steel swords. karibha 'elephant's trunk' rebus: karba 'iron' ibha 'elephant' rebus: ib 'iron' PLUS meḍ 'dance-step' rebus: meḍ 'iron, metal, copper'. Another rebus reading is sugested for the dancing Gaṇeśa. I suggest that the dance-step of Gaṇeśa is a dance posture specified by the term karaṇa. The Natyashastra influenced other arts in ancient and medieval India. The dancing Shiva sculpture in Badami cave temples (6th–7th century CE), for example, illustrates its dance movements and Lalatatilakam pose (Archana Verma (2011). Performance and Culture: Narrative, Image and Enactment in India. Cambridge Scholars Publishing. pp. 10–12). Gaṇeśa in a dance-step, dance-posture. karibha, ibha 'elephant' rebus; karba, ib 'iron'. karaṇa 'dance step, dance posture' rebus: karaṇa 'scribe'. meṭṭu 'step' meḍ iron, मेधा, धन, मेधः' yajna.33 Indian dance (nritta, नृत्त) traditions have roots in the aesthetics of Natyashastra. The text defines the basic dance unit to be a karana, which is a specific combination of the hands and feet integrated with specific body posture and gait (sthana and chari respectively). Chapter 4 describes 108 karanas as the building blocks to the art of dance. The text states the various movements of major and minor limbs with facial states as means of articulating ideas and expressing emotions. Daniel Meyer-Dinkgräfe (2005). Approaches to Acting: Past and Present. Bloomsbury Academic. pp. 6–7. Katherine Young; Arvind Sharma (2004). Her Voice, Her Faith: Women Speak on World Religions. Westview Press. pp. 20–21 Sunil Kothari; Avinash Pasricha (2001). Kuchipudi. Abhinav Publications, pp. 117–118. Nina Mirnig; Peter-Daniel Szanto; Michael Williams (2013). Puspika: Tracing Ancient India Through Texts and Traditions: Contributions to Current Research in Indology Volume I. Oxbow, pp. 186–187; pp.174-177 Ananda Lal (2004). The Oxford Companion to Indian Theatre. Oxford University Press, pp. 95–99. Arrival of Heramba Gaṇeśa to write Mahābhārata announced in ādiparva: सौतिरुवाच । एवमाभाष्य तं ब्रह्मा जगाम स्वं निवेशनम् । भगवान्स जगत्स्रष्टा ऋषिदेवगणैः सह ॥ ततः सस्मार हेरम्बं व्यासः सत्यवतीसुतः ॥ स्मृतमात्रो गणेशानो भक्तचिन्तितपूरकः । तत्राजगाम विघ्नेशो वेदव्यासो यतः स्थितः ॥ पूजितश्चोपविष्टश्च व्यासेनोक्तस्तदानघ । लेखको भारतस्यास्य भव त्वं गणनायक ॥ मयैव प्रोच्यमानस्य मनसा कल्पितस्य च ॥ श्रुत्वैतत्प्राह विघ्नेशो यदि मे लेखनी क्षणम् । लिखतो नावतिष्ठेत तदा स्यां लेखको ह्यहम् ॥ व्यासोऽप्युवाच तं देवमबुद्ध्वा मा लिख क्वचित् ।

This is a continuation of the article titled, 'Pratimā of Rāhu and Ketu are associated with skambha (yupa) & caṣāla which proclaim Soma Samstha Yajña & wealth-producing metalwork' https://tinyurl.com/y9tsfmmq This article had posited an association of Gaṇeśa with graha, Rāhu and Ketu in the context of metalwork of the Bronze Age. This continuum further explains the pratimā of Gaṇeśa as an Indus script hypertext tradition. A major wealth-producing activity of Bhāratam Janam has been metalwork. This monograph suggests that the forms of Gaṇeśa pratimā evolve in Indus Script hypertext tradition to document wealth-producing metalwork. फडकरी phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain). फडझडती phaḍajhaḍatī f sometimes फडझाडणी f A clearing off of public business (of any business comprehended under the word फड q. v.): also clearing examination of any फड or place of public business. (Marathi) गण m. a flock , troop , multitude , number , tribe , series , class (of animate or inanimate beings) , body of followers or attendants RV. AV. &c; troops or classes of inferior deities (especially certain troops of demi-gods considered as शिव's attendants and under the special superintendence of the god गणे*श ; cf. -देवता) Mn. Ya1jn5. Lalit. &c; a company , any assemblage or association of men formed for the attainment of the same aims Mn. Ya1jn5. Hit. (in summary, a guild). Gaņā or hosts of Bŗihaspathi—Brahmaņaspathi are venerated: gaṇānāṃ tvā gaṇapatiṃ havāmahe kaviṃ kavīnām upamaśravastamam | jyeṣṭharājam brahmaṇām brahmaṇas pata ā naḥ śṛṇvann ūtibhiḥ sīda sādanam ||RV_2,023.01|| This veneration of the leader of the guild posits Gaṇeśa as a Vedic divinity of the highest order, the leader of the heavenly bands and a sage (kavi) among sages. sa suṣṭubhā sa ṛkvatā gaṇena valaṃ ruroja phaligaṃ raveṇa | bṛhaspatir usriyā havyasūdaḥ kanikradad vāvaśatīr ud ājat ||RV 4,050.05 || गण, also signify hosts of divine beings. Indra is a leader of the gana of Maruts. ni ṣu sīda gaṇapate gaṇeṣu tvām āhur vipratamaṃ kavīnām | na ṛte tvat kriyate kiṃ canāre mahām arkam maghavañ citram arca ||RV_10,112.09|| [quote] The mantra ‘namo Gaṇebhyo gaṇapathibyasha vo namo’ (16-25) that occurs in Śukla Yajurveda samhita refers to ganas, in plural, and says: