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UPSC syllabus for Indian Civil Services Exam in 100 pages. A critique - Rajiv Malhotra

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Transcript taken from
http://indiafacts.org/decolonizing-indian-civil-services-2/
http://indiafacts.org/decolonizing-indian-civil-services-1/

https://www.youtube.com/watch?v=0RYS6V76lRQ

Decolonizing the Indian Civil Services: Rajiv Malhotra



Published on Apr 5, 2017

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The civil services entrance exam is dominated by the ideas of the breaking India forces. This has not been exposed despite so many loud discussions about decolonizing the Indian mind. My talk gives concrete examples from the biased syllabus, to the pseudo-intellectuals whose writings are being taught as authoritative, to the coaching schools that bring their own radical biases.




























Sumero-Babylonian Inscription discovered at Mohenjodaro

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It appears that the cuneiform symbols on the obverse and reverse of the punch-marked coin discovered in Mohenjodaro read: phaḍa sa 'belonging to the mint'. This reading is suggested assuming that the syllabic symbols of cuneiform were used to signify Meluhha words. Further investigations are necessary to test this conjecture based on many symbols documented in the cuneiform studies.


Akkadian Syllabary

-a-e-i-u
a 𒀀,
á 𒀉
e 𒂊,
i 𒄿,
í=IÁ 𒐊
u 𒌋,
ú 𒌑,
ù 𒅇
b-ba 𒁀,
=PA 𒉺,
=EŠ 𒂠
be=BAD 𒁁,
=BI 𒁉,
=NI 𒉌
bi 𒁉,
=NE 𒉈,
=PI 𒉿
bu 𒁍,
=KASKAL 𒆜,
=PÙ 𒅤
d-da 𒁕,
=TA 𒋫
de=DI 𒁲,
 ,
=NE 𒉈
di 𒁲,
=TÍ 𒄭
du 𒁺,
=TU 𒌅,
=GAG 𒆕,
du4=TUM 𒌈
g-ga 𒂵,
 𒂷
ge=GI 𒄀,
=KID 𒆤,
=DIŠ 𒁹
gi 𒄀,
=KID 𒆤,
=DIŠ 𒁹,
gi4 𒄄,
gi5=KI 𒆠
gu 𒄖,
 𒄘,
=KA 𒅗,
gu4 𒄞,
gu5=KU 𒆪,
gu6=NAG 𒅘,
gu7 𒅥
ḫ-ḫa 𒄩,
ḫá=ḪI.A 𒄭𒀀,
ḫà=U 𒌋,
ḫa4=ḪI 𒄭
ḫe=ḪI 𒄭,
ḫé=GAN 𒃶
ḫi 𒄭,
ḫí=GAN 𒃶
ḫu 𒄷
k-ka 𒅗,
 𒆍,
=GA 𒂵
ke=KI 𒆠,
=GI 𒄀
ki 𒆠,
=GI 𒄀
ku 𒆪,
=GU7 𒅥,
 𒆬,
ku4 𒆭
l-la 𒆷,
=LAL 𒇲,
=NU 𒉡
le=LI 𒇷,
=NI 𒉌
li 𒇷,
=NI 𒉌
lu 𒇻,
 𒇽
m-ma 𒈠,
 𒈣
me 𒈨,
=MI 𒈪,
 𒀞/𒅠
mi 𒈪,
=MUNUS 𒊩,
=ME 𒈨
mu 𒈬,
=SAR 𒊬
n-na 𒈾,
 𒈿,
=AG 𒀝,
na4 ("NI.UD") 𒉌𒌓
ne 𒉈,
=NI 𒉌
ni 𒉌,
=IM 𒉎
nu 𒉡,
=NÁ 𒈿
p-pa 𒉺,
=BA 𒐀
pe=PI 𒉿,
=BI 𒁉
pi 𒉿,
=BI 𒁉,
=BAD 𒁁
pu=BU 𒁍,
=TÚL 𒇥,
 𒅤
r-ra 𒊏,
=DU 𒁺
re=RI 𒊑,
=URU 𒌷
ri 𒊑,
=URU 𒌷
ru 𒊒,
=GAG 𒆕,
=AŠ 𒀸
s-sa 𒊓,
=DI 𒁲,
=ZA 𒍝,
sa4 ("ḪU.NÁ") 𒄷𒈾
se=SI 𒋛,
=ZI 𒍣
si 𒋛,
=ZI 𒍣
su 𒋢,
=ZU 𒍪,
=SUD 𒋤,
su4 𒋜
š-ša 𒊭,
šá=NÍG 𒐼,
šà 𒊮
še 𒊺,
šé,
šè 𒂠
ši=IGI 𒅆,
ší=SI 𒋛
šu 𒋗,
šú 𒋙,
šù=ŠÈ 𒂠,
šu4=U 𒌋
t-ta 𒋫,
=DA 𒁕
te 𒋼,
=TÍ 𒊹
ti 𒋾,
 𒊹,
=DIM 𒁴,
ti4=DI 𒁲
tu 𒌅,
=UD 𒌓,
=DU 𒁺
z-za 𒍝,
=NA4 𒉌𒌓
ze=ZI 𒍣,
=ZÌ 𒍢
zi 𒍣,
 𒍢,
 𒍥
zu 𒍪,
=KA 𒅗
g̃-g̃á=GÁ 𒂷g̃e26=GÁ 𒂷g̃i6=MI 𒈪g̃u10=MU 𒈬
ř-řá=DU 𒁺ře6=DU 𒁺
a-e-i-u-
a 𒀀,
á 𒀉
e 𒂊,
i 𒄿,
í=IÁ 𒐊
u 𒌋,
ú 𒌑,
ù 𒅇
-bab 𒀊,
áb 𒀖
eb=IB 𒅁,
éb=TUM 𒌈
ib 𒅁,
íb=TUM 𒌈
ub 𒌒,
úb=ŠÈ 𒂠
-dad 𒀜,
ád 𒄉
ed=Á 𒀉id=Á 𒀉,
íd=A.ENGUR 𒀀𒇉
ud 𒌓,
úd=ÁŠ 𒀾
-gag 𒀝,
ág 𒉘
eg=IG 𒅅,
ég=E 𒂊
ig 𒅅,
íg=E 𒂊
ug 𒊌
-ḫaḫ 𒄴,
áḫ=ŠEŠ 𒋀
eḫ=AḪ 𒄴iḫ=AḪ 𒄴uḫ=AḪ 𒄴,
úḫ 𒌔
-kak=AG 𒀝ek=IG 𒅅ik=IG 𒅅uk=UG 𒊌
-lal 𒀠,
ál=ALAM 𒀩
el 𒂖,
él=IL 𒅋
il 𒅋,
íl 𒅍
ul 𒌌,
úl=NU 𒉡
-mam 𒄠/𒂔,
ám=ÁG 𒉘
em=IM 𒅎im 𒅎,
ím=KAŠ4 𒁽
um 𒌝,
úm=UD 𒌓
-nan 𒀭en 𒂗,
én,
èn=LI 𒇷
in 𒅔,
in4=EN 𒂗,
in5=NIN 𒊩𒌆
un 𒌦,
ún=U 𒌋
-pap=AB 𒀊ep=IB,
ép=TUM 𒌈
ip=IB 𒅁,
íp=TUM 𒌈
up=UB 𒌒,
úp=ŠÈ 𒂠
-rar 𒅈,
ár=UB 𒌒
er=IR 𒅕ir 𒅕,
íp=A.IGI 𒀀𒅆
ur 𒌨,
úr 𒌫
-sas=AZ 𒊍es=GIŠ 𒄑,
és=EŠ 𒂠
is=GIŠ 𒄑,
ís=EŠ 𒂠
us=UZ,
ús=UŠ 𒍑
 𒀸,
áš 𒀾
 𒌍/𒐁,
éš=ŠÈ 𒂠
 𒅖,
íš=KASKAL 𒆜
 𒍑,
úš𒍗=BAD 𒁁
-tat=AD 𒀜,
át=GÍR gunû 𒄉
et=Á 𒀉it=Á 𒀉ut=UD 𒌓,
út=ÁŠ 𒀾
-zaz 𒊍ez=GIŠ 𒄑,
éz=EŠ 𒂠
iz= GIŠ 𒄑,
íz=IŠ 𒅖
uz=ŠE&HU 𒊺𒄷
úz=UŠ 𒍑,
ùz 𒍚
-g̃ág̃=ÁG 𒉘èg̃=ÁG 𒉘ìg̃=ÁG 𒉘ùg̃=UN 𒌦
Image result for cuneiform symbols

Related image

Ugaritic alphabet
"
A table of the letters of the Ugaritic cuneiform alphabet, with corresponding conventional Latin-alphabet transcriptions. Where such specialist "Semitological" symbols are somewhat divergent from more widely-understood general linguistic IPA symbols, an equivalent IPA symbol follows in parentheses (except that no attempt is made to interpret underdots for "emphatic" consonants in terms of IPA; note that the use of IPA symbols is not intended to be any kind of exact phonetic reconstruction of details of ancient Ugaritic pronunciation). The symbols "y" and "š", which are "Americanist" as well as Semitological, do not have their IPA equivalents [j] and [ʃ] listed in the chart. Since there is not much clue as to the exact pronunciation of the last letter of the alphabet, conventionally transcribed "s2" or "s̀", it is also not given a quasi-IPA equivalent.
The letters ṭ ṣ ẓ q wrote sounds which were the "emphatic" counterparts to "non-emphatic" t s θ k, but it is not known what the exact phonetic nature of such emphasis contrasts was in ancient Ugaritic. Certain confusions or semi-coalescences of letters (such as between ẓ and ġ etc.) hint at sound changes within Ugaritic...
The vertical red line in the last row of the table divides the basic 27 Ugaritic letters (presumably adapted from an early non-Cuneiform alphabet) from the last three letters, which seem to have been added within Ugaritic (originally to transcribe foreign words or languages).
The only punctuation was a word divider (a short vertical stroke), not shown in the table.
"

9 Sumerian ancient cuneiform writing




Marks on No. 9 punch-marked coin (Figure provided in Kosambi’s 1941 article, p.396)(copy of article and copy of figure attached).

Wedge-shaped symbols on punch-marked coins (Silver pieces found at Mohenjodaro) are discussed. “The one find comparable to that described here is the pot-inscription published by CL Fabri (1) as a Sumero-Babylonian pre-cuneiform label. But even here, the reading was contested by Heras (2)  who preferred to read the complementary are on the pot itself as being typical Indus writing.” (Kosambi, DD, 1941, On the origin and development of silver coinage in India’, Current Science, No. 9, Sept. 1941, pp. 395 to 400)

(1) Fabri C. 1937 A Sumero-Babylonian inscription discovered at Mohenjo
Daro. Indian Culture 3.4: 663-673.

(2) Heras H. 1937. A supposed Sumero-Babylonian Inscription discovered at
Mohenjo-Daro. Indian Historical Quarterly 13: 697-713.


Bharhut Indus Script hypertext signifies copper, iron mint, ox-hide ingots

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Image result for bharhut coping
Image result for bharhut copingMedallion,.Bharhut
Image result for bharhut coping
Related image
Image result for bharhut coping
Image result for bharhut coping
Image result for bharhut copingBharhut. Coping rail.
Image result for bharhut coping
Bharhut coping from stupa, Cleveland Museum, Sunga, India, 2nd Century, B.C., Sculpture and painting- The Cleveland Museum, ACSAA
Image result for bharhut coping
Image result for bharhut copingBharhut
Seen as a narrative of Vessantara Jakata. Bharhut coping, ca. 100 to 80 BCE (cf. Vidya Deheja)http://rubiqhosting.com/vidya-dehejia/wp-content/uploads/2015/08/Modes-of-Narration-Vidya-Dehejia.pdf Source: 

Vidya Deheja, 1990, On the model of visual narration in early Buddhist Art, in: The Art Bulletin, Vol. 72, No. 3, Sept. 1990, pp. 374-392

The Indus Script hypertext on this sculptural frieze of Bharhut coping is composed of the following hieroglyphs:

1. elephant
2. twiste of trunk
3. pericarp of lotus
4. lotus
5. oxhide ingot PLUS lotus
6. fish-fin PLUS lotus
7. bead
8. rope

Meluhha rebus readings are:

1. karibha, ibha 'elephant' rebus: karba, ib 'iron'
2. मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi) Rebus: मृदु mṛdu, mẽṛhẽt, meḍ 'metal' (Samskrtam.Santali.Mu.Ho.) med 'copper' (Slavic)
3. कर्णक kárṇaka, 'pericarp of lotus' karaṇī 'scribe, supercargo', kañi-āra 'helmsman'. Supercargo is a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.
4. tāmarasa'lotus' (Pkt.) rebus: tāmra, tamba'copper'
5. palm frond: ḍāla -- n. ʻ branch ʼtāla -- 2 m. ʻ Borassus flabelliformis ʼ, palm (CDIAL 5750)Rebus: ḍhālako = a large metal ingot (Gujarati) ḍhālakī = a metal ingot PLUS tāmarasa 'lotus' (Pkt.) rebus: tāmra, tamba 'copper'. Thus, copper ox-hide ingot
6. ayo, aya 'fish' rebus: aya iron' ayas 'alloy metal' (gveda) khambhaṛā 'fish-fin' rebus; Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236). Thus, together, iron, alloy metal mint.
7. Pa. kandi (pl. -l) necklace, beads. Ga. (P.) kandi (pl. -l) bead, (pl.
1215 Pa. kandi (pl. -l) necklace, beads. Ga. (P.) kandi (pl. -l) bead, (pl.) necklace; (S.2) kandiṭ bead. Rebus: kaṇḍa 'fire-altar' (Santali)
8.  daürā 'rope' Rebus dhāvḍā 'smelter'; dāma 'rope, string' Rebus: dhāu 'ore' (gveda)

Thus, the hypertext signifies helmsnan, supercargo merchant/artisan mint (working with) iron, copper, ores, metal ox-hide ingots.

Contribution of Indus Script Cipher to cognitive neuroscience

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The ability to rise above the present environment and reflect upon the past, the future, and the minds of others is a fundamentally defining human feature. It has been proposed that these three self-referential processes involve a highly interconnected core set of brain structures known as the default mode network (DMN). The DMN appears to be active when individuals are engaged in stimulus-independent thought. This network is a likely candidate for supporting multiple processes, but this idea has not been tested directly. We used fMRI to examine brain activity during autobiographical remembering, prospection, and theory-of-mind reasoning. Using multivariate analyses, we found a common pattern of neural activation underlying all three processes in the DMN. In addition, autobiographical remembering and prospection engaged midline DMN structures to a greater degree and theory-of-mind reasoning engaged lateral DMN areas. A functional connectivity analysis revealed that activity of a critical node in the DMN, medial prefrontal cortex, was correlated with activity in other regions in the DMN during all three tasks. We conclude that the DMN supports common aspects of these cognitive behaviors involved in simulating an internalized experience.





In auditory–visual synesthesia, sounds automatically elicit conscious and reliable visual experiences. It is presently unknown whether this reflects early or late processes in the brain. It is also unknown whether adult audiovisual synesthesia resembles auditory-induced visual illusions that can sometimes occur in the general population or whether it resembles the electrophysiological deflection over occipital sites that has been noted in infancy and has been likened to synesthesia. Electrical brain activity was recorded from adult synesthetes and control participants who were played brief tones and required to monitor for an infrequent auditory target. The synesthetes were instructed to attend either to the auditory or to the visual (i.e., synesthetic) dimension of the tone, whereas the controls attended to the auditory dimension alone. There were clear differences between synesthetes and controls that emerged early (100 msec after tone onset). These differences tended to lie in deflections of the auditory-evoked potential (e.g., the auditory N1, P2, and N2) rather than the presence of an additional posterior deflection. The differences occurred irrespective of what the synesthetes attended to (although attention had a late effect). The results suggest that differences between synesthetes and others occur early in time, and that synesthesia is qualitatively different from similar effects found in infants and certain auditory-induced visual illusions in adults. In addition, we report two novel cases of synesthesia in which colors elicit sounds, and vice versa.

Makara dhvaja is an Indus Script hypertext to signify puruṣārtha, human effort

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Makara dhvaja  fuses into kīrtimukha, 'glorious face', kola'feline' rebus kolhe‘smelter’, kol ‘working in iron’ panja'feline paw' rebus: panja‘kiln, furnace’ PLUS  phaḍa'cobra hood' to signify rebus phaḍa'metals manufactory'.



