BANDUDU
/ KAMANDAL
19.
Bandudu / Kamandal :
The
Fish-man divinity carrying a basket (Bandudu) and bestowing the
Life-giving ambrosia of Resurrectionon on his name as the so-called
"goddess Nina".
The
Basket which Fish-man is carrying is known in India as Kamandal.
In whichever country you find this sign of Kamandal it proves the
presence of early Sumerian Aryan civilization.
This
sort of statues are found to be in Sumerian Aryan civilization.
In India and many other countries Aryan Brahmins of Sumerian civilization
used to carry this sort of Basket known as Kamandal. Now a days
we can find Non-Aryan Monks in India using Kamandal because they
want to copy ancient Aryan Brahmins.
Bandudu
and similarity between Sapt Rishis i.e. 7 Sages described in Vedic
Aryans and Sumerian Aryans :
One
of the great riddles in Mesopotamian sacred art concerns the image
of anthropomorphic winged figures called Apkallu holding a mullilu
(tree fruit) in one hand, and a banduddû — a container
— in the other. It appears throughout Sumer and Babylon, and
half a world away in Yucatan; six thousand years earlier, it was
carved in relief upon Pillar 43 at Gobekli Tepe, one of the world's
oldest standing stone enclosures. But what exactly was the purpose
of this container? A look at cross-cultural symbolism in the images
provides an answer.
The
Apkallu are a group of seven sages, emissaries and mediating figures
entrusted by a creator god to bring the civilizing arts to humanity
following a catastrophic flood (Sapt Rishis i.e. 7 Sages). Their
story is repeated almost verbatim in diluvial myths of many ancient
cultures, the only changeable aspect being their names. The quintessential
image of the Apkallu is that of two eagle, or perhaps falcon-headed
people standing either side of a flowering tree, picking its fruit,
and the manner in which they hold the container suggests the fruit
are to be placed in said receptacle. Sometimes the figure of the
supreme deity Ahura Mazda is depicted inside a winged disc above
the axis of the tree, implying it is close to God, and thus, wisdom.
This culturally shared image is known as the World Tree or Tree
of Knowledge, and served as both focal point and foundation of all
Mysteries teachings and traditions.
According
to Lieutenant Colonel Laurence Austine Waddell :
The
Indo-Sumerian Seals Deciphered (1925) :
![](images/vishnu/thesunfishmanfig22.jpg)
Fig.
22 : Sun-Fish-man (S'ukha or Blesh) bestowing the ambrosia of Resurrection
and Life, in Assyrio-Babylonian monuments (After Layard)
This
now recovers unknown name of the common Assyrio-Babylonian images
of the Fish-man divinity traversing the waters (Fig. 21), or carrying
a basket and bestowing the Life-giving ambrosia of Resurrection
(Fig. 22). On his name as the so-called "goddess Nina".
This
Sun-Fish divinity of the Resurrection and the Life of the old Aryan
gentiles (non jewish) seems also the source of the title "The
Fish" applied to Christ by the early Christian fathers and
his symbol as such is usually represented facing eastwards like
the Sumerian and Hittite Sun-Fish-god.
"S'ukha"
name for the Resurrecting Sun-Fish is apparently the Sumerian source
of the Sanskrit name Sukha for "heaven" and for "the
western paradise of the God of the Deep" (Varun) who is represented
in Indian mythology as a Fish-man as in the Sumerian seals of this
Sun-Fish, or as riding upon a Fish. This Resurrecting Sun-Fish name
"S'ukha" seems also to disclose the Sumerian origin of
word on Amulet "Sukha" as "Swaha" in Sanskrit
used by Brahmin for invocation and in Buddhist Amulet.
Sumerian
Basket :
![](images/sumerianrockrelief/1.jpg)
Wall
relief depicting an eagle-headed and winged man
![](images/sumerianrockrelief/2.jpg)
Detail
of a relief from the palace of Assyrian king Sargon II, 722 - 705
BC. Found in the collection of Musée du Louvre, Paris. Artist
: Assyrian Art
![](images/sumerianrockrelief/3.jpg)
Ivory
Panel Syro-Phoenician Nimrud 8th to 7th centuries BCE
![](images/sumerianrockrelief/4.jpg)
Pergamon
Museum in Berlin
![](images/sumerianrockrelief/5.jpg)
God
Ea (Sumerian Enki) with a fish-cloaked apkallu, part of a basalt
water basin from Assur, Iraq, reign of Sennacherib, 7th century
BCE. Pergamon Museum, Berlin, Germany
![](images/sumerianrockrelief/7.jpg)
Assyrian
king Ashurnasirpal II (r. ca. 883 - 859 B.C.)
This
relief, from the palace of the Assyrian king Ashurnasirpal II (r.
ca. 883-859 B.C.), depicts a supernatural protective figure and
a mortal Assyrian courtier. The two larger-than-life-sized figures
are carved in low relief. This panel joins a second relief (32.143.4,
see ‘Additional Images’ above) that shows the king and
a second courtier. Together, the two panels show the king flanked
by his human courtiers. The winged figure here formed part of a
similar neighboring scene, this time with the king flanked by divine
protectors.
