Brexit Threatens Britain’s Political Security And Unity
Gautam Sen - July 6, 2016, 3:53 pm Image may be NSFW. Clik here to view.
SNAPSHOT
Britian is now politically unstable and the influx of Eastern Europeans was a concern to those who voted for Brexit, mainly the old.
Brexit may have an adverse effect on the wages of low-paid health and education sector workers.
Quite clearly many people around Britain, especially in the deprived north and even Wales, were disillusioned about many things and protested by voting for Brexit. These so-called ‘Leave’ voters were also disproportionately the old and a significant number were Labour supporters despite the apparent backing of the party to remain in the EU.
Significantly, Scotland and Northern Ireland voted to remain in the EU and their emphatic adverse reaction to their enforced departure from the EU, as constituent parts of the UK, threatens Britain’s political stability, and indeed its unity.
The Labour Party itself is now tearing itself apart over allegations that its leader and plotters around him had deliberately led a lacklustre campaign against leaving the EU. Indeed there are accusations that some of the leader’s key advisers always secretly favoured Brexit. The entire shadow cabinet of the Labour leader has now resigned, en masse!
The incumbent Conservative government of David Cameron appears to have shot itself in the foot, apparently imagining the country would vote to remain in the EU. But why, if it was such a matter of life-and-death to remain, did Cameron propose to put the matter to a vote is puzzling, since one should have also assumed a reasonable prospect of losing. Even more mysterious is the revelation that he negotiated a home mortgage, just days before the EU referendum, implying he expected Brexit to triumph.
Senior Tory party leaders are now also engaged in a very public, no-holds-barred infighting to succeed Prime Minister Cameron, with a complete abandonment of decorum. The lead campaigner of Brexit, the vastly overrated Boris Johnson, a descendant of the last Ottoman Grand Vizier, was unceremoniously betrayed by his own campaign manager. The manager has now put himself forward as the most suitable candidate for prime minister, to renegotiate relations with the EU in the aftermath of Britain’s departure from it.
Many ordinary Britons are disenchanted with identikit politicians, who hardly attempt to conceal their contempt for the ordinary masses they regard as troublesome hoi polloi, without merit. The average voter has been manipulated by politicians who bear more than a passing resemblance to used car salesman or snake oil sellers.
The worst of them is the former prime minister Tony Blair, earlier applauded as the most successful leader since the end of the Second World War. He turned out to be a liar, whose personal greed and duplicity defy credulity. Having presided over the destruction of the Middle East and inflicted abominable human costs on its people, he is busy making hay while the sun still shines. Like his counterparts in the US, the dismal trio of George Bush Jr, Barack Obama and Hillary Clinton, their criminality should have resulted in one-way tickets to The Hague International Criminal Court, but apparently justice is only doled out to defeated war criminals.
If there are any specifics that might account for the particular unhappiness with the EU it is the massive immigration from Eastern Europe into the UK that a core principle of the EU permits unchecked. Despite all the spin about its economic benefits and the undiluted joys of multiculturalism, its scale is consequential economically, socially and culturally. It has some fascinating aspects to it, like the transformation of London into the first truly global cosmopolitan city in world history, with all its associated infinite variety in cultural practices and cuisine.
Yet it is simply not credible to suggest there is no impact on wages for the lowest paid and it has indeed put severe pressure on public services like health and education, and caused a dramatic housing shortage. The political class in its infinite wisdom did not deploy the necessary resources to match the increased demands on such services the immigrant influx entailed.
But this is not the whole story, despite manful efforts by commentators to studiously ignore the impact of massive recent Arab migration into the EU that the chaos in the Middle East prompted. Ordinary people are fearful of Muslim migrants, as the growing public outcry in Europe, include Angela Merkel’s Germany, which first welcomed millions with open arms until an epidemic of sexual assaults on women, girls and boys provoked antagonism. This very recent Arab migrant surge became conflated with the more immediate anxiety of growing EU immigration, mainly of late from Poland and Rumania.
The average voter views the prospect of massive Arab and North African entry in the UK with palpable alarm and the recent spate of sexual assaults, almost exclusively by men of Pakistani heritage (sic!) against minor girls, on an industrial scale and apparently concealed by the authorities for several decades, added fuel to the fire. But a supine and morally bankrupt media, much like its counterparts in India, chose to play it all down in the suppose interests of the familiar refrain of communal harmony!
The negative economic impact of Brexit is undoubtedly serious, from the proverbial frying pan of unrestricted immigration to consignment in the fire of major economic setback! The British pound has suffered a sizeable devaluation against the US dollar and the Euro and other currencies. Key stock market indices have declined sharply, with only the share prices of internationally-oriented firms of the FTSE 100 recovering subsequently.
It is certain the City of London’s financial services cannot avoid losing profitable business to Paris, Frankfurt and Dublin. Financial services comprise 12 percent of GDP and contribute significantly to tax revenues and its foreign earnings finance the current account deficit. The lower pound will boost manufactured exports, but the sector has to be nurtured and skills shortages may prove a difficult hurdle to overcome. But a lower pound does not automatically translate into proportional comparative advantage because more expensive imported components will be embodied in exports. What the future holds for the British economy in terms of growth and living standards is uncertain despite all the empty pontificating by assorted sages.
Yet Alice in Wonderlandthrives in British politics and one of the most urgent pieces of legislation now pending for activation before parliament is the evangelist-sponsored anti-caste clause of the 2010 Equality Act. It supposedly seeks to combat caste discrimination in the UK that is privately acknowledged by the authorities not to exist.
In the first instance, the diabolical ploy was aimed against so-called Jat Sikh gurdwaras, whom politicians and the church accused of practising ritual purity. Sikhs find such an accusation deeply offensive since it would violate a principal tenet of their faith. Hindus got swept up in this dangerous melee because one simply cannot cite caste without demonising them too, and they are a soft target anyway. And of course suitable Hindus, who will denounce their own faith, are very easy to identify. British courts, encouraged covertly by evangelists, have begun to cheerfully denounce alleged caste discrimination although the one important judgement passed, affirming such discrimination did occur, would not survive a class six discussion.
The Indian government has been alerted to a pending calamity because legal action against Jat Sikhs in the UK by Ravidassis, being incited by evangelists, will spill over into the streets of Amritsar. The most shocking aspect of the story is that Prime Minister Narendra Modi’s self-appointed, sole spokesperson in the UK, who has been ruthlessly silencing all critics of the anti-caste imbroglio and alternative Hindu voices with many decades standing, is apparently a surreptitious supporter of the diabolical legislative conspiracy against Hindus and India. His position likely stems from a mundane desire for elevation to the House of Lords because the legislation enjoys the staunch support of his Labour Party, which was instrumental in ensuring inclusion of anti-caste provisions in the Equality Act of 2010.
The real evangelist purport of the UK legislation is to enact similar provisions across the world, including the EU and the US. And the final aim is to put pressure of the Indian government in international fora to extend reservation quotas to Christians and Muslims in order to facilitate more rapid religious conversion.
Dr. Gautam Sen is President, World Association of Hindu Academicians and Co-director of the Dharmic Ideas and Policy Foundation. He taught international political economy at the London School of Economics and Political Science for over two decades.
There are two long inscripgtions of Indus Script corpora: m0314 on a square seal and identical inscriptions on m0494/m0495 on prism tablets (hence, duplicated). The inscriptionon m0314 signifies the responsibility of a guild-master/merchant-banker. There are also other seals with signify the 'squirrel' hieroglyph. In addition to Nindowari-damb seal Nd0-1, three inscriptions on1.Mohenjo-daro seal m-1202; 2. Harappa tablet h-771; 3. Harappa tablet h-419 also signify a 'squirrel' hieroglyph. At http://bharatkalyan97.blogspot.in/2015/08/indus-script-deciphered-squirrel.html the squirrel hieroglyph has been read rebus as tuttūḍ"squirrel' (Sora) Rebus: tuth 'blue vitriol or sulphate of copper'(Bengali). As an alternative, the squirrel hieroglyph may also be read rebus as: *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra, 'squirrel', rebus: khārखार् 'blacksmith' (Kashmiri). *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1] Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? (CDIAL 12723) Rebus: śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ, °ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh, °ṭhī, śeṭ,
The identical inscriptions on m0394/m0395 signify the responsibilities of a helmsman/sailor (seafaring merchant or supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale. Since the prism tablets are reproduced in multiples, it is likely that there were many seafaring vessels controlled by helmsmen to carry the shipments with technical specifications detailed in the multiple copies of inscriptions.
On both inscriptions (of m0314 and m0494/m0495), comprehensive technical details of metalwork catalogues are signified by Indus Script hieroglyphs.
Image may be NSFW. Clik here to view.m0314 The indus script inscription is a detailed account of the metal work engaged in by the Indus artisans. It is a professional calling card of the metalsmiths' guild of Mohenjodaro used to affix a sealing on packages of metal artefacts traded by Meluhha (mleccha)speakers.
Image may be NSFW. Clik here to view. The last sign is wrongly identified in Mahadevan concordance. This hieroglyph
Image may be NSFW. Clik here to view.Nindowari-damb hieroglyph . Image may be NSFW. Clik here to view.m0314 Seal impression, Text 1400 Dimension: 1.4 sq. in. (3.6 cm) Marshall 1931 (Vol. II, p. 402)
All hieroglyphs are read from r. to l.
Line 1: Image may be NSFW. Clik here to view.eraka 'nave of wheel' rebus: eraka 'moltencast, copper' PLUS sal 'splinter' rebus: sal 'workshop'. Thus, moltencast copper workshop. Fish + lid:aya aDaren,Rebus: aya aduru 'iron/metal native unsmelted metal'. Fish + fin: aya khambhaṛā rebus: aya kammaTa 'metal mint, coiner, coinage'
Fish + sloping stroke, aya dhāḷ ‘metal ingot’ (Vikalpa: ḍhāḷ = a slope; the inclination of a plane (G.) Rebus: : ḍhāḷako = a large metal ingot (G.)
khaNDa 'arrow' rebus: kaNDa 'implements' Thus, line 1 reads: native unsmelted metal, metal mint, large metal ingot (oxhide)
Line 2:
मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock. मेढा [ mēḍhā ] m A stake, esp. as forked. Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) The circumscript is composed of four 'splinters': gaNDa 'four' rebus: kaNDa 'implements', kanda 'fire-altar' PLUS sal 'splinter' rebus: sal 'workshop'. Thus, this hieroglyph-multiplex or hypertext signifies: iron implements workshop.
S. baṭhu m. ‘large pot in which grain is parched, Rebus; bhaṭṭhā m. ‘kiln’ (P.) baṭa = a kind of iron (G.) Vikalpa: meṛgo = rimless vessels (Santali) bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali); baṭa = a kind of iron (G.) bhaṭṭha -- m.n. ʻ gridiron (Pkt.) baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; L. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits)’. (CDIAL 9656) Rebus: meḍ iron (Ho.) PLUS muka 'ladle' rebus; mū̃h 'ingot', quantity of metal got out of a smelter furnace (Santali).Thus, this hieroglyph-multiplex (hypertext) signifies: iron ingot.
kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS dula 'pair' rebus: dul 'metalcasting'. Thus, metalcasting smithy/forge. kanka, karNaka 'rim of jar' rebus: karNI 'supercargo', 'engraver, scribe, account' Thus line 2 signifies metal products -- iron ingots, metalcastings (of smithy/forge iron metals workshop) handed over to Supercargo, (a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale). Line 3:
धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g.त्रि-ध्/आतु , threefold &c ; cf.त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c (Monier-Williams) dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773)
Rebus: M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ;(CDIAL 6773) धातु primary element of the earth i.e. metal , mineral, ore (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]) (Monier-Williams. Samskritam)
Thus, this hieroglyph signifies three types of ferrite ore: magnetite, hematite and laterite (poLa, bicha, goTa). Vikalpa: Ko. gōṭu ʻ silver or gold braid ʼ.(CDIAL 4271) Rebus: goṭī f. ʻlump of silver' (G.)
Hieroglyph: Archer with bow and arrow on one hand: kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Skt.lex.) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)
kolom 'rice plant' rebus:kolimi 'smithy, forge'.
kanac 'corner' rebus: kañcu 'bronze' Vikalpa: (A.) kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295).
Hieroglyph: squirrel: *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra, 'squirrel', rebus: khārखार् 'blacksmith' (Kashmiri). *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1] Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? (CDIAL 12723) Rebus: śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ, °ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh, °ṭhī, śeṭ,
°ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭu, hi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?) (CDIAL 12726) I suggest that the šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? is read rebus: śeṭhī, śeṭī m. ʻ respectful term for banker or merchant ʼ (Marathi) or eṭṭhin -- m. ʻ guild -- master ʼ(Prakrtam)
Thus, line 3 signifies: bronze guild master of smithy/forge, mint for three types of ferrite mineral (magnetite, hematite, laterite)
The three lines together, the engtire inscription of m0314 is a metalwork cagtalogue of a guild-master of workshops working in:
(1) native unsmelted metal, metal mint, large metal ingot (oxhide)
(2) metal products -- iron ingots, metalcastings (of smithy/forge iron metals workshop) handed over to Supercargo, (a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale)
(3)smithy/forge, mint for three types of ferrite mineral (magnetite, hematite, laterite)
Image may be NSFW. Clik here to view.
Long Indus Script inscription compares with Nindowari0-damb seal 01 which also shows 'squirrel'šē̃ṣṭrĭ̄ ʻflying squirrelʼ,'guild master'.
kanac 'corner' rebus: kañcu 'bronze'
मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock. मेढा [ mēḍhā ] m A stake, esp. as forked. Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) The circumscript is composed of four 'splinters': gaNDa 'four' rebus: kaNDa 'implements', kanda 'fire-altar'
खााडा [ kāṇḍā ] 'A jag, notch, or indentation (as upon the edge of a tool or weapon)' Rebus: kaNDa 'implements' (Santali).
kole.l 'temple' rebus: kole.l 'smithy, forge'
kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS dula 'pair' rebus: dul 'metalcasting'. Thus, metalcasting smithy/forge. kanka, karNaka 'rim of jar' rebus: karNI 'supercargo', 'engraver, scribe, account'
Hieroglyph: 8 short strokes: gaNDa 'four' rebus: kaNDa 'implements'PLUS sal 'splinter' rebus: sal 'workshop'. Thus, this hieroglyph-multiplex or hypertext signifies: iron implements workshop.
Hieroglyph: squirrel: *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra, 'squirrel', rebus: khārखार् 'blacksmith' (Kashmiri). *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1] Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? (CDIAL 12723) Rebus: śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ, °ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh, °ṭhī, śeṭ, °ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭu, hi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?) (CDIAL 12726) I suggest that the šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? is read rebus: śeṭhī, śeṭī m. ʻ respectful term for banker or merchant ʼ (Marathi) or eṭṭhin -- m. ʻ guild -- master ʼ(Prakrtam)
The one-horned young bull in front of standard device signifies a koTiya 'dhow seafaring vessel' of sangar 'fortification'. It also signifies कोंद kōnda ‘engraver, lapidary,', kundAr 'turner' working with sanghAta 'adamantine glue or vajra as metallic glue'.
Image may be NSFW. Clik here to view.Hieroglyph: sãgaḍ, 'lathe' (Meluhha) Rebus 1: sãgaṛh , 'fortification' (Meluhha). Rebus 2:sanghAta 'adamantine glue'. Rebus 3:
sangāṭhसंगाठ् 'assembly, collection'. Rebus 4: sãgaḍa 'double-canoe, catamaran'.
Hieroglyph: one-horned young bull: खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf. Rebus: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi)
Hieroglyph: one-horned young bull: खोंड(p. 216) [ khōṇḍa ] m A young bull, a bullcalf.
Rebus: कोंदkōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving.
ko_d.iya, ko_d.e = young bull; ko_d.elu = plump young bull; ko_d.e = a. male as in: ko_d.e du_d.a = bull calf; young, youthful (Te.lex.)
Hieroglyph: ko_t.u = horns (Ta.) ko_r (obl. ko_t-, pl. ko_hk) horn of cattle or wild animals (Go.); ko_r (pl. ko_hk), ko_r.u (pl. ko_hku) horn (Go.); kogoo a horn (Go.); ko_ju (pl. ko_ska) horn, antler (Kui)(DEDR 2200). Homonyms: kohk (Go.), gopka_ = branches (Kui), kob = branch (Ko.) gorka, gohka spear (Go.) gorka (Go)(DEDR 2126).
खोंड(p. 216)[ khōṇḍa ]mA young bull, a bullcalf. 2
kot.iyum = a wooden circle put round the neck of an animal; kot. = neck (G.lex.) [cf. the orthography of rings on the neck of one-horned young bull].खोंड(p. 216)[ khōṇḍa ]A variety ofजोंधळा.खोंडरूं(p. 216)[ khōṇḍarūṃ ]nA contemptuous form ofखोंडाin the sense ofकांबळा-cowl.खोंडा(p. 216)[ khōṇḍā ]mAकांबळाof which one end is formed into a cowl or hood. 2 fig. A hollow amidst hills; a deep or a dark and retiring spot; a dell. 3 (alsoखोंडी&खोंडें) A variety ofजोंधळा.खोंडी(p. 216)[ khōṇḍī ]fAn outspread shovelform sack (as formed temporarily out of aकांबळा, to hold or fend off grain, chaff &c.) Rebus: koTiya 'dhow seafaring vesse'.
kod. = place where artisans work (G.lex.) kod. = a cow-pen; a cattlepen; a byre (G.lex.) gor.a = a cow-shed; a cattleshed; gor.a orak = byre (Santali.lex.) कोंड (p. 180) [ kōṇḍa ] A circular hedge or field-fence. 2 A circle described around a person under adjuration. 3 The circle at marbles. 4 A circular hamlet; a division of a मौजा or village, composed generally of the huts of one caste.कोंडडाव (p. 180) [ kōṇḍaḍāva ] m Ring taw; that form of marble-playing in which lines are drawn and divisions made:--as disting. from अगळडाव The play with holes.कोंडवाड (p. 180) [ kōṇḍavāḍa ] n f C (कोंडणें & वाडा) A pen or fold for cattle.कोंडाळें (p. 180) [ kōṇḍāḷēṃ ] n (कुंडली S) A ring or circularly inclosed space. 2 fig. A circle made by persons sitting round.
"Indus inscriptions resemble the Egyptian hieroglyphs...": John Marshall
"A good many important facts can be determined, however, to clear the ground for more satisfactory research. In the first place this script is in no way even remotely connected with either the Sumerian or Proto-Elamitic signs. I have compare some of the signs with the signs of these scripts. For the references to the Sumerian pictographs, or the earliest forms of the Sumerian signs, I have referred the reader to the numbers of REC. (Thureau-Dangin, "Recherches sur l'Origine de l'Ecriture Cuneiforme") and for the Proto-Elamitic signs to Professor Scheil's "Textes de Comptabilite Proto-Elamites", in vol. xvii of Memoires de la Mission Archeologique de Perse, pp. 31-66. This series is commonly cited as Del. Per. (Delegation en Perse). The Indus inscriptions resemble the Egyptian hieroglyphs far more than they do the Sumerian linear and cuneiform system." [John Marshall, 1996 (Repr.), Mohenjo-Daro and the Indus Civilization: Being an official account of Archaeological Excavations at Mohenjo-Daro carried out by the Government of India between the years 1922 and 1927,Asian Educational Services, pp. 423-424]
Image may be NSFW. Clik here to view.Text 1623, 2847 . Identical impressions on m0494/0495 two prism-shaped tablets. It is likely that the tablets were used by artisans of a guild performing identical metal work for transporting packages with identical contents and hence, identical messages conveyed through the inscription.Image may be NSFW. Clik here to view.m0494A,BGt Prism Tablet in bas-relief. (BGt is a side view of two sides – B and G -- the prism tablet).
The first sign (Side C) read as 'X'. If the glyph is a composite glyphic of four forked sticks, a vikalpa (alternative) reading is: मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock. मेढा [ mēḍhā ] m A stake, esp. as forked. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.(Marathi)(CDIAL 10317) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) gaṇḍa 'four'; rebus: kaṇḍa 'furnace, altar'. Thus, the composite glyphis is read rebus: iron (metal) furnace, meḍ kaṇḍa.
Inscription on tablet m0495 serves as a reinforcement of the reading of inscription on tablet m0494 (see the side shot of sides B and G reproduced above). The organizer of the photographic corpus, Asko Parpola, should be complimented for a painstaking effort to produce a high resolution reading of 3 lines of the text on the prism tablets (which almost look like five- sided object as may be seen from the photograph M-494F).
Sharper resolution images of the two tablets (3.6 cm. long) with three sides of a prism are as follows:
m-0495A
m-0495B
m-0495G
The reading of the text of the inscription on the two prism tablets provided in Mahadevan concordance is as follows:
Line 2 Mineral (ore),(Alernative:iron (metal) furnace, meḍ kaṇḍa), furnace/altar, furnace scribe workshop; metal (a kind of iron), casting furnace; cast metal ingot; casting workshop PLUS karã̄ n. pl. ʻ wristlets, bangles ʼ (Gujarati) Rebus: khAr 'blacksmith'.
Thus, line 1 is a description of the repertoire of a smithy/forge including mint and brass-work; line 2 is a smelting, casting workshop for ingots; line 3 is furnace scribe workshop for caste bronze, with kiln, furnace and native metal turning.
Line 1
1.1 Corner (of a room) glyph.
kanac 'corner' rebus: kañcu 'bronze' Alternative: S. kuṇḍa f. ʻcornerʼ; P. kū̃ṭ f. ʻcorner, sideʼ (← H.). (CDIAL 3898) Rebus: kundār turner (A.) kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295).
Sign 57. Crab or claws of crab. kamaṭha crab (Skt.) Rebus: kammaṭa = portable furnace (Te.) kampaṭṭam coiner, mint (Ta.) Vikalpa: ḍato ‘claws or pincers (chelae) of crabs’; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhātu ‘mineral’ (Vedic); dhatu ‘a mineral, metal’ (Santali) Vikalpa: erā ‘claws’; Rebus: era ‘copper’.
Argument: Allographs of a leaf sign, ligature with crab sign [After Parpola, 1994, fig. 13.15] The archer shown on one copper tablet seems to be equivalent to a glyph on another copper plate -- that of ligatured U (rimless wide-mouthed pot) with leaves and crab’s claws. The archer has been decoded: kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Skt.lex.) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)
kharaDo 'spine' rebus: karaDa 'hard alloy' Alternative: Sign 48. kaśēru ‘the backbone’ (Bengali. Skt.); kaśēruka id. (Skt.) Rebus: kasērā ʻmetal workerʼ (Lahnda)(CDIAL 2988, 2989) Spine, rib-cage: A comparable glyptic representation is on a seal published by Omananda Saraswati. In Pl. 275: Omananda Saraswati 1975. Ancient Seals of Haryana (in Hindi). Rohtak.” (I. Mahadevan, 'Murukan' in the Indus Script, The Journal of the Institute of Asian Studies, March 1999). B.B. Lal, 1960. From Megalithic to the Harappa: Tracing back the graffiti on pottery. Ancient India, No.16, pp. 4-24.
1.4 Rim of jar glyph
kaṇḍa kanka (Santali); Rebus: kaṇḍa kanka ‘furnace scribe’. kaṇḍa ‘fire-altar, furnace’ (Santali); kan ‘copper’ (Ta.) karṇaka 'scribe, accountant' (Skt.) Vikalpa: kaṇḍ kanaka ‘gold furnace’. kánaka n. ʻ gold ʼ (Skt.) கன் kaṉ ,n. perh. கன்மம். 1. workmanship; வேலைப்பாடு. கன்னார் மதில்சூழ் குடந்தை (திவ். திருவாய். 5, 8, 3). 2. copper work; கன்னார் தொழில். (W.) 3. copper; செம்பு. (ஈடு, 5, 8, 3.) MBh. Pa. kanaka -- n., Pk. kaṇaya -- n., MB. kanayā ODBL 659, Si. kanā EGS 36.(CDIAL 2717) కనకము [ kanakamu ] kanakamu. [Skt.] n. Gold. (Telugu) கனகம் kaṉakam, n. < kanaka. 1. Gold; பொன். காரார்வண்ணன் கனகமனையானும் (தேவா. 502, 9 (Tamil) kanaka (nt.) [cp. Sk. kanaka; Gr. knh_kos yellow; Ags. hunig=E. honey. See also kañcana] gold, usually as uttatta˚ molten gold; said of the colour of the skin Bu i.59; Pv iii.32; J v.416; PvA 10 suvaṇṇa).-- agga gold -- crested J v.156; -- chavin of golden complexion J vi.13; -- taca (adj.) id. J v.393; -- pabhā golden splendour Bu xxiii.23; -- vimāna a fairy palace of gold VvA 6; PvA 47, 53; -- sikharī a golden peak, in ˚rājā king of the golden peaks (i. e. Himālayas): Dāvs iv.30. (Pali) Vikalpa: kaṉ ‘copper work’ (Ta.) The sequence of two glyphs discussed in 1.3 and 1.4 above occur with high frequency on copper tablets. The pair of glyphs is read rebus as: metal work, furnace scribe -- kasērā kaṇḍa kanka.
The following examples are of 8 copper tablets recovered in Harappa by HARP project. A third glyph on these tablets is an oval sign -- like a metal ingot -- and is ligatured with an infixed sloping stroke: ḍhāḷiyum = adj. sloping, inclining (G.) The ligatured glyph is read rebus as: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (G.) The inscription on these tablets is in bas-relief:
Copper tablet (H2000-4498/9889-01) with raised script found in Trench 43. Slide 351 harappa.com
Copper tablets with Indus script in bas-relief, Harappa. The three glyphs on the ingots are read in sequence: ḍhālako kasērā kaṇḍa kanka 'metal ingot, metal work, furnace scribe'.
This is a professional calling card of the artisan engaged in metal work.
kuṭi ‘water-carrier’ (Telugu); Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛI f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) A comparable glyptic representation is provided in a Gadd seal found in an interaction area of the Persian Gulf. Gadd notes that the ‘water-carrier’ seal is is an unmistakable example of an 'hieroglyphic' seal. Seal impression, Ur (Upenn; U.16747); [After Edith Porada, 1971, Remarks on seals found in the Gulf States. Artibus Asiae 33 (4): 331-7: pl.9, fig.5]; water carrier with a skin (or pot?) hung on each end of the yoke across his shoulders and another one below the crook of his left arm; the vessel on the right end of his yoke is over a receptacle for the water; a star on either side of the head (denoting supernatural?). The whole object is enclosed by 'parenthesis' marks. The parenthesis is perhaps a way of splitting of the ellipse (Hunter, G.R., JRAS, 1932, 476).
1.6 Three (rimless) pots
kolmo ‘three’ (Mu.); rebus: kolami ‘smithy’ (Te.)
S. baṭhu m. ‘large pot in which grain is parched, Rebus; bhaṭṭhā m. ‘kiln’ (P.) baṭa = a kind of iron (G.) Vikalpa: meṛgo = rimless vessels (Santali) bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali); baṭa = a kind of iron (G.) bhaṭṭha -- m.n. ʻ gridiron (Pkt.) baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; L. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits)’. (CDIAL 9656)Rebus: meḍ iron (Ho.)
kolmo ‘rice plant’ (Mu.) Rebus: kolami ‘furnace,smithy’ (Te.) Vikalpa: pajhaṛ = to sprout from a root (Santali); Rebus: pasra ‘smithy, forge’ (Santali)
Line 2
2.1 Cross
dāṭu = cross (Te.); Rebus: dhatu = mineral (ore)(Santali) dhātu ‘mineral (Pali) dhātu ‘mineral’ (Vedic); a mineral, metal (Santali); dhāta id. (G.)
2.2 Arrow
kaṇḍa ‘arrow’; Rebus: kaṇḍ = a furnace, altar (Santali)
2.3 Rim of jar + infixed short stroke
Rim of jar is decoded as: kaṇḍa kanka ‘furnace scribe’. (See line 1.4)
sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’ (Santali) Vikalpa: aṭar ‘a splinter’ (Ma.) aṭaruka ‘to burst, crack, sli off,fly open; aṭarcca ’ splitting, a crack’; aṭarttuka ‘to split, tear off, open (an oyster) (Ma.); a ḍ aruni ‘to crack’ (Tu.) (DEDR 66) Rebus: aduru ‘native, unsmelted metal’ Rebus: adaru = native metal (Ka.) aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddha_nti Subrahman.ya’ S’astri’s new interpretation of the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330)
Thus, the ligatured glyph is read rebus as: scribe (of) native,unsmelted metal furnace.
( ) A pair of enclosures: *jāḍa -- ʻ joining, pair ʼ. [← Drav. LM 333]; 2. S. jāṛo m. ʻ twin ʼ, L. P. jāṛā m.; M. j̈āḍī f. ʻ a double yoke ʼ. (CDIAL 5091) Rebus: *jaḍati ʻ joins, sets ʼ. 1. Pk. jaḍia -- ʻ set (of jewels), joined ʼ; K. jarun ʻ to set jewels ʼ (← Ind.); S. jaṛaṇu ʻ to join, rivet, set ʼ, jaṛa f. ʻ rivet, boundary between two fields ʼ; P.jaṛāuṇā ʻ to have fastened or set ʼ; A. zarāiba ʻ to collect ʼ; B. jaṛāna ʻ to set jewels, wrap round, entangle ʼ, jaṛ ʻ heaped together ʼ; Or. jaṛibā ʻ to unite ʼ; OAw.jaraï ʻ sets jewels, bedecks ʼ; H. jaṛnā ʻ to join, stick in, set ʼ (→ N. jaṛnu ʻ to set, be set ʼ); OMarw. jaṛāū ʻ inlaid ʼ; G. jaṛvũ ʻ to join, meet with, set jewels ʼ; M.j̈aḍṇẽ ʻ to join, connect, inlay, be firmly established ʼ, j̈aṭṇẽ ʻ to combine, confederate ʼ. (CDIAL 5091)
Vikalpa: dula दुल । युग्मम् m. a pair, a couple, esp. of two similar things (Rām. 966) (Kashmiri); dol ‘likeness, picture, form’ (Santali) Rebus: dul ‘to cast metal in a mould’ (Santali) dul meṛeḍ cast iron (Mundari. Santali)
‘cast bronze’; it is a glyptic formed of a pair of brackets (): kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin)
2.6 Two over-lapping (or pair of) ovals: Oval is the shape of an ingot (of metal). Paired ovals (ingots) are decoded as ‘cast’ ‘metal ingots’.
mũh metal ingot (shaped like an oval) (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā me~r.he~t = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end; kolhe tehen me~r.he~tko mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.) kaula mengro ‘blacksmith’ (Gypsy) paired: dul ‘likeness’; dul ‘cast (metal)’]
2.7 A pair of linear strokes (two long linear strokes) Decoded as casting workshop
dula ‘pair’; rebus: dul ‘cast (metal)(Santali) goṭ = one (Santali); goṭi = silver (G.) koḍa ‘one’ (Santali); koḍ ‘workshop’ (G.)
Line 3
3.1 Rim of jar + infixed short stroke as in Line 2.3 above. Decoded as: furnace scribe workshop.
3.2 Two bent (curved) lines. Decoded as ‘cast bronze’.
kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin)
dula ‘pair’; rebus: dul ‘cast (metal)(Santali)
3.3 Rimless pot. Decoded as: gridiron. See 1.6 above (for three rimless pots).
S. baṭhu m. ‘large pot in which grain is parched, Rebus; bhaṭṭhā m. ‘kiln’ (P.) baṭa = a kind of iron (G.) Vikalpa: meṛgo = rimless vessels (Santali) bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali); baṭa = a kind of iron (G.) bhaṭṭha -- m.n. ʻ gridiron (Pkt.) baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; L. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits)’. (CDIAL 9656)Rebus: meḍ iron (Ho.)
3.4 Nave of spoked wheel. Decoded as (molten cast copper) turner, kundār ‘turner’.
era = knave of wheel; rebus: era = copper; erako = molten cast (G.) eraka, (copper) ‘metal infusion’; āra ‘spokes’; rebus: āra ‘brass’ as in ārakūṭa (Skt.) kund opening in the nave or hub of a wheel to admit the axle (Santali) Rebus: kundam, kund a sacrificial fire-pit (Skt.) kunda ‘turner’ kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295) Vikalpa: era, er-a = eraka = ?nave; erako_lu = the iron axle of a carriage (Ka.M.); cf. irasu (Ka.lex.) [Note Sign 391 and its ligatures Signs 392 and 393 may connote a spoked-wheel, nave of the wheel through which the axle passes; cf. ara_, spoke] ஆரம்² āram , n. < āra. 1. Spoke of a wheel. See ஆரக்கால். ஆரஞ்சூழ்ந்த வயில்வாய் நேமியொடு (சிறுபாண். 253) (Tamil) 3.5 As in 2.7 above. A pair of linear strokes (two long linear strokes) Decoded as ‘casting workshop’. dula ‘pair’; rebus: dul ‘cast (metal)(Santali) goṭ = one (Santali); goṭi = silver (G.) koḍa ‘one’ (Santali); koḍ ‘workshop’ (G.) 3.6 Four + Three short strokes. Decoded as smithy (with) furnace. Four + three strokes are read (since the strokes are shown on two lines one below the other) : gaṇḍa ‘four’ (Santali); Rebus: kaṇḍa ‘furnace’ (Santali); kolmo ‘three’ (Mu.); rebus: kolami ‘smithy’ (Te.) Vikalpa: ?ea ‘seven’ (Santali); rebus: ?eh-ku ‘steel’ (Te.) Vikalpa: pon ‘four’ (Santali) rebus: pon ‘gold’ (Ta.) 3.7 As in 3.2 above. Two bent (curved) lines. Decoded as ‘cast bronze’. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) dula ‘pair’; rebus: dul ‘cast (metal)(Santali) 3.8 Harrow aḍar ‘harrow’; rebus: aduru ‘native metal’ 3.9 Horned body (Body as in 2.4 above.) Decoded as ‘metal (iron) turner’. mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.) kōḍ, kōṇḍa ‘horn’. Pa. kōḍ (pl. kōḍul) horn; Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn Tu. kōḍů, kōḍu horn Ko. kṛ (obl. kṭ-)( (DEDR 2200) Paš. kōṇḍā́‘bald’, Kal. rumb. kōṇḍa ‘hornless’.(CDIAL 3508). Kal. rumb.khōṇḍ a‘ half’ (CDIAL 3792). Rebus: कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) kõdā ‘to turn in a lathe’ (Bengali) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) कोंदण [ kōndaṇa ] n (कोंदणें) Setting or infixing of gems.(Marathi) খোদকার [ khōdakāra ] n an engraver; a carver. খোদকারি n. engraving; carving; interference in other's work. খোদাই [ khōdāi ] n engraving; carving. খোদাই করা v. to engrave; to carve. খোদানো v. & n. en graving; carving. খোদিত [ khōdita ] a engraved. (Bengali) खोदकाम [ khōdakāma ] n Sculpture; carved work or work for the carver. खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving: also sculptured or carved work. खोदणावळ [ khōdaṇāvaḷa ] f (खोदणें) The price or cost of sculpture or carving. खोदणी [ khōdaṇī ] f (Verbal of खोदणें) Digging, engraving &c. 2 fig. An exacting of money by importunity. v लाव, मांड. 3 An instrument to scoop out and cut flowers and figures from paper. 4 A goldsmith's die. खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engrave. खोद खोदून विचारणें or -पुसणें To question minutely and searchingly, to probe. खोदाई [ khōdāī ] f ( H) Price or cost of digging or of sculpture or carving. खोदींव [ khōdīṃva ] p of खोदणें Dug. 2 Engraved, carved, sculptured. (Marathi) 3.10 Rim of jar. As in 1.4 above. Decoded as: kaṇḍa kanka ‘furnace scribe’.