Kāla-Makara, a Kirtimukha of 9th century Javanese SailendraBorobudur portal, Indonesia
Image result for joined tigers indus
Tiger or leopard figurine with incised facial features, including punctated dots on the face that could be whisker marks. This figurine depicts a normal feline without horns or human face and therefore probably represents the actual wild animal. Hand formed with applique eyes.
Material: terra cotta
Dimensions: 5.7 cm height, 11.9 cm length, 4.5 cm width
Harappa, Lot 59-17
Harappa Museum, H87-339
Dales and Kenoyer 1990: fig. 62.3, Dales and Kenoyer 1991: fig. 13.14, 1

Image result for jarrige elephant buffalo tiger sculpture
Une tête d'éléphant en terre cuite de Nausharo (Pakistan)
In: Arts asiatiques. Tome 47, 1992. pp. 132-136. Jarrige Catherine
http://www.persee.fr/web/revues/home/prescript/article/arasi_0004-3958_1992_num_47_1_1330
Image result for joined tigers indus
Tiger or leopard figurine with incised facial features, including punctated dots on the face that could be whisker marks. This figurine depicts a normal feline without horns or human face and therefore probably represents the actual wild animal. Hand formed with applique eyes.
Material: terra cotta
Dimensions: 5.7 cm height, 11.9 cm length, 4.5 cm width
Harappa, Lot 59-17
Harappa Museum, H87-339
Dales and Kenoyer 1990: fig. 62.3, Dales and Kenoyer 1991: fig. 13.14, 1

मकर--ध्वज is ketana, 'ensign, abode, site' of metals manufactory business. This thesis is presented in this monograph. The thesis rebuts bizarre 'sexual' explanations given to the sculptures of Khajuraho or Konark which are extraordinary sculptural metaphors of 'desire, wish' for acquisition of wealth and material resources.

Acquisition of wealth and material resources is the raison d'etre of life and is one of the four Puruṣārtha 
पुरुषा* र्थ [p= 637,3] m. any object of human pursuit; any one of the four objects or aims of existence (viz. काम , the gratification of desire ; अर्थ , acquirement of wealth ; धर्म , discharge of duty ; मोक्ष , final emancipation) Mn. Prab. Kap. -त्व n. ) Sa1m2khyak. &c; human effort or exertion MBh. R. &c 
पुरुषा* र्थम् ind. for the sake of the soul Kap.; ind. for or on account of man W.

मकर--ध्वज Makara dhvaja is the ensign of Kāma. "desire, wish, longing" deified. Kāma is a  Puruṣārtha, one of the four goals of human life. The other three goals are: Dharma (virtuous, proper, moral life), Artha (material prosperity, income security, means of life) and Moksha (liberation, release, self-actualization).

Kāma is defined in the R̥gveda while describing the creation of the universe from nothing by the great heat:

कामस्तदग्रे समवर्तताधि मनसो रेतः परथमं यदासीत |
सतो बन्धुमसति निरविन्दन हर्दि परतीष्याकवयो मनीषा ||

Thereafter rose Desire in the beginning, Desire the primal seed and germ of Spirit,
Sages who searched with their heart's thought discovered the existent's kinship in the non-existent.(RV 10.129.4)

Kāma is defined as 'any desire' in an ancient text:

Man consists of desire (kama),
As his desire is, so is his determination,
As his determination is, so is his deed,
Whatever his deed is, that he attains. (Bhadārayaka Upaniad. cf. Klaus Klostermaier, A Survey of Hinduism, 3rd Edition, State University of New York Press, pp. 173-174)

काम b [p= 271,3] m. (fr. √2. कम् ; once काम्/अ VS. xx , 60), wish , desire , longing (कामो मे भुञ्जीत भवान् , my wish is that you should eatPa1n2. 3-3 , 153), desire for , longing after (gen. dat. , or loc.) , love , affection , object of desire or of love or of pleasure RV. VS. TS. AV. S3Br. MBh. R. &c; mfn. wishing , desiring RV. ix , 113 , 11

Kāma is a divinity, celebrated in many the Konark Temple. (Thomas Donaldson (2005), Konark, Oxford University Press.) This is a message of desire to acquire wealth in phaḍa 'cobra hood' to signify rebus phaḍa 'metals manufactory'. On this sculptural metaphor, cobra hoods are deified to signify a puruṣārtha, human effort, to acquire wealth.

When Makara dhvaja is recognized as the ketana of Kāma, it signifies the wealth derived from metals manufactoies. This rebuts the absurd 'sexual' explanations given to the sculptures of Khajuraho or Konark.

ध्वज [p= 522,1] m. (n. only Hariv. 9245 and g. अर्धर्चा*दि ; fr. 2. ध्वज्) a banner , flag , standard (ifc. f().RV. &c; a flag-staff W.; mark , emblem , ensign , characteristic , sign MBh. Hariv.; attribute of a deity (cf. मकर- , वृषभ- &c ); the sign of any trade (esp. of a distillery or tavern) and the business there carried on Mn. iv , 85

मकर--ध्वज [p= 771,2] m. = -केतन MBh.; the sea Harav.; partic. array of troops Ka1m.  केतन n. a summons , invitation Mn. iv , 110 MBh. Ma1rkP.; a house , abode MBh. R. BhP. Katha1s.; " abode of the soul " , the body Gi1t. vii , 5 (ifc. f().); place , site Katha1s. xxvi , 44; sign , mark , symbol (of a deity) , ensign (of a warrior) , flag or banner (e g. वानर-क्° , " one who has a monkey as his ensign or arms " MBh. » also मकर-क्° , &c MBh. R. Ragh. ix , 38; business , indispensable act Ma1lati1m. 

Thus, मकर--ध्वज is मकर--केतन a metals manufactory business.

The semantics of मकर--ध्वज as 'the sea' sigficantly matches with the activities of seafaring merchants signified on many Indus Script hypertexts and sculptural friezes signifying makara Indus Script hypertext on pillar capitals. makara as Indus Script hypertext signifies dhmakara'forge-blower' working with metals in ayo kammaṭa, 'alloy metals mint'.

Evidences of a number of sculptures are presented to demonstrate this fusion of hypertexts to signify iron smelting and metals manufactory, together with kāraṇikā 'pericarp of lotus' rebus: karaṇī seafaring merchants trading in the metal products. Some sculptural metaphors demonstrate how feline form emerges out of makara'composite crocodile+fishfin' rebus: dhmakara'forge-blower'dhamaka'blacksmith' protected by phaḍa 'cobra hood' rebus phaḍa 'metals manufactory'. The sculptural metaphors are so enduring that Ganga's vāhana is makara to signify the metals manufactories in Ganga River Basin.
The makara sculptures which fuses with kola 'feline' rebus kol 'iron working' PLUS phaḍa 'cobra hood' to signify rebus phaḍa 'metals manufactory' adorn many temples is a hieroglyph multiplex of elephant, crocodile, fish, feline, cobra hood: ibha'elephant' rebus: ib'iron'; makara'composite crocodile + fish fin' rebus dhmakara'forge-blower'dhamaka'blacksmith' karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri); aya'fish' Rebus: aya'iron' (Gujarati); ayas'alloy metal' ( R̥gveda). It is a hieroglyphic celebration of metalwork as the exemplar of creativity which is the quintessence of the temple-smithy: kole.l puccha'fish tail' Rebus: puja 'worship'. xolā 'tail' Rebus: kole.l'smithy, temple'kol 'working in iron'kolimi'smithy, forge'.
Makara. Bantey Srei.

Flip horizontal

Lintel. Provenance: Cambodia, Kompong Thom Province, Sambor Prei Kuk S7. Style of Sambor Prei Kuk. 1st half of the 7th century.Detail showing the edge of the lintel and a Marut, god of the storm and wind. Guimet Museum, Paris.

https://commons.wikimedia.org/wiki/File:Mus%C3%A9e_Guimet_897_03.jpg On this sculptural frieze, kīrtimukha kola'feline'panja'feline paw' rebus panja'kiln, furnace' get embellished with  phaḍa'cobra hood' to signify rebus phaḍa'metals manufactory'. Thus, both smelters and metal manufactories are signified in the sculptural hypertext.

An expression of this hypertext is seen on  Gardez Gaṇeśa Mūrti. See: 

 https://tinyurl.com/y8dyvjv8


A tiger ligatured with cobra hoods signified on the broad strap worn by Gardez Gaṇeśa Mūrti. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' PLUS phaḍa 'cobra hood' rebus: phaḍa 'metals manufactory' PLUS paṭṭaḷe 'broad strap around the waist' rebus: phaḍa 'metals manufactory' paṭṭaḍe 'metals worshop, smithy, forge'

Besnagar. Makara dhvaja with makara.on capital of pillar.

These two pillars with hieroglyph hypertexts in Indus Script tradition, are two proclamations of services provided by artificers at the workshops of Besnagar. 

Two pillars with capitals of Besnagar (ca. 2nd cent. BCE) signify two proclamations of services offered in the city workshop complex: ayo 'fish' rebus:" aya 'metal, iron' PLUS khambhaṛā 'fin' rebus: kammaTa 'mint'; hence, ayo kammaTa 'iron mint' and kāraṇikā 'pericarp of lotus' rebus: karaṇī 'scribe, supercargo'. Supercargo is a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale. 

Proclamation 1: kambha 'pillar' rebus: kammaṭ'mint, coiner, coinage' as a semantic determinative. Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) kammaTa is also a Pali word with the same meaning, attested by Mahavams'a. Confirmation for this decipherment is provided by Mahaavams'a, XXV, 28, which uses an expression: ayo-kammata-dvAra, translated as "iron studded gate" (of a city), but more accurately should translate as: iron mint gate. 
Proclamation 2: कर्णक kárṇaka, 'pericarp of lotus' karaṇī 'scribe, supercargo', kañi-āra 'helmsman'.
Click the image to open in full size.

Makara disgorging a lion-like creature on corner of a lintel on one of the towers) surrounding the central pyramid at BakongRoluosCambodia sculptural frieze ca. 3rd cent. BCE. 

Makara with Nagas, Wat SuthatBangkokThailand


Cham god Nāga emerging from mouth of Makara at the National Museum of Vietnamese History

A decorative theme that originated in Java, and from there emanated to other parts of Greater India, is that of the makara sea monster disgorging some other being.Ganga on makara.: Ganga on makara. Makara upholds a flaming torch, reinforcing the association with fire-altar, Soma SamsthA.

Photograph of the Hindu goddess Ganga, the deified Ganges River, atop her mount, the Makara, a mythical crocodile-like underwater creature (who often has an elephant-like trunk). Her left arm rests on a dwarf attendant's shoulder. In her right hand, she holds a kumbha, or pot of water. A small boy, or gana, symbolizing youthfulness and life, is shown engaging the makara. From BesnagarBhopal State (now part of Madhya Pradesh), India. Date of sculpture: Gupta Period India, 5th or 6th century CE. Photographer: Beglar, Joseph David. Date of photograph: 1875. Now in the Museum of Fine Arts, Boston, United States.



Begram ivory, 2nd cent. BCE
http://museum.wa.gov.au/museums/perth/afghanistan-hidden-treasures/exhibition-highlights

Photograph of the Hindu goddess Ganga, the deified Ganges River, atop her mount, the Makara, a mythical crocodile-like underwater creature (who often has an elephant-like trunk). Her left arm rests on a dwarf attendant's shoulder. In her right hand, she holds a kumbha, or pot of water. A small boy, or gana, symbolizing youthfulness and life, is shown engaging the makara. From BesnagarBhopal State (now part of Madhya Pradesh), India. Date of sculpture: Gupta Period India, 5th or 6th century CE. Photographer: Beglar, Joseph David. Date of photograph: 1875. Now in the Museum of Fine Arts, Boston, United States.

Ganga on Makara. Dasavatara temple. Devgarh(देवगढ़) or old Deogarh is situated at the bank of Betwa river
http://puratattva.in/2011/08/09/devgarh-the-epitome-of-the-guptas-884
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Ma Ganga, standing on the makara (crocodile/dragon thing) that is her animal vehicle.  The image is at least 8 feet tall, and is located on the facade of cave 21Ellora, Maharashtra.
http://personal.carthage.edu/jlochtefeld/picturepages/ElloraHindu2011/ellora3.html

Ganga on Makara. Kelaniya Temple. Sri Lanka.
Picture
Asian Art Museum of San Francisco: Ma Ganga on Makara

Ganga on Makara.5th cent. CE. Ajanta caves.

Ganga, right, the deified Ganges River, in terracotta on a door pillar from U.P., India, Pratihara, 10th century CE. Following iconographic prescription, Ganga stands on her mount, the Makara, a stylized mythological crocodile-like aquatic monster (which unfortunately has been damaged in this piece) and (likely) holds a kumbha, a full pot of water, in her hand (which too has been damaged), while an attendant holds a parasol over her. She leans in the tribhanga pose on a dwarf attendent, while a male guard (or consort?) stands nearby. The dimensions of the art-work are: height: 63 cm (25 in), width: 39 cm (15 in), depth: 26 cm (10 in). From the National Museum of India, New Delhi.

Temples dedicated to Makardhvaja can be found in India, especially in Gujarat, where Jethwas once ruled. Some noted temples in Gujarat are at
  • Odadar village near Porbandar.
  • Hanuman-Dandi at Bet Dwarka, where idols of Makardhvaja and Hanuman are worshiped together.[7]
  • Chinchawan, Tq. Wadwani Wadwani, Dist.Beed (Maharashtra)
  • MP-GWALIOR-KARAHIYA
In Rajasthan, also there is temple known as
  • Balaji Makardhvaja Temple at Beawar, which is dedicated to both father-son duo in form of Balaji Hanuman and Makardhvaja." https://en.wikipedia.org/wiki/Makardhvaja.


Karava Makara flag from Sri Lanka with elephant/fish head and peacock tail. Karava may be cognate kaurava of Mahabharata. Both makara and peacock are metalwork catalogues. karA 'crocodile' rebus: khAr 'blacksmith' moraka 'peacock' morakkaka loha 'a form of copper'.





Mathura. pink sandstone. h. 18.5 in. Lucknow state museum. Frieze fragment with makara carved in shallow relief Hungtingon scan0004425. Early makara iconography included crocodile, elephant (trunk) and fish-fin hieroglyphs.
Image result for makara varunaGanga on makara. VaruNa on makara.. Varuna on makara, Halebidu. Varuna on makara, Lakkundi, Lokki Gundi, Gadag. Association of makara with waters and seafaring is consistent with the metaphor of makara as human effort to acquire wealth by the artisanal work of dhmakara'forge-blower'dhamaka'blacksmith'.
Related image
Halebidu makara is embellished with peacock feathers. maraka'peacock' rebus: marakaka loha 'copper calcining metal'.

See: Bronze peacocks and pinecones of the Vatican

मोरकम् 1 A kind of steel मोरक [p= 835,3] n. a kind of steel L. (Samskrtam) Mora [the contracted, regular P. form of *Sk. mayūra, viâ *ma -- ūra>mora. See also Geiger, P.Gr. § 27 & Pischel, Prk. Gr. § 166. -- Vedic only mayūrī f. pea -- hen] a peacock J ii.275 Perhaps also as morakkha "a peacock's eye" at VbhA 63 (morakkhaka loha, a kind of copper, grouped with pisācaloha). It is more likely however that morakkha is distorted fr. *mauryaka, patronymic of mura, a local (tribal) designation (cp. murala), then by pop. etym. connected with mora peacock. With this cp. Sk. moraka "a kind of steel" BR. (Pali) mayūˊra m. ʻ peacock ʼ VS., in cmpds. RV., mayūrīˊ -- f. ʻ peahen ʼ RV. 2. *mōra -- . 3. *majjūra -- (< *mayyūra<-> with early eastern change -- yy -- > -- jj -- ?). [mayūka -- , marūka -- 1 m. lex. -- J. Bloch BSL 76, 16 ← Drav. (cf. DED 3793); J. Przyluski BSL 79, 100 ← Austro -- as. (cf. also Savara māˊrā ʻ peacock ʼ Morgenstierne); H. W. Bailey BSOAS xx 59, IL 21, 18 connects with Khot. murāsa -- as orig. an Indo -- ir. colour word. -- EWA ii 587 with lit.]1. Pa. mayūra -- m. ʻ peacock ʼ, Pk. maūra -- , maūla -- m.; Sh. (Lor.) maiyūr m. ʻ cock munāl pheasant ʼ; A. mairā ʻ peacock ʼ, B. maürmaur, Or. maïram., °rī f., Si. mayurāmiyurā.2. Pa. mōra -- m., mōrinī -- f., Aś.gir. mora -- , Pk. mōra<-> m., °rī -- f., K. mōr m., S. moru m., L. P. mōr m., Ku. Mth. Bhoj. mor, OAw. mora m., H. morm., °rī°rin f., OMarw. moraḍī f., G. M. mor m., Si. mōrā; <-> H. (dial.) mhormurhā m., Ko. mhōru.3. Aś.shah. man. majura -- , kāl. majula -- , jau. majūla -- , N. majurmujur, Or. (Bastar) mañjura, OAw. maṁjūra m., Si. modaramonara.*mayūrapakṣala -- .Addenda: mayūˊra -- : WPah.kṭg. (kc.) mōr ʻ peacock ʼ.(CDIAL 9865)
Image result for peacock varuna aihole
The paws of makara are feline.panja 'feline paws' rebus; panja 'kiln, furnace'. karibha, ibha 'elephant' rebus; karba, ib 'iron'. Association of makara with iron smelter/furnace work.
Varuna on Makara (Rain God on Crocodile) - at Aihole Museum . Association with copulation and tiger looking back. kamḍa, khamḍa'copulation' (Santali) Rebus: kammaṭi a coiner (Kanada)  kola'tiger' rebus: kolhe'smelter'kol 'working in iron' PLUS kammara'look back' rebus: kamar'blacksmith'.
Varuna on his mount Makara, 1675-1700 Painted in: IndiaRajasthanBundi, placed in LACMAmuseum
Varuna with Varunani. Statue carved out of basalt, dates back to 8th century CE, discovered in Karnataka. On display at the Prince of Wales museum, Mumbai.