salutations to you, Gaṇas and to the Lord of the Ganas. This mantra appears also in the Rudra praśnam (4.1.5) and in the Maitrāyaṇī Samhitā (2,9.4). Gaṇa in these contexts signifies a group of people as also a collection of mantras. namo gaṇebhyo gaṇapatibhyaś ca vo namo namo vrātebhyo vrātapatibhyaś ca vo namo namaḥ kṛchrebhyaḥ kṛchrapatibhyaś ca vo namo namo virūpebhyo viśvarūpebhyaś ca vo namo namaḥ senābhyaḥ senānībhyaś ca vo namo namo rathibhyo varūthibhyaś ca vo namo namaḥ kṣattṛbhyaḥ saṃgrahītṛbhyaś ca vo namo namo bṛhadbhyo ‘rbhakebhyaś ca vo namo namo yuvabhya āśīnebhyaś ca vo namo namaḥ //MS_2,9.4// The Taittirīya Samhitā interprets Gaṇas as paśus (the beasts of Śiva). They are the Gaṇas of Shiva — Rudrasya Ganapathyam .There were also Bhuta ganas, the weird and grotesque looking guards of Shiva. Thus, Shiva the Paśupathi; and Śiva the Bhūtanāth was also a Gaṇapathi.[unquote] https://sreenivasaraos.com/tag/ganesha/ Bhuteśvar sculptural friezes show a smelter topped by a mukhalinga, and artisan guild composed of dwarfs (kharva). Hence, kharva nidhi one of Kubera's navanidhi. Association of Gaṇeśa and Varaha with गण, artisan guild is signified on a sculptural frieze of Kailasanatha temple, Kanchipuram. Thus, Gaṇeśa in नाचण्याचा फड, nach house is a celebration of metalwork in public community place as barter trade exchanges get transacted to create wealth by mercantile transactions related to metalwork products and artifacts. The asssociation of dance-step of Gaṇeśa on Candi-Sukuh sculpturl frieze emphatically links to smithy/forge work. I submit that the pratimā of Mahāvināyaka of Gardez, Afghanistan is an Indus Script hypertext to signify: karibha, ibha 'elephant' rebus; karba, ib 'iron'; Hieroglyph: फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c. Ta. patam cobra's hood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45.(DEDR 47) Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers; panja 'feline paw' rebus: panja 'smelter, kiln, furnace'. Mahāvināyaka of Gardez, Afghanistan. A 5th century marble Ganesha found in Gardez, Afghanistan, now at Dargah Pir Rattan Nath, Kabul. The inscription says that this "great and beautiful image of Mahāvināyaka" was consecrated by the Shahi King Khingala.(Dhavalikar, M. K., "Gaņeśa: Myth and Reality", in: Robert L. Brown 1991, Ganesh, studies of an Asian God, State University of New York Press, pp. 50,63) फड (p. 313) phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nach house, गाण्याचा or ख्यालीखुशालीचा फड A singing shop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work, as a factory, manufactory, arsenal, dock-yard, printing-office &c. 4 A plantation or field (as of ऊस, वांग्या, मिरच्या, खरबुजे &c.): also a standing crop of such produce. 5 fig. Full and vigorous operation or proceeding, the going on with high animation and bustle (of business in general). v चाल, पड, घाल, मांड. 6 A company, a troop, a band or set (as of actors, showmen, dancers &c.) 7 The stand of a great gun. फड पडणें g. of s. To be in full and active operation. 2 To come under brisk discussion. फड मारणें- राखणें-संभाळणें To save appearances, फड मारणें or संपादणें To cut a dash; to make a display (upon an occasion). फडाच्या मापानें With full tale; in flowing measure. फडास येणें To come before the public; to come under general discussion. Two iconographic representations of Gaṇeśa which predate any pratimā found in Bhārat are reported from China (dated to ca. 500 CE). 1. In Sri Lanka, the oldest image of Ganesh is found in the Kantak Chaitya in Mihintale dated to 1st century BCE. 2. Mahāvināyaka of Gardez, Afghanistan is dated to 5th century CE. 3. A painting of the elephant-headed deity is found in Cave 285 at Tun-huang, a chamber excavated in the Northern Wei dynasty but with some decorations dating the image to the T’ang dynasty. 4. A stone sculpture of the deity is found at Kung-hsien. The inscription on the image.datesit to 531 CE. Gaṇeśa of Kung-hsien is a two-armed seated figure, holds a lotus, the inscription described Gaṇeśa as the ‘‘Spirit King of Elephants’’. The Chinese finds are reported in: Alice Getty, 1936, Ganesa, A monograph on the elephant-faced God, 1936, repr. Ed., Delhi, Munshiram Manoharlal, 1971), p.67, p.68. Butsuzō-zu-i 仏像図彙, “Collected Illustrations of Buddhist Images.” Published 1690 (Genroku 元禄 3). “The theme of aiding the demonic spirits in order to control them and to stop the hindrances they create is continued in the works of a mid-eighth century Chinese disciple of Amoghavajra. Han-kuang pointed out that Vināyaka had many forms, the embracing figures, Ganapati, and the elephant-headed king. The Chinese Tantric master taught that the elephant-headed king is a symbol of the great power