Dr S Kalyanaramanji, Saraswathi Research Centre, Chennai, made an important breakthrough by deciphering 7000 seals excavated from Indus Valley. He says it communicates to us that this country was the capital of metallurgy and we had the best metallurgists in the world. "There existed a Tin Road connecting Far East Asia, India and the Europe through West Asia," says Dr Kalyanaraman.
khareDo 'currycomb' rebus: Rebus: kharādī ‘ turner’ (G.) kāmsako, kāmsiyo = a large sized comb (G.) Rebus: kaṁsa 'bronze' (Te.)
Thus, the message is: bronze supercargo (on behalf of) copper moltencast, iron mint merchant
Ganweriwala tablet. Ganeriwala or Ganweriwala (Urdu: گنےریوالا Punjabi: گنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan. Glyphs on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a 3-glyph text. Observe shows a person seated on a stool and a kneeling adorant below.
Ir. bärī roof. ĀlKu. bari thatched roof. Ko. varj- (varj-) to wrap, wind; vayr roof. To. pary roof of hut. Rebus: baḍhi 'worker in wood and iron' (Santali) bāṛaï 'carpenter' (Bengali) bari 'merchant' barea'merchant' (Santali) vāḍhī, 'one who helps a merchant (Hemacandra Desinamamamala).
1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230)
2. Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790). karNI 'supercargo' karNika 'account, scribe'.
Alternative: kanka 'rim of jar' rebus: kanga 'brazier'.
kāmsako, kāmsiyo = a large sized comb (G.) Rebus: kaṁsa 'bronze' (Te.)
Image may be NSFW. Clik here to view.Ligatures: Worshipper + rimless pot + scarf (on pigtail)
Signs 45, 46: A variant of ‘adorant’ hieroglyph sign is shown with a ‘rimless, broad-mouthed pot’ which is baṭa read rebus: bhaṭa ‘furnace’. If the ‘pot’ ligature is a phonetic determinant, the gloss for the ‘adorant’ is bhaṭa ‘worshipper’. If the ‘kneeling’ posture is the key hieroglyphic representation, the gloss is eragu ‘bow’ Rebus: erako ‘moltencast copper’. Thus moltencast copper furnace. + dhaṭu m. (also dhaṭhu) m. ‘scarf’ (Western Pahari) (CDIAL 6707) Rebus: dhatu ‘minerals’ (Santali). Thus Sign 46 read rebus: moltencast copper minerals furnace.
P. (तक्षति, तक्ष्णोति, तष्ट) 1 To chop, cut off, pare, chisel, slice, split; rebus: takSa 'carpenter' PLUS खााडा [ kāṇḍā ] 'A jag, notch, or indentation (as upon the edge of a tool or weapon)' Rebus: kaNDa 'implements' (Santali).
Image may be NSFW. Clik here to view.2805 Row of animals in file (a one-horned bull, an elephant and a rhinoceros from right); a gharial with a fish held in its jaw above the animals; a bird (?) at right. Pict-116: From R.—a person holding a vessel; a woman with a platter (?); a kneeling person with a staff in his hands facing the woman; a goat with its forelegs on a platform under a tree. [Or, two antelopes flanking a tree on a platform, with one antelope looking backwards?]
Hypertext Side B: koDa 'one' rebus: koD 'workshop'
koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi)कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) koTiya 'dhow seafaring vessel'
ayo 'fish' Rebus: ayas 'metal'. kaṇḍa'arrow' Rebus: khāṇḍa‘tools, pots and pans, and metal-ware’.ayaskāṇḍa is a compounde word attested in Panini. The compound or glyphs of fish + arrow may denote metalware tools, pots and pans.kola 'tiger' Rebus: kol 'working in iron, alloy of 5 metals - pancaloha'. ibha 'elephant' Rebus ibbo 'merchant'; ib ‘iron'. Alternative: కరటి [ karaṭi ] karaṭi. [Skt.] n. An elephant. ఏనుగు (Telugu) Rebus: kharādī ‘ turner’ (Gujarati) kāṇḍa 'rhimpceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. The text on m0489 tablet: loa 'ficus religiosa' Rebus: loh 'copper'. kolmo 'rice plant' Rebus: kolami 'smithy, forge'. dula 'pair' Rebus: dul 'cast metal'. Thus the display of the metalware catalog includes the technological competence to work with minerals, metals and alloys and produce tools, pots and pans. The persons involved are krammara 'turn back' Rebus: kamar 'smiths, artisans'. kola 'tiger' Rebus: kol 'working in iron, working in pancaloha alloys'. పంచలోహము pancha-lōnamu. n. A mixed metal, composed of five ingredients, viz., copper, zinc, tin, lead, and iron (Telugu). Thus, when five svastika hieroglyphs are depicted, the depiction is of satthiya 'svastika' Rebus: satthiya 'zinc' and the totality of 5 alloying metals of copper, zinc, tin, lead and iron.
Glyph: Animals in procession: खांडा[khāṇḍā]A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.
Hieroglyph: heraka ‘spy’. Rebus: eraka, arka 'copper, gold'; eraka 'moltencast, metal infusion'; era ‘copper’. āra 'spokes' Rebus:āra 'brass'. Hieroglyph: हेर [ hēra ] m (हेरक S through or H) A spy, scout, explorator, an emissary to gather intelligence. 2 f Spying out or spying, surveying narrowly, exploring. (Marathi) *hērati ʻ looks for or at ʼ. 2. hēraka -- ,°rika -- m. ʻ spy ʼ lex., hairika -- m. ʻ spy ʼ Hcar., ʻ thief ʼ lex. [J. Bloch FestschrWackernagel 149 ← Drav., Kuiēra ʻ to spy ʼ, Malt. ére ʻ to see ʼ, DED 765]
1. Pk. hēraï ʻ looks for or at ʼ (vihīraï ʻ watches for ʼ); K.ḍoḍ. hērūō ʻ was seen ʼ; WPah.bhad. bhal. he_rnū ʻ to look at ʼ (bhal. hirāṇū ʻ to show ʼ), pāḍ. hēraṇ, paṅ. hēṇā, cur. hērnā, Ku. herṇo, N. hernu, A. heriba, B. herā, Or. heribā (caus. herāibā), Mth. herab, OAw. heraï, H. hernā; G. hervũ ʻ to spy ʼ, M. herṇẽ. 2. Pk. hēria -- m. ʻ spy ʼ; Kal. (Leitner) "hériu"ʻ spy ʼ; G. herɔ m. ʻ spy ʼ, herũ n. ʻ spying ʼ. Addenda: *hērati: WPah.kṭg. (Wkc.) hèrnõ, kc. erno ʻ observe ʼ; Garh. hernu ʻ to look' (CDIAL 14165) Ko. er uk- (uky-) to play 'peeping tom'. Kui ēra (ēri-) to spy, scout; n. spying, scouting; pl action ērka (ērki-). ? Kuwi (S.) hēnai to scout; hēri kiyali to see; (Su. P.) hēnḍ- (hēṭ-) id. Kur. ērnā (īryas) to see, look, look at, look after, look for, wait for, examine, try; ērta'ānā to let see, show; ērānakhrnā to look at one another. Malt. ére to see, behold, observe; érye to peep, spy. Cf. 892 Kur. ēthrnā. / Cf. Skt. heraka- spy, Pkt. her- to look at or for, and many NIA verbs; Turner, CDIAL, no. 14165(DEDR 903)
of a pipal tree; a low pedestal with offerings (? or human head?); a horned person kneeling in adoration; a ram with short tail and curling horns; a row of seven robed figures, with twigs on their pigtails.
Decipherment: muka 'ladle' (Tamil)(DEDR 4887) Rebus: mū̃h 'ingot' (Santali). Alternative: ḍabu ‘an iron spoon’ (Santali) Rebus: ḍab, ḍhimba, ḍhompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt together (Santali) ḍabe, ḍabea wide horns (Santali) Rebus: ḍhābā workplace (P.)
The stool on which the bowl is placed is also a hieroglyph read rebus:
Kur. kaṇḍō a stool. Malt. Kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ 'stone (ore)' as in: ayaskāṇḍ 'excellent iron' (Panini)
dhaṭu m. (also dhaṭhu) m. ‘scarf’ (WPah.) (CDIAL 6707) Allograph: ḍato = claws of crab (Santali) Rebus: dhātu = mineral (Skt.), dhatu id. (Santali)
See the human face ligatured to a ram's body (an indication of the hieroglyphic nature of the orthographic composition):
mũh 'face' (Santali). Rebus: mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end; kolhe tehen mẽṛhẽtko mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.)
miṇḍāl 'markhor' (Tor.wali) meḍho 'a ram, a sheep' (G.)(CDIAL 10120)mēṇḍhaʻramʼ(CDIAL 9606).मेंढा [mēṇḍhā] m (मेष S through H) A male sheep, a ram or tup. मेंढका or क्या [ mēṇḍhakā or kyā ] a (मेंढा) A shepherd (Marathi) Rebus: meḍ 'iron' (Ho.) mēṇḍh 'gold' as in: मेंढसर [ mēṇḍhasara ] m A bracelet of gold thread. (Marathi)
मेढ [mēḍha] f A forked stake. Used as a post. Hence a short post generally whether forked or not. Pr. हातीं लागली चेड आणि धर मांडवाची मेढ.
m1186 (DK6847) [Pleiades, scarfed, framework, ficus religiosa , scarfed person, worshipper, twigs (on head), horn, markhor, human face ligatured to markhor, stool, ladle, frame of a building]
Brief memoranda:
bhaṭāG. bhuvɔ m. ʻ worshipper in a temple ʼ rather < bhr̥ta --(CDIAL 9554) Yājñ.com., Rebus: bhaṭā ‘kiln, furnace’
bhaṭāG. bhuvɔ m. ʻ worshipper in a temple ʼ rather < bhr̥ta --(CDIAL 9554) Yājñ.com., Rebus: bhaṭā ‘kiln, furnace’ eragu 'bow' rebus: eraka 'moltencast, copper'
mū̃h ‘human face’ Rebus: mū̃h ‘ingot’ (See human face ligatured to a markhor: Seal m1186) PLUS Dm. mraṅ m. ‘markhor’ Wkh. merg f. ‘ibex’ (CDIAL 9885) Tor. miṇḍ ‘ram’, miṇḍā́l ‘markhor’ (CDIAL 10310) Rebus: meḍ(Ho.); mẽṛhet ‘iron’ (Munda.Ho.)
lo, no ‘nine’ phonetic reinforcement of: loa ‘ficus’ Rebus: lo ‘copper’
dhaṭu m. (also dhaṭhu) m. ‘scarf’ (Western Pahari) (CDIAL 6707) Rebus: dhatu ‘minerals’ (Santali)
A group of six or seven women wearing twigs may not represent Pleiades, bagaḷā). The groups of such glyphs occur on four inscribed objects of Indus writing. (See four pictorial compositions on: m1186A, h097, m0442At m0442Bt). Glyph (seven women): bahula_ = Pleiades (Skt.)bagaḷā = name of a certain godess (Te.) bagaḷā ,bagaḷe, vagalā (Ka.); baka , bagaḷlā , vagaḷā (Te.) bakkula = a demon, uttering horrible cries, a form assumed by the Yakkha Ajakalāpaka, to terrify the Buddha (Pali.lex.) bahulā f. pl. the Pleiades VarBr̥S., likā -- f. pl. lex. [bahulá -- ] Kal. bahul the Pleiades , Kho. ból, (Lor.) boul, bolh, Sh. (Lor.) b*lle (CDIAL 9195) bahulegal. = the Pleiades or Kṛittikā-s (Ka.lex.) bahula_ (VarBr.S.); bahul (Kal.) six presiding female deities: vahulā the six presiding female deities of the Pleiades (Skt.); vākulai id. (Ta.)(Ta.lex.) Pleiades: bahulikā pl. pleiades; bahula born under the pleiades; the pleiades (Skt.lex.) bahule, bahulegal. the pleiades or kr.ttikās (Ka.)(Ka.lex.) Image: female deities of the pleiades: vākulēyan- < va_kulēya Skanda (Ta.lex.) பாகுளி pākuḷi, n. perh. bāhulī. Full moon in the month of Puraṭṭāci; புரட்டாசி மாதத்துப் பெளர்ணமி. அதைப் பாகுளி யென்று (விநாயகபு. 37, 81). Glyph (twig on head on seven women): adaru ‘twig’; rebus: aduru ‘native metal’. Thus, the seven women ligatured with twigs on their heads can be read as: bahulā + adaru; rebus: bangala ‘goldsmith’s portable furnace’ + aduru ‘native metal’. bāhulēya Kārttikēya, son of S'iva; bāhula the month kārttika (Skt.Ka.)(Ka.lex.) வாகுலை vākulai, n. < Vahulā. The six presiding female deities of the Pleiades. Rebus: bagalo = an Arabian merchant vessel (G.lex.) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Ka.) bagalo = an Arabian merchant vessel (G.lex.) cf. m1429 seal. बहुल Born under the Pleiades; P.IV.3.33. An epithet of fire. -ला 1 A cow; कस्मात् समाने बहुलाप्रदाने सद्भिः प्रशस्तं कपिलाप्रदानम् Mb.13.77.9. The Pleiades (pl.) -लम् 1 The sky. बहुलिका (pl.) The Pleiades. बाहुल a. Manifold. -लः Fire; शीतरुजं समये च परस्मिन् बाहुलतो रसिका शमयन्ती Rām. Ch.4.99. -2 The month Kārtika. -लम् 1 Manifoldness. बाहुलेयः An epithet of Kārtikeya.बाहुल्यम् 1 Abundance, plenty, copiousness. -2 Manifoldness, multiplicity, variety. -3 The usual course or common order of things. (बाहुल्यात्, -ल्येन 1 usually, commonly. -2 in all probability.) बाह्लिः N. of a country (Balkh). -Comp. -ज, -जात a. bred in the Balkh country, of the Balkh breed.बाह्लकाः बाह्लिकाः बाह्लीकाः m. (pl.) N. of a people.-कम् 1 Saffron; ... प्रियाङ्गसंगव्यालुप्तस्तनतटबाह्लिक- श्रियो$पि दृश्यन्ते बहिरबलाः Rām. Ch.7.64. Amarakosha makes references to the Saffron of Bahlika and Kashmira countries (Amarkosha, p 159, Amarsimha.)
kole.l 'temple' rebus: kole.l 'smithy, forge'.
Image may be NSFW. Clik here to view.m488A heraka 'spy' rebus: eraka 'moltencast, copper' kuTi 'tree' rebus: kuThi 'smelter' kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' krammra 'look back' rebus: kamar 'artisan, smith' jsattva 'svastika' rebus: sattva, jasta 'zinc' karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'
Image may be NSFW. Clik here to view.m488B barad, balad 'ox' rebus: bharata 'alloy of pewter, copper, tin' bhaTa 'warrior' rebus: bhaTa 'furnace' karNika 'spread legs' meD 'body' rebus: karNI 'supercargo' meD 'iron' PLUS
khareḍo = a currycomb (G.) Rebus: kharādī‘turner’ (Gujarati) kāmsako, kāmsiyo = a large sized comb (G.) Rebus: kaṁsa 'bronze' (Te.) bicha 'scorpion' rebus: bicha 'hematite stone ore' मेंढा [ mēṇḍhā ] A crook or curved end rebus: meḍ 'iron' (Ho.Mu.) dula 'pair' rebus: dul 'metalcasting' PLUS kolom 'three' rebus: kolimii 'smithy, forge' Thus, metalcasting smithy. dula 'pair' rebus: dul 'metalcasting' PLUS khaNDa 'divisions' rebus: kaNDa 'implements' thus,cast metal implements.
Image may be NSFW. Clik here to view.m488C bhaTa 'warrior' rebus:bhaTa 'furnace' loa 'ficus religiosa' rebus:loh 'copper' minDAl 'markhor' (Torwali) meDho 'ram' (Gujarati)(CDIAL 10120) Rebus: me~Rhet, meD 'iron' (Mu.Ho.Santali) eragu 'bow' rebus: erako 'moltencast, copper' dhat 'scarf' rebus: dhatu 'mineral' muka 'ladle' rebus:muhA 'quantity of smelted metal produced from a furnace' PLUS baTa 'rimless pot' rebus: bhaTa 'furnace'.
Image may be NSFW. Clik here to view.2802 Prism: Tablet in bas-relief. Side b: Text +One-horned bull + standard. Side a: From R.: a composite animal; a person seated on a tree with a tiger below looking up at the person; a svastika within a square border; an elephant (Composite animal has the body of a ram, horns of a zebu, trunk of an elephant, hindlegs of a tiger and an upraised serpent-like tail). Side c: From R.: a horned person standing between two branches of a pipal tree; a ram; a horned person kneeling in adoration; a low pedestal with some offerings.
The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha ʻbrassʼ(i.e. alloy of copper + zinc). Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जस्थ। त्रपु m. (sg. dat. jastas जस्तस्), zinc, spelter; pewter; zasath ज़स््थ् or zasuth ज़सुथ् । त्रपु m. (sg. dat. zastas ज़स्तस्), zinc, spelter, pewter (cf. Hindī jast). jastuvu; । त्रपूद्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri).
Image may be NSFW. Clik here to view.1629 Pict-82 Person seated on a pedestal flanked on either side by a kneeling adorant and a hooded serpent rearing up. kanac 'corner' rebus:kancu 'bronze' sal 'splinter' rebus: sal 'workshop' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā 'fish-fin' rebus: kammaTa 'mint, coiner, coinage' Hieroglyph: karã̄ n. pl. wristlets, bangles' rebus: khAr 'blacksmith' dula 'two' rebus: dul 'metal casting' kanka, karNika 'rim of jar' rebus: karNI 'supercargo''scribe, account'
mēḍa 'platform' rebus: meD 'iron' med 'copper' (Slavic) kamaDha 'penance' rebus:kammaTa 'mint, coiner, coinage' eragu 'bow' rebus: erako 'moltencast, copper' kulyA 'serpent hood' rebus: kol 'working in iron' kolhe 'smelter'
Image may be NSFW. Clik here to view.4316 Pict-115: From R.—a person standing under an ornamental arch; a kneeling adorant; a ram with long curving horns.
+ hieroglyph in the middle with covering lines around/dots in corners poLa 'zebu' rebus: poLa 'magnetite'; dhAv 'strand' rebus: dhAv 'smelter'; kulA 'hooded snake' rebus: kolle 'blacksmith' kol 'working in iron' kolhe 'smelter'; kolmo 'three' koD 'horn' rebus: kolimi 'smithy' koD 'workshop'. tri-dhAtu 'three strands, threefold' rebus: tri-dhAv 'three mineral ores'.
mḗdham. ʻ sacrificial oblation ʼ RV. Pa.mēdha-- m. ʻ sacrifice ʼ; Si.mehe,mēsb. ʻ eating ʼ ES 69.(CDIAL 10327).
Thus, mḗdha is a yajna. गृहम् gṛhamमेधa. 1 one who performs the domestic rites or sacrifices; गृह- मेधास आ गत मरुतो माप भूतन Rv.7.59.1.-2 connected with the duties of a householder. (-धः) 1 a householder. -2 a domestic sacrifice; मेधः 1 A sacrifice, as in नरमेध, अश्वमेध, एकविंशति- मेधान्ते Mb.14.29.18. (com. मेधो युद्धयज्ञः । 'यज्ञो वै मेधः'इति श्रुतेः ।). -2 A sacrificial animal or victim. -3 An offering, oblation. मेधा [मेध्-अञ्] (changed to मेधस् in Bah. comp. when preceded by सु, दुस् and the negative particle अ A sacrifice. -5 Strength, power (Ved.). मेध्य a. [मेध्-ण्यत्, मेधाय हितं यत् वा] 1 Fit for a sacrifice; अजाश्वयोर्मुखं मेध्यम् Y.1.194; Ms.5.54. -2 Relating to a sacrifice, sacrificial; मेध्येनाश्वेनेजे; R.13. 3; उषा वा अश्वस्य मेध्यस्य शिरः Bṛi. Up.1.1.1. -3 Pure, sacred, holy; भुवं कोष्णेन कुण्डोघ्नी मध्येनावमृथादपि R.1.84; 3.31;14.81 Mejjha (adj. -- nt.) [*medhya; fr. medha] 1. (adj.) [to medha1] fit for sacrifice, pure; neg. a˚ impure Sdhp 363. medha [Vedic medha, in aśva, go˚, puruṣa˚ etc.] sacrifice only in assa˚ horse -- sacrifice (Pali)
मेढा[ mēḍhā ]'twist, curl' rebus: meD 'iron, copper,metal‘ medha ‘yajna
Image may be NSFW. Clik here to view.Dhruva II Inscription Gujarat Rashtrakuta 884 CE [H. Sarkar & BM Pande, 1999, Symbols and Graphic Representations in Indian Inscriptions, Delhi: Aryan,]
Image may be NSFW. Clik here to view.dhAtu 'strand of rope' Rebus: dhAtu 'mineral, metal, ore'धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g.त्रि-ध्/आतु , threefold &c ; cf.त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c (Monier-Williams) dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773) tántu m. ʻ thread, warp ʼ RV. [√tan] Pa. tantu -- m. ʻ thread, cord ʼ, Pk. taṁtu -- m.; Kho. (Lor.) ton ʻ warp ʼ < *tand (whence tandeni ʻ thread between wings of spinning wheel ʼ); S. tandu f. ʻ gold or silver thread ʼ; L. tand (pl. °dũ) f. ʻ yarn, thread being spun, string of the tongue ʼ; P. tand m. ʻ thread ʼ, tanduā, °dūā m. ʻ string of the tongue, frenum of glans penis ʼ; A. tã̄t ʻ warp in the loom, cloth being woven ʼ; B. tã̄t ʻ cord ʼ; M. tã̄tū m. ʻ thread ʼ; Si. tatu, °ta ʻ string of a lute ʼ; -- with -- o, -- ā to retain orig. gender: S. tando m. ʻ cord, twine, strand of rope ʼ; N. tã̄do ʻ bowstring ʼ; H. tã̄tā m. ʻ series, line ʼ; G. tã̄tɔ m. ʻ thread ʼ; -- OG. tāṁtaṇaü m. ʻ thread ʼ < *tāṁtaḍaü, G.tã̄tṇɔ m.(CDIAL 5661)
मेढा[ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f. ʻropetying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: meḍ'iron'. mẽṛhet ‘iron’ (Mu.Ho.) Thus, together, a strand and a curl, the hieroglyph-multiplex of endless-knot signifies iron mineral. mRdu dhAtu (iron mineral).
Image may be NSFW. Clik here to view.m1457BCopper plate with 'twist' hieroglyph hāu 'rope' rebus: dhāu 'metal' PLUS मेढा[ mēḍhā ] 'a curl or snarl; twist in thread' rebus: mẽṛhẽt, meḍ ‘iron’.
Image may be NSFW. Clik here to view.h613C dhāu 'rope' rebus: dhāu 'metal' PLUS मेढा[ mēḍhā ] 'a curl or snarl; twist in thread' rebus: mẽṛhẽt, meḍ ‘iron’.
Image may be NSFW. Clik here to view.m479A eragu 'bow' rebus: erako 'moltencast, copper' baTa 'rimless pot' rebus: baTa 'iron' bhaTa 'furnace' kuTi 'tree' rebus: kuThi 'smelter'. Thus, moltencast copper, iron furnace/smelter
gaNDa 'four' rebus: kaNDa 'implements' kanda 'fire-alter' baTa 'rimless pot' rebus: baTa 'iron' koDa 'one' rebus: koD 'workshop' PLUS dula 'pair' rebus: dul 'metalcasting' Thus, metalcasting workshop PLUS karNika 'spread legs' meD 'body' rebus: karNI 'supercargo''scribe, account' thus, account of metalcasting workshop (products)
khareḍo = a currycomb (G.) Rebus: kharādī‘turner’ (Gujarati) kāmsako, kāmsiyo = a large sized comb (G.) Rebus: kaṁsa 'bronze' (Te.)
dhāu 'rope' rebus: dhāu 'metal' PLUS मेढा[ mēḍhā ] 'a curl or snarl; twist in thread' rebus: mẽṛhẽt, meḍ ‘iron’.
Image may be NSFW. Clik here to view.m479B kanka, karNaka 'rim of jar' rebus: karNI 'supercargo' adaren 'lid' rebus: aduru 'native metal' Thus, native metal handed to supercargo for shipment. kola 'tiger' rebus: kol 'working in iron' krammara 'look back' rebus: kamar 'artisan, smith' heraka 'spy' rebus: eraka 'moltencast, copper' kuTi 'tree' rebus: kuThi 'smelter' Thus, copper smelter artisan. erga 'act of clearing jungle' rebus: erako 'moltencast copper'
m0478B tableterga= act of clearing jungle (Kui) [Note image showing two men carrying uprooted trees].
Aḍaru twig; aḍiri small and thin branch of a tree; aḍari small branches (Ka.); aḍaru twig (Tu.)(DEDR 67). Aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) Vikalpa: kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali) ḍhaṁkhara — m.n. ʻbranch without leaves or fruitʼ (Prakrit) (CDIAL 5524)
•era, er-a = eraka = ?nave; erako_lu = the iron axle of a carriage (Ka.M.); cf. irasu (Ka.lex.)
•era_ = claws of an animal that can do no harm (G.)
•era female, applied to women only, and generally as a mark of respect, wife; hopon era a daughter; era hopon a man’s family; manjhi era the village chief’s wife; gosae era a female Santal deity; bud.hi era an old woman; era uru wife and children; nabi era a prophetess; diku era a Hindu woman (Santali)
eraka, hero = a messenger; a spy (G.lex.) kola ‘tiger, jackal’ (Kon.); rebus: kol working in iron, blacksmith, ‘alloy of five metals, panchaloha’ (Tamil) kol ‘furnace, forge’ (Kuwi) kolami ‘smithy’ (Te.) heraka = spy (Skt.); er to look at or for (Pkt.); er uk- to play 'peeping tom' (Ko.) Rebus: eraka ‘copper’ (Ka.) kōṭu branch of tree, Rebus: खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge.
karn.aka = handle of a vessel; ka_n.a_, kanna_ = rim, edge;
kan.t.u = rim of a vessel; kan.t.ud.iyo = a small earthen vessel
kan.d.a kanka = rim of a water-pot; kan:kha, kankha = rim of a vessel
karibha 'trunk of elephant' ibha 'elephant' Rebus: karba 'iron' (Tulu)
kola 'tiger' Rebus: kol 'working in iron' krammara 'turn back' Rebus: kamar 'smith'
heraka 'spy' Rebus: eraka 'moltencast, copper'
meDha 'ram' Rebus: meD 'iron' (Mu.Ho)
bAraNe ' an offering of food to a demon' (Tulu) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin) (Punjabi. Bengali) bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)
saman 'make an offering (Santali) samanon 'gold' (Santali)
maNDa 'branch, twig' (Telugu) Rebus: maNDA 'warehouse, workshop' (Konkani)\karibha, jata kola Rebus: karba, ib, jasta, 'iron, zinc, metal (alloy of five metals)
maNDi 'kneeling position' Rebus: mADa 'shrine; mandil 'temple' (Santali)
கோலம்¹ kōlam,n. [T.kōlamu, K.kōla, M.kōlam.] 1. Beauty, gracefulness, hand- someness; அழகு. கோலத் தனிக்கொம்பர் (திருக் கோ. 45). 2. Colour; நிறம். கார்க்கோல மேனி யானை (கம்பரா. கும்பக. 154). 3. Form, shape, external or general appearance; உருவம். மானுடக் கோலம். 4. Nature; தன்மை. 5. Costume; appropriate dress; attire, as worn by actors; trappings; equipment; habiliment; வேடம். உள்வரிக் கோலத்து (சிலப். 5, 216). 6. Ornament, as jewelry; ஆபரணம். குறங்கிணை திரண்டன கோலம் பொறாஅ (சிலப். 30, 18). 7. Adornment, decoration, embellishment; அலங்காரம். புறஞ்சுவர் கோலஞ்செய்து (திவ். திருமாலை, 6). 8. Ornamental figures drawn on floor, wall or sacrificial pots with rice-flour, white stone-powder, etc.; மா, கற்பொடி முதலியவற்றாலிடுங் கோலம். தரை மெழுகிக் கோலமிட்டு (குமர. மீனாட். குறம். 25).
The hieroglyphs on m478a tablet are read rebus:
kuTi 'tree'Rebus: kuThi 'smelter'
bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati) This hieroglyph is a phonetic deterinant of the 'rimless pot': baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) bhaṭa 'a furnace'. Hence, the hieroglyph-multiplex of an adorant with rimless pot signifies: 'iron furnace' bhaTa.
bAraNe ' an offering of food to a demon' (Tulu) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin) (Punjabi. Bengali) The narrative of a worshipper offering to a tree is thus interpretable as a smelting of three minerals: copper, zinc and tin.
Numeral four: gaNDa 'four' Rebus: kand 'fire-altar'; Four 'ones': koḍa ‘one’ (Santali)Rebus: koḍ ‘artisan’s workshop'. Thus, the pair of 'four linear strokes PLUS rimless pot' signifies: 'fire-altar (in) artisan's wrkshop'.
Circumscript of two linear strokes for 'body' hieroglyph: dula 'pair' Rebus: dul 'cast metal' koḍa ‘one’(Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the circumscript signifies 'cast metal workshop'. meD 'body' Rebus: meD 'iron'.
khareḍo = a currycomb (G.) Rebus: kharādī‘turner’ (Gujarati)
PLUSmẽṛhẽt, meḍ ‘iron’; kol 'working in iron'. Together, the two hieroglyphs
signify metalworker, ironsmith turner.
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erga = act of clearing jungle (Kui) [Note image showing two men carrying
uprooted trees] thwarted by a person in the middle with outstretched hands
Aḍaru twig; aḍiri small and thin branch of a tree; aḍari small branches (Ka.); aḍaru twig (Tu.)(DEDR 67). Aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) Vikalpa: kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali) ḍhaṁkhara — m.n. ʻbranch without leaves or fruitʼ (Prakrit) (CDIAL 5524)
Hieroglyph: era female, applied to women only, and generally as a mark of respect, wife; hopon era a daughter; era hopon a man’s family; manjhi era the village chief’s wife; gosae era a female Santal deity; bud.hi era an old woman; era uru wife and children; nabi era a prophetess; diku era a Hindu woman (Santali)
heraka = spy (Skt.); eraka, hero = a messenger; a spy (Gujarati);er to look at or for (Pkt.); er uk- to play 'peeping tom' (Ko.) Rebus: erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.) eraka ‘copper’ (Kannada)
kōṭu branch of tree, Rebus: खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge.
kola ‘tiger, jackal’ (Kon.); rebus: kol working in iron, blacksmith, ‘alloy of five metals, panchaloha’ (Tamil) kol ‘furnace, forge’ (Kuwi) kolami ‘smithy’ (Telugu)
^ Inverted V, m478 (lid above rim of narrow-necked jar) The rimmed jar next to the tiger with turned head has a lid. Lid ‘ad.aren’; rebus: aduru ‘native metal’ karnika 'rim of jar' Rebus: karni 'supercargo' (Marathi) Thus, together, the jar with lid composite hieroglyhph denotes 'native metal supercargo'. karn.aka = handle of a vessel; ka_n.a_, kanna_ = rim, edge; kan.t.u = rim of a vessel; kan.t.ud.iyo = a small earthen vessel; kan.d.a kanka = rim of a water-pot; kan:kha, kankha = rim of a vessel
Comparable hieroglyph of kneeling adorant with outstretched hands occurs on a Mohenjo-daro seal m1186, m478A tablet and on Harappa tablet h177B:
Rebus readings: maṇḍa ‘ some sort of framework (?) ʼ. [In nau - maṇḍḗ n. du. ʻ the two sets of poles rising from the thwarts or the two bamboo covers of a boat (?) ʼ ŚBr. Rebus: M. mã̄ḍ m. ʻ array of instruments &c. ʼ; Si. maḍa -- ya ʻ adornment, ornament ʼ. (CDIAL 9736) kamaḍha 'penance' (Pkt.)Rebus: kampaṭṭam 'mint' (Tamil) battuḍu. n. A worshipper (Telugu) Rebus: pattar merchants (Tamil), perh. Vartaka (Skt.)
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m1186 seal. kaula— m. ‘worshipper of Śakti according to left—hand ritual’, khōla—3 ‘lame’; Khot. kūra— ‘crooked’ BSOS ix 72 and poss. Sk. kōra— m. ‘movable joint’ Suśr.] Ash. kṓlƏ ‘curved, crooked’; Dm. kōla ‘crooked’, Tir. kṓolƏ; Paš. kōlā́ ‘curved, crooked’, Shum. kolā́ṇṭa; Kho. koli ‘crooked’, (Lor.) also ‘lefthand, left’; Bshk. kōl ‘crooked’; Phal. kūulo; Sh. kōlu̯ ‘curved, crooked’ (CDIAL 3533).
Rebus: kol ‘pancaloha’ (Tamil)
bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)
saman 'make an offering (Santali) samanon 'gold' (Santali)
The rice plant adorning the curved horn of the person (woman?) with the pig-tail is kolmo; read rebus, kolme ‘smithy’. Smithy of what? Kol ‘pancaloha’. The curving horn is: kod.u = horn; rebus: kod. artisan’s workshop (Kuwi)
The long curving horns may also connote a ram on h177B tablet:
Hieroglyph: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meD 'iron' (Mu.Ho.Santali) Rebus: medha 'yajna'
Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:
Sa. <i>mE~R~hE~'d</i> `iron'. ! <i>mE~RhE~d</i>(M).
m1457Bct Text 2904 Pict-124: Endless knot motif. The hypertext on two lines are read rebus:
Hieroglyph: मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) .L. meṛh f. ʻrope tying oxen to each other'.mer.ha = twisted, crumpled, as a horn (Santali.lex.) meli, melika = a turn, a twist, a loop, entanglement. Viewed as a string or strand of rope, the gloss is read rebus as dhāu ʻore (esp. of copper)ʼ. The specific ore is:
dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.) S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773 ) Rebus: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn.Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ)(CDIAL 6773).