You at your birth are Varuna, O Agni.
When you are kindled, you are Mitra.
In you, O son of strength, all gods are centered.
You are Indra to the mortal who brings oblation.
You are Aryaman, when you are regarded as having
 the mysterious names of maidens, O Self-sustainer.
— Rigveda 5.3.1-2, Translator: Hermann Oldenberg
Varuna and Mitra are the gods of the societal affairs including the oath, and are often twinned Mitra-Varuna. (Hermann Oldenberg (1988). The Religion of the Veda. Motilal Banarsidass. pp. 95–98., p.51) Both Mitra and Varuna are classified as Asuras in the Rigveda (e.g. RV 5.63.3), although they are also addressed as Devas as well (e.g. RV 7.60.12). Varuna, being the king of the Asuras, was adopted or made the change to a Deva after the structuring of the primordial cosmos, imposed by Indra after he defeats Vrtra. ( F. B. J. Kuiper (1975), The Basic Concept of Vedic Religion, History of Religions, Vol. 15, No. 2 (Nov., 1975), pp. 107-120https://en.wikipedia.org/wiki/Varuna

Monument/Object: sculpture
Current Location: Indian Museum, Kolkata, West Bengal, India
Subject: Varuna, on makara
Material: copper alloy; gold
Scan Number: 5675
Copyright: Huntington, John C. and Susan L.
Image Source: Huntington Archive
Location: Ellora, Aurangabad District, Maharashtra State, India
Site: Ellora
Monument/Object: Ellora Caves complex, Cave 16 ("Kailasanatha Temple")
Current Location: same as site location
Subject: Karttikeya, Agni, Vayu, and Varuna
Photo Depicts: niches 7-11 (starting 2nd niche from left)
Locator Information: gopura, left gateway
Period: Rastrakuta
Date: ca. 3rd quarter of 8th century CE
Religious Affiliation: Hindu, Saivite
Material: stone
Scan Number: 7805
Photo Date: 1970
Copyright: Huntington, John C. and Susan L.
Image Source: Huntington Archive
Location: Aihole, Bagalkot Dt., Karnataka, India
Site: Aihole
Monument/Object: sculpture
Current Location: Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS, formerly Prince of Wales Museum), Mumbai, Maharastra, India
Subject: Varuna and consort
Photo Depicts: front
Period: Calukya, Early Western
Date: ca. 8th - 9th century CE
Religious Affiliation: Hindu
Material: stone, gray
Scan Number: 6749
Photo Date: 1970
Copyright: Huntington, John C. and Susan L.
Image Source: Huntington Archive
http://dsal.uchicago.edu/images/huntington/HAfullsize/0001335_c.jpg
Location: Sanchi, Raisen Dt., Madhya Pradesh, India
Site: Sanchi
Monument/Object: Sanchi Buddhist Monastery complex, sculpture
Current Location: Sanci Site Museum, Madhya Pradesh, India
Subject: Varuna
Photo Depicts: front
Period: Rajput Dynasties, north India (dynasty unknown)
Date: ca. 11th century CE
Religious Affiliation: Buddhist
Material: sandstone, beige
Scan Number: 1335
Photo Date: 1969
Copyright: Huntington, John C. and Susan L.
Image Source: Huntington Archive



Sumerian mudhif and Sohgaura copper plate signify Indus Script hypertexts of metalwork

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https://tinyurl.com/yczjracd

Abstract. Sumerian mudhif signifies Indus Script hypertexts of metalwork 
-- on Inana standards, Tell al Ubaid temple of Ninhursag
-- koṭṭhaka variant is signified on Sohgaura copper plate Brāhmīinscription


In Omur Harmansah article (2012) (embedded for ready reference), a number of images are presented and discusssed in the context of analysing 'temples'. 

These images are reinterpreted in this monograph as Indus Script hypertexts of metalwork.

What is the language spoken by the artisans, the artists, creators of these images? What meanings of messages do they seek to signify?


The images presented are analysed in the context of Meluhha lexis of the spoken language of Meluhha artisans who visualised the hieroglyphs and hypertexts in mlecchita vikalpa, 'meluhha coppe workers' alternative representation' of Indus Script cipher.


I suggest that the cattle pen which is an Indus Script hypertext also occurs in a variant orthographic form as the top line of Sohgaura copper plate which described in Brāhmī inscription as koṭṭhaka'warehouses' for itinerant artisans/merchants. The same word koṭṭhaka is signified as go, कोंडण kōṇḍaṇa, 'cattlepen', rebus: kundaṇa 'fine gold' kōṭhā 'warehouse'. See: 

Harappa Script hieroglyph kui 'tree' rebus kuhi 'smelter' on hundreds of friezes, inscriptions, coins metal work tradition of Bharata http://tinyurl.com/hhfejmj


Sohgaura tāmra-sāsana with Indus Script hypertexts & Brahmī epigraph to protect metalwork wealth & merchandise of traders https://tinyurl.com/ybdljjzq



Sohgaura coper plate inscription. ca. 7th cent.BCE Pre-Mauryan.

खोंड (p. 122khōṇḍa m A young bull, a bullcalf. 2 A variety of जोंधळा. जोंधळा (p. 187) jōndhaḷā m A cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz. उता- वळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा. There are however many others as केळी, अरगडी, डुकरी, बेंदरी, मडगूप &c. Rebus: kundār 'turner'  kunda 'gold, nidhi'  Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold.(DEDR 1725)

kāṇḍa 'reeds' rebus: kaṇḍa 'fire-altar'. khaṇḍa 'implements' (Santali) 

Image result for mari standardStandard of Mari. The standard-bearer has a shaven face and head. The staff upholding the one-horned young bull is खोंड a variety of jōndhaḷā Holcus sorghum; the hieroglyph signifies  karba 'culm of millet' rebus: karba 'iron'. 

The standard bearer looks like the priest shown on the Tell al Ubaid temple architectural frieze.




Figure 15.6. Tell al Ubaid, Temple of Ninhursag. Tridacna shell inlaid architectural frieze with bitumen

and black shale. Early Dynastic period (ca. 2600 b.c.) (Hall and Woolley 1927)
Figure 15.5. Tell al Ubaid, Temple of Ninhursag. Tridacna shell-inlaid architectural frieze with bitumen

and black shale. Early Dynastic period (ca. 2600 b.c.e.) (© The Trustees of the British Museum)

कोंडी (p. 102) kōṇḍī f (कोंडणें) A confined place gen.; a lockup house, a pen, fold, pound; a receiving apartment or court for Bráhmans gathering for दक्षिणा; a prison at the play of आट्यापाट्या; a dammed up part of a stream &c. &c. कोंडवाड (p. 102) kōṇḍavāḍa n f C (कोंडणें & वाडा) A pen or fold for cattle. कोंडण (p. 102) kōṇḍaṇa f A fold or penकोंडमार (p. 102) kōṇḍamāra or -मारा m (कोंडणें & मारणें) Shutting up in a confined place and beating. Gen. used in the laxer senses of Suffocating or stifling in a close room; pressing hard and distressing (of an opponent) in disputation; straitening and oppressing (of a person) under many troubles or difficulties; कोंडाळें (p. 102) kōṇḍāḷēṃ n (कुंडली S) A ring or circularly inclosed space. 2 fig. A circle made by persons sitting round. कोंड (p. 102) kōṇḍa m C 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. 5 Grounds under one occupancy or tenancy. 6 f R A deep part of a river. 7 f (Or कोंडी q. v.) A confined place gen.; a lock-up house &c. 


कोंडण kōṇḍaṇa, 'cattlepen', Mesopotamia Rebus: kundaṇa 'fine gold'


Mudhif and three reed banners

Figure 15.1. Sealing with representations of reed structures with cows, calves, lambs, and ringed
bundle “standards” of Inana (drawing by Diane Gurney. After Hamilton 1967, fig. 1) 

Three rings on reed posts are three dotted circles: dāya 'dotted circle' on dhā̆vaḍ priest of 'iron-smelters', signifies tadbhava from Rigveda dhāī ''a strand (Sindhi) (hence, dotted circle shoring cross section of a thread through a perorated bead);rebus: dhāū, dhāv ʻa partic. soft red ores'. 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. dhāūdhāv 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.  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)
Cylinder seal impression, Uruk period, Uruk?, 3500-2900 BCE. Note a load of livestock (upper), overlapping greatly (weird representation), and standard 'mudhif' reed house form common to S. Iraq (lower).

Cattle Byres c.3200-3000 B.C. Late Uruk-Jemdet Nasr period. Magnesite. Cylinder seal. In the lower field of this seal appear three reed cattle byres. Each byre is surmounted by three reed pillars topped by rings, a motif that has been suggested as symbolizing a male god, perhaps Dumuzi. Within the huts calves or vessels appear alternately; from the sides come calves that drink out of a vessel between them. Above each pair of animals another small calf appears. A herd of enormous cattle moves in the upper field. Cattle and cattle byres in Southern Mesopotamia, c. 3500 BCE. Drawing of an impression from a Uruk period cylinder seal. (After Moorey, PRS, 1999, Ancient mesopotamian materials and industries: the archaeological evidence, Eisenbrauns.)
Image result for bharatkalyan97 mudhifA cow and a stable of reeds with sculpted columns in the background. Fragment of another vase of alabaster (era of Djemet-Nasr) from Uruk, Mesopotamia.

08-02-14/62 Fragment of a stele,...
  • Fragment of a stele, raised standards. From Tello.
  • Hieroglyphs: Quadrupeds exiting the mund (or mudhif) are pasaramu, pasalamu ‘an animal, a beast, a brute, quadruped’ (Telugu) పసరము [ pasaramu ] or పసలము pasaramu. [Tel.] n. A beast, an animal. గోమహిషహాతి.
  • A cow and a stable of reeds with sculpted columns in the background. Fragment of another vase of alabaster (era of Djemet-Nasr) from Uruk, Mesopotamia. Limestone 16 X 22.5 cm. AO 8842, Louvre, Departement des Antiquites Orientales, Paris, France. Six circles decorated on the reed post are semantic determinants of Glyphआर [ āra ] A term in the play of इटीदांडू,--the number six. (Marathi) आर [ āra ] A tuft or ring of hair on the body. (Marathi) Rebus:  āra ‘brass’. काँड् । काण्डः m. the stalk or stem of a reed, grass, or the like, straw. In the compound with dan 5 (p. 221a, l. 13) the word is spelt kāḍ. The rebus reading of the pair of reeds in Sumer standard is: khānḍa ‘tools,  pots  and  pans and metal-ware’. 


  • Rebus: pasra = a smithy, place where a black-smith works, to work as a blacksmith; kamar pasra = a smithy; pasrao lagao akata se ban:? Has the blacksmith begun to work? pasraedae = the blacksmith is at his work (Santali.lex.) 

    pasra meṛed, pasāra meṛed = syn. of koṭe meṛed = forged iron, in contrast to dul meṛed, cast iron (Mundari.lex.) పసారము [ pasāramu ] or పసారు pasārdmu. [Tel.] n. A shop. అంగడి
  • Both hieroglyphs together may have read rebus: *kāṇḍāra:  *kāṇḍakara ʻ worker with reeds or arrows ʼ. [kāˊṇḍa -- , kará -- 1] L. kanērā m. ʻ mat -- maker ʼ; H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers ʼ.(CDIAL 3024). Rebus: kaṇḍa 'fire-altar'. khaṇḍa 'implements' (Santali) लोखंड (p. 423) lōkhaṇḍa n (लोह S) Iron. लोखंडकाम (p. 423) lōkhaṇḍakāma n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.  लोखंडी (p. 423) lōkhaṇḍī a (लोखंड) Composed of iron; relating to iron.


Figure 15.2. Tell al Ubaid, Temple of Ninhursag. Isometric reconstruction. Early Dynastic period

(ca. 2600 b.c.e.) (Hall and Woolley 1927)
Figure 15.4. Tell al Ubaid, Temple of Ninhursag. Copper bull sculpture from the frieze. Early Dynastic period (ca. 2600 b.c.e.) (© The Trustees of the British Museum)  

The sculpture signifies: dhangar 'bull' rebus: dhangar 'blacksmith'.

Omur Harmansah, 2012, The cattlepen and the sheepfold: cities, temples, and pastoral power in Ancient Mesopotamia, in:Deena Ragavan (ed.), Heaven on earth, temples, ritual, and cosmic symbolism in the ancient world, Oriental Institute, Univ. of Chicago, 2012,  pp. 374-394

https://www.scribd.com/document/360356703/The-cattlepen-and-the-sheepfold-cities-temples-and-pastoral-power-in-Ancient-Mesopotamia-Omur-Harmansah-2012


Mudhif is a cattle pen.

and modern mudhif structure (Iraq) compare with the Toda mund (sacred hut)


गोटी [ gōṭī ] f (Dim. of गोटा) A roundish stone or pebble. गोदा [ gōdā ] m A circular brand or mark made by actual cautery (Marathi)गोटा [ gōṭā ] m A roundish stone or pebble. 2 A marble (of stone, lac, wood &c.) 2 A marble. 3 A large lifting stone. Used in trials of strength among the Athletæ. 4 A stone in temples described at length underउचला 5 fig. A term for a round, fleshy, well-filled body. 6 A lump of silver: as obtained by melting down lace or fringe. गोटुळा or गोटोळा [ gōṭuḷā or gōṭōḷā ] a (गोटा) Spherical or spheroidal, pebble-form. (Marathi)



Rebus: krvṛi f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) कोठी [ kōṭhī ] f (कोष्ट S) A granary, garner, storehouse, warehouse, treasury, factory, bank. (Marathi) 
कोठी The grain and provisions (as of an army); the commissariatsupplies. Ex. लशकराची कोठी चालली-उतरली- आली-लुटली. कोठ्या [ kōṭhyā ] कोठा [ kōṭhā ] m (कोष्ट S) A large granary, store-room, warehouse, water-reservoir &c. 2 The stomach. 3 The chamber of a gun, of water-pipes &c. 4 A bird's nest. 5 A cattle-shed. 6 The chamber or cell of a hunḍí in which is set down in figures the amount. कोठारें [ kōṭhārēṃ ] n A storehouse gen (Marathi)




The Uruk trough. From Uruk (Warka), southern Iraq. Late Prehistoric period, about 3300-3000 BC

A cult object in the Temple of Inanna?