Vināyaka possesses, but just as an elephant can be tamed by the keeper, so Vināyaka can be tamed by certain rituals.” (Lewis Lancaster, 1991, Gaṇeśa in CHina: Methods of transforming the demonic, in: Robert L. Brown 1991, Ganesh, studies of an Asian God, State University of New York Press, p.284). Gaṇeśa -- Prah Kenes (Khmer), Phra Phikanet (Thailand) -- from 1239 CE found at Bara belonging to Sangasari period is seen protected from the rear by a kīrtimukha face on the back of its head; skulls adorn the base of pratimā http://staging.heritage-india.com/blog/ganeshaaroundtheworld/ "Kangi-ten (deva of bliss): This is the dual image known in Japanese as Kangi-ten. It shows two elephant-headed figures embracing their hands clasped behind each other’s back. This type of Ganesha-form came to Japan originally from China. This is a secret esoteric form of the god (Ganesha) Kangi-ten derived from the Tantric cult based on the Yoga doctrine of the union of the Individual with the Universal spirit." Another form Another form in Japan, Vajra Vinayaka or Kakuzencho, has three heads with three eyes, holds a sword, radish, sceptre and modak in his four hands. http://staging.heritage-india.com/blog/ganeshaaroundtheworld/ See: Lewis Lancaster, 1991, Gaṇeśa in CHina: Methods of transforming the demonic, in: Robert L. Brown 1991, Ganesh, studies of an Asian God, State University of New York Press, pp. 277-286)

See: 1. Hypertext Gaṇeśa on a pedestal of skulls Hieroglyph kapāla, 'skull' rebus: kapāla, 'dish for पुरोडाश offering' त्रि--धातु m. गणे*श rebus पुरोडाश, 'oblation of Soma, rice ball' https://tinyurl.com/yd8otx6r 2. Gardez Gaṇeśa with Indus Script hypertexts फड 'cobra hood' (फडनीस phaḍanīsa 'scribe' of) karaṇḍa mukuṭa to signify खरडा kharaḍā,'wealth-accounting ledger', करडा karaḍā 'hard alloy of iron' https://tinyurl.com/yd4abfqs 3. R̥gveda gaṇa, Varāha & Gaṇeśa associated with temple frescos, from Badami to Afghanistan, Dunhuang (China), Indonesia, Vietnam, Japan in Ancient Far East https://tinyurl.com/y6uf4v3z Links to tweets by Manasatarmgini on Twitter. manasataramgini‏ @blog_supplement 6h6 hours ago ...Total evidence should be considered textual, iconographic and archaeological. Archaeologically H deities appear in recognizable forms only starting earliest around 2300 YBP. But many of them clearly have long histories prior to that. Iconographically recognizable gaNesha-s are seen at least by around 1800 YBP suggesting that the deity had attained the extant form by that time. In textual terms the earliest vainAyaka ritual is to four seizing vinAyaka-s seen in the maitrAyaNIya kR^iShNa-yajurveda and atharvaveda traditions. There are no references to these deities in the saMhitA-s or the ancillary mantrapATha-s only later texts of these schools. Already in the RV rudra has several sons the marut-s who have a destructive side similar to the vinAyaka-s and are once even compared to violent elephants. In YV rudra is described on multiple occasions as the gaNapati and the rat is described as his animal. These features along with the general association of rudra with these raudra deities allowed to anchor the four vinAyaka-s to rudra and associate his singular form as a son. This appears in the late section of the bodhAyana kalpa tradition of the KYV i.e. the gaNa homa. A parallel tradition is also represented in the yAj~navalkya-dharma tradition where the four seizing vinAyaka-s clearly merge into a single elephant headed being. The nominal convergence with the Vedic god brAhmaNaspati likely gave him his axe. All these developments certainly preceded the appearance of the full-blown singular iconography around 1800 YBP. Now the famous gAyatrI-s of his which appear in the KYV schools of the M and T should be seen as later interpolations because: 1) These gAyatrI-s appear in a locus where there is multiplicity of gAyatrI-s. 2) They are highly polymorphic between the schools unlike the other mantra-s in the vicinity. These point to later innovation which might be temporally linked to their deployment in the gaNahoma to a singular vinAyaka. Finally, his mention is absent or polymorphism within the schools themselves. i.e. in the form of the four seizing vinAyaka-s in certain early purANa-s like core mArkaNDeya. Also absent in kAlidAsa. There is again enormous polymorphism in his paurANika utpatti narratives. This points of the equivalence of “positive selection” marking sudden expansive rise of the deity. Thus, we do think his origin was much earlier, especially in the 4 fold form, but his expansive rise to a central deity of the pantheon began only in the time of the inter-empire period; i.e. the period between the end of the shu~Nga-s and the rise of the gupta-s.