Line 1: ad.ar 'harrow'; rebus: aduru 'native metal, unsmelted' (Kannada)
baTa 'warrior' rebus: bhaTa 'furnace'
karNika 'rim of jar' rebus: karNI 'supercargo'; karNaka 'account'. Alternative: kanka 'rim of jar' rebus: kanga 'brazier'.
Line 2: ad.ar 'harrow'; rebus: aduru 'native metal, unsmelted' (Kannada)
aya 'fish' rebus: aya, ayas 'iron''metal'
dula 'pair' rebus: dul 'cast metal' PLUS goTa 'round' rebus: goTa 'laterite ore'
Thus, read together with Lines 1 and 2 of Hypertext, the copper plate m1457 with the 'endless knot' hieroglyph signifies: copper smithy. The descriptive glosses of the metalwork catalogue are: karNi 'supercargo' of med 'copper', dhāu 'metal'; kolimi 'furnace'; dul goTa kaNDa 'cast laterite ore implements'; ayas 'metal alloy'; furnace for aduru 'native (unsmelted) metal'. Alternative: kanka 'rim of jar' rebus: kanga 'brazier'.
Rojdi. Ax-head or knife of copper, 17.4 cm. long (After Possehl and Raval 1989: 162, fig. 77. The endless knot hieroglyph on the copper knife indicates that the alloying element is: red ore of copper: med 'copper', dhāu 'metal'.
Image may be NSFW. Clik here to view.m1356, m443 table मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi) mer.ha = twisted, crumpled, as a horn (Santali.lex.) meli, melika = a turn, a twist, a loop, entanglement; meliyu, melivad.u, meligonu = to get twisted or entwined (Te.lex.) [Note the endless knot motif]. Rebus: med. ‘iron’ (Mu.) Rebus: medh 'yajna' sattva 'svastika glyph' Rebus: sattva, jasta 'zinc'.
The set of hieroglyphs deciphered as: 1. zinc-pewter and 2. bronze:1. jasta, sattva and 2. kuṭila
Hieroglyph: kuṛuk 'coil' Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass'Old Englishār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ.(CDIAL 2984)
Hieroglyph: kuṭi in cmpd. ʻ curve ʼ, kuṭika -- ʻ bent ʼ MBh. [√kuṭ1] Ext. in H. kuṛuk f. ʻ coil of string or rope ʼ; M. kuḍċā m. ʻ palm contracted and hollowed ʼ, kuḍapṇẽ ʻ to curl over, crisp, contract ʼ. (CDIAL 3230)
kuṭilá ʻ bent, crooked ʼ KātyŚr., °aka -- Pañcat., n. ʻ a partic. plant ʼ lex. [√kuṭ1] Pa. kuṭila -- ʻ bent ʼ, n. ʻ bend ʼ; Pk. kuḍila -- ʻ crooked ʼ, °illa -- ʻ humpbacked ʼ, °illaya -- ʻ bent ʼ(CDIAL 3231) kauṭilya n. ʻ crookedness ʼ Pāṇ., ʻ falsehood ʼ Pañcat. 2. *kauṭiliya -- . [kuṭilá -- ]
1. Pa. kōṭilla -- n. ʻ crookedness ʼ; Pk. kōḍilla -- m. ʻ backbiter ʼ.2. Pa. kōṭilya -- n. ʻ crookedness ʼ; Si. keḷilla, st. °ili<-> ʻ bending of the knees ʼ, °illen in̆dinavā ʻ to squat ʼ.(CDIAL 3557)
Image may be NSFW. Clik here to view.The Shahdad standard has the 'twisted strand' hieroglyph together with tree, zebu, lion, woman. kuTi 'tree' rebus: kuThi 'smelter' poLa 'zebu' rebus: poLa 'magnetite' arye 'lion' rebus: Ara 'brass' meD 'twist' rebus: meD 'iron, copper, metal'. kola 'woman' rebus: kolhe 'smelter' kol 'working in iron'.
kuṭi ‘tree’. Rebus: kuṭhi ‘smelter’ (Santali). The two trees are shown ligatured to a rectangle with ten square divisions and a dot in each square. The dot may denote an ingot in a furnace mould. Glyph of rectangle with divisions: baṭai = to divide, share (Santali) [Note the glyphs of nine rectangles divided.] Rebus: bhaṭa = an oven, kiln, furnace (Santali)
meṛhao = v.a.m. entwine itself; wind round, wrap round roll up (Santali); maṛhnā cover, encase (Hindi) (Santali.lex.Bodding) Rebus: meḍ ‘iron’ (Mu.Ho.) mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Mu.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda)mẽṛhẽt‘iron’; mẽṛhẽt icena ‘the iron is rusty’; ispat mẽṛhẽt‘steel’, dul mẽṛhẽt‘cast iron’;mẽṛhẽt khaṇḍa ‘iron implements’ (Santali) meḍ. (Ho.)(Santali.lex.Bodding) meṛed, mṛed, mṛdiron; enga meṛed soft iron; sanḍi meṛed hard iron; ispāt meṛed steel; dul meṛed cast iron; i meṛed rusty iron, also the iron of which weights are cast; bica meṛed iron extracted from stone ore; bali meṛed iron extracted from sand ore (Mu.lex.)
Votive bas-relief of Dudu, priest of Ningirsu in the time of Entemena, prince of LagashC. 2400 BCE Tello (ancient Girsu) Bituminous stone H. 25 cm; W. 23 cm; Th. 8 cm De Sarzec excavations, 1881 AO 2354
This work is part of the collections of the Louvre (Department of Near Eastern Antiquities).Louvre Museum: excavated by Ernest de Sarzec. Place: Girsu (modern city of Telloh, Iraq). Musée du Louvre, Atlas database: entry 11378Votive relief of Dudu, priest of Ningirsu, in the days of King Entemena of Lagash. Oil shale, ca. 2400 BC. Found in Telloh, ancient city of Girsu. |H. 25 cm (9 ¾ in.), W. 23 cm (9 in.), D. 8 cm (3 in.)
Hieroglyph: arye 'lion' (Akkadian) Rebus: Ara 'brass'
Hieroglyph: dām m. ʻ young ungelt ox ʼ: damya ʻ tameable ʼ, m. ʻ young bullock to be tamed ʼ Mn. [~ *dāmiya -- . -- √dam]Pa. damma -- ʻ to be tamed (esp. of a young bullock) ʼ; Pk. damma -- ʻ to be tamed ʼ; S. ḍ̠amu ʻ tamed ʼ; -- ext. -- ḍa -- : A. damrā ʻ young bull ʼ, dāmuri ʻ calf ʼ; B.dāmṛā ʻ castrated bullock ʼ; Or. dāmaṛī ʻ heifer ʼ, dāmaṛiā ʻ bullcalf, young castrated bullock ʼ, dāmuṛ, °ṛi ʻ young bullock ʼ.Addenda: damya -- : WPah.kṭg. dām m. ʻ young ungelt ox ʼ.(CDIAL 6184). This is a phonetic determinative of the 'twisted rope' hieroglyph: dhāī˜ f.dāˊman1ʻ rope ʼ (Rigveda)
Alternative: kōḍe, kōḍiya. [Tel.] n. A bullcalf. Rebus: koḍ artisan’s workshop (Kuwi) kunda ‘turner’ kundār turner (Assamese) मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f. ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)
After Fig. 52, p.85 in Prudence Hopper opcit. Plaque with male figures, serpents and quadruped. Bitumen compound. H. 9 7/8 in (25 cm); w. 8 ½ in. (21.5 cm); d. 3 3/8 in. (8.5 cm). ca. 2600-2500 BCE. Acropole, temple of Ninhursag Sb 2724. The scene is described: “Two beardless, long-haired, nude male figures, their heads in profile and their bodies in three-quarter view, face the center of the composition…upper centre, where two intertwined serpents with their tails in their mouths appear above the upraised hands. At the base of the plaque, between the feet of the two figures, a small calf or lamb strides to the right. An irregular oblong cavity or break was made in the centre of the scene at a later date.”
The hieroglyphs on this plaque are: kid and endless-knot motif (or three strands of rope twisted).
Hieroglyph: 'kid': करडूं or करडें (p. 137) [ karaḍū or ṅkaraḍēṃ ] n A kid. कराडूं (p. 137) [ karāḍūṃ ] n (Commonly करडूं) A kid. Rebus: करडा (p. 137) [ karaḍā ] Hard from alloy--iron, silver &c.(Marathi)
I suggest that the center of the composition is NOT set of intertwined serpents, but an endless knot motif signifying a coiled rope being twisted from three strands of fibre.
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Bogazkoy Seal impression: Two-headed eagle, a twisted cord below. From Bogazköy . 18th c. BCE (Museum Ankara). eruvai 'kite' Rebus: eruvai 'copper' dhAtu 'strands of rope' Rebus: dhAtu 'mineral' (Note the three strands of the rope hieroglyph on the seal impression from Bogazkoy; it is read: tridhAtu 'three mineral elements'). It signifies copper compound of three minerals; maybe, arsenic copper? or arsenic bronze, as distinct from tin bronze?
Sulfide deposits frequently are a mix of different metal sulfides, such as copper, zinc, silver, lead, arsenic and other metals. (Sphalerite (ZnS2), for example, is not uncommon in copper sulfide deposits, and the metal smelted would be brass, which is both harder and more durable than bronze.)The metals could theoretically be separated out, but the alloys resulting were typically much stronger than the metals individually.
Hieroglyph: धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g.त्रि-ध्/आतु , threefold &c ; cf.त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c (Monier-Williams) dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773)
Rebus: M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ;(CDIAL 6773) धातु primary element of the earth i.e. metal , mineral, ore (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]) (Monier-Williams. Samskritam)
There are two Railway stations in India called Dharwad and Ib. Both are related to Prakritam words with the semantic significance: iron worker, iron ore.
dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ (Marathi)(CDIAL 6773)
Svastika hieroglyph multiplex is a remarkable hypertext of Indus Script Corpora, which signify catalogus catalogorum of metalwork. Svastika signifies zinc metal, spelter. This validates Thomas Wilson's indication --after a wide-ranging survey of migrations of the hieroglyph across Eurasia and across continents -- that svastika symbol connoted a commodity, apart from its being a hieroglyph, a sacred symbol in many cultures. "Spelter, while sometimes used merely as a synonym for zinc, is often used to identify a zinc alloy. In this sense it might be an alloy of equal parts copper and zinc, i.e. a brass, used for hard soldering and brazing, or as an alloy, containing lead, that is used instead of bronze." https://en.wikipedia.org/wiki/Spelter
Hieroglyph: sattva 'svastika' glyph Rebus: sattu, satavu, satuvu 'pewter' (Kannada) సత్తుతపెల a vessel made of pewter ज&above;स्ति&below; । त्रपुधातुविशेषनिर्मितम् jasthजस्थ। त्रपुm. (sg. dat.jastasजस्तस्), zinc, spelter; pewter.
मेढा [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. 3 A twist or tangle arising in thread or cord, a curl or snarl.(Marathi) Rebus: meḍ 'iron, copper' (Munda. Slavic)
dhollu ‘drummer’ (Western Pahari) Rebus: dul ‘cast metal’
The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha brass (i.e. alloy of copper + zinc). Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जसथ् ।रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath ् ज़स््थ् ्or zasuth ज़सुथ ्। रप m. (sg. dat. zastas ु ज़्तस),् zinc, spelter, pewter (cf. Hindī jast). jastuvu; । रपू्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter).
*ṭhaṭṭha1 ʻbrassʼ. [Onom. from noise of hammering brass?]N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 1.Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H.ṭhaṭherā m.(CDIAL 5491, 5493).
The drummer hieroglyph is associated with svastika glyph on this tablet (har609) and also on h182A tablet of Harappa with an identical text.
dhollu ‘drummer’ (Western Pahari) Rebus: dul ‘cast metal’. The 'drummer' hieroglyph thus announces a cast metal. The technical specifications of the cast metal are further described by other hieroglyphs on side B and on the text of inscription (the text is repeated on both sides of Harappa tablet 182).
kola 'tiger' Rebus: kol 'alloy of five metals, pancaloha' (Tamil). ḍhol ‘drum’ (Gujarati.Marathi)(CDIAL 5608) Rebus: large stone; dul ‘to cast in a mould’. Kanac ‘corner’ Rebus: kancu ‘bronze’. dula 'pair' Rebus: dul 'cast metal'. kanka ‘Rim of jar’ (Santali); karṇaka rim of jar’(Skt.) Rebus:karṇaka ‘scribe’ (Telugu); gaṇaka id. (Skt.) (Santali) Thus, the tablets denote blacksmith's alloy cast metal accounting including the use of alloying mineral zinc -- satthiya 'svastika' glyph.
śrivatsa symbol [with its hundreds of stylized variants, depicted on Pl. 29 to 32] occurs in Bogazkoi (Central Anatolia) dated ca. 6th to 14th cent. BCE on inscriptions Pl. 33, Nandipāda-Triratna at: Bhimbetka, Sanchi, Sarnath and Mathura] Pl. 27, Svastika symbol: distribution in cultural periods] The association of śrivatsa with ‘fish’ is reinforced by the symbols binding fish in Jaina āyāgapaṭas (snake-hood?) of Mathura (late 1st cent. BCE). śrivatsa symbol seems to have evolved from a stylied glyph showing ‘two fishes’. In the Sanchi stupa, the fish-tails of two fishes are combined to flank the ‘śrivatsa’ glyph. In a Jaina āyāgapaṭa, a fish is ligatured within the śrivatsa glyph, emphasizing the association of the ‘fish’ glyph with śrivatsa glyph. (After Plates in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi, Agama Kala Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77) I suggest that it reads sattva. Its rebus rendering and meaning is zastas 'spelter or sphalerite or sulphate of zinc.' Zinc occurs in sphalerite, or sulphate of zinc in five colours. The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha ʻbrassʼ(i.e. alloy of copper + zinc). Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जस्थ। त्रपु m. (sg. dat. jastas जस्तस्), zinc, spelter; pewter; zasath ज़स््थ् or zasuth ज़सुथ् । त्रपु m. (sg. dat. zastas ज़स्तस्), zinc, spelter, pewter (cf. Hindī jast). jastuvu; । त्रपूद्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter).See five svastika on Mohenjodaro prism tablet (m488)
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Ujjain, ca. 200 BCE, Copper, 1.81g, Multi-symbols with Swastika to left. Association of 'svastika' hieroglyph with 'dotted circle' indicates that the scribe intends to show that 'svastika' signifying zinc is a metal out of a smelter, kanda 'fire-altar'.
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Saurashatra (Gujarat), ca. 100 BCE, Copper, 5.83g, Double Swastika with Nandi-pad arms
The svastika hieroglyph on Saurashtra (ca. 100 BCE) coin shows a variant with a 'twist' hieroglyph ligatured to each of the four arms of the svastika glyph.
This is an orthographic determinant of the nature of the object denoted by svastika, spelter, zinc ore. The tagged 'twist' glyph denotes: meḍ 'twist' rebus: meḍ 'iron, copper, metal'. Thus, zinc/spelter is identified as a metallic ore and signified as such on this hieroglyph variant on Saurashtra coin of ca. 100 BCE.
A corollary result of this exposition is that the so-called ‘nandipada’ symbol of historical period epigraphs has to be explained as ‘twist’ hieroglyph: meḍ 'twist' rebus: meḍ 'iron, copper, metal'.
Indus Script hieroglyph svastika signifies zinc metal
This monograph presents the evolution of Brahmi syllable for ma- and presents comparable deciphered hieroglyphs from Indus Script Corpora to affirm the continuum of the writing tradition of Bhāratam Janam, 'metalcaster folk'. Thus, together, four consonants ḍha- dha-, ka-, ma-signified by Brahmi syllables are traceable to the tradition of Indus Script Corpora which is a catalogus catalogorum of metalwork. Brahmi syllabic orthography and evolution over time from ca. 300 BCE is presented in the following table: Image may be NSFW. Clik here to view.
Image may be NSFW. Clik here to view. Brahmi syllable ma- is a 'knot' hieroglyph, a continuum fom Indus Script Corpora wherein the 'knot' hieroglyph signified meḍ 'iron, copper, metal'.
dhāu 'rope' rebus: dhāu 'metal' PLUS मेढा[ mēḍhā ] 'a curl or snarl; twist in thread' rebus: mẽṛhẽt, meḍ ‘iron’. Thus, metallic ore.
Hieroglyph: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meD 'iron' (Mu.Ho.Santali)
Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:
Sa. <i>mE~R~hE~'d</i> `iron'. ! <i>mE~RhE~d</i>(M).
One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.
Hieroglyph: చీమ [ cīma ] chīma. [Tel.] n. An ant. కొండచీమ. the forest ant. రెక్కలచీమ a winged ant. పారేచీమను వింటాడు he can hear an ant crawl, i.e., he is all alive.చీమదూరని అడవి a forest impervious even to an ant. చలిచీమ a black ant; పై పారేపక్షి కిందపారే చీమ (proverb) The bird above, the ant below, i.e., I had no chance with him. చీమంత of the size of an ant. చీమపులిchīma-puli. n. The ant lion, an ant-eater. Rebus: †cīmara -- ʻ copper ʼ in cīmara -- kāra -- ʻ coppersmith ʼ in Saṁghāṭa -- sūtra Gilgit MS. 37 folio 85 verso, 3 (= zaṅs -- mkhan in Tibetan Pekin text Vol. 28 Japanesefacsimile 285 a 3 which in Mahāvyutpatti 3790 renders śaulbika -- BHS ii 533. But the Chinese version (Taishō issaikyō ed. text no. 423 p. 971 col. 3, line 2) has t'ie ʻ iron ʼ: H. W. Bailey 21.2.65). [The Kaf. and Dard. word for ʻ iron ʼ appears also in Bur. čhomār, čhumər. Turk. timur (NTS ii 250) may come from the same unknown source. Semant. cf. lōhá -- ]Ash. ċímä, ċimə ʻ iron ʼ (ċiməkára ʻ blacksmith ʼ), Kt. čimé;, Wg. čümāˊr, Pr. zíme, Dm. čimár(r), Paš.lauṛ. čimāˊr, Shum. čímar, Woṭ. Gaw. ċimár,Kal. čīmbar, Kho. čúmur, Bshk. čimer, Tor. čimu, Mai. sē̃war, Phal. čímar, Sh.gil. čimĕr (adj. čĭmārí), gur. čimăr m., jij. čimer, K. ċamuru m. (adj.ċamaruwu).(CDIAL 14496) చీముంత [ cīmunta ] chīmunta.. [Tel.] n. A metal vessel. చెంబు.
kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (Gujarati) rebus: kammaṭa 'mint' (Kannada) Ta. kampaṭṭamcoinage, coin.Ma. kammaṭṭam, kammiṭṭamcoinage,mint.Ka. kammaṭaid.;kammaṭia coiner.(DEDR 1236) kaNDa 'arrow' rebus: kANDa 'pots and pans, implements'
Image may be NSFW. Clik here to view.'twist' hieroglyph PLUS (ligature) 'linear stroke' hieroglyph. meD 'twist, curl' rebus: meD 'iron, copper,metal' PLUS koD 'one' rebus: koD 'workshop' dhAv 'strand' rebus: dhAv 'ore, element, dhAtu'
Together, the inscription on h131 reads: meD koD 'metals ores workshop or smelter/smithy' PLUS meD kANDa 'metal (iron) implements' PLUS cīmara'copper' kammaṭa 'mint'.
Image may be NSFW. Clik here to view.The Shahdad standard has the 'twisted strand' hieroglyph together with tree, zebu, lion, woman. kuTi 'tree' rebus: kuThi 'smelter' poLa 'zebu' rebus: poLa 'magnetite' arye 'lion' rebus: Ara 'brass' meD 'twist' rebus: meD 'iron, copper, metal'. kola 'woman' rebus: kolhe 'smelter' kol 'working in iron'.
kuṭi ‘tree’. Rebus: kuṭhi ‘smelter’ (Santali). The two trees are shown ligatured to a rectangle with ten square divisions and a dot in each square. The dot may denote an ingot in a furnace mould. Glyph of rectangle with divisions: baṭai = to divide, share (Santali) [Note the glyphs of nine rectangles divided.] Rebus: bhaṭa = an oven, kiln, furnace (Santali)
meṛhao = v.a.m. entwine itself; wind round, wrap round roll up (Santali); maṛhnā cover, encase (Hindi) (Santali.lex.Bodding) Rebus: meḍ ‘iron’ (Mu.Ho.) mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Mu.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda)mẽṛhẽt‘iron’; mẽṛhẽt icena ‘the iron is rusty’; ispat mẽṛhẽt‘steel’, dul mẽṛhẽt‘cast iron’;mẽṛhẽt khaṇḍa ‘iron implements’ (Santali) meḍ. (Ho.)(Santali.lex.Bodding) meṛed, mṛed, mṛdiron; enga meṛed soft iron; sanḍi meṛed hard iron; ispāt meṛed steel; dul meṛed cast iron; i meṛed rusty iron, also the iron of which weights are cast; bica meṛed iron extracted from stone ore; bali meṛed iron extracted from sand ore (Mu.lex.)
Votive bas-relief of Dudu, priest of Ningirsu in the time of Entemena, prince of LagashC. 2400 BCE Tello (ancient Girsu) Bituminous stone H. 25 cm; W. 23 cm; Th. 8 cm De Sarzec excavations, 1881 AO 2354
This work is part of the collections of the Louvre (Department of Near Eastern Antiquities).Louvre Museum: excavated by Ernest de Sarzec. Place: Girsu (modern city of Telloh, Iraq). Musée du Louvre, Atlas database: entry 11378Votive relief of Dudu, priest of Ningirsu, in the days of King Entemena of Lagash. Oil shale, ca. 2400 BC. Found in Telloh, ancient city of Girsu. |H. 25 cm (9 ¾ in.), W. 23 cm (9 in.), D. 8 cm (3 in.)
Hieroglyph: dhA 'rope strand' Rebus: dhAtu 'mineral element' Alternative: मेढा[ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) eruvai 'eagle'
Rebus: eruvai 'copper'.
eraka 'wing' Rebus: erako 'moltencast copper'.
Hieroglyph: arye 'lion' (Akkadian) Rebus: Ara 'brass'
Hieroglyph: dām m. ʻ young ungelt ox ʼ: damya ʻ tameable ʼ, m. ʻ young bullock to be tamed ʼ Mn. [~ *dāmiya -- . -- √dam]Pa. damma -- ʻ to be tamed (esp. of a young bullock) ʼ; Pk. damma -- ʻ to be tamed ʼ; S. ḍ̠amu ʻ tamed ʼ; -- ext. -- ḍa -- : A. damrā ʻ young bull ʼ, dāmuri ʻ calf ʼ; B.dāmṛā ʻ castrated bullock ʼ; Or. dāmaṛī ʻ heifer ʼ, dāmaṛiā ʻ bullcalf, young castrated bullock ʼ, dāmuṛ, °ṛi ʻ young bullock ʼ.Addenda: damya -- : WPah.kṭg. dām m. ʻ young ungelt ox ʼ.(CDIAL 6184). This is a phonetic determinative of the 'twisted rope' hieroglyph: dhāī˜ f.dāˊman1ʻ rope ʼ (Rigveda)
Alternative: kōḍe, kōḍiya. [Tel.] n. A bullcalf. Rebus: koḍ artisan’s workshop (Kuwi) kunda ‘turner’ kundār turner (Assamese) मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f. ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)
After Fig. 52, p.85 in Prudence Hopper opcit. Plaque with male figures, serpents and quadruped. Bitumen compound. H. 9 7/8 in (25 cm); w. 8 ½ in. (21.5 cm); d. 3 3/8 in. (8.5 cm). ca. 2600-2500 BCE. Acropole, temple of Ninhursag Sb 2724. The scene is described: “Two beardless, long-haired, nude male figures, their heads in profile and their bodies in three-quarter view, face the center of the composition…upper centre, where two intertwined serpents with their tails in their mouths appear above the upraised hands. At the base of the plaque, between the feet of the two figures, a small calf or lamb strides to the right. An irregular oblong cavity or break was made in the centre of the scene at a later date.”
The hieroglyphs on this plaque are: kid and endless-knot motif (or three strands of rope twisted).
Hieroglyph: 'kid': करडूं or करडें (p. 137) [ karaḍū or ṅkaraḍēṃ ] n A kid. कराडूं (p. 137) [ karāḍūṃ ] n (Commonly करडूं) A kid. Rebus: करडा (p. 137) [ karaḍā ] Hard from alloy--iron, silver &c.(Marathi)
I suggest that the center of the composition is NOT set of intertwined serpents, but an endless knot motif signifying a coiled rope being twisted from three strands of fibre.
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Bogazkoy Seal impression: Two-headed eagle, a twisted cord below. From Bogazköy . 18th c. BCE (Museum Ankara). eruvai 'kite' Rebus: eruvai 'copper' dhAtu 'strands of rope' Rebus: dhAtu 'mineral' (Note the three strands of the rope hieroglyph on the seal impression from Bogazkoy; it is read: tridhAtu 'three mineral elements'). It signifies copper compound of three minerals; maybe, arsenic copper? or arsenic bronze, as distinct from tin bronze?
Sulfide deposits frequently are a mix of different metal sulfides, such as copper, zinc, silver, lead, arsenic and other metals. (Sphalerite (ZnS2), for example, is not uncommon in copper sulfide deposits, and the metal smelted would be brass, which is both harder and more durable than bronze.)The metals could theoretically be separated out, but the alloys resulting were typically much stronger than the metals individually.
Hieroglyph: धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g.त्रि-ध्/आतु , threefold &c ; cf.त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c (Monier-Williams) dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773)
Rebus: M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ;(CDIAL 6773) धातु primary element of the earth i.e. metal , mineral, ore (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]) (Monier-Williams. Samskritam)
The 'endless knot' hieroglyph can be interpreted as composed of two related semantics: 1. strand of rope or string; 2. twist or curl
Twisted rope as hieroglyph:
dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.) S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773 ) Rebus: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn.Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ)(CDIAL 6773).
dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ
The suffix -vaḍ is relatable to the semantics of vaTam ‘string’.(as may be seen in the expressions in vogue in Tamil) Thus, dhā̆vaḍ can be elaborated as a compound made of dhA PLUS vaTam, i.e. layers of minerals or elements in the smelting process.
அணிவடம் aṇi-vaṭam
, n. < அணி- +. Ornamental string of jewels, necklace; கழுத்திலணியுமாலை.
அரைவடம் arai-vaṭam
, n. < id. +. String of beads round the waist, worn by little children; அரைச்சதங்கை.அரைவடங்கள் கட்டி (திருப்பு. 2).
ஈர்வடம் īr-vaṭam
, n. < ஈர்³ +. Rope made of the ribs of the palmyra leaf; பனை யீர்க்குக்கயிறு. (J.)
ஏகவடம் ēka-vaṭam
, n. < id. +. Necklace of a single string. See ஏகாவலி. பொங்கிள நாகமொரேகவடத்தோடு (தேவா. 350, 7)
கால்வடம் kāl-vaṭam
, n. < கால்¹ +. Foot- ornament strung with pearls; காலணிவகை. திருக்கால்வடமொன்றிற் கோத்த (S.I.I. ii, 397, 205).
சபவடம் capa-vaṭam
, n. < சபம்¹ +. String of beads for keeping count in prayer, rosary; செபமாலை. சபவடமும்வெண்ணூல் மார்பும் (திருவாலவா. 27, 51).
தாழ்வடம் tāḻ-vaṭam
, n. < id. +. 1. [M. tāḻvaṭam.] Necklace of pearls or beads; கழுத் தணி. தாவி றாழ்வடம்தயங்க (சீவக. 2426).
தேர்வடம் tēr-vaṭam
, n. < id. +. Cable, thick rope for drawing a car; தேரிழுத்தற்குரிய பெரிய கயிற்றுவடம்.மணலையு மேவுதேர்வட மாக்க லாம் (அருட்பா, vi, வயித்திய. 4).
வடம்¹vaṭam ,n. <vaṭa. 1. Cable, large rope, as for drawing a temple-car; கனமான கயிறு. வடமற்றது (நன். 219, மயிலை.). 2. Cord; தாம்பு. (சூடா.) 3. A loop of coir rope, used for climbing palm-trees; மரமேறவுதவுங் கயிறு.Loc. 4. Bowstring; வில்லின் நாணி. (பிங்.) 5. String of jewels; மணிவடம். வடங்கள் அசையும்படி உடுத்து(திருமுரு. 204, உரை). (சூடா.) 6. Strands of a garland; chains of a necklace; சரம். இடை மங்கை கொங்கைவடமலைய (அஷ்டப். திருவேங்கடத் தந். 39). 7. Arrangement; ஒழுங்கு. தொடங்கற் காலை வடம்படவிளங்கும் (ஞானா. 14, 41).
There are two Railway stations in India called Dharwad and Ib. Both are related to Prakritam words with the semantic significance: iron worker, iron ore.
dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ (Marathi)(CDIAL 6773)
Svastika hieroglyph multiplex is a remarkable hypertext of Indus Script Corpora, which signify catalogus catalogorum of metalwork. Svastika signifies zinc metal, spelter. This validates Thomas Wilson's indication --after a wide-ranging survey of migrations of the hieroglyph across Eurasia and across continents -- that svastika symbol connoted a commodity, apart from its being a hieroglyph, a sacred symbol in many cultures. "Spelter, while sometimes used merely as a synonym for zinc, is often used to identify a zinc alloy. In this sense it might be an alloy of equal parts copper and zinc, i.e. a brass, used for hard soldering and brazing, or as an alloy, containing lead, that is used instead of bronze." https://en.wikipedia.org/wiki/Spelter
Hieroglyph: sattva 'svastika' glyph Rebus: sattu, satavu, satuvu 'pewter' (Kannada) సత్తుతపెల a vessel made of pewter ज&above;स्ति&below; । त्रपुधातुविशेषनिर्मितम् jasthजस्थ। त्रपुm. (sg. dat.jastasजस्तस्), zinc, spelter; pewter.
मेढा [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. 3 A twist or tangle arising in thread or cord, a curl or snarl.(Marathi) Rebus: meḍ 'iron, copper' (Munda. Slavic)
dhollu ‘drummer’ (Western Pahari) Rebus: dul ‘cast metal’
The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha brass (i.e. alloy of copper + zinc). Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जसथ् ।रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath ् ज़स््थ् ्or zasuth ज़सुथ ्। रप m. (sg. dat. zastas ु ज़्तस),् zinc, spelter, pewter (cf. Hindī jast). jastuvu; । रपू्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter).
*ṭhaṭṭha1 ʻbrassʼ. [Onom. from noise of hammering brass?]N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 1.Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H.ṭhaṭherā m.(CDIAL 5491, 5493).
The drummer hieroglyph is associated with svastika glyph on this tablet (har609) and also on h182A tablet of Harappa with an identical text.
dhollu ‘drummer’ (Western Pahari) Rebus: dul ‘cast metal’. The 'drummer' hieroglyph thus announces a cast metal. The technical specifications of the cast metal are further described by other hieroglyphs on side B and on the text of inscription (the text is repeated on both sides of Harappa tablet 182).
kola 'tiger' Rebus: kol 'alloy of five metals, pancaloha' (Tamil). ḍhol ‘drum’ (Gujarati.Marathi)(CDIAL 5608) Rebus: large stone; dul ‘to cast in a mould’. Kanac ‘corner’ Rebus: kancu ‘bronze’. dula 'pair' Rebus: dul 'cast metal'. kanka ‘Rim of jar’ (Santali); karṇaka rim of jar’(Skt.) Rebus:karṇaka ‘scribe’ (Telugu); gaṇaka id. (Skt.) (Santali) Thus, the tablets denote blacksmith's alloy cast metal accounting including the use of alloying mineral zinc -- satthiya 'svastika' glyph.
śrivatsa symbol [with its hundreds of stylized variants, depicted on Pl. 29 to 32] occurs in Bogazkoi (Central Anatolia) dated ca. 6th to 14th cent. BCE on inscriptions Pl. 33, Nandipāda-Triratna at: Bhimbetka, Sanchi, Sarnath and Mathura] Pl. 27, Svastika symbol: distribution in cultural periods] The association of śrivatsa with ‘fish’ is reinforced by the symbols binding fish in Jaina āyāgapaṭas (snake-hood?) of Mathura (late 1st cent. BCE). śrivatsa symbol seems to have evolved from a stylied glyph showing ‘two fishes’. In the Sanchi stupa, the fish-tails of two fishes are combined to flank the ‘śrivatsa’ glyph. In a Jaina āyāgapaṭa, a fish is ligatured within the śrivatsa glyph, emphasizing the association of the ‘fish’ glyph with śrivatsa glyph. (After Plates in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi, Agama Kala Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77) I suggest that it reads sattva. Its rebus rendering and meaning is zastas 'spelter or sphalerite or sulphate of zinc.' Zinc occurs in sphalerite, or sulphate of zinc in five colours. The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha ʻbrassʼ(i.e. alloy of copper + zinc). Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जस्थ। त्रपु m. (sg. dat. jastas जस्तस्), zinc, spelter; pewter; zasath ज़स््थ् or zasuth ज़सुथ् । त्रपु m. (sg. dat. zastas ज़स्तस्), zinc, spelter, pewter (cf. Hindī jast). jastuvu; । त्रपूद्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter).See five svastika on Mohenjodaro prism tablet (m488)
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Ujjain, ca. 200 BCE, Copper, 1.81g, Multi-symbols with Swastika to left. Association of 'svastika' hieroglyph with 'dotted circle' indicates that the scribe intends to show that 'svastika' signifying zinc is a metal out of a smelter, kanda 'fire-altar'.
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Saurashatra (Gujarat), ca. 100 BCE, Copper, 5.83g, Double Swastika with Nandi-pad arms
The svastika hieroglyph on Saurashtra (ca. 100 BCE) coin shows a variant with a 'twist' hieroglyph ligatured to each of the four arms of the svastika glyph.
This is an orthographic determinant of the nature of the object denoted by svastika, spelter, zinc ore. The tagged 'twist' glyph denotes: meḍ 'twist' rebus: meḍ 'iron, copper, metal'. Thus, zinc/spelter is identified as a metallic ore and signified as such on this hieroglyph variant on Saurashtra coin of ca. 100 BCE.
A corollary result of this exposition is that the so-called ‘nandipada’ symbol of historical period epigraphs has to be explained as ‘twist’ hieroglyph: meḍ 'twist' rebus: meḍ 'iron, copper, metal'.
One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.
'Arch' or 'roof' and 'comb' hieroglyphs on Ganweriwala tablet: some possible homonyms
mūdhʻ ridge of roof ʼ(Assamese)(CDIAL 10247) Rebus: mund 'iron' meḍ 'iron, copper, metal' Thus, meḍ kammaTa 'iron mint'.