This trough was found at Uruk, the largest city so far known in southern Mesopotamia in the late prehistoric period (3300-3000 BC). The carving on the side shows a procession of sheep approaching a reed hut (of a type still found in southern Iraq) and two lambs emerging. The decoration is only visible if the trough is raised above the level at which it could be conveniently used, suggesting that it was probably a cult object, rather than of practical use. It may have been a cult object in the Temple of Inana (Ishtar), the Sumerian goddess of love and fertility; a bundle of reeds (Inanna's symbol) can be seen projecting from the hut and at the edges of the scene. Later documents make it clear that Inanna was the supreme goddess of Uruk. Many finely-modelled representations of animals and humans made of clay and stone have been found in what were once enormous buildings in the centre of Uruk, which were probably temples. Cylinder seals of the period also depict sheep, cattle, processions of people and possibly rituals. Part of the right-hand scene is cast from the original fragment now in the Vorderasiatisches Museum, Berlin

J. Black and A. Green, Gods, demons and symbols of -1 (London, The British Museum Press, 1992)

H.W.F. Saggs, Babylonians (London, The British Museum Press, 1995)

D. Collon, Ancient Near Eastern art (London, The British Museum Press, 1995)

H. Frankfort, The art and architecture of th (London, Pelican, 1970)

P.P. Delougaz, 'Animals emerging from a hut', Journal of Near Eastern Stud-1, 27 (1968), pp. 186-7 http://www.britishmuseum.org/explore/highlights/highlight_objects/me/t/the_uruk_trough.aspx
Life on the edge of the marshes (Edward Ochsenschlaer, 1998)
Another black & white view of the trough.

Sumerian mudhif facade, with uncut reed fonds and sheep entering, carved into a gypsum trough from Uruk, c. 3200 BCE (British Museum WA 12000). Photo source.
See also: Expedition 40:2 (1998), p. 33, fig. 5b Life on edge of the marshes.
Fig. 5B. Carved gypsum trough from Uruk. Two lambs exit a reed structure identifical to the present-day mudhif on this ceremonial trough from the site of Uruk in northern Iraq. Neither the leaves or plumes have been removed from the reds which are tied together to form the arch. As a result, the crossed-over, feathered reeds create a decorative pattern along the length of the roof, a style more often seen in modern animal shelters built by the Mi'dan. Dating to ca. 3000 BCE, the trough documents the extraordinry length of time, such arched reed buildings have been in use. (The British Museum BCA 120000, acg. 2F2077)

End of the Uruk trough. Length: 96.520 cm Width: 35.560 cm Height: 15.240 cm
Image result for bharatkalyan97 mudhif284 x 190 mm. Close up view of a Toda hut, with figures seated on the stone wall in front of the building. Photograph taken circa 1875-1880, numbered 37 elsewhere. Royal Commonwealth Society Library. Cambridge University Library. University of Cambridge.


The Toda mund, from, Richard Barron, 1837, "View in India, chiefly among the Nilgiri Hills'. Oil on canvas. The architecture of Iraqi mudhif and Toda mund -- of Indian linguistic area -- is comparable.

A Toda temple in Muthunadu Mund near Ooty, India.http://en.wikipedia.org/wiki/Toda_people


The hut of a Toda Tribe of Nilgiris, India. Note the decoration of the front wall, and the very small door.
 Rebus Meluhha readings: kōṭhā 'warehouse' kuṭhāru 'armourer, PLUS kole.l 'temple' rebus: kole.l 'smithy, forge' PLUS ḍhāla 'flagstaff' rebus: ḍhālako 'large ingot'. Thus, the message is: armoury, smithy, forge ingots.

m0702 Text 2206 showing Sign 39, a glyph which compares with the Sumerian mudhif structure.
ढालकाठी [ ḍhālakāṭhī ] f ढालखांब m A flagstaff; esp.the pole for a grand flag or standard. 
ढाल [ ḍhāla ] 'flagstaff' rebus: dhalako 'a large metal ingot (Gujarati) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati). The mudhif flag on the inscription is read rebus: xolā 'tail' Rebus: kole.l 'smithy, temple'. The structure is  goṭ  'catttle-pen' (Santali) rebus: koṭhaka 'warehouse'. [kōṣṭhāgāra n. ʻ storeroom, store ʼ Mn. [kṓṣṭha -- 2, agāra -- ]Pa. koṭṭhāgāra -- n. ʻ storehouse, granary ʼ; Pk. koṭṭhāgāra -- , koṭṭhāra -- n. ʻ storehouse ʼ; K. kuṭhār m. ʻ wooden granary ʼ, WPah. bhal. kóṭhār m.; A. B. kuṭharī ʻ apartment ʼ, Or. koṭhari; Aw. lakh. koṭhārʻ zemindar's residence ʼ; H. kuṭhiyār ʻ granary ʼ; G. koṭhār m. ʻ granary, storehouse ʼ, koṭhāriyũ n. ʻ small do. ʼ; M. koṭhār n., koṭhārẽ n. ʻ large granary ʼ, -- °rī f. ʻ small one ʼ; Si. koṭāra ʻ granary, store ʼ.WPah.kṭg. kəṭhāˊr, kc. kuṭhār m. ʻ granary, storeroom ʼ, J. kuṭhārkṭhār m.; -- Md. kořāru ʻ storehouse ʼ ← Ind.(CDIAL 3550)] Rebus:  kuṭhāru 'armourer,

Field symbol is zebu (bos indicus). pōḷa 'zebu, bos indicus' rebus: pōḷa'magnetite, ferrite ore' [pōlāda]  'steel'.
Text 1330 (appears with Zebu glyph) showing Sign 39. Pictorial motif: Zebu (Bos indicus) This sign is comparable to the cattle byre of Southern Mesopotamia dated to c. 3000 BCE. Rebus Meluhha readings of gthe inscription are from r. to l.: kole.l 'temple' rebus: kole.l 'smithy, forge' PLUS goṭ 'cattle-pen' rebus: koṭṭhāra 'warehouse' PLUS sal 'splinter' rebus: sal 'workshop' PLUS aya 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS kuṭika— 'bent' MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) PLUS kanka, karṇika कर्णिक 'rim of jar' rebus: karṇī'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale'. Read together with the fieldsymbol of the zebu,the message is: magnetite ore smithy, forge, warehouse, iron alloy metal, bronze merchandise (ready for loading as cargo).


goṭ = the place where cattle are collected at mid-day (Santali); goṭh (Brj.)(CDIAL 4336). goṣṭha (Skt.); cattle-shed (Or.) koḍ = a cow-pen; a cattlepen; a byre (G.) कोठी cattle-shed (Marathi) कोंडी [ kōṇḍī ] A pen or fold for cattle. गोठी [ gōṭhī ] f C (Dim. of गोठा) A pen or fold for calves. (Marathi) 


koṭṭhaka1 (nt.) "a kind of koṭṭha," the stronghold over a gateway, used as a store -- room for various things, a chamber, treasury, granary Vin ii.153, 210; for the purpose of keeping water in it Vin ii.121=142; 220; treasury J i.230; ii.168; -- store -- room J ii.246; koṭthake pāturahosi appeared at the gateway, i. e. arrived at the mansion Vin i.291.; -- udaka -- k a bath -- room, bath cabinet Vin i.205 (cp. Bdhgh's expln at Vin. Texts ii.57); so also nahāna -- k˚ and piṭṭhi -- k˚, bath -- room behind a hermitage J iii.71; DhA ii.19; a gateway, Vin ii.77; usually in cpd. dvāra -- k˚ "door cavity," i. e. room over the gate: gharaŋ satta -- dvāra -- koṭṭhakapaṭimaṇḍitaŋ "a mansion adorned with seven gateways" J i.227=230, 290; VvA 322. dvāra -- koṭṭhakesu āsanāni paṭṭhapenti "they spread mats in the gateways" VvA 6; esp. with bahi: bahi -- dvārakoṭṭhakā nikkhāmetvā "leading him out in front of the gateway" A iv.206; ˚e thiṭa or nisinna standing or sitting in front of the gateway S i.77; M i.161, 382; A iii.30. -- bala -- k. a line of infantry J i.179. -- koṭṭhaka -- kamma or the occupation connected with a storehouse (or bathroom?) is mentioned as an example of a low occupation at Vin iv.6; Kern, Toev. s. v. "someone who sweeps away dirt." (Pali)

कोंडण kōṇḍaṇa, 'cattlepen', Mesopotamia Rebus: kundaṇa 'fine gold'

One-horned young bulls and calves are shown emerging out of  कोंडण kōṇḍaṇa cattlepens heralded by Inana standards atop the mudhifs. The Inana standards are reeds with three rings. The reed standard is the same which is signified on Warka vase c. 3200–3000 BCE. Ring on a standard is also shown on Jasper cylinder seal with four standardd bearers holding aloft Indus Script hypertexts. See: 

 http://tinyurl.com/o5sozfv


Reed PLUS ring on Inanna standard on Warka vase.
Scarf on the reeds:  dhaṭu 'scarf' Rebus: dhatu 'mineral' (Santali) *dhaṭa2dhaṭī -- 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.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)

Hypertexts of goat and tiger atop fire-altars (with ore pellets) mlekh'goat' rebus: milakkhu, mleccha'copper'kola 'tiger' rebus: kol'working in iron'kolhe'smelter'. Products (offerings) carried by worshippers in baskets and large storage jars and dedicated to Divinity Inanna clearly include metal ingots, as signified by the Indus Script hypertexts: copper ingots, iron (smelted) ingots. 

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 me (Ho.) of Munda family of Meluhha language stream. It is significant that the word med in Slavic languages signifies copper.
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>@(V168,M080)    http://www.ling.hawaii.edu/austroasiatic/AA/Munda/ETYM/Pinnow&Munda
— Slavic glosses for 'copper'

Мед [Med]Bulgarian

Bakar Bosnian

Медзь [medz']Belarusian

Měď Czech

Bakar Croatian

KòperKashubian

Бакар [Bakar]Macedonian

Miedź Polish

Медь [Med']Russian

Meď Slovak

BakerSlovenian

Бакар [Bakar]Serbian

Мідь [mid'] Ukrainian[unquote]

http://www.vanderkrogt.net/elements/element.php?sym=Cu 

Miedź, med' (Northern Slavic, Altaic) 'copper'.  

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’.


Cosmogony of temples in South Asia (Michael Meister, 2012)

Contribution Of Hindu Scriptures To Archaeoastronomy -- Subhash Kak

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Contribution Of Hindu Scriptures To Archaeoastronomy