karaṇa करण A writer, जज्ञे धीमांस्ततस्तस्यां युयुत्सुः करणो नृप Mb.1.115. 43; Ms.1.22; Business, trade. As Indus Script hypertext, elephant trunk signifies: karibha, ibha 'elephant' rebus karba,ib 'iron'. I submit that Gaṇeśa signifies iron trade. Hence, his appearance in Bhimaswarga (Indonesian Java version of Mahābhārata) rendered in sculptural frieze of Candi Sukuh together with Bhima as 'smith' and Arjuna as 'bellows blower'. गण m. a flock , troop , multitude , number , tribe , series , class (of animate or inanimate beings) , body of followers or attendants RV. AV.; troops or classes of deities (especially certain troops of demi-gods considered as शिव's attendants and under the special superintendence of the god गणे*श ; cf. -देवता) Mn. Ya1jn5. Lalit.; a company , any assemblage or association of men formed for the attainment of the same aims Mn. Ya1jn5. Hit. (Monier-Williams) gaṇḥ गणः [गण् कर्मणि कर्तरि वा अच्] 1 A flock, multitude, group, troop, collection; गुणिगणगणना, भगणः -2 A series, a class. -3 A body of followers or attendants. -4 Particularly, a troop of demigods considered as Śiva's attendants and under the special superintendence of Gaṇeśa, a demigod of this troop; गणानां त्वा गणपतिं हवामहे कविं कवीनाम् &c.; गणा नमेरुप्रसवावतंसाः Ku.1.55,7.4,71; Me.35.57; Ki.5.13. -5 Any assemblage or society of men formed for the attainment of the same objects. -6 A company, association. -7 A tribe, class. -8 A series of lunar mansions classed under three heads (of god, men and demons). -9 A sect (in philosophy, religion). -1 A small body of troops (a sub-division of अक्षौहिणी), consisting of 27 chariots, as many elephants, 81 horses and 135 foot; Mb.1.2.21. -11 A number (in math.). -12 A foot (in prosody). -13 (In gram.) A series of roots or words belonging to the same rule and called after the first word of that series; e. g. भ्वादिगण i. e. the class of roots which begin with भू. -14 An epithet of Gaṇeśa. -Comp. -अग्रणी m. N. of Gaṇeśa. -अचलः N. of the mountain Kailāsa, as the residence of the Gaṇas of Śiva. -अधिपः, -अधिपतिः 1 N. of Śiva; Śi.9.27. -2 N. of Gaṇeśa. -3 the chief of a troop of soldiers or of a class of disciples, of a body of men or animals. -अन्नम् a mess, food prepared for number of persons in common; Ms.4.29,219. -अभ्यन्तर a. one of a troop or number. (-रः) the leader or mem- ber of any religious association; Ms.3.154. -ईशः N. of Gaṇapati, Śiva's son (see गणपति below). ˚जननी an epithet of Pārvatī. ˚भूषणम् red-lead. -ईशानः, -ईश्वरः 1 an epithet of Gaṇeśa. -2 of Śiva. -उत्साहः the rhinoceros. -कारः 1 a classifier. -2 an epithet of Bhīmasena. -कृत्वस् ind. for a whole series of times, for a number of times. -गतिः a particular high number. -चक्रकम् a dinner eaten in common by a party of virtuous men. -छन्दस् n. metre regulated and measured by feet. -तिथ a. forming a troop or collection. -दीक्षा 1initiation of a number or a class. -2 performance of rites for a number of persons. -दीक्षिन् a. 1 one who officiates for a number of per- sons or for various castes (as a priest). -2 one who has been initiated into the worship of Ganeśa. -देवताः (pl.) groups of deities who generally appear in classes of troops; Ak. thus classifies them :-आदित्यविश्ववसव- स्तुषिता भास्वरानिलाः । महाराजिकसाध्याश्च रुद्राश्च गणदेवताः ॥ -द्रव्यम् 1 public property, common stock; Y.2.187. -2 a variety of articles. -धरः 1 the head of a class or number. -2 the teacher of a school. -नाथः, -नाथकः 1 an epithet of Śiva. -2 of Gaṇeśa. -3 the leader of the attendants of any god; Bhāg.5.17.13. -4 the head of an assemblage or corporation; Bṛi. S.15.4. -नायिका an epithet of Durgā. -पः, पतिः 1 N. of Śiva. -2 N. of Gaṇeśa. [He is the son of Śiva and Pārvatī, or of Pārvatī only; for according to one legend, he sprang from the scurf of her body. He is the god of wisdom and remover of obstacles; hence he is invok- ed and worshipped at the commencement of every important undertaking. He is usually represented in a sitting posture, short and fat, with a protuberant belly, and four hands; riding a mouse; and with the head of an elephant. This head has only one tusk, the other having been lost in a scuffle between him and Paraśurāma when he opposed the latter's en- trance to Śiva's inner apartments; (whence he is called Ekadanta, Ekadaṁṣṭra &c.). There are seve- ral legends accounting for his elephant head. It is said that he wrote the Mahābhārata at the dictation of Vyāsa who secured his services as a scribe from the god Brahman]. -3 also an epithet of Bṛihas- pati and Indra. -4 the leader of a class or troop. -पर्वत see गणाचल. -पाठः a collection of gaṇas or series of words falling under the same grammatical rule. -पीठकम् the breast, bosom. -पुङ्गवः the head of a tribe or class. (pl.) N. of a country and its people; Bṛi. S.4.24. -पूर्वः the leader of a tribe or class; (ग्रामणी); Mb.13.23.2. ˚तापनी N. of a Upaniṣad. -भर्तृ m. 1 an epithet of Śiva; गणभर्तृरुक्षा Ki.5.42. -2 N. of Gaṇeśa. -3 the leader of a class. -भोजनम् mess, eating in com- mon. -यज्ञः a rite common to all. -रत्नमहोदधिः a collection of grammatical gaṇas by Vardhamāna. -राज्यम् N. of an empire in the Deccan; Bṛi. S.14. 14. -रात्रम् a series of nights. -वल्लभः a general of the army (सेनानायक); Rām.2.81.12. -वृत्तम् see गणच्छन्दस्. -हासः, -हासकः a species of perfume.(Apte) Uma-Maheśvara from Nepal Dated: 11-12th century CE Gaṇa(s) are shown dancing along with Gaṇapati(Gaṇeśa).Image Image result for dance ganesha kanchipuram Marut-gaṇa including Gaṇeśa (third from left) & Varāha (fourth from left) on a sculptural panel. Kailasanatha Temple,Kanchipuram.

-- Itihāsa in Indus Script Cipher of sculptures of नाचण्याचा फड A nach house. -- फडनीस 'keeper of register' of फडा phaḍā 'metals manufactory', paṭṭaḍe 'smithy', -- Nr̥tya Gaṇeśa, of नाचण्याचा फड 'nach house', cobrahood, lotus, tridhātu Gaṇeśa karaṇa, 'dance posture' karaṇa 'scribe' -- Why is Gardez Gaṇeśa (Mahāvināyaka) shown with cobrahood, tiger's paw, decorations and in dance-posture? Dance posture is karaṇa, 'dance posture' Rebus: karaṇa 'scribe'. panja 'feline paw' rebus: panja 'kiln, furnace'. फडा phaḍā 'cobrahood' rebus: फडा phaḍā 'metals manufactory), paṭṭaḍe 'smithy, workshop'. He is फडनीस 'keeper of register' shown in नाचण्याचा फड 'nach house' -- with a karaṇa, 'dance posture' to signify rebus that he is karaṇa 'scribe'. -- फड phaḍa is a place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room. -- नाचण्याचा फड A nach house, गाण्याचा or ख्यालीखुशालीचा फड A singing shop or merriment shop. Dancing gaṇa-s. Badami caves. Narratives of Badami caves. Trivikrama and dancing dwarfs. "Ganas", base of the Kailasanatha temple. Those who have been most devoted to Siva win the boon of being perpetually close to him. These are the "ganas", who inhabit the walls of Siva temples. Having gained the opportunity of being with Siva, they are full of joy and share this with the worshipper through their dancing, music and frolicsome pranks. https://frontline.thehindu.com/static/html/fl2501/stories/20080118504906500.htm A row of yaali and a row of boothagana are below the vimana. Inquisitive ganas indeed, playing musical instruments and dancing! Valeeswaram temple has a beautiful stone vimana, built in 10th C CE, majorly by Cholas/ Worship of Śivalinga by Gandharvas - Śunga Period - Bhuteśwar - ACCN 3625 - Government Museum - Mathura 2013-02-24 6098.JPG Sculptural frieze. Association of kharva, 'dwarfs' with smelter and śivalinga. Bhuteśvar. Mathura