Ta. vari (-v-, -nt-) to bind, tie, fasten, cover; (-pp-, -tt-) id., fix as the reepers of a tiled roof; n. tie, bondage; variccal, variccu reeper of a roof, transverse lath. Ma. variyuka to tie a network of strings, wire, bind tightly. Ir. bärī roof. ĀlKu. bari thatched roof. Ko. varj- (varj-) to wrap, wind; vayr roof. To. pary roof of hut. Tu. bariyuni to encase a bottle, jar, etc. in a kind of network. ? Kur. barndī ridge beam of a roof. (DEDR 5264) Rebus: baḍhi 'worker in wood and iron' (Santali) bāṛaï 'carpenter' (Bengali) bari 'merchant' barea'merchant' (Santali) vāḍhī, 'one who helps a merchant (Hemacandra Desinamamamala).بار برداريbār-bārdārī, s.f. (3rd) Means of conveyance, carriage, beasts of burden. Pl. ئِيaʿī. بارداره ښڅهbārdāraʿh ḵ́ẖaḏẕaʿh, s.f. (3rd) A pregnant woman. Pl. يْey. باريbārī, A beast of burden, carriage, fit for a load. هندو بارhindū bār, A place where Hindūs assemble, Hindūstān.rāh barī, s.f. (3rd) Guiding, conducting, guidance. Pl. ئِيaʿī. راه بري کولrāh barī kawul, verb trans. To guide, to conduct, to lead. (Pashto)
aṭṭa2 ʻ high ʼ, m. ʻ tower, watchtower ʼ Kālid., aṭṭaka -- m. ʻ tower ʼ lex. [Non -- aryan Mayrhofer EWA i 25]Pa. aṭṭa -- , °aka -- m. ʻ watchtower, platform, hide -- out in a tree ʼ; Pk. aṭṭa -- ʻ big ʼ, m.n. ʻ watchtower, room on roof ʼ; Paš. aṭ ʻ rock ʼ; Ku. āṭ, āṭi ʻ shelf in the kitchen ʼ; N. āṭ ʻ a mud shelf on which to keep vessels ʼ; A. āṭi, °iyā, ʻ high bank, prominence ʼ; H. aṭṭā m. ʻ heap ʼ, aṭā m. ʻ upper room ʼ, aṭiyā f. ʻ small thatched room on the roof ʼ; G. āṭ f. ʻ an arrangement of cow -- dung cakes to prevent the cooking -- pot from upsetting ʼ; Si. aṭuva ʻ platform, loft, structure over fireplace ʼ.(CDIAL 180)
*aṭṭa3 ʻ bundle ʼ. 2. *aṇṭa -- . 3. *aṭṭha -- 1. 4. *aṇṭha -- . 1. K. üṭü, dat. acĕ f. ʻ bundle, skein ʼ; L. aṭṭī f. ʻ skein ʼ, P. aṭṭā m., °ṭī f.; A. āṭi ʻ sheaf ʼ; B. āṭi ʻ sheaf, faggot ʼ; Or. āṭi ʻ sheaf, bundle ʼ; H. āṭī, aṭṭī f. ʻ twist, bundle, skein. ʼ 2. B. ã̄ṭi ʻ bundle ʼ; Bi. ã̄ṭī ʻ bundle of straw ʼ; Mth. ã̄ṭī ʻ bundle of grain divided between reaper and master ʼ; H. ã̄ṭī, aṇṭī f. ʻ bundle, skein, sheaf ʼ; G. ã̄ṭī f. ʻ skein of thread ʼ. 3. Pk. aṭṭhā -- f. ʻ handful ʼ.4. Ku. N. ã̄ṭho, ã̄ṭhi ʻ bundle, sheaf, plait of hair ʼ.(CDIAL 181)
Rebus: aṭṭāla m. ʻ watch -- tower ʼ R., °laka -- m. MBh., °likā -- f. ʻ palace ʼ. [aṭṭa -- 2]
Pa. aṭṭāla -- , °aka -- m. ʻ watch -- tower, room on roof or over gate ʼ; Pk. aṭṭālaya -- m.n. ʻ roof -- terrace ʼ; Kt. aṭól ʻ boulder ʼ, Pr. aṭāˊl ʻ high hill ʼ, Paš.aṭalā ʻ rock ʼ Morgenstierne NTS xv 252; L. awāṇ. aṭārī ʻ turret ʼ; P. aṭālā m. ʻ platform, mound, heap ʼ, aṭārī f. ʻ small room on roof ʼ; N. aṭāli ʻ balcony ʼ; A. āṭāl ʻ platform of bamboos laid across the beams of a house ʼ; Or. aṭāḷi ʻ palace, mansion ʼ, Bhoj. aṭārī; H. aṭāl, ṭāl f. ʻ heap ʼ, aṭālā, °ārā m. ʻ heap, high building ʼ, aṭārī f. ʻ thatched upper building ʼ; G. aṭārī (aṭālī lw. with l) f. ʻ balcony ʼ; M. aṭāḷā, aṭoḷā m. ʻ platform in cornfield ʼ, aṭāḷī f. ʻ terrace ʼ; Si.aṭalla ʻ scaffold, watch -- tower ʼ.(CDIAL 185) Ta. aṭṭam terraced roof, upper story. Ma. aṭṭam roof used as store-room, scaffold on four poles. Ko. aṭt loft, attic. To. oṭm (obl. oṭt-) place for firewood made of cords tied from side rafters to roof. Ka. aṭṭa upper loft in a house, apartment of roof, tower, buttress (one of the tatsamas). Koḍ. aṭṭa loft. Tu. aṭṭaupper loft, garret, upper room, ceiling; aṭṭaḷu an upstairs room; aṭṭoḷigè loft supported on posts, temporary gallery; kutt-aṭṭa, kutt-aṭṭè upper loft for storing rice. Te. aṭuka loft under the roof of a house; aṭṭaḍi, aṭṭamu fortified place in front of building, room or chamber built over gate of a fort; (VPK) aṭṭuka (aṭaka, aṭuka, aḍuku), aṭṭava (aṭava, aṭṭām) attic; aṭṭava a supporting roof (pandal) for creepers. Pa. aṭu attic room; aṭṭa bamboo framework for roof. Go.(Mu. Ma.) aṭṭe (pl. -ŋ) laths laid across rafters of roof; (Tr.) attē cross-bars of wood used in building the walls of a house (Voc. 29). Pe. āṭu attic (< Or.).Kur. aṭṭā raised platform, scaffold, loft in house. /Cf. Turner, CDIAL, no. 180; Burrow 1969.277 for uncertainty whether IA or Dr. in origin.(DEDR 93)
Altar, platform: Ta. mēṭai platform, raised floor, artificial mound, terraced house. Ma. mēṭa raised place, tower, upper story, palace. Te. mēḍa house with two or more stories, upper chamber. Pa. mēṛ ole bungalow. Go. (Ko.) mēṛā large house, bungalow (Voc. 2965). Konḍa mēṛa mide terraced building (see 5069). Pe. mēṛstoried house, mansion. Kuwi (S.) mēḍa illu storied house; (Isr.) mēṛa upstair building. / Cf. Skt. (lex.) meṭa- whitewashed storied house; Pkt. meḍaya- id. (DEDR 4796) మేడ (p. 1034) [ mēḍa ] mēḍa. [Tel.] n. A mansion or large house: an upper chamber, a storey,(Telugu) pīṭha n. ʻ stool, bench ʼ Gr̥S., °aka -- m.n. BhP., pīṭhī -- , °ṭhikā -- f. R. 2. *pēḍha -- 1. 3. *pēḍḍha -- . [Variety of form suggests non -- Aryan origin]
1. Pa. pīṭha -- , °aka -- n., pīṭhikā -- f.; Pk. pīḍha -- , °aga<-> n. ʻ stool ʼ, pīḍhī -- f. ʻ supporting beam of a house ʼ, °ḍhiā<-> f. ʻ a kind of seat ʼ; Pr. pīrə ʻ outside wall ʼ NTS xv 269; K. pīr, pīrü f. ʻ stool ʼ; S. pīṛhī f. ʻ throne ʼ; L. pihṛā m., °ṛī f. ʻ stool ʼ, awāṇ. pīˋṛā, P. pīṛhā m., °ṛhī f., Ku. pīṛo m.; N. pirā ʻ stool, bench ʼ; A. pirā ʻ stool ʼ, pīri ʻ beam of a boat, flat pieces of wood fixed crosswise over shafts of a cart ʼ; Or. piṛha ʻ altar, platform ʼ, piṛhā ʻ stool ʼ, piṛhi ʻ footstool ʼ; Bi. pīṛhā, °ṛhī, piṛhiyā ʻ wooden seat on which a woman sits at the handmill ʼ, piṛhiyā ʻ apex triangle in front of driver's seat in a cart ʼ, (Gaya) pīṛhā ʻ pastry -- board ʼ; Mth. pīṛhā, °ṛhi ʻ stool ʼ, Bhoj. pīṛhā, OAw. pīḍha; H. pīṛhā m. ʻ large square stool ʼ, pīṛhī f. ʻ small do. ʼ; G. pīḍhiyũ n. ʻ beam to which floor planks are fastened ʼ, pīḍhi f., ʻ molar tooth ʼ, pīḍhiyũ n. ʻ molar tooth, gums ʼ (cf. dantapīṭhāḥ m. pl. ʻ tooth sockets ʼ VS. com. and semant. bársva -- ʻ tooth -- socket ~ bunch, bolster ʼ P. Thieme ZDMG 62, 47); M. piḍhẽ n. ʻ stool ʼ; Si. piḷa, pila ʻ ledge along a house to sit on, veranda, portico ʼ.2. Pk. pēḍha -- m., °ḍhī -- , °ḍhiā -- f. ʻ stool ʼ.3. Paš.weg. nir. peṛāˊ ʻ stairs ʼ (IIFL iii 3, 147 < pīṭha -- ?); S. peḍhī f. ʻ shelf fixed in a wall ʼ; G. peḍhī f. ʻ step of a ladder ʼ; M. peḍhī f. ʻ raised place on the floor ʼ.(CDIAL 8222)
Pa.makuṭa -- m. ʻ crest ʼ; Pk.maüḍa -- ,maüla -- m.n. ʻ diadem; ʼH.mauṛ,mauṛā m.,maulī,maulṛī f. ʻ crown ʼ; OG.maüḍa m. ʻ crown ʼ(CDIAL 10144) Ta. mukaṭu top, highest part, ridge of a roof, hump of a camel, platform; mōṭu height, hill, eminence, top of a house, etc.;mucci crown of the head, tuft of hair on the head, crest. Ma. mukaṭu the head-end of a cloth; mukaḷ top, summit, ridge, roof. Ko.moyḷ ridge of roof. To. muxuḷ id.
Ka. mogaḍu, mogaḷu, magil id. Tu. mugili turret, top as of a temple; mōḍu hill. Te. mogaḍuridge of roof; mōḍu raised or high ground; (Inscr.) mōru peak. Go. (W. Ph.) mukur comb of cock (Voc. 2864). / Cf. Skt.mukuṭa-, mauli- crest, diadem; BHS, Pali makuṭa- id.; Pkt. maüla- id.; Turner, CDIAL, no. 10144.(DEDR 4888) Rebus: muhã 'quantity of metal produced out of smelter' (Santali)
Phal. kāṅga ʻ combing ʼ in ṣiṣ k° dūm ʻI comb my hairʼ khyḗṅgia, kēṅgī f.; kaṅghā m. ʻ large comb (Punjabi) káṅkata m. ʻ comb ʼ AV., n. lex., °tī -- , °tikã -- f. lex. 2. *kaṅkaṭa -- 2. 3. *kaṅkaśa -- . [Of doubtful IE. origin WP i 335, EWA i 137: aberrant -- uta -- as well as -- aśa -- replacing -- ata -- in MIA. and NIA.]1. Pk. kaṁkaya -- m. ʻ comb ʼ, kaṁkaya -- , °kaï -- m. ʻ name of a tree ʼ; Gy. eur. kangli f.; Wg. kuṇi -- přũ ʻ man's comb ʼ (for kuṇi -- cf. kuṇälík beside kuṅälíks.v. kr̥muka -- ; -- přũ see prapavaṇa -- ); Bshk. kēṅg ʻ comb ʼ, Gaw. khēṅgīˊ, Sv. khḗṅgiā, Tor. kyäṅg ʻ comb ʼ (Dard. forms, esp. Gaw., Sv., Phal. but not Sh., prob. ← L. P. type < *kaṅgahiā -- , see 3 below); Sh. kōṅyi̯ f. (→ Ḍ. k*lṅi f.), gil. (Lor.) kōĩ f. ʻ man's comb ʼ, kōũ m. ʻ woman's comb ʼ, pales. kōgō m. ʻ comb ʼ; K. kanguwu m. ʻ man's comb ʼ, kangañ f. ʻ woman's ʼ; WPah. bhad. kãˊkei ʻ a comb -- like fern ʼ, bhal. kãkei f. ʻ comb, plant with comb -- like leaves ʼ; N. kāṅiyo, kāĩyo ʻ comb ʼ, A. kã̄kai, B. kã̄kui; Or. kaṅkāi, kaṅkuā ʻ comb ʼ, kakuā ʻ ladder -- like bier for carrying corpse to the burning -- ghat ʼ; Bi. kakwā ʻ comb ʼ, kakahā, °hī, Mth. kakwā, Aw. lakh. kakawā, Bhoj. kakahī f.; H. kakaiyā ʻ shaped like a comb (of a brick) ʼ; G. (non -- Aryan tribes of Dharampur)kākhāī f. ʻ comb ʼ; M. kaṅkvā m. ʻ comb ʼ, kã̄kaī f. ʻ a partic. shell fish and its shell ʼ; -- S. kaṅgu m. ʻ a partic. kind of small fish ʼ < *kaṅkuta -- ? -- Ext. with --l -- in Ku. kã̄gilo, kāĩlo ʻ comb ʼ.2. G. (Soraṭh) kã̄gaṛ m. ʻ a weaver's instrument ʼ?3. L. kaṅghī f. ʻ comb, a fish of the perch family ʼ, awāṇ. kaghī ʻ comb ʼ; P. kaṅghā m. ʻ large comb ʼ, °ghī f. ʻ small comb for men, large one for women ʼ (→ H. kaṅghā m. ʻ man's comb ʼ, °gahī, °ghī f. ʻ woman's ʼ, kaṅghuā m. ʻ rake or harrow ʼ; Bi. kãgahī ʻ comb ʼ, Or. kaṅgei, M. kaṅgvā); -- G. kã̄gsī f. ʻ comb ʼ, with metath. kã̄sko m., °kī f.; WPah. khaś. kāgśī, śeu. kāśkī ʻ a comblike fern ʼ or < *kaṅkataśikha -- .WPah.kṭg. kaṅgi f. ʻ comb ʼ; J. kāṅgṛu m. ʻ small comb ʼ.(CDIAL 2598)
Gold workers operating out of the address of Stelkon Infratel in south Mumbai. Photo: Arunangsu Roy Chowdhury
Officials of six public sector banks involved in generation of funds.
The Directorate of Revenue Intelligence (DRI) in Mumbai has unearthed a ‘banking-hawala’ scam, in which reputed public sector banks illegally remitted Rs. 2,240 crore overseas based on forged documentation and declarations of traded goods by exporters and importers.
Inflated export bills
The funds, generated in connivance with officials of six public sector banks, were a result of duty drawbacks claimed on the basis of inflated export bills and, in most cases, non-existent imports. The actual import value of the goods was not more than Rs. 60 crore, said DRI officials, who did not wish to be identified.
The fictitious trade circuit was mostly controlled from the one-room office of Stelkon Infratel at Masjid Bunder in south Mumbai, while a chunk of the remittances was made by Punjab National Bank’s branch on Daryasthan Street at Mandvi, Masjid.
This branch alone, the DRI investigation revealed, remitted Rs. 1,398 crore without ‘any due diligence’ for verifying the identity of the clients or carrying out the necessary suspicious cash transaction reporting (STR/CTR) to the financial intelligence unit-India (FIU-IND).
‘Laundered money’
“There is also a violation of the Foreign Exchange Management Act, which controls the amount of money that can be remitted abroad,” a DRI official said. “This money has no legal history, so obviously it is laundered money.”
The office of Stelkon in Room 206, Building 56, Abdul Rehman Street, Mumbai, is currently deserted and occupied by artisans employed by a goldsmith.
“Stelkon staff moved out of the premises a month ago,” a staff member of the building contract firm told The Hindu. “The office was managed by a woman named Hanifa Sheikh. We don’t know where the firm operates from now.”
Another branch of Canara Bank in south Mumbai remitted Rs. 340 crore, while most of the alleged forged bills were provided by Disney International, operating out of Nagpada (also in south Mumbai), according to the investigation.
Officials said that, prima facie, the names of the unscrupulous companies in whose name goods were invoiced sound bogus, and they were indulging in trade-based money laundering allegedly on behalf of unknown jewellers and diamond merchants of south Mumbai. “We suspect that a circuit of jewellers and diamond merchants have connived with bank officials to carry out this forgery, with officials allowing submission of forged bills of entry into IceGate, the e-payment gateway,” said sources in the DRI.
A.K. Das, general manager, Canara Bank, Mumbai, said the bank was not aware of any foreign exchange or foreign remittances fraud being investigated by the DRI.
“We have no reported cases in Mumbai of this nature. The bank is doing its due diligence in checking mechanisms for such incidents,” he told The Hindu.
Suveer Khanna, a partner at KPMG said: “While public sector banks are speeding up to improve their monitoring mechanisms, the private banks have an early advantage in that they are invested into improving risk management systems. While banking regulations are in place to prevent such frauds, the onus is also on the banks to take responsibility for building stronger monitoring mechanisms.”
The DRI is said to have finished its probe and is in the process of submitting a report to the Central Bureau of Investigation and Enforcement Directorate.
Multiple layers of information seem to be conveyed by some Indus Script hieroglyphs. For example, variant rebus renderings with variant pronunciations (characteristic of Meluhha/Mleccha speech forms) relate a one-horned young bull + standard placed in front of the bull to the following variant semantic expansions (possibly over extended periods of time). Image may be NSFW. Clik here to view.Mosaic inlay found in temple of Ninni-zaza,Mari. Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.From Standard of Ur. Image may be NSFW. Clik here to view.Relief perforé du roi Ur-Nanshe See: http://www.louvre.fr/en/routes/sumerian-city-states Image may be NSFW. Clik here to view. Mosaic panel from the temple of Samash, Mari Image may be NSFW. Clik here to view. Fragment of a mural painting (2040-1870 BC) from the palace of Zimri-Lim, Mari (modern Tell Hariri, Iraq) Aleppo, Syria, National Museum Image may be NSFW. Clik here to view. Image may be NSFW. Clik here to view. Image may be NSFW. Clik here to view.
Mural paintings in Palais de Zimri-lim, Mari. Musee du Louvre. c 1780 BCE Image may be NSFW. Clik here to view.Limestone plaque found in the palace of Mari.
Image may be NSFW. Clik here to view.This shell plaque was found in the palace of Mari. It is dated circa 2500 B.C.E. Sumerian soldier carrying weapons, implements (armour, battle-axe, helmet). Image may be NSFW. Clik here to view.
In the perspective of a chalcolithic phase of civilization blossoming into a Bronze Age Revolution, it is tough indeed to determine the precise orthographic forms and related homonyms with ‘meanings’ used at a specific period of time. Possible rebus renderings are presented to explain ‘meanings’ in context of shipment of products made by ancient artisans.It is possible that two types of cargo vessels existed in early times: sanghāṭa‘raft’ and koṭiya‘dhow, sailing, seafaring vessel’.
1.koDiya‘rings on neck’, ‘young bull’ koD ‘horn’ rebus 1: koṭiya'dhow, seafaring vessel' khōṇḍī 'pannier sack' खोंडी(p. 216)[ khōṇḍī ]fAn outspread shovelform sack (as formed temporarily out of aकांबळा, to hold or fend off grain, chaff &c.)
khOnda ‘young bull’ rebus 2: kOnda ‘lapidary, engraver’ rebus 3: kundAr ‘turner’कोंड[kōṇḍa] A circular hamlet; a division of a मौजाor village, composed generally of the huts of one caste. खोट[khōṭa] Alloyed--a metal
2.sangaDa ‘lathe’ sanghaṭṭana‘bracelet’ rebus 1: .sanghāṭa‘raft’ sAngaDa ‘catamaran, double-canoe’rebus čaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats, also rafts. 2jangaḍia 'military guard accompanying treasure into the treasury'ചങ്ങാതംčaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories.rebus 3: जाकड़ ja:kaṛजांगड़ 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’
LImage may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.Ziziphus (jujube) is called कूदीकूट्/ई in Atharvaveda. It is बदरी, "Christ's thorn". Rebus: kuThi 'smelter' Rebus 2: kUThiya, koTia, koTiya, 'dhow seafaring vessel' (Kuwait) Variant spellings appear in texts: kotia, cotia,kUtiyya (pl. kawAti or kUtiyyAt) – a Kuwait and Bhraini ocean-going vessel with features similar to baghla and ghanja. (J. Hornell 1920, The origins and significance of Indian boat designs,Memoirs of the Asiatic Society of Bengal, Calcutta, repr. 1970 by South Indian Federation of Fishermen Societies, Trivandrum.) http://www.siffs.org/books/indianboatdesign.pdf
L’enseigne (M,458) (pl. LVII) est faite d’un petit taureau dresse, passant a gauche, monte sur un socle supporte par l’anneau double du type passe-guides. La hamper est ornementee d’une ligne chevronnee et on retrouve le meme theme en travers de l’anneau double.
M.458 H. 0.070 m. (totale); h. 0, 026 m. (taureau sur socle); l. 0,018m.
Translation
The sign (M, 458) (pl. LVII) is made of a young bull stand, from left, mounted on a base supports the double ring-pass type guides. The hamper is decorated with a line and the same theme is found across the double ring.
M.458 H. 0.070 m. (Total); h. 0, 026 m. (Bull on base); l. 0,018m.
Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.In front of a soldier, a Sumerian standard bearer holds a banner aloft signifying the one-horned young bull which is the signature glyph of Indus writing. Detail of a victory parade, from the Ishtar temple, Mari, Syria. 2400 BCE Schist panel inlaid with mother of pearl plaques. Louvre Museum. It is also a Meluhha standardd shown on two tablets with Indus Script (together with other dharma samjnA (responsibility signifiers). Image may be NSFW. Clik here to view.
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It is possible that the hypertexts the one-horned young bull and the standard device signified: కోడియ (p. 326) kōḍiya Same as kode కోడె (p. 326) kōḍe kōḍe. [Tel.] n. A bullcalf. కోడెదూడ. A young bull. కాడిమరపదగినదూడ. Plumpness, prime. తరుణము. జోడుకోడయలు a pair of bullocks. కోడె adj. Young. కోడెత్రాచు a young snake, one in its prime. "కోడెనాగముం బలుగుల రేడుతన్ని కొని పోవుతెరంగు"రామా. vi. కోడెకాడు kōḍe-kāḍu. n. A young man. పడుచువాడు. A lover విటుడు. కారుకోడె (p. 275) kārukōḍe karu-kode. [Tel.] n. A bull in its prime.
One-horned young bull + standard device is the most frequently used pictorial motif (hieroglyph-multiplex or hypertext) on Indus Script Corpora. Image may be NSFW. Clik here to view.Mohenjo-daro. m1656. Pectoral. Together with the hieroglyphs of a young bull, one-horned with pannier in front of a standard device, the expression signified is a pot overflowing with water.
<lo->(B) {V} ``(pot, etc.) to ^overflow''. See <lo-> `to be leftover'. @B24310. #20851. Re<lo->(B) {V} ``(pot, etc.) to ^overflow''. See <lo-> `to be left over'. (Munda ) Rebus: loh ‘copper’ (Hindi)
The hieroglyph-multiplex clearly refers to the metal tools, pots and pans of copper: lokhāṇḍā
Image may be NSFW. Clik here to view.Hieroglyph: sãgaḍ, 'lathe' (Meluhha) Rebus 1: sãgaṛh , 'fortification' (Meluhha). Rebus 2:sanghAta 'adamantine glue'. Rebus 3:
sangāṭhसंगाठ् 'assembly, collection'. Rebus 4: sãgaḍa 'double-canoe, catamaran'.
Hieroglyph: one-horned young bull: खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf. Rebus: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi)
Hieroglyph: one-horned young bull: खोंड(p. 216) [ khōṇḍa ] m A young bull, a bullcalf.
Rebus: कोंदkōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving.
ko_d.iya, ko_d.e = young bull; ko_d.elu = plump young bull; ko_d.e = a. male as in: ko_d.e du_d.a = bull calf; young, youthful (Te.lex.)
Hieroglyph: ko_t.u = horns (Ta.) ko_r (obl. ko_t-, pl. ko_hk) horn of cattle or wild animals (Go.); ko_r (pl. ko_hk), ko_r.u (pl. ko_hku) horn (Go.); kogoo a horn (Go.); ko_ju (pl. ko_ska) horn, antler (Kui)(DEDR 2200). Homonyms: kohk (Go.), gopka_ = branches (Kui), kob = branch (Ko.) gorka, gohka spear (Go.) gorka (Go)(DEDR 2126).
खोंड(p. 216)[ khōṇḍa ]mA young bull, a bullcalf. 2
kot.iyum = a wooden circle put round the neck of an animal; kot. = neck (G.lex.) [cf. the orthography of rings on the neck of one-horned young bull].खोंड(p. 216)[ khōṇḍa ]A variety ofजोंधळा.खोंडरूं(p. 216)[ khōṇḍarūṃ ]nA contemptuous form ofखोंडाin the sense ofकांबळा-cowl.खोंडा(p. 216)[ khōṇḍā ]mAकांबळाof which one end is formed into a cowl or hood. 2 fig. A hollow amidst hills; a deep or a dark and retiring spot; a dell. 3 (alsoखोंडी&खोंडें) A variety ofजोंधळा.खोंडी(p. 216)[ khōṇḍī ]fAn outspread shovelform sack (as formed temporarily out of aकांबळा, to hold or fend off grain, chaff &c.)
kod. = place where artisans work (G.lex.) kod. = a cow-pen; a cattlepen; a byre (G.lex.) gor.a = a cow-shed; a cattleshed; gor.a orak = byre (Santali.lex.) कोंड (p. 180) [ kōṇḍa ] A circular hedge or field-fence. 2 A circle described around a person under adjuration. 3 The circle at marbles. 4 A circular hamlet; a division of a मौजा or village, composed generally of the huts of one caste.कोंडडाव (p. 180) [ kōṇḍaḍāva ] m Ring taw; that form of marble-playing in which lines are drawn and divisions made:--as disting. from अगळडाव The play with holes.कोंडवाड (p. 180) [ kōṇḍavāḍa ] n f C (कोंडणें & वाडा) A pen or fold for cattle.कोंडाळें (p. 180) [ kōṇḍāḷēṃ ] n (कुंडली S) A ring or circularly inclosed space. 2 fig. A circle made by persons sitting round.
Kotia (koṭiya) seafaring vessels of Western India, said to be descendants of the Arabian qit'a (left after Hawkins 1977:93; right courtesy of Caroline Sassoon). Illustrated after 87, 88 p.353 opcit.
"Sea trade activity in the Persian Gulf is well attested to in archaeological findings. The ancient coastal population traded goods from Mesopotamia to India as evidenced by the Ubaid pottery of Iraq (c. 4000 BCE)7 and painted pottery of the so-called Jamdat Nasr type (c.3000 BCE), also of Iraq and found in a variety of locations (illustration1). Literary evidence con rms an economic boom in trade rom 2500 to 1750 BCE. During the reign of Ur-Nanshe, king of Lagash (southof Mesopotamia), in about 2520 BCE, we learn that ships came from Dilmun bringing timber from a foreign land (presumably India). Maritime trade seemed to be at its height around 2300 BCE, at the reign of Sargon of Akkad (2334–2279 BCE)9 and it is through cuneiform inscriptions that we now know de nitively of Akkad’s trading partners: . . . the ships of Meluhha, Magan and Dilmun [moored] at the quay of Akkad. ...The location of these three trade centres, Meluhha, Magan and Dilmun, has been the subject of much discussion in the past. Meluhha is interpreted as the Indus Valley with great cities built at Harappa and Mohenjo-Daro, and ports such as Lothal and Dwarka. Magan, it has been agreed, includes Oman and seemingly part of Baluchistan. As for Dilmun, there is abundant geological, archaeological, botanical and textual evidence to suggest that the land covers the whole area south of Mesopotamia and the con uence of its two rivers, the islands of Failaka and Bahrain, as well as Qatar with the addition of the nearby shores (such as Qatif and Tarut Island). One can trace a vigorous sea-trading network of the Dilmun period through the numerous Sumerian tablets impressed with the reed marks of ancient cuneiform writing. From Ur and Eridu ne Ubaid pottery was shipped to port towns in the Gulf. Hundreds of potsherds dating from c. 4500–4000 BCE, both painted and plain, were found on the shores of Kuwait, Eastern Arabia, Bahrain, Qatar and the Emirates. Such contact brought about an exchange of goods and, it is believed, that pearls as exotic goods may have been sought by the Mesopotamians from Al-Bahrayn and the Emirates in particular. Unperforated pearls have been identi ed on archaeological sites in the Emirates dating back to the fth and early fourth millennium. In addition, int and other stones and shell jewellery may have been traded for the pottery from Mesopotamia. Exports from the Sumerian towns were largely grain (wheat and barley), wool, dates, sesame oil, skins and textiles. Their goods were marked by cylinder seals which were found on clay sealings and potsherds. Mesopotamia lacked timber for building and stone so from Meluhha (the Indus Valley) came Indian timber and mangrove poles as well as carnelian beads, lapis lazuli, ivory, and gold, their goods marked with seals on which were engraved animals. Fragments (c. 2200 BCE) of imported black storage jars and small cubical stone weights found in Tell Abraq in the Emirates, are identical to those found in the agriculture- based city-states of the Indus Valley: Mohenjo-Daro, Chanhu- Daro and Harappa. Evidence of shipping and shipbuilding activities can be seen in representations at Mohenjo-Daro, Harappa, Lothal and Kachchh on a seal, a terracotta tablet, a graf to on a potsherd and a boat model. Trade in Mesopotamia ourished during Ur-Nammu’s time, referred to as the Ur III period (2212–2004 BCE). A class of seafaring merchants managed the trade successfully; they traded directly with Magan for copper in exchange for great quantities of wool and garments. Magan was a land of copper, mines of which are being rediscovered in Oman and the mirates. Jamdat Nasr vessels surfaced in excavated areas near Al-Ain and Jebel al-Emaleh in the Emirates probably in exchange for copper. The Dilmunites exchanged products such as milk and cereal products, silver, wool and fat from Mesopotamia for copper at Dilmun. Copper came from the Magan region (Oman) and the Dilmunites may have acted as agents for this much-sought product. From the cuneiform tablets we have references to the import of copper from Magan to cities in Mesopotamia. Copper then was the “most important exportable natural resource”. It appears that many wares referred to in the written sources as “Magan goods” were in fact coming from Meluhha. Although Indus Valley goods were recovered in Mesopotamia, it is dif cult to ascertain whether a regular trade existed because of the small number of objects found; nor can one comment on the Indus trading communities within Mesopotamia. There is evidence to suggest from the Ur III tablets that the Persian Gulf was no more an open sea and trade remained closed in the narrow corridor of the Gulf. For some political reason Meluhha was cut off and it seems Magan was playing trade games by exporting Meluhha products under its own name. As for Mesopotamian trade with Egypt during the mid-third millennium BCE, the most direct route was across the desert to either the Gulf of Aqaba or the Mediterranean coast but it was also possible to take the Red Sea route via Upper Egypt to Alexandria. Ur seems to have declined in importance by the middle of the second millennium, during which time the Kassites (1415–1159 BCE) from the Zagros Mountains assumed power. This decline could be attributed to the end of its role as the main maritime import and export centre, i.e. the end of the triangular trade with Dilmun, Magan and Meluhha."(Dionisius A. Agius, 2008, Classic ships of Islam from Mesopotamit to the Indian Ocean, Brill., pp.39-42).
Image may be NSFW. Clik here to view.Dilmun wooden ships ca. 2000-1600 BCE (After Al-Sindi, Khalid Mohammed, 1999, Dilmun Seals, trans. MA Al-Khozai, Bahrain: British National Museum; first edition, p. 52)
An Ubaid ceramic boat model c. 5000 BCE at Al-Subiyah,
Kuwait (after Carter, Robert, 2002, 'Ubaid-period boat remains from As-Sabiyah: excavations by the British Archaeological Expedition in Kuwait', Proceedings of the Seminar for Arabian Studies, 32: 13-20)
The root word m.l.h and its derivatives (After Dionisius A. Agius, opcit., Fig. 3, p. 173) It is possible that the word Meluhha also denoted a 'seaman or boatman'.comparable to Akkadian malAhu and Arabic/Hebrew malAh. In Indian sprachbund, malla was a mariner or shipman.
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Unfired steatite seal with a flat-bottomed boat, Mohenjo-daro.
In Ajanta cave (No.2) a ship is shown with 3 masts.
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In Ajanta cave (No 7) a ship is shown with 2 masts (c. 7th cent.)
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Satavahana Coin with a 2 masted ship, 1st-2nd Century CE
sãgaṛh 'fortification', koṭṭa 'fortified settlement', koṭiya ʻsailing vessel dhow' signified on Indus Script inscriptions. Rebus for sãghāṛɔ 'lathe'. ‘brazier’ -- a recurrent hieroglyph-multiplex -- could beM. sãgaḍ m.f. ʻ float made of two canoes joined together ʼ (LM 417 compares saggarai at Limurike in the Periplus, Tam. śaṅgaḍam, Tu. jaṅgala ʻ double -- canoe ʼ) Si. san̆gaḷa ʻ pair ʼ, han̆guḷa, an̆g° ʻ double canoe, raft ʼ(CDIAL 12859)
Similarly, koṭiya 'sailing vessel' may be signified by the hieroglyph of 'one-horned young bull': కోడియ (p. 326) kōḍiya Same as కోడె. కోడె (p. 326) kōḍe kōḍe. [Tel.] n. A bullcalf. కోడెదూడ. A young bull. కాడిమరపదగినదూడ. Plumpness, prime. తరుణము. జోడుకోడయలు a pair of bullocks. కోడె adj. Young. కోడెత్రాచు a young snake, one in its prime. "కోడెనాగముం బలుగుల రేడుతన్ని కొని పోవుతెరంగు"రామా. vi. కోడెకాడు kōḍe-kāḍu. n. A young man. పడుచువాడు. A lover విటుడు. 13). The most frequently occurring hieroglyph on Indus Script corpora is a one-horned young bull. It is possible this hieroglyph signifies koṭiyaʻsailing vessel dhow'. If so, most of the inscriptions of Indus Script Corpora may denote cargo shipped by seafaring merchants of Meluhha.