SNAPSHOT
The continuing analysis of the astronomical references in Hindu texts imply that astronomical ideas developed in India in stages.
These stages can be seen in the different layers of the Vedic texts, the Brahmanas and the Vedanga Jyotisa.
Astronomers were interested in information related to eclipses, supernovae and other phenomena in the ancient world. Such phenomena are described in Indian texts, but there has been a long-standing controversy about the chronology of these texts. Although traditional history places the bulk of the Vedic texts in the period of the fourth to the second millennium BC, the chronology proposed by Max Muller and generally adopted in the West dates Rigveda to 1200-1000 BC, the other Vedic texts to 1000-800 BC and the Brahmanas to 800-600 BC.
Influenced by this scheme, Vedanga Jyotisa, the Vedic manual of astronomy, which has an internal date of about 1370 BC, has been ignored by the historians of astronomy, and it has been arbitrarily assigned to a period one thousand years later. Vedic books do refer to several early astronomical events that take us to various times in the broad period of 4000-2000 BC. For example, there is the well-known statement in the Satapatha Brahmana that the Krttikas (Pleiades) do not swerve from the east, which was true of about 2000 BC.
Likewise, the earliest naksatra lists start with the Krttikas, and it is generally accepted that these lists count the naksatras with the rising on the vernal equinox, but the critics have discounted such evidence arguing that we cannot be certain that the naksatras were assigned the same part of the sky as in later Indian astronomy. In this article, we show that it is possible to, unambiguously, date the rites described in the Brahmanas, to the second millennium BC. This means that the Max Muller chronology must now be rejected. For the archaeoastronomer, this allows the placing in context of a vast amount of astronomical information.
The Brahmanas recognise that the speed of the sun varies with the seasons. The year-long rites of the Brahmanas were organised with the summer solstice (visuvant) as the middle point. There were two years: the ritual one started with the winter solstice (mahavrata day), and the civil one started with the spring equinox (visuva). Vedic rites had a correspondence with different stages of the year and, therefore, astronomy played a very significant role in that society. These rites counted the days up to the solstice and in the latter half of the year, and there is an asymmetry in the two counts. This is an astronomical parameter, which had hitherto escaped notice that allows us to date the rites to no later than the second millennium BC.
Several aspects of the astronomy described in the earliest texts of India have recently become known. Most of that material was based on the astronomy of the fire altars. The fire altars are made in a manner so that their areas correspond to the lengths of the lunar or the solar years. As there is a difference between the two types of year, an increase in the area of the fire alter that equals the difference is prescribed in its second construction. Finally, there is a prescription that 95 such altars be built in a sequence defining a 95-year cycle of intercalation. Recent research from a variety of fields have led to a new understanding of the chronology of Vedic literature.
Archaeologists and geologists have established that Sarasvati, the mightiest river of the Rigvedic era, which ran down to the sea during that period, is the same as the Ghaggar-Hakra. Since there existed flourishing settlements on the banks of the river prior to about 1900 BC, and the fact that we see small settlements on the dry bed which date to the middle of the second millennium BC, it is clear that the river dried up around 1900 BC, perhaps due to a major tectonic upheaval. As the Rigvedic hymns speak of Sarasvati flowing to the sea, the only conclusion open to us is that the Rigvedic era should be considered to be prior to c. 2000 BC.
The traditional dating of the Rigveda, considered to belong to an era prior to the Mahabharata war, is considerably earlier than this period. According to Aryabhatta, the Mahabharata war took place c. 3100 BC, and according to Varahamihira, it took place c. 2400 BC. It appears that the discrepancy between the two traditions arose due to conflating interpretations when a calendrical review occurred sometime before Aryabhatta . On the other hand, according to a French team that surveyed the dried Sarasvati bed, the river dried up much before 1900 BC, and during the Harappan era (2600-1900 BC), the region was irrigated by the means of canals. If this were true, then the era of the Rigveda would come even closer to one of the traditional dates. Nevertheless, to be as conservative as possible, we take c. 2000 BC as the closing of the Rigvedic age. The astronomy of this era has been described recently.
The two halves of the year
Aitreya Br. 4.18 describes how the sun reaches the highest point on the day called visuvant and how it stays still for a total of 21 days with the visuvant being the middle day of this period. In Pancavimsa Br. (Chapters 24 and 25), several year-long rites are described where the visuvant day is preceded and followed by three-day periods. This suggests that the sun was now taken to be more or less still in the heavens for a total period of seven days. So it was clearly understood that the shifting of the rising and the setting directions had an irregular motion.
SB 4.6.2 describes the rite called gavamayana, the “sun’s walk” or the “cows’ walk.” This is a rite which follows the motion of the sun, with its middle of the visuvant day.
Yajurveda (38.20) says that the ahavanıya or the sky altar is four-cornered since the sun is four-cornered, meaning thereby that the motion of the sun is characterised by four cardinal points: the two solstices and the two equinoxes. The year-long rites list a total of 180 days before the solstice and another 180 days following the solstice. Since this is reckoning by solar days, it is not clearly stated how the remaining four or five days of the year were assigned. But this can be easily inferred.
Note that the two basic days in this count are the visuvant (summer solstice) and the mahavrata day (winter solstice), which precedes it by 181 days in the above counts. Therefore, even though the count of the latter part of the year stops with an additional 180 days, it is clear that one needs another four or five days to reach the mahavrata day in the winter. This establishes that the division of the year was in the two halves of 181 and 184 or 185 days. Corroboration of this is suggested by evidence related to an altar design from the Satapatha Brahmana.
The altar represents the path of the sun around the earth. The middle point, which represents the earth and the atmosphere, is at a slight offset to the centre. This fact, and the fact that the number of bricks in the outer ring are not symmetrically placed, shows that the four quarters of the year were not taken to be symmetric.
This inequality would have been easy to discover. The Indians used the reflection of the noon-sun in the water of a deep well to determine the solstice days. If one assumes that the two halves of the year are directly in proportion to the brick counts of 14 and 15 in the two halves of the ring of the sun, this corresponds to day counts of 176 and 189. This division appears to have been for the two halves of the year with respect to the equinoxes if we note that the solstices divide the year into counts of 181 and 184.
The apparent motion of the sun is the greatest when the earth is at perihelion and the least when the earth is at aphelion. Currently, this speed is greatest in January. The interval between successive perihelia, the anomalistic year, is 365.25964 days, which is 0.01845 days longer than the tropical year on which our calendar is based. In 2,000 calendar years, the date of the perihelion advances almost 35 days; in 1,000 years, it advances almost a half-year (175 days). This means that the perihelion movement has a cycle of about 20,000 years.
In the first millennium BC, the earth was at perihelion within the interval prior to the winter solstice. Thus, during this period, the half of the year from the summer solstice to the winter solstice would have been shorter than the half from the winter solstice to the summer solstice. This is just the opposite of what is described in the rites of the Brahmanas.
It is interesting that the Greeks discovered the asymmetry in the quarters of the year about 400 BC. Modern calculations show that at this time, the four quarters of the year starting with the winter solstice were 90.4, 94.1, 92.3 and 88.6 days long. The period from the winter solstice to the summer solstice was then 184.5 days and the perihelion occurred in mid-to-late October.
The count of about 181 days from the winter to the summer solstice would be true when the perihelion occurs before the summer solstice. This will require it to move earlier than mid-to-late June and no earlier than mid-to-late December. In other words, compared to 400 BC, the minimum number of months prior to October is four, and the maximum number of months is 10. This defines periods which are from 6,850 years to 17,150 years prior to 400 BC.
These periods appear too early to be considered plausible, and this may reflect the fact that measurements in those times were not very accurate. Nevertheless, it means that the first millennium BC for the rites of the Brahmanas, as has been assumed by colonial historians, is absolutely ruled out.
Since the Satapatha Br has lists of teachers that go through more than fifty generations, we know that the period of the Brahmanas was a long one, perhaps a thousand years. To be as conservative as possible, we propose the period 2000-1000 BC as reasonable for these texts. The Vedic Samhitas should now be assigned to the earlier fourth and third millennia BC. It is significant that the dating of the second millennium BC is consistent with the recent archaeological figures.
The stages of ancient Indian astronomy
Our understanding of the Indian astronomy is undergoing a major shift. More than a hundred years ago, Burgess saw Indians as the originators of many of the notions that led to the Greek astronomical flowering. This view slowly lost support and then it was believed that Indian astronomy was essentially derivative and it owed all its basic ideas to the Babylonians and the Greeks.
It was even claimed that there was no tradition of reliable observational astronomy in India. Using statistical analysis of the parameters used in the many Siddhantas, Billard showed that the Siddhantas were based on precise observations, and so the theory of no observational tradition in India was wrong. Since then, it has been found that Vedic books are according to an astronomical plan. Earlier, it was believed that the mahayuga/kalpa figure of 43,20,000, which occurs in the Siddhantas, was borrowed from the astronomy of the Babylonian Berossos (c 300 BC). But this is already an important astronomical number in the much earlier Satapatha Brahmana.
The reason why incorrect notions related to Indian astronomy have persisted so long is because the authors have been unfamiliar with a great mass of the literature. It is also being recognised that the Siddhantic astronomy has features which are unique to India and it represents an independent tradition. Thurston says:
Not only did Aryabhata believe that the earth rotates, but there are glimmerings in his system (and other similar Indian systems) of a possible underlying theory in which the earth (and the plan- ets) orbits the sun, rather than the sun orbiting the earth...The significant evidence comes from the inner planets: the period of the ´s¯ıghrocca is the time taken by the planet to orbit the sun.
It is not clear that Aryabhatta was the originator of the idea of the rotation of the earth. It appears that the rotation of the earth is inherent in the notion that the sun never sets that we find in the Aitreya Brahmana 2.7:
The [sun] never really sets or rises. In that they think of him “He is setting,” having reached the end of the day, he inverts himself; thus he makes evening below, day above. Again in that they think of him “He is rising in the morning,” having reached the end of the night he inverts himself; thus he makes day below, night above. He never sets; indeed he never sets.
One way to visualise it is to see the universe as the hollow of a sphere so that the inversion of the sun now shines the light on the world above ours. But this is impossible since the sun does move across the sky during the day, and if the sun doesn’t set or rise, it doesn’t move either. Clearly, the idea of “inversion” denotes nothing but a movement of the earth.
By our study of the early Vedic sources, we are getting into the position of understanding the stages of development of the earliest astronomy. After the Rigvedic stage comes the period of the Brahmana. This is followed by Lagadha’s astronomy. The last stage is early Siddhantic and early Puranic astronomy.
These four stages are summarised below:
1. Rigvedic astronomy (c. 4000-2000 BC)
Motion of the sun and the moon, naksatras, planet periods. The start of this stage is a matter of surmise, but we have clues such as Vedic myths which have been interpreted to indicate astronomical events of the fourth millennium BC.
2. Astronomy of the Brahmanas (2000-1000 BC)
Astronomy represented by means of geometric altars; non-uniform motion of the sun and the moon; intercalation for the lunar year; “strings of wind joined to the sun.”
3. Vedanga Jyotisa (c 1300 BC) [Lagadha]
The text that has come down to us appears to be of a later era. Being the standard manual for determination of the Vedic rites, Lagadha’s work must have served as a “living” text where the language got modified to a later form.
4. Early Siddhantic and early Puranic (1000 BC - 500 AD)
Here, our main sources are the Sulbasutras, the Mahabharata, the early Puranas and other texts. Further development of the sıghrocca and mandocca cycles, the concepts of kalpa.
It is significant that these stages are well prior to the rise of mathematical astronomy in Babylonia and in Greece. The concepts of the sıghrocca and mandocca cycles indicate that the motion of the planets was taken to be fundamentally around the sun, which, in turn, was taken to go around the earth.
The mandocca, in the case of the sun and the moon, is the apogee, where the angular motion is the slowest, and in the case of the other planets it is the aphelion point of the orbit. For the superior planets, the sıghrocca coincides with the mean place of the sun, and in the case of an inferior planet, it is an imaginary point moving around the earth with the same angular velocity as the angular velocity of the planet around the sun; its direction from the earth is always parallel to the line joining the sun and the inferior planet.
The mandocca point serves to slow down the motion from the apogee to the perigee and speed up the motion from the perigee to the apogee. It is a representation of the non-uniform motion of the body, and so it can be seen as a direct development of the idea of the non-uniform motion of the sun and the moon.
The sıghrocca maps the motion of the planet around the sun to the corresponding set of points around the earth. The sun, with its winds that hold the solar system together, is, in turn, taken to go around the earth. The antecedents of this system can be seen in the earlier texts. SB 4.1.5.16 describes the sun as puskaramadityo, “the lotus of the sky.” SB 8.7.3.10 says:
The sun strings these worlds [the earth, the planets, the atmo- sphere] to himself on a thread. This thread is the same as the wind...
This suggests a central role to the sun in defining the motions of the planets, and ideas such as these must have ultimately led to the theory of the sıghrocca and the mandocca cycles.
Concluding remarks
The theory that the sun was the “lotus” [the central point] of the sky and that it kept the worlds together by its “strings of wind” gave rise to the heliocentric tradition in India mentioned by Thurston. The offset of the sun’s orbit evolved into the notion of mandocca, and the motions of the planets around the sun were transferred to the earth’s frame through the device of the sıghrocca.
The continuing analysis of the astronomical references in the Brahmanas has made it clear that the theory that the Siddhantic astronomy was somehow derived from the Babylonians and the Greeks is wrong. What is emerging from texts that are anterior by any reckoning, to the eras of astronomical advance in Babylonia or in Greece, is that astronomical ideas developed in India in stages and these stages can be seen in different layers of the Vedic texts, the Brahmanas and the Vedanga Jyotisa.
The evidence of the altar confirms that the year was divided into two parts: winter solstice to summer solstice being equal to 181 days, and midsummer-to-midwinter of 184 or 185 days. This, in turn, means that the Brahmana rites could not belong to the first millennium BC.
This conclusion is of the greatest significance for the chronology of the Vedic texts, and it invalidates the chronology popularised by Max Muller. This work supports the thesis that the Vedic and Harappan periods were identical.
References and Notes
1. Muller, Max, A History of Ancient Sanskrit Literature. Williams and Norgate, London, 1860; Eggeling, J (tr), The Satapatha Brahmana Motilal Banarsidass, Delhi, 1988 (1882-1900). For an important view which ascribes a much greater antiquity to the Vedic literature, see Winternitz, M A History of Indian Literature. Oriental Books, New Delhi, 1927 (1907).
2. Kuppanna Sastry, T S, Vedanga Jyotisa of Lagadha. Indian National Science Academy, New Delhi, 1985.
3. Eg, Kramrisch, S, The Presence of Siva. Princeton University Press, Princeton, 1981, pages 42-43.
4. de Santillana, G and von Dechend, H, Hamlet’s Mill: An Essay on Myth and the Frame of Time. Gambit, Boston, 1969.
5. Frawley, D, Indian Journal of History of Science, 1994, 29, 495-506.
6. Kak, S C, Mankind Quarterly, 1992, 33, 43-55.
7. Kak, S C, Vistas in Astronomy, 1993, 36, 117-140.
8. Kak, S C, Indian Journal of History of Science, 1993, 28, 15-34. 9. Kak, S C, Current Science, 1994, 66, 323-326.
9. Kak, S C, The Astronomical Code of the Rgveda. Aditya, New Delhi, 1994.
10. Kak, S C, Puratattva: Bulletin of the Indian Archaeological Society, 1994-95, 25, 1-21.
11. Kak, S C, Quarterly Journal of the Royal Astronomical Society, 1995, 36, 385-396.
12. Kak, S C, Quarterly Journal of the Royal Astronomical Society, 1996, 37, 709-715.
13. Bakliwal, P C and Grover, A K, Rec. Geol. Survey of India, 1988, 116, 77-86.
14. Possehl, G and Raval, M H, Harappan Civilization and Rojdi. E J Brill, Leiden, 1989.
15. Francfort, H P, Eastern Anthropologist, 1992, 45, 87-103.
16. O’Neil, W M, Early Astronomy. Sydney University Press, Sydney, 1986, pages 56-57.
17. Feuerstein, G, Kak, S C, and Frawley, D, In Search of the Cradle of Civilization. Quest Books, Wheaton, 1995.
18. Burgess, E. (tr.) The Surya Siddhanta. Delhi: Motilal Banarsidass, 1989 (1860); see also Indian Journal ofHistory of Science, 20, 1985, and van der Waerden, B L, Journal for the History of Astronomy, 11, 1980, 50-58.
19. Billard, R, L’Astronomie Indienne. Ecole Francaise d’Extreme Orient, Paris, 1971.
20. van der Waerden, B L, Centaurus, 24, 1980, 117-131.
21. Thurston, H, Early Astronomy. Springer-Verlag, New York, 1994, page 188.




Subhash Kak is Regents professor of electrical and computer engineering at Oklahoma State University and a vedic scholar.

Indus Script hypertext mōri 'peacock' rebus moraka 'steel', Rāṣṭrī, R̥gveda is Peacock Angel Melek Taus of Yazidi-s

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Yazidis Kurdish: ئێزیدی OldIranian yazata "divine being"(Av) < yaj "to worship", yajña – "worship" R̥gveda yajatá 'holy' Gk ἅγιος hagios "
A priest applying Sindhur, a Yazidi wearing sindhur on the forehead, 
Yazidi leaders and Chaldean clergymen meeting in Mesopotamia, 19th century.




















Yazidis on the mountain of Sinjar, Iraqi–Syrian border, 1920s.Yazidis on the mountain of Sinjar, Iraqi–Syrian border, 1920s.

The tradition of wearing sindhur at the parting of the hair maang goes back to Sarasvati Civilization: evidence of two terracotta toys from Nausharo, ca. 2500 BCE.

Nausharo: female figurines. Wearing sindhur at the parting of the hair. Hair painted black, ornaments golden and sindhur red. Period 1B, 2800 – 2600 BCE.

Yazidi venerate Tawsi Melek peacock landing on the earth.
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Sarasvati. painting by Raja Ravi Varma. Venerated as divinity of knowledge, vāk, 'speech' in R̥gveda tradition. In RV 10.125 she declares herself to be Rāṣṭrī, the mover of wealth an treasures.
"The Supreme God created Peacock Angel as an emanation at the beginning of time. He was brought into manifestation in order to give the invisible, transcendental Supreme God a vehicle with which to create and administer the universe. Tawsi Melek is thus a tangible, denser form of the infinite Supreme God. In order to assist Tawsi Melek in this important role, the Supreme Creator also created six other Great Angels, who were, like the Peacock Angel, emanations of the Supreme God and not separate from him. " http://www.yeziditruth.org/the_peacock_angel

Tawûsê Melek is sometimes transliterated Malak Ta'usMalak TawusMalak Tawwus, or Malik TawsMelek was borrowed from the Arabic term meaning “king” or “angel”
Melek Taus (Ezdiki: Tawûsê Melek), also spelled Malik Tous, translated in English as Peacock Angel, is one of the central figures of Yazidi religion. In Yazidi creation stories, God created the world and entrusted it to the care of seven Holy Beings, often known as Angels or heft sirr('the Seven Mysteries'), preeminent of which is Tawûsê Melek, the Peacock Angel. ("What is the Peacock Angel?"YezidiTruth.org.)

Monumental bronze Peacocks and pinecone adorn the Vatican
These monuments trace back the Peacock Angel go the days of Sarasvati Civilization.

Water installation with bronze pine-cone in the atrium of Old St Peter's, Rome.  Drawing by Cronaca (1457-1505).  Uffizi, Florence, 1572.

Water installation with bronze pine-cone and peacocks on the top register in the atrium of Old St Peter’s Basilica, Rome. Drawing by Cronaca (1457-1505). Uffizi, Florence, 1572.

Bronze peacocks, together with 11 ft. high pine-cone of bronze in the Vatican are made by Bharatam Janam and Indus Script hieroglyphs.

मोरकम् 1 A kind of steel.  मोरक [p= 835,3] n. a kind of steel L. (Samskrtam) Mora [the contracted, regular P. form of *Sk. mayūra, viâ *ma -- ūra>mora. See also Geiger, P.Gr. § 27 & Pischel, Prk. Gr. § 166. -- Vedic only mayūrī f. pea -- hen] a peacock J ii.275 Perhaps also as morakkha "a peacock's eye" at VbhA 63 (morakkhaka loha, a kind of copper, grouped with pisācaloha). It is more likely however that morakkha is distorted fr. *mauryaka, patronymic of mura, a local (tribal) designation (cp. murala), then by pop. etym. connected with mora peacock. With this cp. Sk. moraka "a kind of steel" BR. (Pali) mayūˊra m. ʻ peacock ʼ VS., in cmpds. RV., mayūrīˊ -- f. ʻ peahen ʼ RV. 2. *mōra -- . 3. *majjūra -- (< *mayyūra<-> with early eastern change -- yy -- > -- jj -- ?). [mayūka -- , marūka -- 1 m. lex. -- J. Bloch BSL 76, 16 ← Drav. (cf. DED 3793); J. Przyluski BSL 79, 100 ← Austro -- as. (cf. also Savara māˊrā ʻ peacock ʼ Morgenstierne); H. W. Bailey BSOAS xx 59, IL 21, 18 connects with Khot. murāsa -- as orig. an Indo -- ir. colour word. -- EWA ii 587 with lit.]1. Pa. mayūra -- m. ʻ peacock ʼ, Pk. maūra -- , maūla -- m.; Sh. (Lor.) maiyūr m. ʻ cock munāl pheasant ʼ; A. mairā ʻ peacock ʼ, B. maürmaur, Or. maïram., °rī f., Si. mayurāmiyurā.2. Pa. mōra -- m., mōrinī -- f., Aś.gir. mora -- , Pk. mōra<-> m., °rī -- f., K. mōr m., S. moru m., L. P. mōr m., Ku. Mth. Bhoj. mor, OAw. mora m., H. morm., °rī°rin f., OMarw. moraḍī f., G. M. mor m., Si. mōrā; <-> H. (dial.) mhormurhā m., Ko. mhōru.3. Aś.shah. man. majura -- , kāl. majula -- , jau. majūla -- , N. majurmujur, Or. (Bastar) mañjura, OAw. maṁjūra m., Si. modaramonara.*mayūrapakṣala -- .Addenda: mayūˊra -- : WPah.kṭg. (kc.) mōr ʻ peacock ʼ.(CDIAL 9865)

See:  http://tinyurl.com/z2xcphj 







"This temple was built for the Egyptian merchants. It was located on the Commercial Agora near the western gate. There is also another entrance into the temple from the south-west corner of the Agora through stairs. There are certain indications that suggest the temple was never finished fully. It is estimated that the construction of the temple was started in the 2nd century CE. Temple of Isis, Pompeii. "the original building built under Augustan was damaged in an earlier earthquake of 62 CE...The cult of Isis is thought to arrived in Pompeii around 100 BCE.


Are Hasankeyf caves (11th millennium BCE) the model for rockcut ancient Indian caves?