Museum. In this long frieze on the vimana of Vettuvan Kovil ganas can be seen dancing and playing musical instruments. "...Vettuvan Kovil, a monolithic temple hewn out of a hill. The late C. Sivaramamurti, who was the Director of the National Museum in New Delhi, in his book Kalugumalai and Early Pandyan Rock-cut Shrines, describes it as “by far the most beautiful rock-cut temple of the Pandya period… a half-finished free-standing monolith which recalls the famous temple of Siva at Ellora”. The Jaina sites at Kazhugumalai and Vettuvan Kovil are under the State Department of Archaeology." https://frontline.thehindu.com/static/html/fl2521/stories/20081024252106500.htm (dh)makara 'makara' rebus: dhmākāra 'bellows blower, blacksmith' disgorges the artisan, sculptor, smith.. https://tamilnadu-favtourism.blogspot.com/2016/07/vettuvan-koil-kalugumalai-thoothukudi_8.html Sculptural frieze of dancing dwarfs in: Vettuvan Koil, Kalugumalai, Thoothukudi. http://tamilnadu-favtourism.blogspot.in/2016/07/vettuvan-koil-kalugumalai-thoothukudi_8.html Kailasanatha temple, Kanchipuram. Dancing Gaṇas (Dancers include karibha, ibha 'elephant' rebus: karba, ib 'iron'; karaṇa, 'dance posture' karaṇa 'scribe'; baḍhi 'boar' rebus: baḍhi 'worker in iron and wood'; vāḍī 'merchant'. These are Gaṇeśa, Varāha (baḍiga, 'artificer') metaphors of wealth-accounting ledgers, metalwork catalogues in Indus Script Cipher.. Dancing Butha Ganas @ Kailasanathar Temple-Kanchipuram-Tamilnadu Cobrahood venerated. Sanchi. फडा phaḍā f (फटा S) The hood of Coluber Nága &c. 2 f m A common term for the joints of Flat-jointed prickly pear. 3 A root (as of ginger or turmeric) which separates into cloves, a race or sprig. 4 m An end or a fragment of a branch of the Date-tree: also a spike or pinnate leaf of it.फडी phaḍī f (Dim. of फडा) The expanded hood of Coluber Nága &c. फडी फिंदारणें To expand its hood--the नाग. 2 fig. To glare at. Gardez Gaṇeśa with Indus Script hypertexts फड 'cobra hood' (फडनीस phaḍanīsa 'scribe' of) karaṇḍa mukuṭa to signify खरडा kharaḍā,'wealth-accounting ledger', करडा karaḍā 'hard alloy of iron' https://tinyurl.com/yd4abfqs Broad strap antarīya on Gardez Gaṇeśa pratimā is Indus Script hypertext to signify metals (iron) manufactory of Sarasvati civilization. Amarakośa provides a synonym for Gaṇeśa with the expression tri-dhātu, 'three minerals'. The pratimā has vivid iconographic details to further elaborate on the metaphor of Gaṇeśa an iron smelter, a wealth-accounting ledger keeper, a scribe. Gaṇeśa wears an unusual crown, shaped like a wicker basket. The rebus reading of the crown worn by Gaṇeśa is karaṇḍa hieroglyph करंडी karaṇḍī f (Dim. of करंडा) A little covered basket of bamboo. karaṇḍa 'wicker-basket' rebus: करडा karaḍā 'Hard from alloy--iron, silver &38' A similar sounding word signifies that Gaṇeśa is a scribe, writer: खरड kharaḍa f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch.खरडा kharaḍā a day-book; a note-book. Thus, Gaṇeśa is keeper of a day-book, wealth-accounting ledger. These metaphors are conveyed by the karaṇḍa-shaped mukuṭa 'crown' worn by Mahāvināyaka of Gardez. Elephant trunk: karibha, ibha 'elephant' rebus: karba, ib 'iron'; ib 'stylus' (as in English nib of stylus). Gaṇeśa wears a yajñopavita, 'sacred thread' adorned with a cobra-hood:phaḍā'cobra hood'rebus phaḍā,paṭṭaḍe 'metals manufactory'. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith. panja 'claw of beast, feline paw' rebus: panja 'kiln'. Thousands of Gaṇeśa pratimā also show a mouse:mūṣa 'mouse' rebus: mūṣa 'crucible'. Thus, Gaṇeśa is an iron worker producing crucible steel. This metallurgical competence makes him the leader of the guild, ironworker guild-master, Mahāvināyaka.