Periplus mentions kotumba to pilot merchant vessels into Bharuch. This kotumba (kottymba) may be cognate with kotia dhow, shipping vessel of ancient India. kotia handle upto 200 tons of cargo.
The 'Jewel of Muscat' A modern reconstruction in Oman of 9th century Arab sailing vessel (After Fig. 1.1 in JE Peterson, 2016, The Emergence of the Gulf States, tudies in Modern History, Bloomsbury Academic)
Variant spellings appear in texts: kotia, cotia,kUtiyya (pl. kawAti or kUtiyyAt) – a Kuwait and Bhraini ocean-going vessel with features similar to baghla and ghanja. Kotia is relatedto the Arabic root qit’a (name of a ship); q.t. means ‘to cross (a river or an ocean).”The sambuk, though of Arab origin, is often constructed in boat-building yards on the west coast of India, an important centre being at Beypore, south of Calicut on the mouth of the river Chaiyar. In addition to the sambuk, various watercraft, such as the padava, kotia, pattemar, etc., were also built at this centre.” (Himanshu Prabha Ray, 2003, The archaeology of seafaring in ancient South Asia, Cambridge University Press, p.67). Hornell nots that the baghla and the gunja are the Arab forms of the Indian kotia, the Arab bum the counterpart of the Indian dhangi and nauri, while the Indian batel represents the Arab sambuk (J. Hornell 1920, The origins and significance of Indian boat designs,Memoirs of the Asiatic Society of Bengal, Calcutta, repr. 1970 by South Indian Federation of Fishermen Societies, Trivandrum.) http://www.siffs.org/books/indianboatdesign.pdf
Names of important boat types and some socio-economic cultural and ecological factors mentioned by James Hornell, 1920 (After Map 3.1 in Fishing boat designs in India)
Scale: Unknown. A model of an Indian kotia dhow made entirely in wood with metal and organic material fittings. The hull is made plank-on-frame and varnished and has a lead keel. The stempost is very deep and shallow terminating in a parrots head figurehead with the beak pointing towards the stern. There are reliefs of two sea creatures carved on either side of the stempost and, at the front of the stempost, is a small carving of a birds head. The main deck has two hatches, the forward one is rectangular in shape with two covers, the rearmost one is triangular and has four covers. The mainmast is positioned just forward of amidships and provision for it is at the front of the triangular cargo hatch. Main deck fittings include a grapnel, stockless anchor, a capstan with six bars and a short companion ladder that provides access to the upper deck. The mainsail is latrine rigged. The mizzen mast is positioned on the upper deck and is also latrine rigged. Forward of the mizzen mast is a six bar capstan and aft is a binnacle and a wheel that works the rudder. The port and starboard stern quarters each have two portholes which are glazed and above them is decorative rope detail that extends to the stern. The stern is decoratively carved and a pair of stern mounted davits stow a small workboat carved from a single piece of wood. A second workboat is stowed elsewhere on the model. The model is displayed on a pair of shaped crutches fixed to a rectangular baseboard with straight bevelled edges, the whole of which is painted black.
Birds shown on kotia stempost may compare with the birds shown on a bot of Mohenjo-daro prism tablet.
Image may be NSFW. Clik here to view.Shown together with oxhide ingots and two palm trees, it has been shown that the birds were karaDa 'aquatic bird' rebus: karaDa 'hard alloy' DhALa 'large ingot' with the phonetic determinant of tALa 'palm tree' dula 'pair' rebus: dul 'metal casting'. See decipherment of Indus Script inscription on the tablet at
The boat was carrying cargo of oxhide ingots and hard alloys of ayakara 'metalsmith' (aya 'fish' rebus: ayas 'metal' PLUS karA 'crocodile' rebus: khAr 'blacksmith'). Two parts of hypertext on Side 3: On side 3 of the tablt, there are 8 hieroglyphic 'signs' signifying the nature of the metalwork involved for the cargo. This is a two part inscription.
Part 1 of the inscription from l.
कर्णकm. du. the two legs spread out AV. xx , 133 , 3 rebus: karNI 'helmsman, supercargo'. The hieroglyph of a standing person with legs spread out is thus a semantic determinant of the adjoining hieroglyph: rim of jar: karNika 'rim of jar' rebus: karNika 'scribe, account'. The next two hieroglyphs from the left are a pair of ingots: dhALako 'ingots' dula 'pair' rebus: dul 'cast metal'. Thus, cast ingots.
Part 2 of the inscription from l.
karNika 'rim of jar' rebus: karNika 'scribe, account'
ayo 'fish' rebus: aya 'iron' ayas 'metal'
kolom 'three' rebus: kolimi 'smithy, forge'
kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS circumscript of oval: dhALko 'ingot'. Thus ingot for smithy/forge work.
Birds signified on Kotia stemposts may be compared with the bird shown on a seal from probably Knossos area dated to ca. 1600 BCE:
Image may be NSFW. Clik here to view.Type IV ship represented on a seal from unknown provenance (probably Knossos area) dated around 1600 BCE. It has a curved hull with bird symbol, pointed sterpost and ten parallel oblique lines, probable oars. Mast with yard and boom, sail surface delimited vertically by cut lunette-like lines, cross-hatching. Source: Greek age of bronze ships
http://www.salimbeti.com/micenei/ships.htm The bird coule be kanka 'heron'which also appearson Dong Son Bronze drums (madeusing cire perdue lost-wax technique of casting) kaṅká m. ʻ heron ʼ VS. [← Drav. T. Burrow TPS 1945, 87; onomat. Mayrhofer EWA i 137. Drav. influence certain in o of M. and Si.: Tam. Kan. Mal. kokku ʻ crane ʼ, Tu. korṅgu, Tel. koṅga, Kuvi koṅgi, Kui kohko]Pa. kaṅka -- m. ʻ heron ʼ, Pk. kaṁka -- m., S. kaṅgu m. ʻ crane, heron ʼ (→ Bal. kang); B. kã̄k ʻ heron ʼ, Or. kāṅka; G. kã̄kṛũ n. ʻ a partic. ravenous bird ʼ; -- with o from Drav.: M. kõkā m. ʻ heron ʼ; Si. kokā, pl. kokku ʻ various kinds of crane or heron ʼ, kekī ʻ female crane ʼ, kēki ʻ a species of crane, the paddy bird ʼ (ē?).(CDIAL 2595) Rebus: kanga, kangar 'brazier' (Kashmiri)
Image may be NSFW. Clik here to view.Flying birds on Dong Son Bronze Drums
Image may be NSFW. Clik here to view.kanka 'heron'on Dong Son Bronze Drum tympanum.
Mirror: http://tinyurl.com/gvml93d The monograph at http://bharatkalyan97.blogspot.in/2016/07/one-horned-young-bull-standard-signify.html has been updated with the following details which validate the decipherment of 'one-horned young bull' hieroglyph shown on a Mari mosaic panel, as kōḍiya 'young bull' rebus: koṭiya, kūṭīya 'dhow, seafaring vessel'. Excerpts from the archaeological report of Andre Parrot, 1935,Les fouilles de Mari (Première campagn) and technical specifications on the Mari mosaic panel by Louvre Museum are provided below: The 'flagpost' holding the young bull banner is a long twig. I suggest that this orthography signifies a rebus reading of 'twig' as an Indus Script hieroglyph. kūṭī 'badarī (Zizyphus jujuba) twig' -- mentioned in the Atharvaveda -- constitutes the flagpost as unambiguously signified on the Mari mosaic panel. I suggest that this word kūṭī is a phonetic determinant for what is signified atop the banner: kōḍiya 'young bull' read rebus: koṭiya, kūṭīya 'dhow, seafaring vessel'. Image may be NSFW. Clik here to view.
The post holding the young bull banner is signified by a twig. कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l.कूट्/ई) AV. v , 19 , 12Kaus3. accord. to Kaus3. , Sch. = बदरी, "Christ's thorn". Koliya (adj.) [fr. kola] of the fruit of the jujube tree J iii.22, (Pali)
Excerpts from Andre Parrot's archaeological report:
L’enseigne (M,458) (pl. LVII) est faite d’un petit taureau dresse, passant a gauche, monte sur un socle supporte par l’anneau double du type passe-guides. La hamper est ornementee d’une ligne chevronnee et on retrouve le meme theme en travers de l’anneau double.
M.458 H. 0.070 m. (totale); h. 0, 026 m. (taureau sur socle); l. 0,018m.
L’enseigne (M,458) (pl. LVII) est faite d’un petit taureau dresse, passant a gauche, monte sur un socle supporte par l’anneau double du type passe-guides. La hamper est ornementee d’une ligne chevronnee et on retrouve le meme theme en travers de l’anneau double.
M.458 H. 0.070 m. (totale); h. 0, 026 m. (taureau sur socle); l. 0,018m.
Translation
The sign (M, 458) (pl. LVII) is made of a young bull stand, from left, mounted on a base supports the double ring-pass type guides. The hamper is decorated with a line and the same theme is found across the double ring.
M.458 H. 0.070 m. (Total); h. 0, 026 m. (Bull on base); l. 0,018m.
Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.In front of a soldier, a Sumerian standard bearer holds a banner aloft signifying the one-horned young bull which is the signature glyph of Indus writing. Detail of a victory parade, from the Ishtar temple, Mari, Syria. 2400 BCE Schist panel inlaid with mother of pearl plaques. Louvre Museum. It is also a Meluhha standardd shown on two tablets with Indus Script (together with other dharma samjnA (responsibility signifiers). ) On a mosaic panel of Mari, temple of Ishtar, a procession signifies a standard held aloft. The jujube (Zizyphus jujuba) twig used as the flagpost signifies:कूट्/ई) AV. v , 19. This word kUTI is a phonetic and semantic determinant of the meaning conveyed rebus by the 'young bull' atop the banner. कूट [p= 299,2] n. the bone of the forehead with its projections or prominences , horn RV. x , 102 , 4AV. S3Br. AitBr. kūṭá ʻ hornless ʼ(CDIAL 3396). Hence, only one horn is signified.
Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.Ziziphus (jujube)Image may be NSFW. Clik here to view.Zizyphur spina-christi or jujube
Thus, the hieroglyph: one-horned young bull reads: కోడియ (p. 326) kōḍiya 'young bull' rebus: koṭiya, kūṭiya 'dhow, sailing vessel'.
koṭiya 'sailing vessel' may be signified by the hieroglyph of 'one-horned young bull': కోడియ (p. 326) kōḍiya Same as కోడె. కోడె (p. 326) kōḍe kōḍe. [Tel.] n. A bullcalf. కోడెదూడ. A young bull. కాడిమరపదగినదూడ. Plumpness, prime. తరుణము. జోడుకోడయలు a pair of bullocks. కోడె adj. Young. కోడెత్రాచు a young snake, one in its prime. "కోడెనాగముం బలుగుల రేడుతన్ని కొని పోవుతెరంగు"రామా. vi. కోడెకాడు kōḍe-kāḍu. n. A young man. పడుచువాడు. A lover విటుడు. 13). The most frequently occurring hieroglyph on Indus Script corpora is a one-horned young bull. It is possible this hieroglyph signifies koṭiyaʻsailing vessel dhow'. If so, most of the inscriptions of Indus Script Corpora may denote cargo shipped by seafaring merchants of Meluhha.
Periplus mentions kotumba to pilot merchant vessels into Bharuch. This kotumba (kottymba) may be cognate with kotia dhow, shipping vessel of ancient India. kotia handle upto 200 tons of cargo.
The 'Jewel of Muscat' A modern reconstruction in Oman of 9th century Arab sailing vessel (After Fig. 1.1 in JE Peterson, 2016, The Emergence of the Gulf States, tudies in Modern History, Bloomsbury Academic)
Variant spellings appear in texts: kotia, cotia,kUtiyya (pl. kawAti or kUtiyyAt) – a Kuwait and Bhraini ocean-going vessel with features similar to baghla and ghanja. Kotia is relatedto the Arabic root qit’a (name of a ship); q.t. means ‘to cross (a river or an ocean).”The sambuk, though of Arab origin, is often constructed in boat-building yards on the west coast of India, an important centre being at Beypore, south of Calicut on the mouth of the river Chaiyar. In addition to the sambuk, various watercraft, such as the padava, kotia, pattemar, etc., were also built at this centre.” (Himanshu Prabha Ray, 2003, The archaeology of seafaring in ancient South Asia, Cambridge University Press, p.67). Hornell nots that the baghla and the gunja are the Arab forms of the Indian kotia, the Arab bum the counterpart of the Indian dhangi and nauri, while the Indian batel represents the Arab sambuk (J. Hornell 1920, The origins and significance of Indian boat designs,Memoirs of the Asiatic Society of Bengal, Calcutta, repr. 1970 by South Indian Federation of Fishermen Societies, Trivandrum.) http://www.siffs.org/books/indianboatdesign.pdf
| First published: 9 July 2016, 13:01 IST Image may be NSFW. Clik here to view.Karti Chidambaram, lawn tennis enthusiast, businessman turned politician and son of former Finance Minister P Chidambaram, is in more trouble. While he reportedly claims that his only link to the Aircel Maxis deal is an Aircel sim card which he has been using, the investigators claim that he was one of the major beneficiary of the deal.
The Enforcement Directorate (ED), which is probing the Aircel Maxis deal, recently asked him to appear at its Delhi office within ten days. Karti had earlier failed to appear on Tuseday, 5 July, citing prior engagements. The summons were issued after the agency traced a sum of USD 200,000 (approximately Rs 1.34 crore) which Maxis had transferred to Karti's company.
While officials say it is too early to say if he will be arrested, the agency is waiting for the CBI to act before it decides its further course of action. The CBI, which is also investigating the case, sources say, may act soon. The apex investigating agency is probing the Foreign Investment Promotion Board's (FIPB) approval to the Aircel Maxis deal during Chidambaram's tenure as the finance minister. The deal has been marred by allegations of kickbacks and that Chidambaram gave the approval against the FIPB rules.
BJP MP Subramanian Swamy had been attacking the CBI and the Finance Ministry for stalling the probe in the case. In a letter to Prime Minister Narendra Modi in February, Swamy suggested how the CBI seems to have developed cold feet, overawed by the support P Chidambaram has been able to mobilise.
ED sources say this is an important breakthrough and that they want Karti to come and explain the transaction. "He will find it hard to explain why did Maxis transfer this money to him," a source explains. "His companies do not even have the expertise to offer consultancy," the official says.
The source says that the transactions pertain to a period between 2007 and 2010. ED had found that Chess Management Services received more than $1 lakh from a Maxis group company Bumi Armada Berhad. Investigators say that Chess Management had also received another $60,000 (40.3 lakh rupees) from Maxis Mobile Sdn Bhd and around $35,000 (23.5 lakh rupees) from Astro All Asia Network.
Interestingly, Astro All Asia network is one of the companies which was chargesheeted by the ED, along with the Maran brothers - former Minister Dayanidhi Maran and Sun TV Chief Kalanithi Maran - for routing kickbacks in the Aircel Maxis deal. It is alleged that the DMK leader and former minister Maran had forced Sivasankaran, the Aircel Chief, to sell the mobile service provider to Malaysian Maxis.
Meanwhile, Chess Management LLC is not the only Karti company under the scanner. Investigations into the workings of Advantange Strategic Consulting, another company which the investigators say is indirectly controlled by Karti, and is involved in the Aircel Maxis deal, had reportedly revealed huge assets that the company controls through its Singapore subsidiary. The investigators claim that the company has made investments in resorts, apartments and farms in as many as 13 countries including the British Virgin Island.
ED sources say that Ravi Vishwanathan, one of the directors in Advantage Strategic Consulting, had told the agency that it is Karti who actually controls the controversial company. Vishwanathan, who was questioned last year by the ED sleuths, is one of the three officials of the company who were asked to join the ongoing probe under the stringent Prevention of Money Laundering Act. The ED had also raided premises related to the Karti linked companies and found 'incriminating evidence'.
P Chidambaram has been rubbishing all allegations of corruption against him and his son as being driven out of vendetta.
Image may be NSFW. Clik here to view.The use of robots is expected to grow to handle potentially dangerous missions in law enforcement and the military
The use of robots is expected to grow to handle potentially dangerous missions in law enforcement and the military (AFP Photo/Jacques Demarthon)
Washington (AFP) - The "bomb robot" killing of a suspected Dallas shooter may be the first lethal use of an automated device by American police, and underscores the growing role of technology in law enforcement.
City police chief David Brown told reporters Friday that officials "saw no other option but to use our bomb robot" to detonate to avoid any further danger after sniper fire killed five Dallas officers.
Brown said police used an "extension" of the robot "for it to detonate where the suspect was."
"Yes, this is 1st use of robot in this way in policing," said a tweet from New America Foundation fellow Peter Singer, who heads a technology advisory firm and has written on 21st century warfare.
Singer noted that one device known as the MARCbot "has been ad hoc used this way by troops in Iraq."
Dallas authorities did not offer details on the device, but the city's emergency management inventory lists a Northrop Grumman Andros robot designed for bomb squads and the military, and some media reports said this could have been used in the killing.
Northrop's website says the robot is "designed to defeat a wide range of threats including vehicle-borne improvised explosive devices."
Matt Blaze, a University of Pennsylvania professor of computer and information science, said on Twitter that "stakes go *way* up when something like this is repurposed as a weapon."
Regardless of the methods in Dallas, the use of robots is expected to grow, to handle potentially dangerous missions in law enforcement and the military.
One robot developed by China's National Defense University called AnBot has been designed for "an important role in enhancing the country's anti-terrorism and anti-riot measures," according to its website.
A Popular Science article authored by Singer with Jeffrey Lin, says AnBot is among several machines designed for police patrolling.
"AnBot's most controversial feature is naturally the onboard 'electrically charged riot control tool' (likely a Taser or extendable cattle prod). This can only be fired by the AnBot's human remote operators," they wrote in the April article.
"The AnBot's large size means that it has room to mount other law enforcement gear, like tear gas canisters and other less lethal weaponry."
Another robot developed by California startup Knightscope uses "advanced anomaly detection," and according to the website TechCrunch is being used to augment security at some Silicon Valley tech firms and a shopping mall.
- RoboCop redux? -
Researchers at Florida International University meanwhile have been working on a TeleBot that would allow disabled police officers to control a humanoid robot.
The robot, described in some reports as similar to the "RoboCop" in films from 1987 and 2014, was designed "to look intimidating and authoritative enough for citizens to obey the commands," but with a "friendly appearance" that also makes it approachable, according to a research paper.
Robot developers downplay the potential for the use of automated lethal force by the devices, but some analysts say debate on this is needed, both for policing and the military.
A 2014 report by Human Rights Watch and Harvard Law School's International Human Rights Clinic raised concerns about the use of fully autonomous weapons in law enforcement operations.
"They could not be preprogrammed to handle all law enforcement scenarios," the report said.
"And they would lack human qualities, such as judgment and empathy, that enable police to avoid unlawful arbitrary killings in unforeseen situations."
It is time for Election Commission to deliberate on the issues raised and initiate prompt action to enhance electoral integrity.
S. Kalyanaraman
Sarasvati Research Centre
Attention: Mr. Nasim Zaidi, Chief Election Commissioner.
Dear Nasim Zaidi,
This has reference to our meeting and interaction at your office on 16 June 2016. As mentioned during the meeting, I am attaching herewith a comprehensive Paper on the above subject. You will notice there are several sound suggestions which if implemented can ensure electoral integrity and pull India's democracy out of the morass into which it is sinking.
Hope EC, as the constitutionally mandated authority, will act upon these suggestions with alacrity and speed. Civil Society would always be with the Commission.
Regards.
M.G.Devasahayam
Forum for Electoral Integrity, Chennai
Elections sans Integrity-Democracy in Deep Distress
[Paper based on deliberations at Delhi Roundtable held on 17 June, 2016: Jointly organized by Forum for Electoral Integrity, Chennai; Lok Raj Sangathan, Delhi and Nalaya India, Chennai]
Backdrop
Country’s track record of timely and efficient elections has given considerable prestige and legitimacy to India’s democratic polity and its politicians who are the beneficiaries. But the moot question is what kind of people gets elected? Are they ‘leaders’ or ‘dealers’? Nearly a third of elected representatives face serious criminal charges such as murder, rape, abduction and offences relating to moral turpitude. Almost all of them have amassed wealth much beyond their known sources of income!
Successive governments did not lift a finger to set right things. However Supreme Court intervened and in its judgment in March 2003 directed all candidates contesting elections to file affidavits before the Returning Officers stating their criminal antecedents, assets and liabilities. This was meant to curtail criminal and money-power in elections. The same court on 09 July 2013 struck down Section 8 (4) in the Representation of People’s Act (RP Act) allowing MPs and MLAs to continue to be elected representatives even after they get convicted for criminal offences. On 5th July 2013 Apex Court decreed that ‘Freebies shake the root of free and fair elections to a large degree’ and directed the Election Commission (EC) to frame guidelines for election manifesto.
But all these have come to naught and the rot is deepening. We saw this glaringly in Tamil Nadu Election-2016 where money-power and freebies were in full flow. Role of money-power is described by EC itself in its order rescinding election in Aravakurichi and Thanjavur assembly constituencies: “decision is based on the Commission’s assessment about the vitiated atmosphere in the constituencies created by the illegal use of money-power to allure the electorate by unethical and unlawful means resorted to by the candidates and the parties.” The word ‘vitiated’ appears at several places in the Order. What was written of these two constituencies was applicable mutatis mutandis to almost the entire state!
EC’s Model Code of Conduct-2014 (MCC) on Freebies directs Political Parties and Candidates to “avoid making those promises which are likely to vitiate the purity of the election process or exert undue influence on the voters in exercising their franchise”. Also in the interest of transparency, level playing field and credibility of promises, manifestos should “reflect the rationale for the promises and broadly indicate the ways and means to meet the financial requirements for it”.
Election Manifesto released by the AIADMK Party on 05 May 2016, just 10 days before the polling date, was in total violation of the Supreme Court Judgment and the MCC. Earlier DMK party had issued Manifesto with some freebies. EC did not take any action on these blatant violations except issuing a belated and weak Notice to these parties that too on the representation from civil society. No further action was taken, polling proceeded and government was installed in power. Post-poll surveys clearly revealed that the massive freebies in the Manifesto were the clincher.
Added to these was the serious matter of seizure of huge cash of Rs. 570 crores at Tiruppur just two days before election (around mid-night on 13/14 May 2016) that had raised suspicion of humungous electoral bribing. The totally unbelievable story of this money (supposed to belong to SBI) moving from Coimbatore to Vizag is yet to be fully investigated. On the orders of the Madras High Court CBI is looking in to it. But since this happened in an election-bound state under the virtual administration of EC it is their responsibility to ascertain facts and initiate stringent action.
Why the rot?
Major factor is the attitude and approach of political parties who are a law unto themselves. These entities have failed to bring about inner party democracy, transparent funding and functioning as well as merit-based selection of candidates free of criminal and corruption taint. The Political Parties (Registration and Regulation of Affairs) Bill, 2011 drafted by Association for Democratic Reforms is in cold storage. What is worse, political parties do not even want to be considered as ‘public authorities’ and have willfully defied the RTI Act. They liberally field criminals and corrupt as candidates seeking election. They indulge in electoral corruption of alarming proportion that includes individual bribing and vote-buying as well as mass inducement through lavish showering of fancy/consumer goods as freebies in the election manifesto. All these have made the electoral field an uneven cesspool.
Being controlled by these very political parties Central Governmentis averse to any change. Proposals from EC are pending for decades. Though all kind of reforms are being brandished to make India a super-rich and super-clean country there is not even a whisper about electoral reforms to clean-up and enrich India’s democracy which is our greatest asset. Most glaring instance is rendering the SC mandate of filing of Affidavit by the candidates into a damp squib because Government has failed to amend rules to disqualify corrupt and criminal elements at the thresh-hold. Political parties continue to field these politicians who become MPs/MLAs even after filing false affidavits about their criminal record and illegal wealth! And most of them get elected!
Constitutional mandate and Supreme Court judgments hold EC squarely responsible for conducting fair and free elections, which is a basic feature of the Constitution. For this Commission is vested with legal (RP Act) and plenary powers (Article 324 of the Constitution). Yet EC is finding itself between a rock (political parties) and a hard place (government). For instance though Section 58A of RP Act empowers EC to countermand election for ‘booth capturing’ it has not been extended to ‘vote capturing’ through bribes and freebies. Bullied by political parties and disheartened by government’s indifference, EC has compromised on electoral integrity. Result is the sharp diminishing of India’s democracy. However in TN Election-2016, exercising plenary powers, EC rescinded elections in two constituencies due to widespread bribing of voters. EC also issued Notices to the two major political parties on the lavish promises of freebies in their election manifestoes. One has to be thankful for small mercies.
Issues & Posers
We need to look at India post Liberalisation, Privatisation & Globalisation regime starting from early nineties. No doubt the country has made great strides in many fields and is now being heralded as world’s fastest growing economy. 25 years down the line we are in the grip of a market economy. Rich have become richer, black economy has boomed and there is extreme poverty and inequity.
In these years, election technology and management has advanced with EVM’s, IT solutions and vast array of observers, surveillance/raiding teams and Para-military forces. But democracy has decayed. Among the three players in the election field, rule-less political parties are going from strength to strength, rule-bound government is indifferent and EC is paralysed. Another key and powerful player, judiciary is treating election in a casual manner and would not decide election-petitions for ages, making it a mockery.
In all it turns out that election is a mere exercise to facilitate political parties to capture and retain power by fair or foul means. Fundamental principles of democracy such as electoral integrity and level playing field do not seem to have much space in the scheme of things.
We are seeing this happening right before our eyes. In TN politicians bought people’s votes and became MLAs. In many other states MLAs sold their votes to money-bags to make them MPs (Rajya Sabha). MP (Lok Sabha) election is no better. Grassroots elections (Panchayats and Urban Local Bodies) are even worse. India’s ingenuity for jugad has morphed world’s largest democracy into world’s biggest Satta Bazar!
What needs to be done?
Post-TN Assembly and Rajya Sabha elections a Round Table of eminent activists, senior politicians, and civil society leaders along with representatives from the EC was held at Delhi on 17 June 2016. The Round Table was attended by leaders of political parties, former senior civil servants, delegates of activist organisations, representatives of the Election Commission of India and others.
Prominent among the participants are: Justice Rajinder Sachar (PUCL), Com D Raja MP (Communist Party of India), MG Devasahayam (Forum for Electoral Integrity), SY Quraishi, former CEC, Prof Jagdeep Chokkar (Association for Democratic Reforms), YP Anand (former Chaiman, Railway Board), Raghavan Srinivasan (Lok Raj Sangathan), Prakash Rao (Communist Ghadar Party of India), Dr Sanjeev Chhiber (Naya Daur Party), Dr ND Pancholi (Citizens for democracy), Prof Bharat Seth (former Professor, IIT, Mumbai) , Suresh Babu (Naalaya India), Rajarajan (Gandhi Initiative for Social Transformation), Ms. Sucharita (LRS), Ms. Renu Nayak (Purogami Mahila Sangathan), Dr Venkatesh (Committee for Judicial Accountability & Reforms), Shri Mohammed Arif (Welfare Party of India), Dr. M D Thomas, (Institute of Harmony and Peace Studies), Shri Amit Kumar (National Alliance of People's Movement), Adv Vishwajit Singh (Reclaim India) and representatives from Election Commission - Dr. NC Swain and Shri SK Rudola.
Wide-ranging discussion took place among participants, particularly in the light of recent experiences in the Tamil Nadu assembly elections. Several concrete suggestions emerged from the Round Table which have the potential to bring about far-reaching changes in the electoral system that can pull India’s democracy out of its deep distress. These are:
a.Selection process of candidates by political parties to contest elections should undergo a paradigm change. India needs a system wherein people can select and elect their representatives who can be recalled if they don’t perform or indulge in corrupt practices.
b.We need to develop mechanisms at the level of the constituencies where an elected Constituency Committee will involve the electorate in the process of selection of candidates. In open meetings of this Committee, merits of potential candidates should be discussed and selection made. These selected candidates will be known and trusted by the people.
c.As of nowelectoral arena is totally biased in favour of the established parties who have a permanent symbol that can be easily recognized by the voters. Since this is not available to smaller parties who want to enter the fray to provide alternatives they are put at tremendous disadvantage. Either all registered parties should be assigned permanent symbols or none. Every party should get different symbol for different election. This could usher in level playing field which is the biggest bugbear in today’s elections.
d.Political parties should submit their draft manifestos to the EC within seven days of announcement of election. Only on its certification by EC that it is MCC compliant can the parties make it public. Mind-boggling freebies in the election manifestos in violation of MCC should be electoral offence punishable with de-recognition and disqualification of the concerned political party from contesting elections.
e.Corporate funding should be banned since it brings undue influence of money power. This was done for a brief period in the late 1970s. It was again permitted under the plea that they have as much right to fund elections. This ban should be brought back.
f.The present first-past-the-post system is an anachronism wherein an individual/political party polling hardly 25% votes get elected and rule the roost. India should adopt the German model of list-based proportional representation system.
g.Present election expenditure limits is very high and works in favour of the money-bags who are only interested in capturing power and against those with ordinary means who have public interest at heart.
h.What is worse, there is no limit to expenditure by political parties. In the event well-endowed political parties with deep-pocket and corporate support indulge in extravaganza and bribing thereby totally screwing the electoral field. This must be put an end to immediately.
i.To prevent criminals from getting elected, MCC must demarcate political activists from criminals. For this purpose Section 8 of the RP Act needs to be amended. It may not be foolproof but at least there can be a check.
j.The appointment of Election Commissioners should be by a Collegium rather than being left to the whims of the government of the day.
k.Media, particularly the vernacular TV that reaches almost every home and hearth is playing havoc to the electoral process. By their tirade and over-reach they effectively block emergence of any alternative outside the established power-wielding ‘cash-rich’ parties. This is so because these media is being controlled by big corporate houses and political parties themselves. It is they who decide the winner through opinion polls and creating non-existent ‘waves’ about a particular party or messiah. This is detrimental to the very foundation of democracy. EC should rein them in and ensure equal access to media for all players.
l.Party politics has drowned good governance. EC has power for about two months to control the parties. EC should have power throughout and not just at the time of elections.
m.People may be accepting cash-for-votes since they know that they will not get anything after the elections. So they feel take whatever is given before the elections. Political parties are reportedly funded by mafia and it is their money which is used to bribe the voters. EC should take action to stem this before, during and after the elections.
n.Mafia-money used for bribing voters is accumulated and stacked over a period of time and it is not possible for EC to unearth it in a time-period of two months. This is the responsibility of Income-Tax department and Enforcement Directorate. EC should evolve a mechanism to involve these agencies over longer period instead of doing fire-fighting at the nick of time.
o.Election petitions should be finally disposed of and the guilty candidates disqualified within six months as stipulated. This is possible only if Fast-Track courts are set up with streamlined process and continuous hearing. In the alternative EC can be vested with this authority since it already enjoys the status of Supreme Court.
p.There is need for an all India non-government body, whose main objective would be to oversee the process of political integrity. This body should go into the whole issue of political funding. It can check the character and experience of the proposed candidates and can keep a watch on the entitlements of elected representatives. This body can work with EC to bring about political and electoral integrity.
q.People-at-large are ignorant about the basic tenets of democracy and the purpose of holding periodic elections. They think it is just about political parties capturing power. Massive education and awareness building is required to undo this. Democracy and electoral process should be made part of the school and college syllabus in all streams of studies.
Consensus: Election Commission should act as Catalyst
Consensus is that due to near-total lack of electoral integrity, India’s democracy is facing serious decay. Neither political parties nor governments are willing to take the necessary remedial steps to pull democracy out of this morass by ensuring stringent standards of electoral integrity.
But all hopes are not lost because "We, the people, who gave ourselves the Constitution” have not given this responsibility to the government or political parties but to the EC. People have also bestowed the Commission with legal and plenipotentiary powers. In a catena of judgments Supreme Court has further strengthened it by ruling that "conducting free and fair elections is the basic feature of the Constitution" and this is the responsibility of EC. It is therefore imperative on the part of EC to function as a catalyst to rally the forces and ensure electoral integrity by all means and not remain tied to the apron-strings of the government.
As of now EC does not consult the people, the sovereign and the real stakeholders who give power to the politicians. Instead they pander to the political parties, who are only interested in grabbing power by fair or foul means. EC is not placed there by “We, the People” to bring political parties to power and allow them to do whatever they want. EC is there on behalf of the people to sustain democracy and make it vibrant. So, EC must initiate a country-wide discourse wherein people across-the-board should be involved. Civil Society Organizations that includes everyone except those governed my military laws can assist the Commission in this task.
Conclusion
EC is not a subordinate entity of the government. They represent “We, the people” to ensure electoral integrity. In that capacity EC, after extensive public consultation, should seek a fresh RP Act incorporating all the above suggestions as well as the provisions of the draft Political Parties Bill-2011. Sooner this is done the better for India’s democracy!
Some inconvenient questions for P Chidambaram regarding Supreme Court directed investigation into Aircel-Maxis deal
Below we show a letter from the Central Bureau of Investigation (CBI) Director Anil Sinha to Shaktikanta Das on providing details of Chidambaram’s violations granting Foreign Investment Promotion Board (FIPB) clearance to Maxis to take over Aircel. CBI Director’s letter dated September 17, 2015 to Shaktikanta das shows the displeasure of the investigating agency chief about the non-cooperation of Department of Economic Affairs.
On March 26th 2015, CBI sought details of files and information regarding the FIPB clearance given by Chidambaram. The letter clearly states that the agency had sent severalreminders. CBI normally writes these kind of official reminder letters when the investigators feel that the response is not timely. They should be… almost six months had elapsed since the time they had sent the first letter.
In the letter, the CBI Director says that the matter is very urgent as the Supreme Court has given directions to them in the case filed by BJP leader Subramanian Swamy. CBI, even in the details given to the Supreme Court (in a sealed cover) said that they are waiting for information from the Department of Economic Affairs.
The CBI had in their chargesheet against Maran brothers, detailed violations by Chidambaram in the Aircel-Maxis scam in August 2014. The Aircel-Maxis deal wasworth Rs.3600 crores ($534 million) of foreign investment. As the FIPB Chairperson, Chidambaram in 2006 had only power to approve Rs.600 crore ($89 million) foreign investments. For investments above Rs.600 crores ($89 million), the FIPB has to get the clearance from Cabinet Committee on Economic Affairs (CCEA). This is perhaps the only deal above Rs.600 crores, in which Chidambaram did not take it up to CCEA. Why he did not take it up? Read on.