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The Tigris Euphrates River Basin
Image result for tigris river hasankeyf
Map of the Headwaters of the Tigris River In and Around Batman Province in Turkey with Flooding Predicted by Ilisu Dam and My Route Noted by the Dotted Red Line
  • September 26 2017 00:01:00
  • 11,500-year-old settlement unearthed in Hasankeyf

    BATMAN
    11,500-year-old settlement unearthed in Hasankeyf
    A settlement from 11,500 years ago has been unearthed in the Hasankeyf Mound on the Tigris River’s coastline in the fifth stage of archaeology works at the ancient town of Hasankeyf in the southeastern province of Batman, which has been initiated with the Ilısu Dam HES project protection and rescue works of the cultural heritage. 

    The head of the excavations in Hasankeyf, Assistant Professor Mevlüt Eliüşük, said 12 Japanese archaeologists are also working in the mound. “Excavations continued in the settlement in the first three months and then the conservation of findings was made. Analyses revealed that the settlement in Hasankeyf Mound dates back to 9,500 B.C., which is 11,500 years ago,” he added.  

    Eliüşük said they found some fields in the excavations and they believe there were steles like the ones in Göbeklitepe there. “But the steles have not survived until today,” he added. 

    He said life continued for 1,000 years in the mound. “The most important feature of the mound is that the settlement did not last there. Settlement began there 11,500 years ago but people abandoned the settlement after living there for 1,000 years,” he added.  

    Japan’s Tsukuba University academic Yutaka Miyake, the consultant of the excavations, said the mound dates back to the beginning of the Neoltihic Age and the source of living was hunting and collecting.

    “They hunted wild sheep the most. As for plants, we found wild peanuts, almonds and terebinth berries. It is interesting that we did not find pieces of grain or wheat. This place was a settlement before its transition to a field of agriculture or breeding,” Miyake said. 

    According to him, two phases existed in the mound. “In the first phase, the architectural structure of houses was round. They dug a hole and put up a wall around it. In the second phase, they began building rectangular houses. This reveals the existence of two phases in the settlement.” 

    Dead buried in houses 

    Miyake said they unearthed 120 tombs beneath the houses and there were gifts next to the dead in the tombs. Among the gifts was a stone bowl, beads and sea shells, Miyake said. 

    “We detected two colors - black and red - in the bones of one third of these burials. These skeletons have line-like paint. After burying the dead, they waited for the body to decay. When the body decayed, they colored the bones with this paint. In some skeletons, the anatomic structures of the bones were preserved but bones have come loose. Then they replaced these bones back to their place,” he added.  

    Miyake said the settlement in the mound has similar features with Göbeklitepe in the southeastern province of Şanlıurfa. 

    He said a child’s skull was also buried next to the tomb of the adults. “We also found the skulls of an animal, which we believe belonged to a wild sheep or goat. We found six tombs like this,” he noted.  

    Works in the Hasankeyf Mound is set to continue through Dec. 15.
http://www.hurriyetdailynews.com/11500-year-old-settlement-unearthed-in-hasankeyf--118364
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The ancient cave town in Hasankeyf (Credit: Credit: Tolga Tezcan/Getty)
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Turkey, Eastern Turkey, Hasankeyf, Caves reflecting in Tigris River
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The Caves in The Castle, Hasankeyf, Batman
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View of Hasankeyf with the castle in left foreground, in southeastern Turkey.

See: https://www.smithsonianmag.com/travel/endangered-site-the-city-of-hasankeyf-turkey-51947364/ 

Endangered Site: The City of Hasankeyf, Turkey

A new hydroelectric dam threatens the ancient city, home to thousands of human-made caves

Turkey's 12,000-year-old Hasankeyf settlement faces obliteration

Work on clearing site for the controversial Ilisu dam on Tigris river threatens collapse of ancient monument famed for thousands of manmade caves
The citadel, an impressive honey-colored structure overlooking the Tigris River, is one example of Hasankeyf’s archaeological and religious significance.

Hasankeyf’s historic treasures will be submerged once the construction of the Ilisu Dam is complete.

Tigris River as seen from the citadel high above the cliffs, with the ruins of ancient bridge backed by the modern one
Most of Hasankeyf in Batman province, Turkey, will be underwater once Ilisu dam is completed. Most of Hasankeyf in Batman province, Turkey, will be underwater once Ilisu dam is completed. Photograph: Zuma Press, Inc/Alamy Stock Photo
The destruction of Turkey’s 12,000-year-old Hasankeyf settlement and ancient citadel has moved a step closer as authorities have begun to collapse cliff faces around the ruins of the citadel.
The move, linked to the construction of a highly controversial dam about 50 miles downstream, is also expected to damage the rich ecosystem of the Tigris river basin.
Local authorities have announced that the rocks were broken off “for safety reasons” and that 210 caves – a fraction of thousands of manmade caves in the area – would be filled before the town’s inundation in order to prevent erosion.
The Ilisu dam, part of the Southeast Anatolian project (Gap) and one of Turkey’s largest hydroelectric projects to date, has been mired in controversy ever since it was first drafted in 1954. The dam will raise the level of the Tigris at Hasankeyf by 60m, submerging 80% of the ancient city and numerous surrounding villages, including more than 300 historical sites that have still not been explored.
Environmental engineer Ercan Ayboga of the Initiative to Keep Hasankeyf Alive warns that close to 80,000 people will be displaced. Many of them will lose their land and their livelihoods. Because of additional debts taken up to purchase new homes, thousands face impoverishment.
Germany, Austria and Switzerland withdrew financial support for the Ilisu dam in July 2009, citing concerns about the social, cultural and environmental impact. The Turkish government, arguing that the dam will help produce much needed energy and irrigation, has secured domestic financing of the €1.1bn (£1.02bn) project and is pushing ahead despite a pending court decision at the European court of human rights.
The Ilisu dam has a life expectancy of less than 100 years, but the destruction of the fragile natural environment will be irreversible.
“The Tigris river basin is one of the last areas where a river runs freely in Turkeywithout having been dammed,” Ayboga says. “The dam will completely destroy the river banks. The microclimate will change due to the dam, a phenomenon we have already seen after the dams on the Euphrates. The biodiversity will suffer; the rich variety of plant and animal life will be severely diminished.”
Numerous vulnerable and endangered species are threatened by the construction of the dam, including the Euphrates softshell turtle, the red‐wattled lapwing, and many other rare birds, bats and mammals. While the environmental impact on Turkey will be severe, the effect on neighbouring Iraq is expected to be catastrophic.
Toon Bijnens, international coordinator for the Save the Tigris and Iraqi Marshes Campaign in Sulaymaniyah, said downstream water levels are expected to decrease by 40%: “This means that the water quality of the Tigris will worsen. There will be increased salt water intrusion, making the water unfit for drinking or irrigation.”
Ilisu, once operational, will also be detrimental to the Mesopotamian marshes, a wetland area in southern Iraq declared a Unesco world heritage site in 2016. “The dam will dry up a considerate part of the marshes,” Bijnens said. The marshes were drained by Saddam Hussein in the 1990s and the community of the Marsh Arabs has only recently returned to their land. Their livelihoods are now again endangered by the Turkish dam.
An official source from the Turkish ministry for Forests and Water Works told the Guardian that “all dammed up water is sent downstream via the turbines”. Because Ilisu was a hydroelectric dam, there would be no decrease of water levels. “The importance of reservoirs as a safe water source in the fight against global warming and drought has increased,” the source said. “For that reason the Ilisu dam has to be seen as an advantage for Iraq, not a threat.”
However, Ankara has not yet ratified the 1997 UN Watercourses Convention, a treaty that seeks to establish a law for governing freshwater resources shared across international borders that entered into force in 2014. Since no formal agreement was signed, the sovereignty over how much water is released downstream rests with Turkey, Bijnens warned.
The tomb of Zenyel Bey at Hasankeyf is carried on a rolling structure as it is moved to stave off the risk of flooding from the dam project. The tomb is a 15th-century memorial to one of the key figures in the Ak Koyunlu tribe who controlled much of eastern Anatolia and the Caucasus and vied for supremacy with the emerging Ottomans.
The tomb of Zenyel Bey at Hasankeyf is carried on a rolling structure as it is moved to stave off the risk oflooding from the dam project. The tomb is a 15th-century memorial to one of the key figures in the Ak Koyunlu tribe who controlled much of eastern Anatolia and the Caucasus and vied for supremacy with the emerging Ottomans. Photograph: Ilyas Akengin/AFP/Getty Images
Ayboga stressed that despite the controversies surrounding the construction of the Ilisu dam, all protests and public meetings were banned under the current state of emergency, declared just over a year ago.
“There has always been a serious lack of transparency and accountability,” he said. “But now the Turkish government uses the conflict in the region and the state of emergency to speed up the project and to silence all opposition. Many locals are scared to protest now.”

Ayboga added that it was very difficult for journalists, both local and international, to access the area. “This makes it easier for the government to push ahead with extremely controversial measures,” he said.



Clock genes, our inner time keeper. आत्मन् principle of life and sensation

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The American scientists Jeffrey C Hall, Michael Rosbash and Michael W Young, who have won this year’s prize. The American scientists Jeffrey C Hall, Michael Rosbash and Michael W Young, who have won this year’s prize. Illustration: NobelPrize.org

I am very pleased for the fruit fly: Nobel winner Michael Rosbash

Humble insect receives praise from Michael Rosbach, one of the scientists to win the medicine Nobel

Three Americans won the Nobel Prize in Physiology or Medicine on Monday for their discoveries about the body’s biological clock, opening up whole new fields of research and raising awareness about the importance of getting enough sleep.
Jeffrey C. Hall, Michael Rosbash and Michael W. Young won the 9-million-kronor ($1.1 million) prize for their work on finding genetic mechanisms behind circadian rhythms, which adapt the workings of the body to different phases of the day, influencing sleep, behaviour, hormone levels, body temperature and metabolism. The work was done using fruit flies.
“I am very pleased for the fruit fly,” said Mr. Rosbash, a 73-year-old professor at Brandeis University. He said he got the call about the award just after 5 a.m.
“When the landline rings at that hour, normally it is because someone died,” he said. “I’m still a little overwhelmed.”
He added, “I stand on the shoulders of giants. This is a very humbling award.”
The awardees’ work stems back to 1984, when Mr. Rosbash and Mr. Hall, both at Brandeis, along with Mr. Young isolated the “period gene” in fruit flies. Mr. Hall and Mr. Rosbash found that a protein encoded by the gene accumulated during the night and degraded during daytime. A decade later, Mr. Young discovered another “clock gene.”
The scientists “were able to peek inside our biological clock and elucidate its inner workings,” the Nobel citation said. “Circadian dysfunction has been linked to sleep disorders, as well as depression, bipolar disorder, cognitive function, memory formation and some neurological diseases,” according to a Nobel background report.
Mr. Hall, 72, wryly noted that he was already awake when he received the call from Sweden about his Nobel because of changes in his circadian rhythm as he has grown older. “I said ‘Is this a prank?’ I didn’t really believe it. I didn’t expect it,” Mr. Hall recounted, speaking from his home in rural Cambridge, Maine.

Sleep hygiene

The winners have raised “awareness of the importance of a proper sleep hygiene” said Juleen Zierath of the Nobel Assembly at the Karolinska Institute, which chooses the laureates. Carlos Ibanez, another assembly member, said the research was important in understanding how humans adapt to shift work. Michael Hastings, a scientist at the U.K. Medical Research Council, said the discoveries had opened up a whole new field of study for biology and medicine.
“Until then, the body clock was viewed as a sort of black box,” said Mr. Hastings.
“We knew nothing about its operation. But what they did was get the genes that made the body clock, and once you’ve got the genes, you can take the field wherever you want to.”
“Our well-being is affected when there is a temporary mismatch between our external environment and this internal biological clock, for example when we travel across several time zones and experience ‘jet lag’,” the Nobel statement said. “There are also indications that chronic misalignment between our lifestyle and the rhythm dictated by our inner time keeper is associated with increased risk for various diseases.”

Nobel prize for medicine awarded for insights into internal biological clock

£825,000 prize shared between American scientists Jeffrey C Hall, Michael Rosbash and Michael W Young for work on the internal clock of living organisms
The Nobel prize in physiology or medicine has been awarded to a trio of American scientists for their discoveries on the molecular mechanisms controlling circadian rhythms – in other words, the 24-hour body clock.
According to the Nobel committee’s citation, Jeffrey C Hall, Michael Rosbash and Michael W Young were recognised for their discoveries explaining “how plants, animals and humans adapt their biological rhythm so that it is synchronised with the Earth’s revolutions.”
The team identified a gene within fruit flies that controls the creatures’ daily rhythm, known as the “period” gene. This gene encodes a protein within the cell during the night which then degrades during the day.


When there is a mismatch between this internal “clock” and the external surroundings, it can affect the organism’s wellbeing – for example, in humans, when we experience jet lag.
The announcement was met by disbelief by the winners. “You are kidding me,” Rosbash replied when he got the call. Hall’s reaction was similar: “I said, ‘is this a prank?’” he told the Guardian.


All three winners are from the US. Hall, 72, has retired but spent the majority of his career at Brandeis University in Waltham, Massachussetts, where fellow laureate Rosbash, 73, is still a faculty member. Young, 68, works at Rockefeller University in New York.
While all three laboured to isolate the period gene, publishing was something of a race. While Hall and Rosbash collaborated, Young was working on the puzzle independently. Both teams reported their findings in 1984.
“It was very unpleasant competition in the early 80s, although we settled down. I think it’s possible we just started to act more like grown-ups because we got older,” said Hall.
Hall and Rosbash then went on to unpick how the body clock actually works, revealing that the levels of protein encoded by the period gene rise and fall throughout the day in a negative feedback loop. Young, meanwhile, discovered a second gene involved in the system, dubbed “timeless”, that was critical to this process. Only when the proteins produced from the period gene combined with those from the timeless gene could they enter the cell’s nucleus and halt further activity of the period gene. Young also discovered the gene that controlled the frequency of this cycle.


The team’s discoveries also helped to explain the mechanism by which light can synchronise the clock.
Sir Paul Nurse, director of the Francis Crick Institute, who shared the Nobel prize in 2001 for research on the cell cycle, said the work was important for the basic understanding of life.
“Every living organism on this planet responds to the sun,” he said. “All plant and animal behaviour is determined by the light-dark cycle. We on this planet are slaves to the sun. The circadian clock is embedded in our mechanisms of working, our metabolism, it’s embedded everywhere, it’s a real core feature for understanding life.
“We are increasingly becoming aware that there are implications for human disease,” Nurse added. “There is some evidence that treatment of disease can be influenced by circadian rhythms too. People have reported that when you have surgery or when you have a drug can actually influence things. It’s still not clear, but there will almost certainly be some implications for the treatment of disease too.”
The impact of the team’s work on medicine is becoming ever more apparent, said Ralf Stanewsky, ‎a professor of molecular behavioural biology at the University of Münster and a former colleague of Hall. “You can see that more and more health issues, human health issues, are boiled down to either genetic defects in the circadian clock or self-imposed problems, by work and jet lag for example,” he said. “This [internal] timer is constantly struggling to reset to what environment people are exposed to. If you shift your clock every week by six hours or three hours, that puts an enormous pressure on your body.”


The win was welcomed by other experts in the field. “I think it is a fantastic development,” said professor Hugh Piggins, who works on circadian rhythms at the University of Manchester. But, he added, it was not unexpected, pointing out the work had been tipped for the win for several years. 
Stanewsky agreed: “They were winning the prizes that people usually win before they win the Nobel prize,” he said.
Hall and Rosbash struck up their fruitful collaboration after becoming friends on a basketball court, Stanewsky added. The pair were also such fans of the Boston Red Sox baseball team that they once sneaked a portable TV into a conference to keep up with a crucial game.
Bambos Kyriacou, professor of behavioural genetics at the University of Leicester, who is friends with all three winners and a former colleague of two, said the trio were very different people. “Jeff [Hall] is eccentric … brilliant but eccentric,” he said. “Michael [Rosbash], there is no stopping him – he is just going 100%, he will die with his boots on in the lab, and Michael Young is the most charming, nicest one of them because he is polite and pleasant, whereas the other two aren’t like that, they are just crazy,” Kyriacou added. 