Why are anthropomorph metaphors Gaṇeśa & Varāha part of kharva dancing dwarf gaṇa on a Kānchipuram Kailāsanātha temple frescoe? Metalwork kharva nidhi of Kubera, one of the nine treasures -- Both Gaṇeśa & Varāha signify iron & wood work kharva 'treasure' in the tradition of Indus Script cipher which renders hieroglyphs as rebus renderings for wealth-accounting ledgers -- Both are functionaries in the फडा phaḍā 'metals manufactory), paṭṭaḍe 'smithy, forge workshop'; फड phaḍa is a place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room. -- Both are dancers in नाचण्याचा फड A nach house, गाण्याचा or ख्यालीखुशालीचा फड A singing shop or merriment shop within फडा phaḍā 'metals manufactory), paṭṭaḍe 'smithy, forge workshop' -- All members of the kharva Gaṇa are dwarfs; all are workers, artisans of the metals manufactory guild -- Both Gaṇeśa & Varāha are venerated as divine because they contribute to the creation of the wealth of the Rāṣṭrram राष्ट्रं and hence, worshippers of devatā ātmā venerated in RV X.125 Devi or Rāṣṭrī Sūktam.together with त्वष्टुर्, vasu, Marut Veda metaphors of wealth. -- Gaṇeśa is a scribe documenting wealth-accounting entries of daybook; Varāha is an artisan who is also a seafaring merchant who signifies the Veda; he is Veda puruṣa, yajña puruṣa, anthropomorphic representation of knowledge systems. Dancing Naṭarāja at the entrance of Cave I, Badami, Karnataka, India, Gaṇeśa, together with the drummer, is part of the dance troupe of the cosmic dancer. This is an addendum to: Tridhātu Gaṇeśa karaṇa, 'dance posture' karaṇa 'scribe' who is फडनीस 'keeper of register', tāmarasa 'lotus, gold, copper' wealth-accounting ledgers of Indus Script https://tinyurl.com/yyoo5dfn Kailāsanātha temple, Kānchipuram. In the frescoe, it is remarkable that Varāha is signified on two dance postures: one as artisan (worker in iron and wood), and the other as helper of merchant. Dancing kharva 'dwarf'Gaṇa (Dancers include karibha, ibha 'elephant' rebus: karba, ib 'iron'; karaṇa, 'dance posture' karaṇa 'scribe'; baḍhi 'boar' rebus: baḍhi 'worker in iron and wood'; vāḍī 'merchant'. These are Gaṇeśa, Varāha (baḍiga, 'artificer') metaphors of wealth-accounting ledgers, metalwork catalogues in Indus Script Cipher. kharva is one of the nine treasures or navanidhi of Kubera. Hieroglyph: Kharva 'dwarf' rebus: karba 'iron'. Thus, the nidhi or treasure relates to iron or ferrite metalwork. Both Gaṇeśa & Varāha are anthropomorphic metaphors signifiers of contributors of wealth of the nation of guilds. Gaṇeśa is the leader of the gaṇa of kharva, 'dwarfs'. His elephant head signifies karibha, ibha 'elephant' rebus: karba, ib 'iron'. He is फडनीस 'keeper of register' shown in नाचण्याचा फड 'nach house' -- with a karaṇa, 'dance posture' to signify rebus that he is karaṇa 'scribe'. Thus, he is a scribe documenting the wealth created by the guild and also an iron worker of the gaṇa. Varāha is cognate Meluhha baḍhi 'boar' rebus: baḍhi 'worker in iron and wood'. Thus, Varāha is, like Gaṇeśa a worker in iron and also works with wood. He is also a merchant's helper: Hemacandra, deśīnāmamālā bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman. baḍhia = a castrated boar, a hog; rebus: baḍhi 'a caste who work both in iron and wood' వడ్రంగి, వడ్లంగి, వడ్లవాడు (p. 1126) vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్రంగిపిట్ట or వడ్లంగిపిట్ట vaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటము. వడ్లకంకణము vaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదము. వడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste. 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.(CDIAL 11375) Hieroglyph: boar: Rebus: baḍaga is a takṣa, divine tvaṣṭr̥ of R̥gveda, he is a yajña puruṣa as evidenced in Khajuraho monumental varāha sculpture.. He is the very embodiment of the Veda, Veda puruṣa. त्वष्टृ m. a carpenter , maker of carriages (= त्/अष्टृ) AV. xii , 3 , 33; " creator of living beings " , the heavenly builder , N. of a god (called सु-क्/ऋत् , -पाण्/इ , -ग्/अभस्ति , -ज्/अनिमन् , स्व्-/अपस् , अप्/असाम् अप्/अस्तम , विश्व्/अ-रूप &c RV. ; maker of divine implements , esp. of इन्द्र's thunderbolt and teacher of the ऋभुs i , iv-vi , x Hariv. 