Chidambaram claimed that the “face value” of the deal was considerably less. Some friendly media sources parroted Chidambaram’s theories. But all these fell flat when the preliminary findings of the Comptroller and Auditor General (CAG) came out. The apex auditor also found that though the approved value of the deal was Rs.3600 crores ($534 million), the actual money flown to India from Malaysia was more than Rs.4800 crores ($713 million)! Why did an extra Rs.1200 crores ($178 million) come? More importantly, where did it go? Mr. Chidambaram has some explaining to do. Is it a coincidence that every time there is an investigation involving Mr. Chidambaram, a certain official is always in the picture? Image may be NSFW. Clik here to view. Note: 1. The conversion rate used in this article is 1 USD = 67.40 Rupees. 2. Text in Blue points to additional data on the topic.
There are unambiguous Indus Script hieroglyphic hypertexts that a lateen-rigged (triangular, slanting sails) sailing ship with one or two masts was called the dhow,Arabicdāwa.
Such a dāwa. was used by seafaring merchants of Meluhha.
Bagala is a larger type dhow. "Bows are sharp, with a forward and upward thrust, and the sterns of the larger dhows may be windowed and decorated." https://www.britannica.com/technology/dhow
Kleinsuggestsa relationtoPersiandav"running."
I suggest that the word is related to Prakrtam dhāu metal' an etymon traceable to the minerals and metals carried on such vessels (dhows and catamarans) as cargo during the Bronze Age from ca. 4th millennium BCE (cf. the discovery of the potsherd at Harappa with Indus script dated to ca. 3300 BCE).
Image may be NSFW. Clik here to view.A single strand is signified by the word dhāī and the hieroglyph to represent a single strand is a dotted circle. Three dotted circles constitute tri-dhAtu 'three minerals' and a person adorned with trefoils on his shawl is dhā̆vaḍ m. ʻiron- smelter' and PotR 'purifier (priest)'. The dharma samjnA he wears on his forehead and on his right shoulder signifies his responsibility in the guild: dhāī 'strand' rebus: dhā̆vaḍ m. ʻiron- smelter'. Such dotted circles are ligatured to sãgaḍa'lathe, portable furnace' hieroglyph-multiplex rebus: sãgaḍa 'double-canoe' to signify the shipment on the dhow.
Image may be NSFW. Clik here to view.Gold fillet. Punctuated design on both ends. Mohenjodaro. http://www.imagesofasia.com/html/mohenjodaro/gold-fillet.html
Image may be NSFW. Clik here to view.The first hieroglyph from L. is 'lathe/portable furnace'
Image may be NSFW. Clik here to view.Note the doted circles on the bottom register of the hieroglyph-multiplex of the standard device.
Thus, the sãgaḍa 'double-canoe' is shown as carrying the cargo of dhāī 'strand' rebus:dhāu ʻore (esp. of copper)'.
Rigvedic term dhāˊtu 'element' results in dhā̆vaḍ m. ʻiron -- smeltersʼ who transported the smelted metal products on seafaring vessels: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā] Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M.dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773).
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Dhow off the coast of Mozambique.
Steven G. Johnson
Historians are divided as to who invented these dhows: Ancient Arabs or Ancient Indians?
The indicators presented in this monograph posit that the roots for the design of dhows are traceable to ancient Bharatam Janam (lit. alloy-metalcasters) from the river basins of Vedic rivers Sarasvati and Sindhu. cf. भरताचें भांडें (p. 353) bharatācē mbhāṇḍēṃ n A vessel made of the metal bharata. भरती (p. 353) bharatī a Composed of the metal bharata. भरत (p. 353) bharata n A factitious metal compounded of copper, pewter, tin &c.
Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.A potsherd is a broken piece of ceramic material, especially one found in an Archaeological excavation) of a boat belonging to the Mohenjo-Daro period.) Shows a masted boat of c. 2000 BCE.A planked boat with a steering oar on the quarter and a mast near amidships the evidence of a sailed boat in ancient India. “Masted vessels are depicted in outline on second/first century BCE coins from Chandraketugarh in Ganges delta and similar vessels are shown on a Sri Lanka monument and on first century BCE terracotta seals. Boats, with planking fitted together with joggles and projections, and fastened by flat, double-dovetail shaped clamps, are depicted on a second century BCE medallion from a monastery at Bharhut, and on the east gate of a first century BCE stupa I at Sanchi in central India. Two-masted ships, with a sheerling rising towards bow and stern, are seen on coins found along the Andhra, Bay of Bengal coast that had been issued by the second century CE Satavahanas. These vessels have a steering oar on each quarter and their shroud-less masts are supported by forestay and backstay. There is also a ship symbol depited on coins found on the Coromandel coast that were issued by the Pallavas in the fourth century CE.” (Sean McGrail, opcit., p.52)
Image may be NSFW. Clik here to view.illustrations of First Century BC coins showing Celtic ships after Sean McGrail
Lothal: Terracotta model. Provision for fixing sail
Image may be NSFW. Clik here to view.Silver model of a boat from the Royal Graves at Ur (Crawford, H., p. 119)
Image may be NSFW. Clik here to view.Model found near Mohenjo-daro.
The nautical historian Basil Greenhill makes an interesting point about why this boat style may have endured on the Indus: "As for the punts [long, narrow, flat-bottomed boats, square at both ends and propelled with a long pole, used on inland waters chiefly for recreation], their silhouette bears perhaps some resemblance to that of the boat depicted in one of the two scribings of boats found at Moenjo Daro, the Indus civilization site which lies on the west side of the river roughly in the center of the long stretch of the Indus on which these boats are to be found today. Models of carts found at Moenjo Daro are exactly like the bullock carts currently found in the locality; but to suggest that the boats remain likewise little changed is to push back the development of the sophisticated flat-bottomed punt a long, long, way in the history of man's efforts to make a living on the water.
Simple people who have suffered no great upheaval in their society tend to cling to the familiar, if it serves its purpose, even though the results of forty generations of slow thought and experiment and chance lies alongside them at the same wharf. This is particularly true of the boatmen, partly because to depart from established practice may mean death by drowning, or worse still, loss of the means to keep alive, but mostly because at most times and at most places in the story of man boatmen have been poor, and the poor have no means to bring about change." (Boats and Boatmen of Pakistan, 1971, p. 182).https://www.harappa.com/blog/indus-style-boat
This quartet of hieroglyphs validates the hypothesis that the painting on a potsherd from Mohenjodaro showing a seafaring masted sail boat and a terracota model of a sail-boat from Lothal indeed denoted bagala 'an outrigger boat, a dhow or dhoni'. This indicates that the artisans of the Sarasvati River basin working with metals were Meluhha seafaring merchants attested on an Akkadian cylinder seal with cuneiform writing signifying Shu-ilishu as Meluhha interpreter.Image may be NSFW. Clik here to view.
A person carrying the pot accompanies Meluhha trader. Cylinder seal.The rollout of Shu-ilishu's Cylinder seal. Courtesy of the Department des Antiquites Orientales, Musee du Louvre, Paris. ca. 2020 BCE See:http://bharatkalyan97.blogspot.in/2016/01/mint-coiner-of-3rd-millennium-bce-shu.htmlmlekh'goat' rebus: milakkhu, mleccha 'copper'Meluhha,mleccha?
http://bharatkalyan97.blogspot.in/2016/07/one-horned-young-bull-hieroglyph-held.html http://bharatkalyan97.blogspot.in/2016/07/one-horned-young-bull-standard-signify.html Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view. Two Mohenjo-daro tablets show Indus Script hieroglyphs in procession. Second from Left is a one-horned young bull on a base carried on a flagstaff. This is kODiya 'young bull' rebus: koṭiya 'dhow, seafaring vessel'. kotiya 'bagala type outrigger boat. 'A similar hieroglyph-multiplex is signified on a Mari mosaic panel with more hieroglyph-multiplex details. The left-most is hieroglyph .sãgaḍa 'lathe, portable furnace' rebus: sãgaḍa 'double-canoe'. Ahead on the procession are two hierogllyphs signifying the products carriedon the seafaring dhows and canoes: dhatu 'scarf' rebus: dhatu 'minerals' eraka 'nave of wheel' Ara 'spokes' rebus: eraka 'moltencast, copper' arA 'brass'. It is significant that the eraka hieroglyph is signified on later-day dhows with a trefoil of arka 'sun's rays'. Indus Script hieroglyphs from a mosaic panel, Mari (Louvre Museum). The koṭiya 'dhow, seafaring vessel'.signified by the kODiya 'one-horned young bull'. This hieorglyph signifier is reinforced by the badari twig kUdI, kUTI as a flagpost rebus: kUThiyAt, koṭiya 'dhow, seafaring vessel'. The badari twig flagpost has two rings on top, below the base holding the one-horned young bull. These rings signify bivalve: sambuka rebus: sambuka 'dhow, seafaring vessel'. On hundreds of inscriptions of Indus Script Corpora, the one-horned young bull (kODiya rebus: koTiya 'dhow') is shown in front of sãgaḍa 'lathe, portable furnace' rebus: sãgaḍa 'double-canoe'. In addition to these three ships/canoes, sambuka, koṭiya, sãgaḍa, a fourth vessel called baghlah is also signified on a unique Indus Script hieroglyph: bagala 'pleiades'. Image may be NSFW. Clik here to view. Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.Badari twig The post holding the young bull banner is signified by a twig. कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l.कूट्/ई) AV. v , 19 , 12Kaus3. accord. to Kaus3. , Sch. = बदरी, "Christ's thorn". Koliya (adj.) [fr. kola] of the fruit of the jujube tree J iii.22, (Pali)The one-horned young bull hieroglyph is held aloft on a badarI twig (kUTI, kUDI)(Atharvaveda) signifying the young bull: కోడియ (p. 326) kōḍiya 'young bull' rebus: koṭiya, kūṭiya 'dhow, sailing vessel'. The twig as flagstaff is topped by a base above two bivalve rings. I suggest that the rings suggest: sambuka'bivalve shell' (Pali), reinforcing the dhow, kOTiya. It is significant that Kuwai also has a phonetic variant for the dhow: kUThiyAt.
Main parts of a bivalve shell: 1: sagittal plane, 2: growth lines, 3: ligament, 4: umbo Hieroglyph: *śumbha 'parrot': śúkam. ʻ parrot ʼ RV.Pa.suka-- ,suva-- m. ʻ parrot ʼ,°vī-- f., Aś.suka-- m.; Pk.suga-- ,sua-- m.,sugī-- ,suī-- f. ʻ parrot ʼ,suvigā<-> ʻ maina (which also can be taught to speak) ʼ; P.sūām. ʻ parrot ʼ, WPah.jaun.śūā, Ku.suwā, gng.śua, Or. Aw.lakh.suā, H.suwā,sūām.,suīf., OG.sūa,sūḍaüm., G.suṛɔm., M.suā,suvām., Si.suva -- yā.-- Cf. Bshk.šūṅ< *śuṅka-- AO xviii 251; Phal.šumu< *śumbha-- ?Addenda:śúka -- :WPah.kṭg.śūˊm. (obl.śúa) ʻparrotʼ.(CDIAL 12503) Parrot as Indus Script hieroglyph: śumbha 'parrot'rebus: metath. śambūˊka 'dhow, seafaring vessel'. Another hieroglyph which signified śambūˊka 'dhow'is śambūˊka 'bivalve shell'
Hieroglyph: jambak 'pleiades': جنبقjambaḳ, adj. Close, dense, clustered, grouped, assembled, collected, amassed; also written جمیقjambaḳ. جنبق ستوريjanbaḳ storī, The Pleiades. See پیروني ستوريَstoraey, s.m. (1st) A star, constellation, Pl. يِī. جمبق ستوريjambaḳ storī, s.m. (1st) Pl. The Pleiades. د قطب ستوريda ḳut̤b storaey, The north-star. د سهیل ستوريda suhail storaey, The star Canopus.(Pashto) Image may be NSFW. Clik here to view.Model of a Sambuk Image may be NSFW. Clik here to view.
Image may be NSFW. Clik here to view.Sambuk or sambuq (سنبوك) - "The largest type of Dhow seen in the Persian Gulf today. It has a characteristic keel design, with a sharp curve right below the top of the prow. It has been one of the most successful dhows in history." Source: http://socheapandchic.blogspot.in/2011/11/culture-first-traditional-dhow.html
"Sambuk or sambuq (صنبوق) – the largest type of dhow seen in the Persian Gulf today. It has a characteristic keel design, with a sharp curve right below the top of the prow. It has been one of the most successful dhows in history.[16] The word is cognate with the Greekσαμβύκηsambúkē, ultimately from Middle Persiansambūk. "(Oman, a Seafaring Nation, Oman: Ministry of Information, 1979.Agius, Dionisius A (2008), Classic Ships of Islam: From Mesopotamia to the Indian Ocean, p.314. loc.cit. https://en.wikipedia.org/wiki/Dhow)
Hieroglyph: śambūˊka bivalve shell: śambu m. ʻ bivalve shell ʼ, śambúka -- m. lex. 2. śambukka -- m. lex., śambūˊka -- m. Suśr.1. Pa. sambuka -- m. ʻ a shell ʼ; Or. sāmba ʻ oyster shell ʼ.2. Pk. saṁbukka -- m. ʻ a shell ʼ; B. sāmuk ʻ bivalve shell, snail, cockle ʼ; Or. sāmukā ʻbivalve, snail' (CDIAL 12316) Image may be NSFW. Clik here to view. Image may be NSFW. Clik here to view. Detail of wood carving seen on Sambuq hull in Dubai Creek Hieroglyph:arka 'sun' rebus: eraka 'moltencast, copper' tAmarasa 'lotus' rebus: tAmra 'copper' karaDI 'safflower' rebus: karaDa 'hard alloy' tALa 'palm tree' rebus:dhALa 'larg ingot (oxhide)' koD 'horn' rebus: koTiya 'dhow, seafaring vessel' Sambuk in Aden, 1936 "Sambuk (ultimately from Middle Persiansambūk[1]), known in New Persian asSunbūk (سنبوک) and in Arabic as Sambūk (سنبوك), Sambūq (سنبوق) andṢumbūq (صنبوق), is a type of dhow, a traditional wooden sailing vessel. It has a characteristic keel design, with a sharp curve right below the top of the prow. Formerly sambuks had ornate carvings." https://en.wikipedia.org/wiki/Sambuk See: http://web.archive.org/web/20101101204044/http://www.agmgifts.co.uk/dhow%20article.html Image may be NSFW. Clik here to view. Image may be NSFW. Clik here to view.
An Arab dhow called a Sambuk. (The accent is on the 2nd syllable). These were typical dhows of the Red Sea and the Gulf of Arabia. 16th century Caravels copied the lateen sail rig, an Arab invention. The wings on the stern are copied from Caravels. This model represents a boat circa 1900. http://roberts-model-ships-and-boats.com/sambuc1.htm
Hieroglyph: bahulā 'Pleiades': bahulā f. pl. ʻ the Pleiades ʼ VarBr̥S., °likā -- f. pl. lex. [bahulá -- ] Kal. bahul ʻ the Pleiades ʼ, Kho. ból, (Lor.) boul, bolh, Sh. (Lor.) b*lle.(CDIAL 9195) வாகுலை vākulai, n. < Vahulā. The six presiding
female
deities of the Pleiades; அறு மீனாகிய கார்த்திகைப்பெண்கள். (யாழ். அக.)
Image may be NSFW. Clik here to view.Baghlah sailing. A baghlah, bagala or baggala (Arabic:بغلة) is a large deep-sea dhow, a traditional Arabic sailing vessel.(Clifford W. Hawkins, The dhow: an illustrated history of the dhow and its world) In the following examples from Indus Script Corpora, Pleiades signify bagala ‘pleiades’ Rebus: bagalo = an Arabian merchant vessel (G.) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of (seafaring?) vessel (Ka.)
The inscriptions refer to metalwork catalogues, thus indicating the type of cargo carried on bagalo'merchant vessel'. bagala, 'Pleiades' as hypertexts signify on some Indus Script inscriptions bagala 'outrigger boat, dhow'.
h097 [Pleiades, twigs (on head), ladle, rimless pot]
Brief memoranda:
baṭa= rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati)
muka ‘ladle’ (Tamil)(DEDR 4887) Rebus: mū̃h ‘ingot’ (Santali) PLUS dula'pair' Rebus: dul'cast metal'. (See two ladles). Thus, the offering on the stool denotes: a metal ingot.
bagala ‘pleiades’ Rebus: bagalo = an Arabian merchant vessel (G.) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Ka.)
A Meluhha gloss for hard stone ore or iron stone is mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) which is denoted by the hieroglyph, 'markhor'. miṇḍāl ‘markhor’ (Tōrwālī) meḍhoa ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)Meluhha glosses are annexed which indicate association with cire perdue (or lost wax) method of casting metals using beeswax, particularly in the glosses for miedź, med' 'copper' in Northern Slavic and Altaic languages.
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Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:
Sa. <i>mE~R~hE~'d</i> `iron'. ! <i>mE~RhE~d</i>(M).
One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.
Hieroglyph: మండ [ maṇḍa ] manḍa. [Tel.] n. A twig with leaves on it. Rebus: mã̄ḍ m. ʻ array of instruments &c. (CDIAL 9736) maṇḍa 'iron dross, slag' Sa. <i>mE~R~hE~'d</i> `iron'. ! <i>mE~RhE~d</i>(M). Ma. <i>mErhE'd</i> `iron'.Mu. <i>mERE'd</i> `iron'. ~ <i>mE~R~E~'d</i> `iron'. ! <i>mENhEd</i>(M).Ho <i>meD</i> `iron'.Bj. <i>merhd</i>(Hunter) `iron'.KW <i>mENhEd</i> (Munda)
bahulā f. pl. ʻ the Pleiades ʼ VarBr̥S., °likā -- f. pl. lex. [bahulá -- ]Kal. bahul ʻ the Pleiades ʼ, Kho. ból, (Lor.) boul, bolh, Sh. (Lor.) b*lle.(CDIAL 9195) பாகுலம் pākulam , n. < bāhula. The month of Kārttikai = November-December; கார்த்திகை மாதம். (W.) పావడము [ pāvaḍamu ] pāvaḍamu. [Tel.] n. A present, gift. కానుక. बाहुल्य [ bāhulya ] n (S) Abundance, copiousness, plenty.
Rebus: Manifold: bāhula बाहुल a. Manifold. -लः Fire; शीतरुजं समये च परस्मिन् बाहुलतो रसिका शमयन्ती Rām. Ch.4.99. -2 The month Kārtika. -लम् 1 Manifoldness. -2 An armour for the arms, vantbrass. -ली The day of full moon in the month of Kārtika.
Hieroglyph: bagala 'Pleiades' Rebus: బంగల [ baṅgala ] bangala. [Tel.] n. An oven. కుంపటి.(Telugu) பங்காரு paṅkāru
, n. < T. baṅgāru. [K. baṅgāra.] Gold; பொன். Loc.
Pa. Pk. bahala-- ʻ dense, thick ʼ(CDIAL 9182)
bhaṭā 'brick kiln' (Assamese) بټbaṯṯ, s.m. (2nd) A large iron pan or cauldron for roasting grain, a furnace, a kiln.(Pashto)
bhuvɔ m. ʻ worshipper in a temple ʼ (Gujarati) rather < bhr̥ta --(CDIAL 9554) Yājñ.com., Rebus: bhaṭā‘kiln, furnace’ Pk. bhuaga -- m. ʻ worshipper in a temple ʼPk. bhayaga -- m. ʻ servant ʼ, bhaḍa -- m. ʻ soldier ʼ(CDIAL 9558)
*bhr̥tagātu ʻ hero song ʼ. [bhr̥ta -- , gātú -- 2] Ku. bhaṛau ʻ song about the prowess of ancient heroes ʼ.(CDIAL 9590)
m1186 (DK6847) [Pleiades, scarfed, framework, ficus religiosa, scarfed person, worshipper, twigs (on head), horn, markhor, human face ligatured to markhor, stool, ladle, frame of a building] Brief memoranda:
Image may be NSFW. Clik here to view.m1186 seal.A group of six or seven women wearing twigs may not represent Pleiades, bagaḷā). The groups of such glyphs occur on four inscribed objects of Indus writing. (See four pictorial compositions on: m1186A, h097, m0442At m0442Bt). Glyph (seven women): bahula_ = Pleiades (Skt.)bagaḷā = name of a certain godess (Te.) bagaḷā ,bagaḷe, vagalā (Ka.); baka , bagaḷlā , vagaḷā (Te.) bakkula = a demon, uttering horrible cries, a form assumed by the Yakkha Ajakalāpaka, to terrify the Buddha (Pali.lex.) bahulā f. pl. the Pleiades VarBr̥S., likā -- f. pl. lex. [bahulá -- ] Kal. bahul the Pleiades , Kho. ból, (Lor.) boul, bolh, Sh. (Lor.) b*lle (CDIAL 9195) bahulegal. = the Pleiades or Kṛittikā-s (Ka.lex.) bahula_ (VarBr.S.); bahul (Kal.) six presiding female deities: vahulā the six presiding female deities of the Pleiades (Skt.); vākulai id. (Ta.)(Ta.lex.) Pleiades: bahulikā pl. pleiades; bahula born under the pleiades; the pleiades (Skt.lex.) bahule, bahulegal. the pleiades or kr.ttikās (Ka.)(Ka.lex.) Image: female deities of the pleiades: vākulēyan- < va_kulēya Skanda (Ta.lex.) பாகுளி pākuḷi, n. perh. bāhulī. Full moon in the month of Puraṭṭāci; புரட்டாசி மாதத்துப் பெளர்ணமி. அதைப் பாகுளி யென்று (விநாயகபு. 37, 81). Glyph (twig on head on seven women): adaru ‘twig’; rebus: aduru ‘native metal’. Thus, the seven women ligatured with twigs on their heads can be read as: bahulā + adaru; rebus: bangala ‘goldsmith’s portable furnace’ + aduru ‘native metal’. bāhulēya Kārttikēya, son of S'iva; bāhula the month kārttika (Skt.Ka.)(Ka.lex.) வாகுலை vākulai, n. < Vahulā. The six presiding female deities of the Pleiades. Rebus: bagalo = an Arabian merchant vessel (G.lex.) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Ka.) bagalo = an Arabian merchant vessel (G.lex.) cf. m1429 seal. बहुल Born under the Pleiades; P.IV.3.33. An epithet of fire. -ला 1 A cow; कस्मात् समाने बहुलाप्रदाने सद्भिः प्रशस्तं कपिलाप्रदानम् Mb.13.77.9. The Pleiades (pl.) -लम् 1 The sky. बहुलिका (pl.) The Pleiades. बाहुल a. Manifold. -लः Fire; शीतरुजं समये च परस्मिन् बाहुलतो रसिका शमयन्ती Rām. Ch.4.99. -2 The month Kārtika. -लम् 1 Manifoldness. बाहुलेयः An epithet of Kārtikeya.बाहुल्यम् 1 Abundance, plenty, copiousness. -2 Manifoldness, multiplicity, variety. -3 The usual course or common order of things. (बाहुल्यात्, -ल्येन 1 usually, commonly. -2 in all probability.) बाह्लिः N. of a country (Balkh). -Comp. -ज, -जात a. bred in the Balkh country, of the Balkh breed.बाह्लकाः बाह्लिकाः बाह्लीकाः m. (pl.) N. of a people.-कम् 1 Saffron; ... प्रियाङ्गसंगव्यालुप्तस्तनतटबाह्लिक- श्रियो$पि दृश्यन्ते बहिरबलाः Rām. Ch.7.64. Amarakosha makes references to the Saffron of Bahlika and Kashmira countries (Amarkosha, p 159, Amarsimha.)
Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.kole.l 'temple' Rebu: kole.l 'smithy' (Kota) baTa 'rimless pot' Rebus: bhaTa 'furnace, kiln'.
Hieroglyph: మండ [ maṇḍa ] manḍa. [Tel.] n. A twig with leaves on it. Rebus: mã̄ḍ m. ʻ array of instruments &c. (CDIAL 9736) maṇḍa 'iron dross, slag' Sa. <i>mE~R~hE~'d</i> `iron'. ! <i>mE~RhE~d</i>(M). Ma. <i>mErhE'd</i> `iron'.Mu. <i>mERE'd</i> `iron'. ~ <i>mE~R~E~'d</i> `iron'. ! <i>mENhEd</i>(M).Ho <i>meD</i> `iron'.Bj. <i>merhd</i>(Hunter) `iron'.KW <i>mENhEd</i> (Munda)
bahulā f. pl. ʻ the Pleiades ʼ VarBr̥S., °likā -- f. pl. lex. [bahulá -- ]Kal. bahul ʻ the Pleiades ʼ, Kho. ból, (Lor.) boul, bolh, Sh. (Lor.) b*lle.(CDIAL 9195) பாகுலம் pākulam , n. < bāhula. The month of Kārttikai = November-December; கார்த்திகை மாதம். (W.) పావడము [ pāvaḍamu ] pāvaḍamu. [Tel.] n. A present, gift. కానుక. बाहुल्य [ bāhulya ] n (S) Abundance, copiousness, plenty.
Rebus: Manifold: bāhula बाहुल a. Manifold. -लः Fire; शीतरुजं समये च परस्मिन् बाहुलतो रसिका शमयन्ती Rām. Ch.4.99. -2 The month Kārtika. -लम् 1 Manifoldness. -2 An armour for the arms, vantbrass. -ली The day of full moon in the month of Kārtika.
Hieroglyph: bagala 'Pleiades' Rebus: బంగల [ baṅgala ] bangala. [Tel.] n. An oven. కుంపటి.(Telugu) பங்காரு paṅkāru
, n. < T. baṅgāru. [K. baṅgāra.] Gold; பொன். Loc.
Pa. Pk. bahala-- ʻ dense, thick ʼ(CDIAL 9182)
bhaṭā 'brick kiln' (Assamese) بټbaṯṯ, s.m. (2nd) A large iron pan or cauldron for roasting grain, a furnace, a kiln.(Pashto)
bhuvɔ m. ʻ worshipper in a temple ʼ (Gujarati) rather < bhr̥ta --(CDIAL 9554) Yājñ.com., Rebus: bhaṭā‘kiln, furnace’ Pk. bhuaga -- m. ʻ worshipper in a temple ʼPk. bhayaga -- m. ʻ servant ʼ, bhaḍa -- m. ʻ soldier ʼ(CDIAL 9558)
*bhr̥tagātu ʻ hero song ʼ. [bhr̥ta -- , gātú -- 2] Ku. bhaṛau ʻ song about the prowess of ancient heroes ʼ.(CDIAL 9590)
Arbour, canopy: మండ [ maṇḍa ] manḍa. [Tel.] n. A twig with leaves on it. చెట్టుకొమ్మ. A small branch, ఉపశాఖ.MAṆḌ ʻ adorn ʼ. [Scarcely < *mr̥ndati ʻ rubs ʼ; nor is P. Thieme's derivation (ZDMG 93, 133) as MIA. < *mr̥ṁṣṭē (√mr̥j) phonet. convincing. Prob. with J. Bloch BSOS v 741 ← Drav. (Tam.maṇṇu ʻ to decorate ʼ 9736maṇḍa2 m. ʻ ornament ʼ lex. [√maṇḍ]Pk. maṁḍaya -- ʻ adorning ʼ; Ash. mōṇḍa, mōnda, mūnda NTS ii 266, mōṇə NTS vii 99 ʻ clothes ʼ; G. mã̄ḍ m. ʻ arrangement, disposition, vessels or pots for decoration ʼ, māṇ f. ʻ beautiful array of household vessels ʼ; Si. maḍa -- ya ʻ adornment, ornament ʼ.(CDIAL 9736) maṇḍa6 ʻ some sort of framework (?) ʼ. [In nau -- maṇḍḗ n. du. ʻ the two sets of poles rising from the thwarts or the two bamboo covers of a boat (?) ʼ ŚBr. (as illustrated in BPL p. 42); and in BHSk. and Pa. bōdhi -- maṇḍa -- n. perh. ʻ thatched cover ʼ rather than ʻ raised platform ʼ (BHS ii 402).(CDIAL 9737) N. maṛher, maṛer ʻ one who carries ornaments &c. in the marriage procession ʼ.(CDIAL 9738) maṇḍanan. ʻ adorning ʼ MBh., maṇḍaná -- adj. Pāṇ. [√maṇḍ] Pa. maṇḍana -- n., Pk. maṁḍaṇa -- n. and adj.; OMarw. māṁḍaṇa m. ʻ ornament ʼ; G. mã̄ḍaṇ n. ʻ decorating foreheads and cheeks of women on festive occasions ʼ.(CDIAL 9739) maṇḍapa m.n. ʻ open temporary shed, pavilion ʼ Hariv., °pikā -- f. ʻ small pavilion, customs house ʼ Kād. 2. maṇṭapa -- m.n. lex. 3. *maṇḍhaka -- . [Variation of ṇḍ with ṇṭsupports supposition of non -- Aryan origin in Wackernagel AiGr ii 2, 212: see EWA ii 557. -- Prob. of same origin as maṭha -- 1 and maṇḍa -- 6 with which NIA. words largely collide in meaning and form] 1. Pa. maṇḍapa -- m. ʻ temporary shed for festive occasions ʼ; Pk. maṁḍava -- m. ʻ temporary erection, booth covered with creepers ʼ, °viā -- f. ʻ small do. ʼ; Phal. maṇḍau m. ʻ wooden gallery outside a house ʼ; K. manḍav m. ʻ a kind of house found in forest villages ʼ; S. manahũ m. ʻ shed, thatched roof ʼ; Ku. mãṛyā, manyā ʻ resthouse ʼ; N. kāṭhmã̄ṛau ʻ the city of Kathmandu ʼ (kāṭh -- < kāṣṭhá -- ); Or. maṇḍuā̆ ʻ raised and shaded pavilion ʼ, paṭā -- maṇḍoi ʻ pavilion laid over with planks below roof ʼ, muṇḍoi, °ḍei ʻ raised unroofed platform ʼ; Bi. mã̄ṛo ʻ roof of betel plantation ʼ, mãṛuā, maṛ°, malwā ʻ lean -- to thatch against a wall ʼ, maṛaī ʻ watcher's shed on ground without platform ʼ; Mth. māṛab ʻ roof of betel plantation ʼ, maṛwā ʻ open erection in courtyard for festive occasions ʼ; OAw. māṁḍava m. ʻ wedding canopy ʼ; H. mãṛwā m., °wī f., maṇḍwā m., °wī f. ʻ arbour, temporary erection, pavilion ʼ, OMarw. maṁḍavo, māḍhivo m.; G.mã̄ḍav m. ʻ thatched open shed ʼ, mã̄ḍvɔ m. ʻ booth ʼ, mã̄ḍvī f. ʻ slightly raised platform before door of a house, customs house ʼ, mã̄ḍaviyɔ m. ʻ member of bride's party ʼ; M. mã̄ḍav m. ʻ pavilion for festivals ʼ, mã̄ḍvī f. ʻ small canopy over an idol ʼ; Si. maḍu -- va ʻ hut ʼ, maḍa ʻ open hall ʼ SigGr ii 452.2. Ko. māṁṭav ʻ open pavilion ʼ.3. H. mã̄ḍhā, māṛhā, mãḍhā m. ʻ temporary shed, arbour ʼ (cf. OMarw. māḍhivo in 1); -- Ku. mã̄ṛā m.pl. ʻ shed, resthouse ʼ (or < maṇḍa -- 6?]*chāyāmaṇḍapa -- .Addenda: maṇḍapa -- : S.kcch. māṇḍhvo m. ʻ booth, canopy ʼ.(CDIAL 9740) maṇḍáyati ʻ adorns, decorates ʼ Hariv., máṇḍatē, °ti Dhātup. [√maṇḍ]Pa. maṇḍēti ʻ adorns ʼ, Pk. maṁḍēi, °ḍaï; Ash. mū˘ṇḍ -- , moṇ -- intr. ʻ to put on clothes, dress ʼ, muṇḍaāˊ -- tr. ʻ to dress ʼ; K. manḍun ʻto adornʼ, H. maṇḍnā; (CDIAL 9741) G. mãḍāṇ n. ʻ wooden frame on a well for irrigation bucket ʼ?(CDIAL 9745) Ta. maṇṇu (maṇṇi-) to do, make, perform, adorn, beautify, decorate, polish, perfect, finish; maṇṇ-uṟu to polish as a gem; maṉai (-v-, -nt-) to make, create, form, fashion, shape. Ma.manayuka, maniyuka to fashion, form earthenware, make as a potter. (DEDR 4685) మండనము [ maṇḍanamu ] manḍanamu. [Skt.] n. Adorning, dressing, decorating, decoration. An ornament, jewel, భూషణము, అలంకరణము. మండనుడుmanḍanuḍu. n. One who is dressed or ornamented. "ఏకాంతభక్తి మహితమండనుడు" he who is adorned with faith. BD. v. 1.
Rebus:
M. mã̄ḍ m. ʻ array of instruments &c. (CDIAL 9736) PLUS loa 'ficus religiosa' rebus: loh 'copper'
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kol ‘tiger’ Rebus: kol‘working in iron’; kolhe ‘smelter’
bhaṭāG. bhuvɔ m. ʻ worshipper in a temple ʼ rather < bhr̥ta --(CDIAL 9554) Yājñ.com., Rebus: bhaṭā‘kiln, furnace’
Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.kole.l 'temple' Rebu: kole.l 'smithy' (Kota) baTa 'rimless pot' Rebus: bhaTa 'furnace, kiln'.
Offering hieroglyph-multiplex: worshipper, scarfed + human face+ markhor: cast iron ingots
Hieroglyph: miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.) Rebus: meḍ (Ho.); mẽṛhet‘iron’ (Munda.Ho.)