Hall told the Guardian he was planning to make large donations, including to the Humane Society of the United States and a Texas-based charity involved in rescuing pets caught in the floods that followed Hurricane Harvey. “I have always loved and cared about animals,” he said. “I didn’t even intend to last this long so I still have some [money] left over and I’ll have bloated coffers now,” he added.The winners will share a prize of 9m Swedish kronor (£825,000), and each receive a medal engraved with their name.
Last year the prize was won by Yoshinori Ohsumi, a Japanese cell biologist who unpicked the mechanisms by which the body break downs and recycles components of cells – a process that guards against various diseases, including cancer and diabetes.
In total, 107 Nobel prizes for physiology or medicine have been won by 211 scientists since 1901, with just 12 awarded to women. Nonetheless, it remains the science award with the highest such tally – so far the physics prize has only been awarded to two women: Marie Curie and Maria Goeppert Mayer.
This year’s winners of the physics, chemistry, literature and peace prizes will be announced over the rest of the week, with the economics prize to follow on Monday 9 October.
https://www.theguardian.com/science/2017/oct/02/nobel-prize-for-medicine-awarded-for-insights-into-internal-biological-clock




Nine rounds a second, why the Las Vegas shooting was different

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Authorities have not officially released details on the weapons a gunman used to kill at least 59 people and wound 527 more late on Sunday in Las Vegas. But analysis of video posted on social media shows that the gunman, identified by the police as Stephen Paddock, 64, had rifles with rapid-fire capabilities.
At least 17 firearms were recovered from Mr. Paddock’s hotel room, said Sheriff Joseph Lombardo of the Las Vegas Metropolitan Police Department. Another law enforcement official said earlier that AR-15 assault-style rifles were found among the weapons.
This video shows 15 seconds of the attack, with constant gunshots ringing out.

Source: @spacetrek9 on Twitter
Isolated, the pattern of gunshots looks like this.

Las Vegas About 90 shots in 10 seconds

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Compare that with audio extracted from a video of the June 2016 Orlando nightclub shooting, in which 49 people were killed and 53 were wounded. The gunman, Omar Mateen, used at least two guns, including a semiautomatic AR-15-style assault rifle.

Orlando nightclub 24 shots in 9 seconds

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Source: WESH 2 News
In contrast, a fully automatic weapon, like this pre-1986 Colt AR-15A2, sounds different. There are no variations in the firing rate like there was in the Las Vegas.

Fully automatic weapon 98 shots in 7 seconds

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Source: YouTube
It is possible that the Las Vegas gunman modified his gun to fire faster. This could include using a trigger crank, a mechanical add-on that is rotated like a music box handle and hits the trigger multiple times per second. Or, he may have had a bump fire stock, which uses the recoil of the rifle to fire quicker. Neither device is regulated by the National Firearms Act.

Ānarta northern Kathiawar, Gujarat Gaṇeśa Indus Script hypertext metals manufactory

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https://tinyurl.com/ycwb2868

Thanks to for the image with hypertext.
आ-नर्त dancing academy, north Kathiavad Gaṇeśa phaḍā'cobra hood'rebus phaḍā 'metals manufactory'mūṣa 'mouse' rebus: mūṣa 'crucible'. This is pictorial representation, mlecchita vikalpa (Meluhha Indus Script cipher) of steel, iron working. karibha, ibha'elephant' rebus: karba, ib'iron'tāmarasa 'lotus' rebus: tāmra'copper'. These hieroglyphs are signified on this ancient Tantra document. The pellets held on the plate: goṭa'round pebbles' rebus: goṭa 'laterite, ferrite ore'. खोट khōṭa'A mass of metal (unwrought iron).

Discovery of thousand-year old Śiva temple, Pudukkottai

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புதுக்கோட்டை: புதுக்கோட்டை அருகே, 1,000 ஆண்டுகள் பழமை வாய்ந்த சிவன் கோவில், மீட்டெடுக்கப் பட்டுள்ளது.


சமூகவலைதள உதவி: புதுக்கோட்டை மாவட்டம், அன்னவாசல் அருகே வயலோகம் பகுதியில், 1,000 ஆண்டுகள் பழமை வாய்ந்த, அகத்தீஸ்வரமுடைய விஸ்வநாதர் கோவில் உள்ளது. இந்த கோவிலை மீட்டெடுத்து, சீரமைக்க, 'வாட்ஸ் ஆப், பேஸ்புக்'மூலம் அழைப்பு விடுக்கப்பட்டது. புதுக்கோட்டை மாவட்ட சமூக வலைதள நண்பர்கள் கொடுத்த தகவலின்படி, செப்., 29ல், வயலோகம் கிராமத்தில், தமிழகத்தின் பல பகுதிகள் மற்றும் புதுச்சேரியை சேர்ந்த வரலாற்று ஆர்வலர்கள், இளைஞர்கள், 60 பேர் ஒன்று திரண்டனர். அவர்கள், சிதைந்த கோவிலை சுற்றி, மண்டிக் கிடந்த புதர்களை சுத்தம் செய்தனர். 

மூன்று நாட்கள்: தொடர்ந்து, மூன்று நாட்கள் மண் மேடு, செடி கொடிகளை அகற்றி, சுத்தம் செய்தனர். அங்கிருந்த கல்வெட்டுகள் மூலம், 1,000 ஆண்டுகள் பழமையான கோவில் என்பதும், மூன்றாம் குலோத்துங்கன் சுந்தரபாண்டியன், குலசேகர பாண்டியன் ஆகிய மன்னர்கள் காலத்தில், திருப்பணிகள் செய்யப்பட்டதாகவும் அறியப்படுகிறது. கோபுரம், மடப்பள்ளி என, அனைத்தும் சிதிலமடைந்துள்ளன. அங்கிருந்த இரண்டு சிவலிங்கம், இரண்டு அம்மன் சிலைகள், ஆறு முகங்கள் கொண்ட முருகன் சிலை, தெய்வானை, தட்சிணாமூர்த்தி, விநாயகர், நந்தி சிலைகள் சேதமடையும் நிலையில் இருப்பதால், அவற்றை தனியே எடுத்து பாதுகாத்து வருவதாக, பொதுமக்கள் தெரிவித்தனர்.

நடவடிக்கை வேண்டும்: 'கோவிலை புனரமைக்கவும், அழகிய வேலைப்பாடுடன் கூடிய கற் சிலைகளை பாதுகாக்கவும், இந்து சமய அறநிலையத் துறை நடவடிக்கை எடுக்க வேண்டும்'என, கோரிக்கை விடுக்கப்பட்டுள்ளது.

http://temple.dinamalar.com/news_detail.php?id=72564

Image result for 1000 year old pudukkottai temple
http://timesofindia.indiatimes.com/city/trichy/Museum-takes-over-remains-of-1000-year-old-temple/articleshow/55447099.cms

Tepe Yahya Seal impression and Marhashi Region hieroglyphs buffalo, leopard, markhor are Indus Script hypertexts

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Summary

Decoding the world’s oldest as yet undeciphered writing system could help to improve our understanding of the origins of writing and of how this crucial cultural progress spread, branched out, and in some cultures died out. Michael Gross reports.


Main Text

Just over 5,000 years ago, the earliest cities flourished in Mesopotamia and western Iran. One explanation that has been considered is that making these areas with their seasonal alternations of flooding and drought amenable to agriculture required a complex infrastructure for water retention and irrigation. Thus, only a critical mass of workforce and a certain level of organisation could make these lands habitable, leading to urban settlements like Uruk in Mesopotamia and, a few hundred kilometres to the east, Susa in Iran. On the other hand, humans adapt well to diverse climatic conditions, and southern Mesopotamia may have lent itself to the growth of incipient complex societies without the need for large-scale hydraulic management as more current archaeological theories suggest.
Whatever their origin, the complex societies that built these early cities soon found they needed to keep records of their stocks, property, and commerce. The people of Uruk came up with proto-cuneiform, which evolved into cuneiform. This script encoding words and syllables was eventually supplanted in the Middle East by alphabetic writing systems that spread across the Mediterranean.
A few centuries later, the people of Susa picked up the idea of keeping written records and apparently borrowed a few signs from proto-cuneiform, but mostly they invented their own system of record-keeping, which is now known as proto-Elamite. The writing quickly spread across Iran, even though other archaeological evidence doesn’t suggest that the country had a unified culture at that time. Early excavations in Susa found more than 1,500 clay tablets with proto-Elamite script, and hundreds more have been found since.
As the name indicates, researchers were initially hoping to find a more advanced ‘Elamite’ script that might have followed up on this early version, like cuneiform evolved out of proto-cuneiform. However, systematic archaeological investigation has shown that this next step never happened. After a few centuries of using proto-Elamite, the people of Susa and other towns in Iran stopped writing altogether. For a period of 500 years, there is no trace of writing in Iran, until the introduction of cuneiform from Mesopotamia around 2300–2200 BC and, concurrently, the development as the Susan royal court of a second indigenous script known as Linear Elamite, which is unrelated to proto-Elamite.
In anthropological terms, the proto-Elamite script is the Neanderthal of writing systems. It branched off from our line of descent early on, spread for a while, then became extinct for mysterious reasons. Understanding it better might help us to understand our own cultural evolution. It would help, obviously, if we could decipher it.

Deciphering challenge

Jacob L. Dahl, of the Faculty of Oriental Studies at the University of Oxford, started out studying cuneiform and then became more interested in the path less travelled, the branch that became extinct. Dahl, the world’s leading expert in this writing system heads a research team dedicated to understanding it.
Many have considered the script undecipherable, and linguists are frustrated by the lack of any parallel documents like the Rosetta Stone, which could help, and by the lack of proper prose, as the tablets seem to be listing quantities of commodities owned by specific households. The writing uses 17 numerical and around 1,400 non-numerical signs. Of the latter, Dahl believes, around 100 may have been used as syllables to code for names. These occur where names of owners are listed, are poorly standardised, and have no obvious pictorial meaning.Difficult read: A proto-Elamite clay tablet from the collection at the Louvre

Difficult read: A proto-Elamite clay tablet from the collection at the Louvre. Scribes used a stylus typically made of reed to press these shapes into the soft clay. (Photo: University of Oxford.)
“An additional challenge,” says Dahl, “is the fact that they use no signs depicting body parts. They must have had a taboo forbidding that. The only exceptions are two pictographically constructed signs for female and male workers, which they took over from proto-cuneiform, obviously without regard to their pictorial associations.”
Early excavations produced large numbers of texts and other artefacts but failed to contextualise these, and, whereas the early publishers worked fervently to quickly publish the results, the published copies cannot necessarily be trusted.
In the late 1970s, the Swedish mathematician Jöran Friberg managed to work out the numerical system used in archaic Iran, based on the observation that the tablets usually contain sums of the quantities listed in each line. Later, Peter Damerow at the Max-Planck Institute for the History of Science and Robert K. Englund at the Free University, both at Berlin, proposed identifications for some of the signs and deciphered the content of some tablets. Thus, signs for containers for weakly fermented beer, dairy products, and grains are understood. Dahl, who worked with Englund at UCLA and with Damerow at Berlin, deciphered a number of signs relating to sheep and goat herding, but still scratches his head over how the proto-Elamite scribes may have referred to cattle, for example.
Dahl has started producing high-quality images of the tablets using a novel device, the Reflectance Transformation Imaging (RTI) system (building on technology developed originally by Tom Malzbender and others at the HP labs in Palo Alto). This uses a black plastic dome lined with 76 separate LED lights and fitted with a 25 megapixel camera. Each artefact is photographed 76 times, each time illuminated from a different angle by one of these LEDs. A dedicated software package combines the 76 shots into a single image file, with which the users can then create different viewing experiences, as if they were looking at the original tablet and shining a torch at it from different sides and angles to get a feeling for the shapes, the textures, and the depths of the grooves.
With these complex images, Dahl now hopes to launch an internet-based crowdsourcing project to help complete the decipherment, following the example of success stories such as Folding@Home (see Curr. Biol. (2012) 22, R35–R38). Combining the ideas and skills of many different people, and including perspectives from mathematics, linguistics, art, and so on, may be the clue to cracking the remainder of the code. Some images have already been made available online, with more and in increasingly higher quality over the coming six months (see http://cdli.ox.ac.uk/wiki/proto-elamite for an introduction to proto-Elamite with links to images of the tablets and http://cdli.ucla.edu for more on online cuneiform).
Detective work: Jacob Dahl and Laura Hawkins working on cuneiform tablets at…

Detective work: Jacob Dahl and Laura Hawkins working on cuneiform tablets at Oxford University. (Photo: University of Oxford.)

Rise and fall

Taken together with the available evidence from the Middle East, a better understanding of proto-Elamite would be a big step towards a complete overview of the evolution of writing, including its birth, branching out, diffusion, and dying out.
Contrary to what one might expect based on today’s notions of literacy, writing did very clearly not arise from a move to record spoken language. Instead, it evolved out of primitive accounting methods, more closely related to abacuses than to storytelling.
“At first, there were tokens used to represent quantities of commodities such as grain,” explains Dahl. “Most tokens were made of clay, a few examples exist of stone tokens. We recently made some clay tokens for our class and were able to replicate the calculations — additions only — in rather complex texts without any use of abstract numbers, or even number words.”
In a second stage, people turned the very same tokens into a permanent recording of the relevant quantities by keeping them in clay envelopes. “These consisted of a hollow clay ball, also called a bulla,” Dahl explains. “It is very likely that tokens continued to be used for centuries.”
Finally, clay tablets bearing the impressions of tokens, and then, similar shapes produced with a stylus became the record keeping, making the tokens redundant. The stylus was usually made of reed, but perhaps also of hard wood or metal: in fact one metal tool that may have been used as a stylus was found at Tepe Yahya close to some proto-Elamite tablets.
Ghost town: The remains of the ancient city of Susa may increasingly look like…

Ghost town: The remains of the ancient city of Susa may increasingly look like natural hills, but excavations have yielded more than 1,500 clay tablets with inscriptions that are around 5,000 years old. (Photo: Jan Walstra.)
The third stage can be pinned down exactly. “Writing is a technology. Regardless of whatever mnemonic devices may have been used in different parts of the ancient Near East, the earliest crystallisation of that technology occurred at the great southern Mesopotamian metropolis of Uruk in the specific context of a large institution dedicated to the city goddess Inanna,” explains Dan Potts from the University of Sydney, Australia. “The earliest texts served to document the incomings and outgoings of those commodities (naturalia, realia) that served to sustain the institution, which some would call a temple complex, and its personnel (not just priests and scribes but agricultural and craft labourers as well). Lexical texts, lists of words classified by domain (names of different categories of animals, trees, plants, professions), represent concrete expressions of early scribal training. It took many more centuries before writing was used to record royal inscriptions, literature, letters and other types of texts.”
Initial proto-writing systems could represent only a certain repertoire of relevant objects — their users could not write down current events or stories they may have told each other. Gradually, the proto-writing systems evolved into complete writing systems, allowing people to write down whatever they could express in words of their language.
The invention of writing happened at least twice and no more than four times in the history of mankind. The two clear cases are cuneiform and the Mayan scripts, both clearly independent inventions that went on to become complete writing systems. Deciphering of Mayan writing has made rapid progress since the 1970s, following the realisation that it is a phonetic representation of a language related to the one still spoken in the area today. It might have been easier if 16th century colonialism had not actively sought to eradicate knowledge of the script that still existed at the time.
Cuneiform was decoded in the second half of the 19th century using trilingual inscriptions written in Old Persian cuneiform, Akkadian cuneiform and Elamite cuneiform. Since the content of some of these texts was known (ruler names and titles of the kings of Persia) this was in fact a very complex linguistic puzzle of replacing signs with sounds and speculate language affiliation.
Some people still question whether the Egyptian hieroglyphs are an equally pristine invention. While there is no similarity in the signs used, Egyptians and, as some have speculated, even ancient Chinese may or may not have gleaned the idea of writing things down for accountancy from Mesopotamia.
Proto-Elamite by contrast, clearly got the idea and a small number of signs from Mesopotamia, and then went on to add a whole range of new signs to the repertoire. It is the earliest writing system that we know to be a derived one. This early branching point is thus the equivalent of speciation in biological evolution. The separate writing systems of these neighbouring regions must have been mutually incomprehensible.
Ancient lands: The area of western Iran, where a writing system inspired by…