The
winged human-headed figure wears a horned crown - a traditional
Mesopotamian marker of divine status - and bracelets adorned with
rosettes, as well as armbands, a necklace of beads, and large pendant
earrings. He wears a tunic with long tassels and a fringed shawl,
emerging from which at chest level can be seen the decorated handles
of two knives. Embroidery on the clothes is represented by fine
incised patterns of stylized plant imagery at the ends of the sleeves
and near the fringe of the shawl. The exposed lower leg with exaggerated
musculature is seen in many Assyrian and Babylonian depictions of
divine and heroic figures. The figure holds a small bucket in his
left hand, and in his right an object resembling a pine-cone. This
cone, called by the Assyrians a "purifier," seems to have
been used to sprinkle holy water from the bucket, and may have had
a symbolic association with the artificial fertilization of date-palm
trees. The bucket itself is incised with the image two miniature
winged figures performing the same act, not toward the king but
toward a central 'sacred tree' and the winged disk associated with
Assyria's chief god Ashur.
The
second figure on the relief is human, and his beardless image indicates
that he is probably a eunuch. He is richly dressed, with jewelry
including rosette bracelets, armbands, a collar of beads, probably
of semiprecious stone with gold spacers, pendant earrings, and a
crescent-shaped pectoral. He carries multiple weapons: a bow, a
quiver filled with arrows, a mace with a rosette-head, and a sword
whose scabbard ends in the bodies of two lions. With the possible
exception of the sword, these weapons are not his own but belong
to the king. The courtier is shown as an arms-bearer, and in this
sense the king's servant, but the position was one of symbolic authority,
signifying closeness to the king, and in reality the figure depicted
was probably one of the most senior figures in Ashurnasirpal's court.
A
distinctive feature of the Northwest Palace is the so-called Standard
Inscription that ran across the middle of every relief, often cutting
across the imagery. The inscription, carved in cuneiform script
and written in the Assyrian dialect of the Akkadian language, lists
the achievements of Ashurnasirpal II (r. 883–859 B.C.), the
builder of the palace. After giving his ancestry and royal titles,
the Standard Inscription describes Ashurnasirpal’s successful
military campaigns to east and west and his building works at Nimrud,
most importantly the construction of the palace itself. The inscription
is thought to have had a magical function, contributing to the divine
protection of the king and the palace.
![](images/sumerianrockrelief/10.jpg)
Anunnaki
figure holding the handbag and pinecone, 883 – 859 B.C. Neo-Assyrian
period, Nimrud (ancient Kalhu), Iraq
![](images/sumerianrockrelief/15.jpg)
Sumerian
Rock Relief
![](images/sumerianrockrelief/creator-god-Ea8.jpg)
Sent
by the creator god Ea, Apkallu function as cleansers, protectors,
lawgivers and advisors. Here one administers to the Tree of Knowledge
The
iconic container appears throughout many carved panels and clay
tablets found in the palace of Nimrud and its surrounding region.
To solve the riddle, it is important to see the images together,
because, placed in context, they appear to form a kind of triptych
conveying a running commentary. Such a series of panels, removed
from one of the rooms at Nimrud, is housed in the British Museum.
One
panel shows two Apkallu administering to the sacred tree; in the
next, an Apkallu has turned from the tree and bestows a king with
the tree fruit, all the while holding that mysterious container.
Clearly the king is conferred some special privilege.
![](images/sumerianrockrelief/Ashunarsipal_09.jpg)
The
featured king is identified as Ashunarsipal, who was also a priest,
a high initiate of the temple, and thus privy to secret knowledge
that only such a position could allow. We know he held this position
because in a separate frieze he is depicted holding a beehive above
his head, a clear indication he has been initiated into the secrets
of the beehive. We shall return to this thought later because it
is central to understanding the purpose of the container.
![](images/sumerianrockrelief/55a8a-sumothki-19-.jpg)
Sumerian
Stone Carving
![](images/sumerianrockrelief/69281835-ancient-sumerian-stone-carving-with-cuneiform-scripting.jpg)
Ancient
Sumerian Stone Carving with Cuneiform Scripting
Indian
Kamandal :
![](images/mix/indianaryanbrahminkamandal.jpg)
Indian
Aryan Brahmin Kamandal
![](images/mix/agastya.jpg)
Agastya
statue in Indonesia
Catalog
:
Name : Shiv Mahaguru / Agastya statue
Material
: Andesite
No
Inventory : 64
No.
Kepmendikbud :
Status
: National-Scale Cultural Property
Characters
:
Origin
: Kedu
Placement
: Rotunda
Description
:
The statue is depicted standing in a sambhang posture standing on
an asana. He has two hands, his right hand carries akshmala, his
left hand carries kamandal. On the right side of the back there
is a towering trident. There is also a prabha and sirascakra plain.
He wears Janev, mauli, hara, keyur, kangkang, upwita, padwalya.
He is described as having a distended stomach.
![](images/mix/Arca_Siwa_Mahaguru_5508.jpg)
Lord
Shiv Statue, Indonesia
Catalog
:
Name : Lord Shiv Statue
Material
: Andesite
No
Inventory : 5508
No.
Kepmendikbud :
Status
: National-Scale Cultural Property
Character
: Agatsya
Origin
: Candirejo, Magelang Regency (Distr. Grabag, afd. Magelang,
Residency of Kedu, Ned. Indie)
Placement
: Rotunda
Description :
The statue is depicted standing in a sambhang posture on an asan,
on the right and left there are two smaller statues worshiping.
He has a mustache and a thick beard. It is also depicted as a tundill.
He has two hands, the right hand holds the akshmal, on the right
and back there is a towering trident, the left hand carries the
kamandal. He wears Janev, mauli, nutrients, keyur, kangkang and
padawalaya.
Other
Kamandal Statue Images :
![](images/mix/a-central-javanese-andesite-figure-of-agastya.jpg)
Kamandal
![](images/mix/kamandal1.jpg)
Kamandal