Hieroglyph: mũhe ‘face’ (Santali) Rebus: mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali)
Hieroglyph: karã̄ n. pl. wristlets, bangles: kará1 ʻ doing, causing ʼ AV., m. ʻ hand ʼ RV. [√kr̥1]Pa. Pk. kara -- m. ʻ hand ʼ; S. karu m. ʻ arm ʼ; Mth. kar m. ʻ hand ʼ (prob. ← Sk.); Si. kara ʻ hand, shoulder ʼ, inscr. karā ʻ to ʼ < karāya. -- Deriv. S. karāī f. ʻ wrist ʼ; G. karã̄ n. pl. ʻ wristlets, bangles ʼ.(CDIAL 2779)
Hieroglyph: scarf: *dhaṭa2, dhaṭī -- f. ʻ old cloth, loincloth ʼ lex. [Drav., Kan. daṭṭi ʻ waistband ʼ etc., DED 2465]Ku. dhaṛo ʻ piece of cloth ʼ, N. dharo, B. dhaṛā; Or. dhaṛā ʻ rag, loincloth ʼ, dhaṛi ʻ rag ʼ; Mth. dhariā ʻ child's narrow loincloth ʼ.*dhaṭavastra -- .Addenda: *dhaṭa -- 2. 2. †*dhaṭṭa -- : WPah.kṭg. dhàṭṭu m. ʻ woman's headgear, kerchief ʼ, kc. dhaṭu m. (also dhaṭhu m. ʻ scarf ʼ, J. dhāṭ(h)u m. Him.I 105).(CDIAL 6707)
Rebus: dhā̆vaḍ iron smelter: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV.,ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]
Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773)
khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17).
khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -। लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;जि&below; or -güjü - । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -), a blacksmith's smelting furnace; cf. hāl 5. -kūrü - । लोहकारकन्या f. a blacksmith's daughter. -koṭu । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -। लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above;च&dotbelow;ू&below; । लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु&below; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् ।लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.(Kashmiri)
Hieroglyph: vaṭa1 m. ʻ the banyan Ficus indica ʼ MBh.Pa. vaṭa -- m. ʻ banyan ʼ, Pk. vaḍa -- , °aga -- m., K. war in war -- kulu m., S. baṛu m. (← E); P. vaṛ, baṛ m., vohṛ, bohṛ f. ʻ banyan ʼ, vaṛoṭā, ba° m. ʻ young banyan ʼ (+?); N. A. bar ʻ banyan ʼ, B. baṛ, Bi. bar (→ Or. bara), H. baṛ m. (→ Bhoj. Mth. baṛ), G. vaṛ m., M. vaḍ m., Ko. vaḍu.*vaṭapadra -- , *vaṭapātikā -- .Addenda: vaṭa -- 1: Garh. baṛ ʻ fig tree ʼ.(CDIAL 11211) *vaṭapadra ʻ a place -- name ʼ. [vaṭa -- 1, padrá -- ?] Pk. vaḍavadda -- n. ʻ name of a town in Gujarat ʼ, G. vaṛod ʻ Baroda ʼ ODBL 497. (CDIAL 11214) *vaṭapātikā ʻ falling from banyan ʼ. [vaṭa -- 1, pāta -- ]G. vaṛvāī f. ʻ hanging root of banyan tree ʼ.(CDIAL 11215) Rebus: bhaṭṭhā 'kiln' bhaṭhī 'furnace'.
bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj]Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhī, bhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh.bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v. bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- .Addenda: bhráṣṭra -- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ.*bhraṣṭrapūra ʻ gridiron -- cake ʼ. [Cf. bhrāṣṭraja -- ʻ pro- duced on a gridiron ʼ lex. -- bhráṣṭra -- , pūra -- 2]P. bhaṭhūhar, °hrā, bhaṭhūrā, °ṭhorū m. ʻ cake of leavened bread ʼ; -- or < *bhr̥ṣṭapūra -- .*bhraṣṭrāgāra ʻ grain parching house ʼ. [bhráṣṭra -- , agāra -- ] P. bhaṭhiār, °ālā m. ʻ grainparcher's shop ʼ.(CDIAL 9656-9658)
kuṭire bica duljad.ko talkena, they were feeding the furnace with ore. In this Santali sentence bica denotes the hematite ore. For example, samṛobica, 'stones containing gold' (Mundari) meṛed-bica 'iron stone-ore' ; bali-bica, iron sand ore (Munda).mẽṛhẽt, meḍ ‘iron’(Munda. Ho.)
Meluhha rebus representations are: bica ‘scorpion’ bica ‘stone ore’.
Image may be NSFW. Clik here to view.Santali glosses
Hieroglyph: 'human face': mũhe ‘face’ (Santali)
Rebus: mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali)
m1175 Composite animal with a two-glyph inscription (water-carrier, rebus: kuti 'furnace'; road, bata; rebus: bata 'furnace'). m1186A Composite animal hieroglyph. Text of inscription (3 lines).
There are many examples of the depiction of 'human face' ligatured to animals:
The 'face' glyph is thus read rebus: mleccha mũh 'copper ingot'.
Hieroglyph: mũhe ‘face’ (Santali) Rebus: mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali)
Image may be NSFW. Clik here to view.m1429 prism tablet shows a boat carrying oxhide ingots. Surprise !! that oxhide ingots were a shipment from Sarasvati civilization, from Mohenjo-daro (perhaps ca. 2500 BCE?) It is notable that oxhide ingots get validated archaeologically only in Cyprus ca. 1200 BCE. The shape of the pair of ingots on the boat (shown on the tablet) is comparable to following figures: 1. the ingot on which stands the Ingot-god (Enkomi); 2. Copper ingot from Zakros, Crete, displayed at the Heraklion Archaeological Museum But the script used on the tablet is NOT Cypro-Minoan or Cretan or Minoan but Meluhha:
While 354 oxhide ingots discovered were copper ingots, it should be noted that oxhide shaped tin ingots were also discovered (Fawcett, N. & Zietsman, J.C. "Uluburun - the discovery and excavation of the world's oldest known shipwreck". Akroterion, Vol. 46 (2001): 5 - 20. , http://akrolerion.journals.za )
Image may be NSFW. Clik here to view.m1429 Prism tablet with Indus inscriptions on 3 sides.
This bagala carried tALa 'palm' rebus: dhALa 'large oxhide ingots' PLUS karaDa 'aquatic bird' rebus: karaDa 'hard alloys'.
Hieroglyph: bāhula बाहुल 'Pleiades' Rebus 1: Rebus 1: బంగల [ baṅgala ] bangala. [Tel.] n. An oven. కుంపటి.(Telugu) Rebus 2: bagalo = an Arabian merchant vessel (G.) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Ka.)
"Baghlahs were widely used in the past centuries as merchant ships in theIndian Oceanand the minor seas around theArabian Peninsula. They reached eastwards toSindh,Indiaand up to theBay of Bengaland further beyond as far as theSpice Islands. Southwestwards they reached down to theEast Africancoast. They were one of the main types of ship used by theBohratraders.
In the early 19th century these ships were also part ofpiratefleets operating from semi or completely independent harbours inPersiaor along theArabian Peninsula." (Gardiner, Robert (2001 [1998]). The Victory of Seapower. Caxton Editions, p.89.)
(Left) Kuwaiti baghla 1950s (courtesy of the Semitics Photo Archives at Leeds University) and (right) a wall painting of an Omani ghanja, Sur 1996, both distinguished by a square galleon-shape stern and a high poop, features of the 16th century European ships. (After Illustrations 77 and 78 in Dionisius A. Agius, 2008, Classic ships of Islam: From Mesopotamia to the Indian Ocean, BRILL, p.315)
Image may be NSFW. Clik here to view. Ornate stern of a baghlah in Kuwait.
Kotias of Western Indian coast, descendants of the Arabian qit’a (left) after Hawkins 1977:93; (right) courtsy of Caroline Sassoon (After Illustrations 87 and 88 in Dionisius A. Agius,2008, Classic ships of Islam: From Mesopotamia to the Indian Ocean, BRILL, p. 353)
Ghanjah (غنجة) or kotiya – a large vessel, similar to the Baghlah, with a curved stem and a sloping, ornately carved transom. A ghanjah or ganja(Arabic: غنجه), also known as kotiya in India, is a large wooden trading dhow, a traditional Arabic sailing vessel.(Clifford W. Hawkins, The dhow: an illustrated history of the dhow and its world. loc.cit. https://en.wikipedia.org/wiki/Ghanjah) "The ghanjah dhows had a curved prow with a characteristic trefoil ornament carved on top of the stem-head. They also had an ornately carved stern and quarter galleries. Their average length was 97 ft (30 m) with a 15 m (49 ft) keel-length and an average weight of 215 tons. Usually they had two masts, the main mast having a pronounced inclination towards the prow. They used two to three lateen sails; supplementary sails were often added on the bowsprit and on a topmast atop the main mast." https://en.wikipedia.org/wiki/Ghanjah काण [p= 269,1] mf(आ)n. (etym. doubtful ; g.कडारा*दि) one-eyed , monoculous (अक्ष्णा काणः , blind of one eye Comm. on Pa1n2. 2-1 , 30 and 3 , 20) RV. x , 155 , 1AV. xii , 4 , 3TS. ii , 5 , 1 , 7Mn. MBh." having only one loop or ring " and " one-eyed " Pan5cat. Rebus: kārṇī m. ʻ prime minister, supercargo of a ship ʼ Pa. usu -- kāraṇika -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻ village accountant ʼ.(CDIAL 3058) Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. Ma. kaṇ, kaṇṇu eye, nipple, star in peacock's tail, bud. Ko. kaṇ eye.(DEDR 1159) Rebus: Ta. kaṉ copper work, copper, workmanship; kaṉṉāṉbrazier. Ma. kannān id.(DEDR 1402) arka 'sun' arká1 m. ʻ flash, ray, sun ʼ RV. [√arc] Pa. Pk. akka -- m. ʻ sun ʼ, Mth. āk; Si. aka ʻ lightning ʼ, inscr. vid -- äki ʻ lightning flash ʼ. (CDIAL 624) rebus: arka, eraka 'copper, moltencast' Ka. eṟe to pour any liquids, cast (as metal); n. pouring; eṟacu, ercu to scoop, sprinkle, scatter, strew, sow;eṟaka, eraka any metal infusion; molten state, fusion.Tu. eraka molten, cast (as metal); eraguni to melt (DEDR 866) Ta. eruvai blood, (?) copper. Ka. ere a dark-red or dark-brown colour, a dark or dusky colour (DEDR 817) Image may be NSFW. Clik here to view.Ghanjah (غنجه) or kotiya - a large vessel, similar to the Baghlah, with a curved stem and a sloping, ornately carved transom.
Image may be NSFW. Clik here to view. A ghanjah at Bombay harbor in 1909 Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view. "The baghlah dhows had a curved prow with a stem-head, an ornately carvedstern and quarter galleries. Their average length was 100 ft (30 m) with an average weight of 275 tons. Usually they had two masts using two to three lateen sails; supplementary sails like a jibwere often added on the bowsprit, as well as on a topmast atop the main mast.As a large and heavy ship the baghlah required a crew of at least 30 sailors. Some had even up to 40." (Thabit A. J. Abdullah, The Political Economy of Trade in Eighteenth-Century Basra, SUNY series in the Social and Economic History of the Middle East , 2000, loc.cit.https://en.wikipedia.org/wiki/Baghlah) "Despite their historical attachment to Arab traders, dhows are essentially an Indian boat, with much of the wood for their construction coming from the forests of India. In Europe, boats names are based on the type of sail rigging the boat has. Thus, it is typical for Europeans to label all Arab boats as dhows. In the Middle East however, boats are classified according the shape of their hull. Thus, dhows with square sterns have the classifications: baghalah, ganja, sanbuuq, jihaazi. The square stern is basically a product of European influence, since Portuguese and other boats visited the Arab gulf since the sixteenth century...According to Hourani, fully stitched construction was observed by medieval writers in the Red Sea, along the east African coast, in Oman, along the Malabar and Coromandel Coasts of India and in the Maldives and Laccadive Islands...Contemporary records prove without a doubt that during the third millennium BC, Babylon carried on extensive overseas trade through the Persian Gulf southward to the east African coast and eastward to India. Hardly anything is known about the vessels used on these ambitious runs other than that they were very small; the largest mentioned has a capacity of some 28 tons. (Ships and Seamanship in The Ancient World, Lionel Casson Princeton University Press, 1971, Page 23)...A 'seagoing boat' of 300 gur is mentioned in a document of 2000 BC; see A. Oppenheim "The Seafaring Merchants of Ur." (Journal of the American Oriental Society 74, 1954, 6-17, especially 8 note 8. For the size of the gur, see Appendix 1, note 5)." http://nabataea.net/ships.html Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.
A possible reconstruction of early ocean-going dhows. Their main characteristics were sewn double ended construction, steering oars at the stern and a lateen rigged sail.
Image may be NSFW. Clik here to view.A possible reconstruction of a later dhow with stern rudders and a rope system of steering. Source: http://nabataea.net/ships.html Image may be NSFW. Clik here to view.An Indian Ocean dhow. "The baggala is the traditional deep-sea dhow of the Persian Gulf and the Gulf of Oman. Its distinguishing features are the five-windowed stern, which is often elaborately carved in the manner of an ancient Portuguese caravel. Baggalas have quarter-galleries, and their curved stems are surmounted by a horned figurehead. Baggalas are built now only at the pot of Sur, in Oman, and are practically extinct in Kuwait. There are probably less than fifty in existence." http://indigenousboats.blogspot.in/2008/08/too-late-to-document-dhows.html
Image may be NSFW. Clik here to view.Clifford W. Hawkins. 1977, The dhow:an illustrated history of the dhow and its world, Nautical Publishing Co. Image may be NSFW. Clik here to view.Dhow anchored off Salalah, southern Oman (Nicolas Sapieha)
The Durable Dhow
Volume 50 Number 3, May/June 1997
by Tom Vosmer
"For thousands of years Omanis have plied a sea-trading thoroughfare stretching north to Mesopotamia, east to India, and southwest to Africa. Taking advantage of seasonal winds, they sailed to foreign ports during the winter, returning home in the summer. In addition, the Arabs developed a highly effective triangular sail, called a lateen, and thekamal, a navigating device that enabled them to determine latitude by gauging the height of the Pole Star above the horizon. They eventually established colonies along the African coast, in Mogadishu, Mombasa, Lamu, and Zanzibar, where
they operated lucrative clove plantations. Indigenous to the coasts of the Arabian peninsula, India, and East Africa, the earliest dhows were shell built--simple dugouts with teak planks sewn to their sides to form a hull. Gradually, larger vessels evolved, employing a keel to which planking was sewn. Shell-built construction differed from the European frame-first method, in which planking was attached to ribbing.
Shell-building allowed shipwrights to create a vessel one plank at a time. If changes were requested, one could simply alter the shape of a plank or its angle of attachment. Most dhows are known by names referring to their hull shape. Theghanjahis a large vessel with curved stem (the boat's foremost timber) and a sloping, ornately carved transom, the ship's flat back end. Thebaghlah, no longer built, was the traditional deep-sea dhow; it had a transom with five windows and a poop deck reminiscent of European galleons. Double-ended dhows, like theboom, have both stem and stern posts. Thebattil, also no longer built, featured long stems topped by large, club-shaped stem heads and stern posts decorated with cowrie shells and leather. Thebadan was a smaller vessel requiring a shallow draught. Without archaeological evidence--no ancient wreck of a vessel indigenous to the western Indian Ocean has ever been found--it is difficult to discern foreign influences on dhow design. We do know that iron nail fastenings began to supplant sewn planks after Portuguese and other European ships entered the region in the early sixtennth century. Many feel the majestic baghlahs and ghanjahs, with their ornate transom decoration and grand size, were the apogee of dhow building. In terms of pure design, however, the smaller, double-ended battils and badans were the finest expression of the tradition."Image may be NSFW. Clik here to view.
Mirror: http://tinyurl.com/hqbne2m Ain Sukhna, (Arabic: العين السخنة el-ʿĒn el-Soḵna) archaeological explorations have shown an ancient pharaonic Red Sea port and settlement from whichseafaring expeditions were organised. The sewn sailing boats discovered at this site dated to 19th cent. BCE based on a study of ceramic materials and dating of wood by radiocarbonne (14C). Research is ongoing on the techniques used in making the sewn boats studying the techniques used even today in Malabar Coast of Kerala. Preliminry results indicate that the techniques used for making the Ain Sukhna boats and the present-day rafts called catamarans (lit. kaTTUmaram) of Kerala are comparable. See: http://drs.nio.org/drs/bitstream/handle/2264/4029/Int_J_Naut_Archaeol_41_148a.pdf
Indian boat building traditions. The ethnological evidence, Persee, Vol.3, No.2, pp. 547-568. http://somasiridevendra.navy.lk/assets/files/p_research.pdfSean McGrail, Lucy Blue, Eric Kentley, Colin Palmer, Boats of South Asia Book Review 2004)
The hypothesis posited is that boat-builders from the West Coast of India had transferred the technology of building catamarans.
"The Periplus of the Erythraean Sea or Periplus of the Red Sea (Greek: Περίπλους τῆς Ἐρυθράς Θαλάσσης, Latin: Periplus Maris Erythraei) is a Greco-Romanperiplus, written in Greek (c. 1st-3rd cen.), describing navigation and trading opportunities from Roman Egyptian ports like Berenice along the coast of the Red Sea, and others along Northeast Africa and the Sindh and South western India...Many trade goods are mentioned in the Periplus, but some of the words naming trade goods are seen nowhere else in ancient literature, and so we can only guess as to what they might be. For example, one trade good mentioned is "lakkos chromatinos". The name lakkosappears nowhere else in ancient Greek or Roman literature. The name re-surfaces in late medieval Latin as lacca, borrowed from medieval Arabic lakk in turn borrowed from Sanskritic lakh, meaning lac i.e. a red-colored resin native to India used as a lacquer and used also as a red colorant.Some other named trade goods remain obscure." https://en.wikipedia.org/wiki/Periplus_of_the_Erythraean_Sea#
"Hatshepsut who came to the throne of Egypt in 1478 BCE had funded a mission to the Land of Punt.(which could be the horn of Africa close to Rann of Kutch). Five ships, each measuring 70 feet (21 m) long bearing several sails and accommodating 210 men that included sailors and 30 rowers. Many trade goods were bought in Punt, notably frankincense and myrrh."
Noting that several ships of 6th century Greece are sewn boats (assembly by lashings), Centre National de la Recherche Scientifique (The Centre d'etudes Alexandrines) has presented a splendid video on the techniques of making sewn boats in the Malabar coast of Kerala. These rafts are called கட்டுமரம் kaṭṭu-maram ,n. < id. +. 1.Catamaran, used for deep sea fishing; raft made of logs of wood lashed or joined together; மீன்பிடிப்பதற்காக மரங்களாற் பிணைக்கப் பட்ட மிதவை. கோக்காமரம் kōkkā-maram is a seafaring raft: ,n. prob. கோ- + கால்¹ +.Loc. 1. A kind of raft orcatamaran; கடலிற்செலுத்தும் கட்டுமரவகைகளில் ஒன்று. மேங்கா mēṅkā , n. A kind of catamaran; கடலில் ஓடும் கட்டுமரவகை. Loc. Image may be NSFW. Clik here to view.Ancient Polynesian catamaran (developed as early as 1500 BCE) Image may be NSFW. Clik here to view.Catamaran, Tamil Nadu. கடப்பா kaṭappā,n. perh. கட்டு- + பாய். Sail of acatamaran;கட்டுமரத்திற் கட்டும் பாய்.Loc.
மடி³ maṭi Double catamaran; இரட்டைக் கட்டுமரம். (G. Tn. D. I, 229.)
Hieroglyphs: 1. lathe; 2. body formed of two or more animals: G. sãghāṛɔ m. ʻ lathe ʼ; M. sãgaḍ f. ʻ a body formed of two or more fruits or animals or men &c. linked together, part of a turner's apparatus ʼ,sã̄gāḍā m. ʻ frame of a building ʼ, °ḍī f. ʻlatheʼCDIAL 12859)
Double-canoe, raft: saṁghāṭa m. ʻ fitting and joining of timber ʼ R. [√ghaṭ] Pa. nāvā -- saṅghāṭa -- , dāru -- s° ʻ raft ʼ; Pk. saṁghāḍa -- , °ḍaga -- m., °ḍī -- f. ʻ pair ʼ; M. sãgaḍ m.f. ʻ float made of two canoes joined together ʼ (LM 417 compares saggarai at Limurike in the Periplus, Tam. śaṅgaḍam, Tu. jaṅgala ʻ double -- canoe ʼ), Si. san̆gaḷa ʻ pair ʼ, han̆guḷa, an̆g° ʻ double canoe, raft ʼ (CDIAL 12859)
Boats of Ayn Sukhna
(French original and bibliography appended)
August 10, 2014 | by Francis Leveque | * Fr | wood | 2nd half of the third millennium BC. AD | Egypt (Upper Egypt) (Egypt)
The site of Ayn Sukhna on the Egyptian shores of the Gulf of Suez (70 km south of Suez) delivered archaeologists 2 vessels used in the Middle Kingdom. Ongoing excavations have been conducted since 2001 by a Franco-Egyptian team led by prof. Mahmoud Abd el-Zaziq (University of Suez), Dr. Georges Castel (IFAO) and prof. Pierre Tallet (University of Paris IV-Sorbonne).
Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.
The site
The site has many inscriptions evoking maritime expeditions in the Middle Kingdom by Mantouhotep Pharaohs (Eleventh Dynasty, the early twentieth century. BC.), Amenemhat II, Sesostris I, Amenemhet III (twelfth dynasty, first quarter the second millennium). Excavations have also revealed the seals of the fourth and fifth dynasties pharaohs, which traces the use of the site to the High Empire (middle of the third millennium).
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The site consists of tunnels dug into the rock to serve as warehouses, buildings, copper ore processing plants. The galleries are located approximately 500 m from the shore. Among the 6 galleries, 3 of them the access is through a building built under the High Empire.
Two other (G2 and G9 galleries) are freely and still retained the dismantled wooden boats. They are about 20 meters long, 3 meters wide and 2 meters high. However the storage timber were burned and reduced to the state of charcoal (the ceiling collapsed during the fire, the fire was smothered and continued smoldering). The best preserved parts of the G2 gallery could be consolidated and removed to a laboratory study. But parts of the G9 gallery were studied in situ.
Woods
The planks were carefully arranged, superimposed on an unknown height but that exceeded 70 cm G9 gallery and isolated from soil by wedges. The whole was bound by ropes. Have been identified very long parts forming the shell and a thicker which served as a keel. Other pieces in the particular morphology formed the ends. However there is a lack of structural members, superstructure and rigging. Several hypotheses: either they do not exist or they were on top and completely burned, or they are stored elsewhere in a still gallery to find.
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The boards are very thick: 9 to 13 cm. Retained widths are usually between 30 and 50 cm, but some are up to 70 cm. The analysis shows that the boards are predominantly cedar wood and sometimes oak. The posts are acacia. The structural parts are made of wood imported from Mediterranean while the connecting pieces are common species in Egypt.
The boards retain their assemblies combining two complementary, not exclusive techniques:
- Like a system resembling strips of wood taking place in mortise. The posts 7 cm wide, 2 cm thick and the depth of the mortise can reach 15 cm.
- Cords of a ligating system passing loop in mortises L cut along the edges of the boards to be joined (0.5 cm diam.). There are a dozen cords by ligation.
Sometimes pins (diam. 2 to 3 cm) complete the above assemblies.
the anchors
Gallery 9 contained two large limestone anchors, weighing respectively 80 and 100 kg.
Restitution
Room dimensions and morphology corresponds to those of the Empire through the vessels found in the funeral of Sesostris III at Dahshur complex. If we take these to model, it is then led to restore, as the volume of timber and distribution in galleries, boats of about 13.50 to 15 m long.
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The region of destination of ships is probably located in the Sinai to Serabit El-Khadim where inscriptions confirm this, especially at a place called Rod el-Air. Rock carvings of boats which one can think that they are in direct contact with the remains of Ayn Sukhna show two types of vessels, both with a crescent-shaped hull and cabin but which are distinguished by their device steering (lateral or axial) and the cabin layout.
Dating
The study of ceramic materials and dating of wood by radiocarbonne (14C) indicate that the vessels were deposited in the late Middle Kingdom (late nineteenth century. BC.) Or at the beginning of the Second Intermediate period (early eighteenth century.). But the woods were in use during the Middle Kingdom and some parts date back to the end of the Old Kingdom (2500-2300 BC.). They should therefore be subject to special attention which reflect the storage in the underground galleries.
Use, maintenance and destruction
The destination of these ships was probably the Sinai at a distance of about 100 km, to enjoy its metal resources (copper) and precious stones (turquoise). They had used regularly but not permanently so they were arranged between two expeditions.
The long use of certain parts stored on shore shows that did not produce a new ship every shipment. The parts were carefully maintained. So do not imagine a royal workshop installed in the Nile valley constantly producing new parts for new boats. By cons, for several centuries one could replace parts alike; expertise was therefore never lost. Nothing says that the workshop was located so far from the place of use. No vestige does not prove the presence of an on-site workshop.
Why a fire broke out in two separate but adjacent galleries? It may be that a voluntary act of destruction intended to harm, by the interruption of shipments, on whom this advantage. Why then the site has he been used more? Have we completely stopped borrowing the sea or did you set up a different mode of travel, and in which locations?
Les bateaux à Ayn Sukhna
10 août 2014 | par Francis Leveque | *fr | bois | 2e moitié du IIIe millénaire av. J.-C. | Egypte (Haute Egypte) ( Egypte )
Le site d’Ayn Sukhna sur les rives égyptiennes du golfe de Suez (70 km au sud de Suez) a livré aux archéologues 2 navires ayant servi au Moyen Empire. Les fouilles en cours sont menées depuis 2001 par une équipe franco-égyptienne sous la direction du prof. Mahmoud Abd el-Zaziq (université de Suez), du Dr. Georges Castel (IFAO) et du prof. Pierre Tallet (université de Paris IV-Sorbonne). Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view. Le site Le site comporte de nombreuses inscriptions évoquant des expéditions maritimes sous le Moyen Empire par les pharaons Mantouhotep (XIe dynastie, début du XXe s. av. J.-C.), Amenemhat II, Sesostris I, Amenemhat III (XIIe dynastie, premier quart du IIe millénaire). Les fouilles ont également révélé des sceaux de pharaons des IVe et Ve dynasties, ce qui fait remonter l’utilisation du site au Haut Empire (milieu du IIIe millénaire). Image may be NSFW. Clik here to view. Le site se compose de galeries creusées dans la roche pour servir d’entrepôts, de bâtiments, d’ateliers de transformation du minerai de cuivre. Les galeries se trouvent à environ 500 m du rivage. Parmi les 6 galeries, l’accès de 3 d’entre elles se fait par un bâtiment construit sous le Haut Empire. Deux autres (galeries G2 et G9) sont d’accès libre et conservaient encore les bois de bateaux démontés. Elles mesurent environ 20 m de longueur, 3 m de large et 2 m de haut. Cependant les bois entreposés ont été calcinés et réduits à l’état de charbon de bois (le plafond s’est effondré lors de l’incendie, le feu a été étouffé et il s’est poursuivi en combustion lente). Les pièces les mieux conservées de la galerie G2 ont pu être consolidées et enlevées pour une étude en laboratoire. Mais les pièces de la galerie G9 ont été étudiées in situ. Les bois Les planches ont été soigneusement rangées, superposées sur une hauteur inconnue mais qui dépassaient les 70 cm de la galerie G9 et isolées du sol par des cales. Le tout était lié par des cordages. On a identifié des pièces très longues formant le bordé et une plus épaisse qui servait de quille. D’autres pièces à la morphologie particulière formaient les extrémités. En revanche on constate l’absence de pièces de charpente, de superstructure et de gréement. Plusieurs hypothèses : soit elles n’existaient pas, soit elles étaient sur le dessus et ont entièrement brulé, soit elles sont rangées ailleurs dans une galerie encore à trouver. Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view. Les planches sont très épaisses : 9 à 13 cm. Les largeurs conservées sont le plus souvent comprises entre 30 et 50 cm, mais certaines mesurent jusqu’à 70 cm. L’analyse montre que les planches sont majoritairement en bois de cèdre et parfois en chêne. Les tenons sont en acacia. Les pièces de structures sont en bois importés de Méditerranée tandis que les pièces d’assemblage sont d’essences commune en Egypte. Les planches conservent leurs assemblages alliant 2 techniques complémentaires et non exclusives : Image may be NSFW. Clik here to view. un système de tenons ressemblant à des languettes de bois prenant place dans des mortaises. Les tenons mesurent 7 cm de largeur, 2 cm d’épaisseur et la profondeur des mortaises peut atteindre 15 cm. Image may be NSFW. Clik here to view. un système de ligature de cordelettes (diam. 0.5 cm) passant en boucle dans des mortaises en L taillées le long des bords des planches à assembler. On compte une douzaine de cordelettes par ligature. Parfois des chevilles (diam. 2 à 3 cm) viennent compléter les assemblages ci-dessus. Image may be NSFW. Clik here to view.Les ancres La galerie 9 contenait deux grosses ancres de calcaire, pesant respectivement 80 et 100 kg. Restitution Les dimensions des pièces et leur morphologie correspond à celles des bateaux du moyen Empire retrouvés dans le complexe funéraire de Sésostris III à Dahchour. Si on prend ces derniers pour modèle, on est alors conduit à restituer, selon le volume des bois et leur répartition dans les galeries, des bateaux d’environ 13,50 à 15 m de long. La région de destination des navires est sans doute à situer dans le Sinaï, vers Serabit El-Khadim où des inscriptions le confirment, notamment au lieu-dit Rod el-Air. Des gravures rupestres d’embarcations dont on peut penser qu’elles sont en rapport direct avec les vestiges d’Ayn Sukhna montrent 2 types de navires, tous les deux avec une coque en forme de croissant et une cabine mais qui se distinguent par leur appareil de gouverne (latéral ou axial) et la disposition de la cabine. Datation L’étude du matériel céramique et les datations du bois par radiocarbonne (14C) indiquent que les navires ont été déposés à la fin du Moyen Empire (fin du XIXe s. av. J.-C.), voire au début de la Deuxième Période Intermédiaire (début du XVIIIe s.). Mais les bois étaient en usage pendant le Moyen Empire et certaines pièces remontent jusqu’à la fin de l’Ancien Empire (2500-2300 av. J.-C.). Ils devaient donc faire l’objet d’une attention particulière dont témoignent le rangement dans les galeries souterraines. Usage, entretien et destruction La destination de ces navires était sans doute le Sinaï à une distance d’environ 100 km, pour profiter de ses ressources métallifères (cuivre) et de pierres précieuses (turquoises). Ils ont dû servir régulièrement mais pas en permanence c’est pourquoi ils étaient rangés entre deux expéditions. Le long usage de certaines pièces stockées sur ce rivage montre qu’on ne fabriquait pas un navire neuf à chaque expédition. Les pièces étaient soigneusement entretenues. Il ne faut donc pas imaginer un atelier royal installé dans la vallée du Nil produisant en permanence des pièces nouvelles pour des bateaux neufs. Par contre, pendant plusieurs siècle on a pu remplacer des pièces à l’identique ; le savoir-faire n’a donc jamais été perdu. Rien ne dit que l’atelier ait été situé si loin du lieu d’usage. Aucun vestige ne prouve non plus la présence d’un atelier sur place. Pourquoi un incendie s’est déclaré dans 2 galeries adjacentes mais bien séparées ? Il ne peut s’agir que d’un acte volontaire de destruction destiné à nuire, par l’interruption des expéditions, à celui à qui cela profitait. Pourquoi ensuite le site n’a-t-il plus été utilisé ? A-t-on cessé complètement d’emprunter cette voie maritime ou a-t-on mis en place un autre mode de déplacement, et dans quels lieux ?
Image may be NSFW. Clik here to view. M. Abd el-Raziq, G. Castel, P. Tallet, L’exploration archéologique du site d’Ayn Soukhna (2001-2004), in Actes Du Neuvième Congrès International Des Égyptologues, Grenoble, 6-12 septembre 2004, Leuven, Paris , 2007
Image may be NSFW. Clik here to view. P. Tallet, E. Mahfouz, The Red Sea in pharaonic times : Recent discoveries along the Red Sea Coast. Proceedings of the Colloquium held in Cairo/Ayn Soukhna 11th–12th January 2009, IFAO, Le Caire , 2009
Image may be NSFW. Clik here to view. P. Pomey, Les bateaux d’Ayn Soukhna. Les plus vieux vestiges de navires de mer actuellement connus., in Egypte Afrique & Orient, vol. 64, Les bateaux et la navigation en Egypte ancienne II, Centre vauclusien d'égyptologie , 2012
Image may be NSFW. Clik here to view. Pierre Tallet, Ayn Sukhna and Wadi el-Jarf : Two newly discovered pharaonic harbours on the Suez Gulf , in British Museum studies in Ancient Egypt and Sudan, vol. 18, British Museum, Londres , 2012
"The technique of assembly by lashings is one of the world's oldest for constructing boats. It was in use in Antiquity in Egypt and in Homeric Greece. In the present day, this method is still used in the Indian Ocean, most notably in India itself, at Kerala, where, nevertheless, the technique is unfortunately dying out. This film takes us to Kerala on the Malabar Coast, and into a network of lakes and lagoons and canals known as The Backwaters, where the last of these "sewn" boats are still employed. We shall follow the work of traditional carpenters who continue to practise this ancient technique and begin to understand its subtleties." S. Kalyanaraman Sarasvati Research Center July 10, 2016
Nick Burningham provides clear hieroglyphic evidence for distinguishing an ancient kotia (dhow seafaring vessel) from a ghanja and a baghla). It has been noted that both kotia and bagala (together with sangada) are ancient seafaring vessels of the Bronze Age Sarasvati civilization. The following three ictures provided by Nick Burningham provide the hieroglyphs which distinguish 1. kotia; 2. ghanja and 3. baghla. All three are dhows (derived from dhAu 'strand' rebus: dhAu 'mineral' cf. Arabic داو dāw). The hieroglyphs on stemheads of three vessels signify the cargo carried by the seafaring vessels. The three distinct hieroglyphs on stemheads of seafaring vessels are:
Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view. Three hieroglyphs deciphered from L. to R. kuThAru 'treasury' rebus: kuThAru 'armourer' koThAri 'crucible' Rebus: koThAri 'treaurer, warehouse' (On a baghla 500-100 tons) (Alternative: kole.l 'temple' rebus:kole.l 'smithy, forge') Thus, the hieroglyph signifies implements from smithy/forge. dhAu 'strand' rebus: dhAu 'minerals' (On a ghanja 200-50 tons) The word ganja rebus signifies 'metalware'. गंज (p. 123) gañja m ( P) A heap, stack, rick, pile (of grain, hay, wood, bales). 2 A case, as of mathematical instruments, of writing-materials, of combs, brushes, razors, of blades, screws, prickers, of compartments for पान, सुपारी, चुना &c. 3 A box of tools or utensils. 4 A mart; a bazar. 5 A large copper vessel for holding water. (From Nágpúr.) tAmarasa 'lotus' rebus:tAmra 'copper' (On a kotia 200-50 tons) Thus, the three seafaring dhows are identified by the cargo carriedby the three vessels: 1.weapons/implements (carried on baghla); 2. minerals (carried on ghanja); 3. copper (carried on kotia0
The centre-piece oval-shape hieroglyph atop the arch: poLa 'magnetite ore ingot'
Image may be NSFW. Clik here to view.Some of the Early Harappan zebu figurines were decorated. One example has incised oval spots. It is also stained a deep red, an extreme example of the types of stains often found on figurines that are usually found in trash and waste deposits.
Approximate dimensions (W x H(L) x D): 1.8 x 4.6 x 3.5 cm. https://www.harappa.com/figurines/33.html The oval hieroglyph on zebu signifies a magnetite ingot since poLa 'zebu' rebus: poLa 'magnetite ferrite ore'. It is this hieroglyph that adorns the upper transom of the baghla illustrated by Nick Burningham.