12146 f. R. ii , 91 , 12 ; former of the bodies of men and animals , hence called " firstborn " and invoked for the sake of offspring , esp. in the आप्री hymns RV. AV. &c MBh. iv , 1178 Hariv. 587 ff. Ragh. vi , 32 ; associated with the similar deities धातृ , सवितृ , प्रजा-पति , पूषन् , and surrounded by divine females [ग्न्/आस् , जन्/अयस् , देव्/आनाम् प्/अत्नीस् ; cf. त्व्/अष्टा-व्/अरूत्री] recipients of his generative energy RV. S3Br. i Ka1tyS3r. iii ; supposed author of RV. x , 184 with the epithet गर्भ-पति RAnukr. ; father of सरण्यू [सु-रेणु Hariv.; स्व-रेणु L. ] whose double twin-children by विवस्वत् [or वायु ? RV. viii , 26 , 21 f.] are यमयमी and the अश्विन्s x , 17 , 1 f. Nir. xii , 10 Br2ih. Hariv.545 ff. VP. ; also father of त्रि-शिरस् or विश्वरूप ib. ; overpowered by इन्द्र who recovers the सोम [ RV. iii f. ] concealed by him because इन्द्र had killed his son विश्व-रूप TS. ii S3Br. i , v , xii ; regent of the नक्षत्र चित्रा TBr. S3a1n3khGr2. S3a1ntik. VarBr2S. iic , 4 ; of the 5th cycle of Jupiter viii , 23 ; of an eclipse iii , 6 ; त्वष्टुर् आतिथ्य N. of a सामन् A1rshBr. ). CDIAL entries: 11568 *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] 11374 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?). 11375 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. *vārdhaka -- . Addenda: vardhaki -- : 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 -- . 11375a †*vardhakikarman -- ʻ carpentry ʼ. [vardhaki -- , kár- man -- ] Md. vaḍām ʻ carpentry ʼ. 11377 vardhana1 n. ʻ cutting, slaughter ʼ Mn. [√vardh] S. vaḍhiṇī f. ʻ cutting ʼ, Si. väḍun. *vārddhrī -- ʻ blade ʼ see *varddhr̥ -- . 11371 *varddhr̥ ʻ cutter, knife ʼ. [√vardh] *varddhrī -- : N. bāṛ ʻ blade of khukri ʼ; Bi. bāṛh ʻ bookbinder's papercutter ʼ; H. bāṛh, bāṛ f. ʻ edge of knife ʼ, G. vāḍh f.; -- P. vāḍh, bāḍh f. ʻ cutting edge ʼ poss. < *vārddhrī -- . Association of kharva with smelting of mineral ores and metalwork is signified on two Mathura frescoes: Worship of Śivalinga by Gandharvas - Śunga Period - Bhuteśwar - ACCN 3625 - Government Museum - Mathura 2013-02-24 6098.JPG Sculptural frieze. Śunga Period - Bhuteśwar. Association of kharva, 'dwarfs' with smelter and ekamukha śivalinga atop a smelter. Bhuteśvar. Mathura Museum. Semantic determinative: kuṭi 'tree' rebus: kuṭhi 'smelter'. śivalinga is a ketu, 'proclamation' of the performance of a Soma samsthā yajña. śivalinga is a Skambha, a fiery pillar of light and fire (AV X.7). The Skambha is aṣṭāśri 'eight-angled' Yūpa. Ekamukha is a semantic determinative of the product of the intense activity in the fire-altar; mũh 'face, head' rebus:mũh 'ingot' (Santali);mũhã̄ 'the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron smelters'. The archaeological site of Binjor on Sarasvati River Basin, near Anupgarh has produced evidence of such an eight-angled pillar together with an Indus Script inscription on a seal which proclaims metalwork activity at the fire-altar. Binjor. Anupgarh. 19 similar yupa with yupa inscriptions have been discovered from sites in Rajasthan, Mathura, Allahabad and also East Borneo (Mulavarman Yupa inscriptions) See: Veda archaeology in 19 yupa inscriptions and Binjor aṣṭāśri octoganal pillar, associated Indus Script seal https://tinyurl.com/y7mu3rdl All the Yupa had inscriptions; all inscriptions proclaimed performance of a Soma samsthā yajña. Shapes of Yupa: A. Commemorative stone yupa, Isapur – from Vogel, 1910-11, plate 23; drawing based on Vedic texts – from Madeleine Biardeau, 1988, 108, fig. 1; cf. 1989, fig. 2); C. Miniature wooden yupa and caSAla from Vaidika Samsodana Mandala Museum of Vedic sacrificial utensils – from Dharmadhikari 1989, 70) (After Fig. 5 in Alf Hiltebeitel, 1988, The Cult of Draupadi, Vol. 2, Univ. of Chicago Press, p.22). बहुसुवर्णक, bahusuvarṇaka, is a metaphor for the creation of wealth using fire, fire-altars as furnaces/smelters and yupa as invocations to Cosmic pillar to the Cosmic Dancer, the Paramatman to transmute mere earth and stones into metal, a form of wealth. The entire Vedic corpus is in nuce (nutshell) in the processing of Soma, which is NOT a herbal but a mineral. A synonym for Soma is ams'u with the cognate ancu 'iron' (Tocharian).