S. Kalyanaraman
Sarasvati Research Center
July 11, 2016
Nick Burmingham, 2007, Baghla, Ghanja and Kotia, distinguishing the Baghla from the Suri Ghanja and the Indian Kotia, The International Journal of Nautical Archaeology, 2007 36.1:91-111
Calcutta, July 10: The Bengal CPM today accused the politburo of "insulting and disrespecting" the verdict of 2.15 crore people who had voted for the Left-Congress alliance in the Assembly polls and dared the central leadership to disband the state committee if it felt that the electoral tactic was wrong. The state unit struck the defiant note at a state committee meeting in Alimuddin Street in the presence of CPM general secretary Sitaram Yechury and his predecessor Prakash Karat, both of whom are politburo members. At a late-night state secretariat meeting, Bengal CPM chief Surjya Kanta Mishra is learnt to have said a "state-specific organisational plenum" would be held from September 30 to October 2 to discuss the alliance issue. Usually, plenums are held to take organisational, not electoral, decisions between party congresses. By convention, the central committee or the politburo calls plenums. This is a rare occasion where a state unit is convening it. The next party congress is in 2018. So bitter was the mood at the state committee meeting that references were made to the "historic blunder" of 1996 which denied Jyoti Basu the Prime Minister's post. The Bengal leadership stood by its decision in the face of a central committee note in June that held that the arrangement was "not in consonance" with the political-tactical line of the party and should be rectified. The choice of words - diluted from "violated" to "not in consonance" - reflected a tussle between the hardliners and others in the central leadership. If the Bengal unit holds its ground, it is expected to help Yechury, who is said to be facing hostility from a range of hardliners who dominate most state units and the central committee. Asked what transpired at today's meeting, a CPM leader said: "Our comrades did not mince words while talking about the necessity of taking forward the Left-Congress alliance. They accused the politburo members of disrupting the process of forging a broad-based unity of Left and other democratic forces, including the Congress." According to the leader, state committee member Moinul Hasan said the politburo had insulted and disrespected the verdict of the 2.15 crore people who had voted for the tie-up, which the Bengal unit struck despite strong opposition from an influential section of the central leadership identified with Karat and the Kerala unit. "The mood was confrontational. We said the central leadership can disband our state committee and form a new one if it feels that we violated the party line. But they simply cannot disrespect the support that 2.15 crore people gave us," a CPM state committee leader said after the session. CPM leaders from Bengal such as Hasan, Shamik Lahiri and Rahul Ghosh lashed out at the central leadership and recounted how the politburo and the central committee had "hurt the pride of Bengal" by disallowing then chief minister Basu from becoming Prime Minister in 1996 and how former Lok Sabha Speaker Somnath Chatterjee was expelled by the party for having refused to step down in July 2008. The Bengal CPM pointed out that the politburo had had no problem supporting the UPA-I government in 2004 but was now criticising the state unit's hand-holding with the Congress, when the need of the hour was to combat Trinamul and the "communal politics" of the BJP. "When the BJP bogey was raised to justify the CPM's support to the Congress-led UPA-I government, the politburo had supported it. But when we in Bengal joined hands with the Congress to fight the BJP and Trinamul, the politburo resented it. What sort of opportunistic politics is this?" Hasan was quoted as asking at the meeting. It is learnt that the state leadership referred to the spat between Kerala chief minister Pinarayi Vijayan and mass leader V.S. Achuthanandan, saying the politburo could do little to prevent their "public sparring" but was prompt in taking a harsh stand against the Bengal unit's "pro-people decision".
Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view. Three hieroglyphs deciphered from L. to R. kuThAru 'treasury' rebus: kuThAru 'armourer' koThAri 'crucible' Rebus: koThAri 'treaurer, warehouse' (On a baghla 500-100 tons) (Alternative: kole.l 'temple' rebus:kole.l 'smithy, forge') Thus, the hieroglyph signifies implements from smithy/forge. dhAu 'strand' rebus: dhAu 'minerals' (On a ghanja 200-50 tons) The word ganja rebus signifies 'metalware'. गंज (p. 123) gañja m ( P) A heap, stack, rick, pile (of grain, hay, wood, bales). 2 A case, as of mathematical instruments, of writing-materials, of combs, brushes, razors, of blades, screws, prickers, of compartments for पान, सुपारी, चुना &c. 3 A box of tools or utensils. 4 A mart; a bazar. 5 A large copper vessel for holding water. (From Nágpúr.) tAmarasa 'lotus' rebus:tAmra 'copper' (On a kotia 200-50 tons) Thus, the three seafaring dhows are identified by the cargo carriedby the three vessels: 1.weapons/implements (carried on baghla); 2. minerals (carried on ghanja); 3. copper (carried on kotia)
Manchester Museum: 7 (2015-04-18)
Administrative text dating to the Ur III period (2100-2000 BCE); Manchester Museum, University of Manchester, MMUM 35469.
Image may be NSFW. Clik here to view.
This administrative account originates from the rich documentation of Umma. Thanks to its year-name, the text can be dated to the second year of the king Šu-Suen. It records a quite substantial number of boating implements. First, it accounts for 790 gešumbin ma2. The Sumerian word umbin generally means finger or toe nail, but in this context it designates a part of the boat (possible the planks). The second group of items listed is surely destined for the construction of a boat. In this instance, 59,290 wooden nails are issued. This is a number unparalleled in the corpus. Another document (MVN 16, 834) mentions 18,000 of the same sort of nails.
The early publication of this tablet completely ignored the seal impression covering most of its surface. In many text publications, even of later date, just the legend on the text was impressed, something like current letter-heads used in official correspondence. The impression on the reverse shows that it was important to Babylonian scribes that the legend remain clearly visible. This particular seal, belonging to a certain Ur-Nungal, is well-known in the Ur III period. Another and more complete impression of the same seal can be found on several texts in the John Rylands Library, also in Manchester. The example shown here to the lower right is JRL 872, a pyramidal-shaped clay label. Its “base” was sealed with the same cylinder seal. Texts like these help to reconstruct partial or partly preserved seal impressions (of this particular seal, some 44 artifact witnessesare currently known in the CDLI files, a further 172 with a slightly different writing of the final line).
http://cdli.ucla.edu/cdlitablet/showcase Was there an anient link between Beypore, Kerala on the western coast of India and Sumer? Here is an extraordinary account of Captain Iwata who found information from a cuneiform tablet in Louvre Museum on a Sumerian 3000 tonner ship made of wood held together by wooden nails and coir yarn, "according to Captain Iwata, founder member of the Association of Sumerian ships in Japan, Beypore had direct links with Mesopotamia and was probably a major stop in the maritime silk route. In fact, he believes that Sumerian ships might have been built in Beypore. So when Captain Iwata set out to prove that a maritime trade link did exist between Mesopotamia and other countries, it is to Beypore he came to build his dream ship some years ago. The ship in which he would trace the silk route Built according to a design recorded in cuneiform Sumerian tablet, preserved at the Louvre museum, the 3000 tonner is made entirely of wood. Its planks are held together by wooden nails and coir yarn. A special glue made of fruit and tree resins are used for additional bonding. The anchor is hewn out of granite." http://www.anitanair.net/travelogues/travelogue3.htm Image may be NSFW. Clik here to view. Sumerian boats including Silver boat model from Royal tombs (Ubaid period ca. 6500 to 3800 BCE) Image may be NSFW. Clik here to view.
Tablet Sb04823: receipt of 5 workers(?) and their monthly(?) rations, with subscript and seal depicting animal in boat; excavated at Susa in the early 20th century; Louvre Museum, Paris (Image courtesy of Dr Jacob L. Dahl, University of Oxford) Source: http://www.sci-news.com/othersciences/linguistics/article00687.html
The animal depicted in boat seems to be a scorpion which is an Indus Script hieroglyph: bicha 'scorpion' rebus: bicha 'hematite stone ore'. Was the hematite from the west coast of India (Sahyadri ranges) transported on such boats? Who knows?
Mohenjo-daro. Sailing vessel depicted on a stone stamp seal (after Potts 1995: Fig. 1)
“The construction of boats using locally available wood is well attested in the cuneiform sources. One Ur III boatbuilding text refers to 11,787 pieces of wood, stipulating in most cases what part of the ship they were destined to be used for. An Old Babylonian text from Ur (UET V 468) attests to the use of the date-plm midrib (?) in boat construction, three hundred of which were delivered by twenty-five workers. M. Powell has noted a number of wooden elements used in boat construction among pre-Sargonic ‘timber’ texts from Girsu. Planks of asal, (Populus sp. Euphratica?) for short or deep-draft boats are attested, as are the handles of steering oars. Both gig id and gul-bu (unidentified) were probably used for steering oar handles as wel. Ships’ timbers were made of u-suh (pine?), as were steering oars, punting poles and elements of the mooring apparatus…an Ur III text from Umma lists the delivery of 810 boat ribs of ma-nu wood (willow?) Palm-fibre and palm-leaf ropes (Sum. Shu-sar, Akk. Pitiltium) of differing thickness and weights were made by ‘twisting’ (akk. patAlum). Old Babylonian texts from Ur (e.g. UET V 468) show no fewer than 186 labourers are employed in this sort of rope manufacture, and texts relting to the distribution of ropes for the outfitting of boats reveal that enormous quantities of such rope were employed…in the context of reed use in the construction of Magan ships (CT 7:31a) lists no less than 176 talents (8.28 tons) of palm-fibre rope (shu-sar KAxSA) and 34 talents (1.02 tons) of palm-leaf rope (shu-sar pesh). The tons of palm-fibre rope called for in this text suggest that some of the watercraft of the Ur III period must have been sewn or stitched vessels, a possibility to which scant attention has been paid in the literature on Mesopotamian watercraft. Sewn plank boats are an important and well-studied phenomenon in northern Europe, the Mediterranean, the Indian Ocean, South Asia and Southeast Asia. The sewn vessels of the Gulf, Red Sea and Indian Ocean are justly famous in nautical literature and have been commented on my European observers for almost two millennia. In the mid-first-century CE the anonyumous author of the Periplus Maris Erythraei, a commercial mariner’s handbook containing information on travel between Egypt and India, noted ‘boats sewed together,…known as madarata’ on the southern coast of Arabia. In 1890 the great Austrian Orientalist and South Arabian explorer Eduard Glaser suggested that the word rendered madarata in Greek by the author of the Periplus was undoubtedly the same as Arabic muddarra’at or maddarra’ator madra’at, a vessel fastened with palm-fibre. In his chronicle of the Sasanian wars, Procopius (c. CE 500-560+) wrote of the ships in the Red Sea and in India as follows: ‘Nor indeed are the planks are fastened together by iron nails going through and through, but they are bound together with a kind of cording’ (On the Persian War I xix 23-24). The tenth-century Persian writer Abu Zaid Hasan of Siraf, on the Gulf coast of Iran, described Omani shipbuilders who travelled to the Maldive and Laccadive islands off the Indian coast where they felled coconut palms, ‘and with the bark of the tree they spin a yarn, wherewith they sew the planks together, and so build a ship’. At the end of the thirteenth century Marco Polo observed the use of coconut palm-fibre by the inhabitants of Hormuz, near Minab in southern Iran, noting ‘and from that they spin twine, and with this stitch the planks of the ship together’. James Bruce who described boats on the Red Sea near Quseir in the late eighteenth century, felt that sewing the hull gave it an elasticity which made it more resistant to damage than one fastened with iron naILS. ‘The planks of the vessel’, he noted, ‘were sewed together and there was not a nail nor a piece of iron in the whole ships; so that when you struck upon a rock, seldom any damage ensued’. The use of palm-fibre cordage in the Gulf was observed in 1828 by GB Kempthrons and specifically on Bahrain in the 1890s by SM Zwemer. Given the fact that the Ur III text express the quantity of palm-fibre rope used by Mesopotamian shipwrights in terms of weight, one can be impressed by the sheer tonnage involved, but it is difficult to get an accurate impression of quantity which, for a commodity like rope or cord, is more easily understood by length. Some impression can perhaps be gained by considering the Fourth Dynasty royal ship of Cheops found near the Great Pyramid at Giza. This vessel, 43.63m long and 5.6 m wide, is said to have needed 5000 (5 km) of cordage. The structurally very different Sohar, a 23-m-long, 6.2 m-wide replica of the type of sewn-plank boat thought to have been sailed in the early medieval era, used no less than 400 miles (640 km) of coconut palm-fibre rope (coir). The 207 talents (6210 kg or 6.21 tons) of fish oil mentioned in CT 731a along with the tons of rope or cord probably represent an anti-fouling agent used on the rope as opposed to the wooden hull itself which was caulked with bitumen. In reviewing the uses of wood, mention was made of a text attesting to the provision of 59,290 wooden pegs for the boatyards of Umma during the Ur III period. Had Paul Johnstone been aware of the data such as this, he would have had a ready answer to the question which he posed in his posthumously published Sea-craft of Prehistory, ‘Did any ancient shipbuilder in the Indian Ocean and Arabian Gulf…use tenons and dowels to keep planks in place?’. The Ur III data is important, particularly in view of the fact that wooden, bamboo or cane pegs were traditionally used in combination with sewing or stitching throughout the Gulf/Indian Ocean region in the pre-modern era. As Gemelli Carreri observed at Kung island in the lower Gulf in the late seventeenth century, ‘Instead of nails, which they were without, they use ‘chevilles’ (pegs) of bamboo or cane, and further join the planks with ‘ficelles’ (strings) made of rushes (probably coir or coconut fibre).’ Similarly, Marco Polo found ‘wooden trenails’ (i.e. nails of wood) used in combination with the coconut palm-fibre cord mentioned above during his visit to Hormuz. Another justification for the use of so many pegs is provided by an account of the repair of a ganja, a large, ocean-going, traditional wooden vessel used on the Malabar coast of South India… The character of watercraft in southern Mesopotamia and the surrounding area. Regardless of the fact that reed boats and sewn plank-built vessels can be found in many parts of the world, there is no denying that these show as many differences cross-culturally as other categories of material culture, such as ceramics. Thus, while certain common techniques and solutions to problems may appear in widely differing regions, their cultural expression and the materials used vary enough for the end product to have a distinctive appearance vis-à-vis others of its type. The late nautical archaeology specialist, Paul Johnstone, suggested that by examining the representations of watercraft on the stamp seals of Bahrain and Failaka in the Gulf (ancient Dilmun), it would be possible to gain at least a partial understanding of the sorts of ships which must have sailed between Mesopotamia and the Indus Valley in the late third and early second millennium BCE. A close examination of all the early iconography of sailing vessels from Harappa sites, the Oman peninsula and the Gulf region, however, shows clearly that each differed from the other in many points of detail and overall form, as indeed Egyptian vessels differed from Mesopotamian ones…”(DT Potts, 1997, Mesopotamian Civilization: The material foundations, London, The Athlone Press, p. 74, 126-128, 134). https://ia800804.us.archive.org/0/items/MesopotemianCivilizationTheMaterialFoundations/PottsMesopotamienCivilisation1997.pdf
Image may be NSFW. Clik here to view.Uru at Beypur (Beypore, Kerala) "According to Captain Iwata, founder member of the Association of Sumerian ships in Japan, Sumerian ships might have been built in Beypore. There are evidences to prove that Beypore had direct trade links with Mesopotamia and was a prominent link on the maritime silk route...(For building a dhow at Beypore) the anchor was carved out of granite. The ship was named Ki-en-gi, which in Sumerian means ‘the land of the master of reeds’. Though this news hogged the limelight all over the world, it was just another ship that rolled out of the keels for the khalasis and Beypore." (Post by Sholto Ramsay Jan. 25, 2008) http://www.karmakerala.com/news/2008/01/25/the-matchless-maritime-tradition-of-dhow-making/ See: http://www.dailymail.co.uk/sciencetech/article-2545494/Was-Noahs-Ark-ROUND-3-700-year-old-clay-tablet-reveals-boat-coracle-reeds-bitumen.html A report on another cuneiform tablet in the British Museum about building a coracle.
Early second-millennium BCE Gulf watercraft depicted on a stamp seal from Failaka, Kuwait (after Potts 1995: Fig. 11)
Image may be NSFW. Clik here to view.One side of a Mohenjo-daro prism tablet shows a boat carrying oxhide ingots PLUS related hieroglyphs signifying technical metalwork information as a knowledge system.
Model boat made from threaded cloves before conservation, AD 1700s–1900s, probably from Indonesia, L 58 cm, H 30 cm, D 23 cm. British Museum As1972,Q.1944
Image may be NSFW. Clik here to view. uru 'dhow', Beypur, Kerala. Ta. uru schooner, small vessel. Ma. uru, uruvu vessel, ship. (DEDR 659) S. Kalyanaraman Sarasvati Research Center July 11, 2016
Mirror: http://tinyurl.com/jpxsknw Thanks to Tom van Bakel for focussing attention on the Darius cylinder seal impression. I suggest that the narratives signified on some cylinder seals of Ancient Near East contain Indus Script hieroglyphs which provide a rebus layer of orthographic metaphors related to metalwork heralding the Bronze Age Revolution. For example, the two palm trees shown on a Mohenjo-daro prism tablet (as a metalwork catalogue) also signify unambiguous hieroglyphs on some ANE cylinder seals (including the cylinder seal of Darius).
Image may be NSFW. Clik here to view.This Mohenjo-daro prism tablet signifies on Side A a pair of palm trees flanking two oxhide ingots. It has been suggested that the hieroglyphs on all three sides of the tablet are read rebus to signify a metalwork catalogue of cargo carried on the boat (bagala?). Side A; tALa 'palm trees' rebus: DhALa 'large ingot (oxhide)' karaDa 'aquatic bird' rebus: karaDa 'hard alloy' Side B: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS karA 'crocodile' rebus: khAr 'blacksmith', thus aya-kara 'metalsmith' Side C: from l.to r. Part 1: karaNika 'spread legs' rebus: karNI 'supercargo' kanka, karNaka 'rim of jar' rebus: karNI 'supercargo, script, engraver' dula 'pair' rebus: dul 'metal casting' muh 'ingot' khANDA 'notch' rebus:kaNDa 'implements' Part 2: kanka, karNaka 'rim of jar' reebus: karNI 'supecargo, script, engrave' ayo, aya 'fish' PLUS khambhaṛā 'fish-fin' rebus: kammaTa 'mint' kolom 'three' rebus: kolimi 'smithy.forge' muh 'ingot' PLUS kolmo 'rice plant' rebus: kolimi 'smithy/forge'. Thus, the inscription on the three sides signifies mint, metalwork, hard alloys,metalcastings ingots, metal implements from smithy/forge.
The repeat of the hieroglyphs of two palm trees on Darius cylinder seal is significant beyond description of a 'lion-hunting' scene as a tribute to the valour of the royalty.
It is possible that the hieroglyphs on the cylinder seal impression of Darius also signify metalwork catalogues read rebus in the Indus Script tradition.
Image may be NSFW. Clik here to view.Borassus flabelliformis in Karainagar, Sri Lanka. Asian Palmyra palm/Lontar palm/Doub palm (southern Asia from India to Indonesia) Palakkad District of Kerala State is popularly known as land of Palmyra trees (കരിമ്പനകളുടെ നാട് ).
Image may be NSFW. Clik here to view.The main entrance of Angkor Wat to the temple proper, seen from the eastern end of the Nāga causeway and Asian Palmyra palm
*tāḍa3 ʻ fan -- palm ʼ, tāḍī -- 2 f. in tāḍī -- puṭa -- ʻ palm -- leaf ʼ Kād., tāla -- 2 m. ʻ Borassus flabelliformis ʼ Mn., tālī -- , °lakī -- f. ʻ palm -- wine ʼ W. [Cf. hintāla -- ] Pa. tāla -- m. ʻ fan -- palm ʼ, Pk. tāḍa -- , tāla -- , tala -- m., tāḍī -- , tālī -- f., K. tāl m., P. tāṛ m., N. tār (tāṛ ← H.), A. tāl, B. tāṛ, Or. tāṛa, tāṛi, tāḷa, Bi. tār, tāṛ, OAw. tāra, H. G. tāṛ m., M. tāḍ m., Si. tala. -- Gy. gr. taró m., tarí f. ʻ rum ʼ, rum. tari ʻ brandy ʼ, pal. tar ʻ date -- spirit ʼ; S. tāṛī f. ʻ juice of the palmyra ʼ; P. tāṛī ʻ the fermented juice ʼ; N. tāṛī ʻ id., yeast ʼ (← H.); A. tāri ʻ the fermented juice ʼ, B. Or.tāṛi, Bi. tārī, tāṛī, Bhoj. tāṛī; H. tāṛī f. ʻ the juice, the fermented juice ʼ; G. tāṛī f. ʻ the juice ʼ, M. tāḍī f. <-> X hintāla -- q.v. tālavr̥nta -- ; *madatāḍikā -- . Addenda: tāḍa -- 3: S.kcch. tāṛ m. ʻ palm tree ʼ.tālavr̥nta n. ʻ palm -- leaf fan ʼ MBh., °aka -- n. lex. [*tāḍa -- 3, vr̥nta -- 1] Pa. tālavaṇṭa -- , ta° m. ʻ fan ʼ, Pk. tālaveṁṭa -- , °voṁṭa -- , tāliaṁṭa -- , talaveṁṭa -- , °viṁṭa -- n.; Si. talväṭa ʻ palmyra fan ʼ.(CDIAL 5750, 5802) Ta. kara-tāḷampalmyra palm. Ka. kara-tāḷa fan-palm, Corypha umbraculifera Lin. Tu. karatāḷa cadjan. Te. (B.) kara-tāḷamu the small-leaved palm tree. (DEDR 1270)Ka. tār̤palmyra or toddy palm, Borassus flabelliformis. Tu.tāri, tāḷi id. Te. tāḍu, (inscr., Inscr.2) tār̤u id.; tāṭi of or belonging to the palmyra tree; tāṭi ceṭṭu palmyra tree; tāṭ-āku palmleaf. Kol. (Kin.)tāṭi māk palmyra tree. Nk. tāṛ māk/śeṭṭtoddy palm. Nk. (Ch.) tāṛ id. Pa. tāṛ id.
Ga. (S.3) tāṭi palmyra palm. Go. (G. Ma. Ko.) tāṛ, (S.) tāṛi, (A.) tāḍi toddy palm; (SR.) tādī kal palm liquor (Voc. 1709). Konḍaṭāṛ maran, ṭāṭi maran palmyra tree. Pe. tāṛ mar toddy palm. Kuwi (Su.) tāṭi mārnu, (S.) tāti id. Kur. tāṛ palm tree. Malt. tálmiBorassus flabelliformis. / Cf. Skt. tāla-, Pkt. tāḍa-, tāla-; Turner, CDIAL, no. 5750 (some of the Dr. items may be < IA).(DEDR 3180)
Darius cylinder seal and impression with Old Persian, Elamite and Babylonian cuneiform inscription
Image may be NSFW. Clik here to view.Cylinder seal impression
Trilingual cuneiform inscription in Old Persian, Elamite and Babylonian.
(The word 'great' appears only in Babylonian)
.
Darius reigned: 521-486 BCE
"Chalcedony / prase cylinder seal: streaked, green to grey-brown, clouded carved scene shows chariot, lions, symbol, tree and inscription; a royal personage (Darius I) facing right, stands at the back of a chariot, with his torso presented frontally; he has a long pointed beard, striated across the cheek and vertically down the chin and chest, his hair, in diagonal lines, is in a full-page boy style at the nape of the neck, he wears a dentate crown with four well-defined points set on wide circlet decorated with a band of dots, and is dressed in the full-length formal robe (only the top half of the garment is visible), with pendant sleeves folded back from the arms and hands to leave them free to aim his bow, which ends in a curved bird-head. The charioteer stands before the king, leans forward and guides the two horses; his short pointed beard and shoulder-length hair are striated, he wears a diadem with central boss and his upper garment is a cape with a double line border. The waist high sides of the two-wheeled chariot are covered by three narrow crossed (possibly cruciform) panels or straps, a rounded handle-like, looped projection protrudes from the upper end of the back, against which the king leans, while at the front is a notched, curved pole-brace; the wheel is eight-spoked with a thick, studded rim; the pole links chariot to the yoke. The two horses (the heads are shown as double, but only one body is depicted) gallop with forelegs stretched out and bent slightly downwards, their harnesses are decorated with large tassels, the penis is shown and the tail hangs down but appears to be knotted at the tip. The king has shot two arrows into the eye and front paw of a confronting, rampant and snarling lion; its heavy mane is marked by a cross-hatched pattern ending in a ventral projection down the body. Beneath the hooves of the horses lies a lion cub, face downwards (probably dead). All the animals have well-defined and lightly modelled musculature, discreet drill-holes mark out the eyes, jaws and hind paws of the lion; a curious group of drill-holes mark the lower end of the further foreleg of the horse. Above the scene hovers a winged sun-disc from which rises the upper part of a male figure (the god Ahuramazda), his beard is striated, he wears a crown with spikes (giving it a feather-like appearance), set on a narrow circlet, his garment has long pendant sleeves from which emerge his hands, one raised, the other extended and holding a ring. The wings are long and narrow but widen slightly at the tips and are marked by long horizontal lines and divided into six sections but diagonal lines, while the tail is marked by fine vertical lines sectioned across by one curving line; two scroll-like appendages emerge from each side. Flanking the scene are two identical palm-trees or date-palms with globular bunches of fruit beneath the palm fronds on each side, and base petioles shown by a continuous criss-cross pattern down the trunks ending in widened bases. The whole is placed on a ground line. To the side is three-line vertical inscription panel." http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?assetId=23386001&objectId=282610&partId=1 Image may be NSFW. Clik here to view. Source: https://www.pinterest.com/pin/502081058428523370/ Image may be NSFW. Clik here to view.
'Besides the hunting scene and the two palm trees, we can see the god Ahuramazda in the sky, and, to the left, a trilingual inscription in Elamite, Babylonian, and Persian. This is the Persian text. The last sign is in fact an abbreviation, xšâyathiya, "king"'
“Typical for the era, the text begins with criticism of the previous ruler, Nabonidus (555–539 B.C.), who perverted ritual practices and abused the people. “He did yet more evil to his city every day,” it reads, describing how the chief Babylonian god Marduk, after seeking “an upright king” in all countries, “took the hand of Cyrus” and proclaimed him king “over all of everything.” A first-person message from Cyrus himself follows, stating he abolished slave labor and allowed people deported by earlier rulers because they worshipped different gods to return. He restored their damaged temples and gods, asking for their prayers...The Cyrus Cylinder is, MacGregor said, as relevant today as when it was created; it is “a document about regime change, and is a meditation on how you govern a society.”” http://iran.usembassy.gov/cyrusc.html Image may be NSFW. Clik here to view. Modern impression of an Achaemenid cylinder seal. This unprovenances seal shows the narrative flanked by two palm trees as on the Darius cylinder seal and may have related to an official of the Royal administration A person is seen betwixt two winged, leaping bulls holding them apart. The person holds in his hands 'twigs' (Collon, Dominique, First Impressions, Cylinder Seals in the Ancient Near East: p.90, British Museum Press, 1987, 2005.)
barad, balad 'ox' rebus: bharat 'alloy of pewter, tin, copper' PLUS kambha 'wing' rebus: kampaTTa 'mint', thus, metal alloys mint.
tALa 'palm trees' rebus: DhALa 'oxhide large ingot' PLUS dula 'pair' rebus: dul 'metalcasting' Hieroglyph: tamar 'palm' (Hebrew). Rebus: tamba 'copper' (Santali) tamra id .
winged Ahura Mazda: kambha 'wing' rebus: kampaTTa 'mint' PLUS medha 'yajna'.Thuss, yajna kammaTa' sacred fire-altar mint'. (It is notable that the orthography of Ahura Mazda is emphasized by the flowing fish-fin like base of the body below the wings).
kūdī 'bunch of twigs' (Sanskrit) Rebus: kuṭhi'smelter furnace' (Santali) कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l.कूट्/ई) AV. v , 19 , 12Kaus3.ccord. to Kaus3. , Sch. = बदरी, "Christ's thorn".(Monier-Williams).
Image may be NSFW. Clik here to view. Behistun Inscription tells the story of Darius the Great's conquests, with the names of twenty-three satrapys subject to him. Image may be NSFW. Clik here to view. Behistun Inscription, column 1 (DB I 1–15) Image may be NSFW. Clik here to view. Ashurbanipal hunting lions, relief from the north palace of Ashurbanipal, Nineveh (modern Kuyunjik), Iraq, ca. 645-640 BCE. Gypsum, 5′ 4″ high. British Museum, London. "The conqueror of Elamite Susa, Ashurbanipal’s name means “Ashur is creator of the son;” the greeks called him Sardanapalus. This relief is from the Nineveh palace and provides insight into the Assyrian’s value in hunting. They regarded good hunting skills as a manly virtue as important as success in warfare; which creates a bit of disconnect since the royal hunt was not in the wild, but in a controlled environment to ensure to safety and success of the king. This relief shows a trail of pathetic and dying animals that have been pierced by far more arrows than necessary. Ironically, the lions’ plight comes off as a kind of heroic tragedy since they seem to be continuing to struggle against the odds to attack and refuse to die. Obviously the relief was not meant to portray the lions as protagonists but to show the king pitted against and continually besting the king of beasts." https://klimtlover.wordpress.com/mesopotamia-and-persia/assyrian-art/ kāmaṭhiyo bowman; an archer(Gujarati.Samskritam) Rebus: kampaṭṭam 'coiner,mint' (Tamil) kammaṭa, kammaṭi (Malayalam. Kannada).
The significance of Indus Script hieroglyphs on cylinder seals of ANE may relate to cataloguing of metalwork.
This note recapitulatesthe Marshall Plan which created OECD, the support base for European Union.
What has gone wrong that Brexit happened?
I hope OECD will perform its role in examining the causes of Brexit and suggest remedial measure to avoid the break-up of the Union.
Indian Ocean Community in formation is a socio-economic-cultural imperative and should avoid the mis-steps of European Union which now celebrates the 50th anniversary of the union in turmoil caused by Brexit.
S. Kalyanaraman
Saravati Research Center
July 12, 2016
The Organisation for Economic Co-operation and Development (OECD) celebrated its 50th anniversary, but its roots go back to the rubble of Europe after World War II. Determined to avoid the mistakes of their predecessors in the wake of World War I, European leaders realised that the best way to ensure lasting peace was to encourage co-operation and reconstruction, rather than punish the defeated.
The Organisation for European Economic Cooperation (OEEC) was established in 1948 to run the US-financed Marshall Plan for reconstruction of a continent ravaged by war. By making individual governments recognise the interdependence of their economies, it paved the way for a new era of cooperation that was to change the face of Europe. Encouraged by its success and the prospect of carrying its work forward on a global stage, Canada and the US joined OEEC members in signing the new OECD Convention on 14 December 1960. The Organisation for Economic Co-operation and Development (OECD) was officially born on 30 September 1961, when the Convention entered into force.
Other countries joined in, starting with Japan in 1964. Today, 35 OECD member countries worldwide regularly turn to one another to identify problems, discuss and analyse them, and promote policies to solve them. The track record is striking. The US has seen its national wealth almost triple in the five decades since the OECD was created, calculated in terms of gross domestic product per head of population. Other OECD countries have seen similar, and in some cases even more spectacular, progress.
So, too, have countries that a few decades ago were still only minor players on the world stage. Brazil, India and the People's Republic of China have emerged as new economic giants. The three of them, with Indonesia and South Africa, are Key Partners of the Organisation and contribute to its work in a sustained and comprehensive manner. Together with them, the OECD brings around its table 39 countries that account for 80% of world trade and investment, giving it a pivotal role in addressing the challenges facing the world economy.
OECD uses its wealth of information on a broad range of topics to help governments foster prosperity and fight poverty through economic growth and financial stability. We help ensure the environmental implications of economic and social development are taken into account.
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OECD's work is based on continued monitoring of events in member countries as well as outside OECD area, and includes regular projections of short and medium-term economic developments. The OECD Secretariat collects and analyses data, after which committees discuss policy regarding this information, the Council makes decisions, and then governments implement recommendations.
Peer reviews
Mutual examination by governments, multilateral surveillance and a peer review process through which the performance of individual countries is monitored by their peers, all carried out at committee-level, are at the heart of our effectiveness. An example of the peer review process at work is to be found in the Working Group on Bribery, which monitors the implementation by signatory countries of the OECD Convention on Combating Bribery of Foreign Officials in International Business Transactions.
Agreements, standards and recommendations
Discussions at OECD committee-level sometimes evolve into negotiations where OECD countries agree on rules of the game for international co-operation. They can culminate in formal agreements by countries, for example on combating bribery, on arrangements for export credits, or on the treatment of capital movements. They may produce standards and models, for example in the application of bilateral treaties on taxation, or recommendations, for example on cross-border co-operation in enforcing laws against spam. They may also result in guidelines, for example on corporate governance or environmental practices.
Publications
OECD publications are a prime vehicle for disseminating the Organisation's intellectual output. OECD publishes regular outlooks, annual overviews and comparative statistics. Among them:
CPI(M), RSS worker hacked to death in Kerala’s Kannur
Ramesh Babu, Hindustan Times, Thiruvananthapuram
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Updated: Jul 12, 2016 09:40 IST
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A CPI(M) worker and an RSS worker were hacked to death in Kannur. (HT File Photo)
North Kerala’s Kannur district, notorious for red-saffron clashes, erupted again on Tuesday, claiming two lives. A CPI(M) worker was stabbed to death in Payyanur in wee hours and later an RSS worker was killed in similar fashion.
Their houses were attacked and they were stabbed in front of their relatives, the police said. CPI(M) worker Dhanraj (32) was killed first, hours later C K Ramachandran, an auto-rickshaw, driver was stabbed to death. Both CPI(M) and RSS-BJP blamed each other for the fresh bout of violence. Several houses were also targeted and both had called a shutdown in Payannur and surrounding areas.
Notorious for spiralling cycle of violence between two-cadre based parties, the district had witnessed at least 200 killings in last two decades. Many maimed and crippled, victims of political clashes, roam around here as a sad reminder of politics of intolerance.
A teacher killed before his students, a son hacked to pieces before his parents and an aged dragged out of his house and murdered in cold blood just to equal the score - nothing new in these parts. When it comes to ideology and retaliation, both RSS and CPM, outsmart each other in precision and planning.
Here the two cadre-based parties are in a race to create martyrs and building colourful columns over bodies of their dead workers. The area is dotted with innumerable concrete sickles, ‘oms’ and lotus. They have no qualm in displaying their memorials and they nurture ‘killing squads’ to equal their ‘goals,’ a term used in local parlance to settle political scores. A missing flag, defacing of party wall or damage to a bus shelter in the name of a martyr are enough to ignite a fresh round. Just a spark is needed here for a full-fledged battle. Once it is started it will end only after equalizing the tally.
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![Modern impression of Achaemenid cylinder seal. The use of cylinder seals appears to have been restricted to officials of the royal administration during this period.[92]](http://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Cylinder_Seal%2C_Achaemenid%2C_modern_impression_05.jpg/1073px-Cylinder_Seal%2C_Achaemenid%2C_modern_impression_05.jpg)