Ancient lands: The area of western Iran, where a writing system inspired by Mesopotamia’s cuneiform flourished around 5,000 years ago. (Photo: University of Oxford.)
Over a short time span — three centuries at most, but probably much less — the proto-Elamite script spread across Iran, offering a prime example of cultural diffusion. There is no archaeological evidence suggesting a mechanism for this spreading, such as central government or long-distance trading, so the rapid expansion remains one of the mysteries of proto-Elamite.
As the proto-Elamite script spread and developed further, it became richer in its sign repertoire, but Dahl notes that it also ran into problems. “There was an inflation of signs in proto-Elamite,” says Dahl, “and even in high-level accounts, such as those for the household of the ruler of Susa, you see systematic errors and bad practice.” For instance, scribes would cram in information at the end of a line, rather than planning for the space available, like their colleagues in Mesopotamia would have done. And they made elementary mistakes in the bundling of numbers, as it would be a mistake in Roman numerals to write IIIII instead of V.
The key cultural difference is that cuneiform was backed up by a lexical tradition from early on, says Dahl. In Uruk, lists of standardised signs were used for reference. No such lists have ever been found for proto-Elamite. Dahl can’t resist the temptation to speculate that it may have been the failure to invest in the quality of proto-Elamite writing culture that led to its deterioration and ultimately to its downfall.
The ensuing period of five centuries without writing makes Europe’s descent into the Dark Ages pale in comparison. Prophets of linguistic doom who worry about youth slang and text speak will delight in this example of cultural downfall that was possibly triggered or accelerated by bad writing practice. Seeing writing as a trait that has evolved in human populations, it is only natural that it can not only arise, diversify and spread, but also die out. That’s just life.
5,000 years ago, a long-buried society in the Iranian desert helped shape the first urban age
Shahr-i-Sokhta in eastern Iran

Cities like Shahr-i-Sokhta in eastern Iran, remains of which can be seen from the air, developed and flourished at the same time as the population centers in Mesopotamia to the west and the Indus Valley to the east. The barren landscape was once home to some of the world's first urban societies, which began to develop around 3000 B.C.
(Georg Gerster/Photo Researchers)
Even local archaeologists with the benefit of air-conditioned cars and paved roads think twice about crossing eastern Iran's rugged terrain. "It's a tough place," says Mehdi Mortazavi from the University of Sistan-Baluchistan in the far eastern end of Iran, near the Afghan border. At the center of this region is the Dasht-e Lut, Persian for the "Empty Desert." This treacherous landscape, 300 miles long and 200 miles wide, is covered with sinkholes, steep ravines, and sand dunes, some topping 1,000 feet. It also has the hottest average surface temperature of any place on Earth. The forbidding territory in and around this desert seems like the last place to seek clues to the emergence of the first cities and states 5,000 years ago.
Yet archaeologists are finding an impressive array of ancient settlements on the edges of the Dasht-e Lut dating back to the period when urban civilization was emerging in Egypt, Iraq, and the Indus River Valley in Pakistan and India. In the 1960s and 1970s, they found the great centers of Shahr-i-Sokhta and Shahdad on the desert's fringes and another, Tepe Yahya, far to the south. More recent surveys, excavations, and remote sensing work reveal that all of eastern Iran, from near the Persian Gulf in the south to the northern edge of the Iranian plateau, was peppered with hundreds and possibly thousands of small to large settlements. Detailed laboratory analyses of artifacts and human remains from these sites are providing an intimate look at the lives of an enterprising people who helped create the world's first global trade network.
Far from living in a cultural backwater, eastern Iranians from this period built large cities with palaces, used one of the first writing systems, and created sophisticated metal, pottery, and textile industries. They also appear to have shared both administrative and religious ideas as they did business with distant lands. "They connected the great corridors between Mesopotamia and the east," says Maurizio Tosi, a University of Bologna archaeologist who did pioneering work at Shahr-i-Sokhta. "They were the world in between."
By 2000 B.C. these settlements were abandoned. The reasons for this remain unclear and are the source of much scholarly controversy, but urban life didn't return to eastern Iran for more than 1,500 years. The very existence of this civilization was long forgotten. Recovering its past has not been easy. Parts of the area are close to the Afghan border, long rife with armed smugglers. Revolution and politics have frequently interrupted excavations. And the immensity of the region and its harsh climate make it one of the most challenging places in the world to conduct archaeology.

Shahdad

Situated at the end of a small delta on a dry plain, Shahdad was excavated by an Iranian team in the 1970s.
(Courtesy Maurizio Tosi)

Iranian-Italian team

An Iranian-Italian team, including archaeologist Massimo Vidale (right), surveyed the site in 2009.
(Courtesy Massimo Vidale)
The peripatetic English explorer Sir Aurel Stein, famous for his archaeological work surveying large swaths of Central Asia and the Middle East, slipped into Persia at the end of 1915 and found the first hints of eastern Iran's lost cities. Stein traversed what he described as "a big stretch of gravel and sandy desert" and encountered "the usual...robber bands from across the Afghan border, without any exciting incident." What did excite Stein was the discovery of what he called "the most surprising prehistoric site" on the eastern edge of the Dasht-e Lut. Locals called it Shahr-i-Sokhta ("Burnt City") because of signs of ancient destruction.
It wasn't until a half-century later that Tosi and his team hacked their way through the thick salt crust and discovered a metropolis rivaling those of the first great urban centers in Mesopotamia and the Indus. Radiocarbon data showed that the site was founded around 3200 B.C., just as the first substantial cities in Mesopotamia were being built, and flourished for more than a thousand years. During its heyday in the middle of the third millennium B.C., the city covered more than 150 hectares and may have been home to more than 20,000 people, perhaps as populous as the large cities of Umma in Mesopotamia and Mohenjo-Daro on the Indus River. A vast shallow lake and wells likely provided the necessary water, allowing for cultivated fields and grazing for animals.
Built of mudbrick, the city boasted a large palace, separate neighborhoods for pottery-making, metalworking, and other industrial activities, and distinct areas for the production of local goods. Most residents lived in modest one-room houses, though some were larger compounds with six to eight rooms. Bags of goods and storerooms were often "locked" with stamp seals, a procedure common in Mesopotamia in the era.
Shahr-i-Sokhta boomed as the demand for precious goods among elites in the region and elsewhere grew. Though situated in inhospitable terrain, the city was close to tin, copper, and turquoise mines, and lay on the route bringing lapis lazuli from Afghanistan to the west. Craftsmen worked shells from the Persian Gulf, carnelian from India, and local metals such as tin and copper. Some they made into finished products, and others were exported in unfinished form. Lapis blocks brought from the Hindu Kush mountains, for example, were cut into smaller chunks and sent on to Mesopotamia and as far west as Syria. Unworked blocks of lapis weighing more than 100 pounds in total were unearthed in the ruined palace of Ebla, close to the Mediterranean Sea. Archaeologist Massimo Vidale of the University of Padua says that the elites in eastern Iranian cities like Shahr-i-Sokhta were not simply slaves to Mesopotamian markets. They apparently kept the best-quality lapis for themselves, and sent west what they did not want. Lapis beads found in the royal tombs of Ur, for example, are intricately carved, but of generally low-quality stone compared to those of Shahr-i-Sokhta.
Pottery was produced on a massive scale. Nearly 100 kilns were clustered in one part of town and the craftspeople also had a thriving textile industry. Hundreds of wooden spindle whorls and combs were uncovered, as were well-preserved textile fragments made of goat hair and wool that show a wide variation in their weave. According to Irene Good, a specialist in ancient textiles at Oxford University, this group of textile fragments constitutes one of the most important in the world, given their great antiquity and the insight they provide into an early stage of the evolution of wool production. Textiles were big business in the third millennium B.C., according to Mesopotamian texts, but actual textiles from this era had never before been found.

Metal flag found at Shahdad

A metal flag found at Shahdad, one of eastern Iran's early urban sites, dates to around 2400 B.C. The flag depicts a man and woman facing each other, one of the recurrent themes in the region's art at this time.
(Courtesy Maurizio Tosi)

Ceramic jar found at Shahdad

This plain ceramic jar, found recently at Shahdad, contains residue of a white cosmetic whose complex formula is evidence for an extensive knowledge of chemistry among the city's ancient inhabitants.
(Courtesy Massimo Vidale)
The artifacts also show the breadth of Shahr-i-Sokhta's connections. Some excavated red-and-black ceramics share traits with those found in the hills and steppes of distant Turkmenistan to the north, while others are similar to pots made in Pakistan to the east, then home to the Indus civilization. Tosi's team found a clay tablet written in a script called Proto-Elamite, which emerged at the end of the fourth millennium B.C., just after the advent of the first known writing system, cuneiform, which evolved in Mesopotamia. Other such tablets and sealings with Proto-Elamite signs have also been found in eastern Iran, such as at Tepe Yahya. This script was used for only a few centuries starting around 3200 B.C. and may have emerged in Susa, just east of Mesopotamia. By the middle of the third millennium B.C., however, it was no longer in use. Most of the eastern Iranian tablets record simple transactions involving sheep, goats, and grain and could have been used to keep track of goods in large households.
While Tosi's team was digging at Shahr-i-Sokhta, Iranian archaeologist Ali Hakemi was working at another site, Shahdad, on the western side of the Dasht-e Lut. This settlement emerged as early as the fifth millennium B.C. on a delta at the edge of the desert. By the early third millennium B.C., Shahdad began to grow quickly as international trade with Mesopotamia expanded. Tomb excavations revealed spectacular artifacts amid stone blocks once painted in vibrant colors. These include several extraordinary, nearly life-size clay statues placed with the dead. The city's artisans worked lapis lazuli, silver, lead, turquoise, and other materials imported from as far away as eastern Afghanistan, as well as shells from the distant Persian Gulf and Indian Ocean.
Evidence shows that ancient Shahdad had a large metalworking industry by this time. During a recent survey, a new generation of archaeologists found a vast hill—nearly 300 feet by 300 feet—covered with slag from smelting copper. Vidale says that analysis of the copper ore suggests that the smiths were savvy enough to add a small amount of arsenic in the later stages of the process to strengthen the final product. Shahdad's metalworkers also created such remarkable artifacts as a metal flag dating to about 2400 B.C. Mounted on a copper pole topped with a bird, perhaps an eagle, the squared flag depicts two figures facing one another on a rich background of animals, plants, and goddesses. The flag has no parallels and its use is unknown.
Vidale has also found evidence of a sweet-smelling nature. During a spring 2009 visit to Shahdad, he discovered a small stone container lying on the ground. The vessel, which appears to date to the late fourth millennium B.C., was made of chlorite, a dark soft stone favored by ancient artisans in southeast Iran. Using X-ray diffraction at an Iranian lab, he discovered lead carbonate—used as a white cosmetic—sealed in the bottom of the jar. He identified fatty material that likely was added as a binder, as well as traces of coumarin, a fragrant chemical compound found in plants and used in some perfumes. Further analysis showed small traces of copper, possibly the result of a user dipping a small metal applicator into the container.
Other sites in eastern Iran are only now being investigated. For the past two years, Iranian archaeologists Hassan Fazeli Nashli and Hassain Ali Kavosh from the University of Tehran have been digging in a small settlement a few miles east of Shahdad called Tepe Graziani, named for the Italian archaeologist who first surveyed the site. They are trying to understand the role of the city's outer settlements by examining this ancient mound, which is 30 feet high, 525 feet wide, and 720 feet long. Excavators have uncovered a wealth of artifacts including a variety of small sculptures depicting crude human figures, humped bulls, and a Bactrian camel dating to approximately 2900 B.C. A bronze mirror, fishhooks, daggers, and pins are among the metal finds. There are also wooden combs that survived in the arid climate. "The site is small but very rich," says Fazeli, adding that it may have been a prosperous suburban production center for Shahdad.
Sites such as Shahdad and Shahr-i-Sokhta and their suburbs were not simply islands of settlements in what otherwise was empty desert. Fazeli adds that some 900 Bronze Age sites have been found on the Sistan plain, which borders Afghanistan and Pakistan. Mortazavi, meanwhile, has been examining the area around the Bampur Valley, in Iran's extreme southeast. This area was a corridor between the Iranian plateau and the Indus Valley, as well as between Shahr-i-Sokhta to the north and the Persian Gulf to the south. A 2006 survey along the Damin River identified 19 Bronze Age sites in an area of less than 20 square miles. That river periodically vanishes, and farmers depend on underground channels called qanats to transport water.
Despite the lack of large rivers, ancient eastern Iranians were very savvy in marshaling their few water resources. Using satellite remote sensing data, Vidale has found remains of what might be ancient canals or qanats around Shahdad, but more work is necessary to understand how inhabitants supported themselves in this harsh climate 5,000 years ago, as they still do today.

Eastern Iranian settlement of Tepe Yahya

The large eastern Iranian settlement of Tepe Yahya produced clear evidence for the manufacture of a type of black stone jar for export that has been found as far away as Mesopotamia.
(Georg Gerster/Photo Researchers)
Meanwhile, archaeologists also hope to soon continue work that began a decade ago at Konar Sandal, 55 miles north of Yahya near the modern city of Jiroft in southeastern Iran. France-based archaeologist Yusef Madjizadeh has spent six seasons working at the site, which revealed a large city centered on a high citadel with massive walls beside the Halil River. That city and neighboring settlements like Yahya produced artfully carved dark stone vessels that have been found in Mesopotamian temples. Vidale notes that Indus weights, seals, and etched carnelian beads found at Konar Sandal demonstrate connections with that civilization as well.
Many of these settlements were abandoned in the latter half of the third millennium B.C., and, by 2000 B.C., the vibrant urban life of eastern Iran was history. Barbara Helwig of Berlin's German Archaeological Institute suspects a radical shift in trade patterns precipitated the decline. Instead of moving in caravans across the deserts and plateau of Iran, Indus traders began sailing directly to Arabia and then on to Mesopotamia, while to the north, the growing power of the Oxus civilization in today's Turkmenistan may have further weakened the role of cities such as Shahdad. Others blame climate change. The lagoons, marshes, and streams may have dried up, since even small shifts in rainfall canB.C. have a dramatic effect on water sources in the area. Here, there is no Nile, Tigris and Euphrates, or Indus to provide agricultural bounty through a drought, and even the most sophisticated water systems may have failed during a prolonged dry spell.
It is also possible that an international economic downturn played a role. The destruction of the Mesopotamian city of Ur around 2000 B.C. and the later decline of Indus metropolises such as Mohenjo-Daro might have spelled doom for a trading people. The market for precious goods such as lapis collapsed. There is no clear evidence of widespread warfare, though Shahr-i-Sokhta appears to have been destroyed by fire several times. But a combination of drought, changes in trade routes, and economic trouble might have led people to abandon their cities to return to a simpler existence of herding and small-scale farming. Not until the Persian Empire rose 1,500 years later did people again live in any large numbers in eastern Iran, and not until modern times did cities again emerge. This also means that countless ancient sites are still awaiting exploration on the plains, in the deserts, and among the rocky valleys of the region.
Andrew Lawler is a contributing editor at ARCHAEOLOGY. For our 1975 coverage of the excavations at Shahr-i-Sokhta, see archive.archaeology.org/iran.
Cylinder seal from Konar Sandal
The impression of a cylinder seal on an unbaked clay jar sealing from Konar Sandal 
(Courtesy Youssef Madjidzadeh)
They are tiny and often faded and fragmented. But one abundant source of evidence for both international trade and the role of women in eastern Iran during the third millennium B.C. are the tiny images found on seals and sealings throughout this area. The small impressions were designed to mark ownership and control of goods, from bags of barley to a storeroom filled with oil jugs.
Holly Pittman, an art historian at the University of Pennsylvania who has worked throughout the Middle East and Central Asia, is examining the fragile impressions. She is attempting to build a clearer picture of the lives of ancient inhabitants in large centers such as Shahr-i-Sokhta, Shahdad, and Konar Sandal, near today's modern city of Jiroft. Pittman now believes these people of eastern Iran shared common ideas and beliefs while also participating in the first age of long-distance exchange.
Female deities with vegetation growing out of their bodies are one common element on the seals found in eastern Iran and, as on the Shahdad flag, figures confronting one another also appear Lasting Impression frequently. A distinctive type of white stone seals that have been found in Central Asia and the Indus appear to have been made in a similar style by eastern Iranians. "There are relationships between sites, and certainly this part of eastern Iran is participating in a global network," she says. "This is a world of merchants and traders."
Pittman believes that by early in the third millennium B.C., the network linking Mesopotamia and southeastern Iran resulted in a mixing of cultures across this enormous area. Seals that were used to close storage rooms in Konar Sandal, for example, are of a specific Mesopotamian type common in the major Iraqi port of Ur. That hints strongly at the presence of Mesopotamian inhabitants in Konar Sandal who had almost certainly come from Ur. She also suggests that Mesopotamian artifacts absorbed style elements from southeastern Iran. Another example is the famous inlaid lyre found at Ur, which has the face of a bearded bull typical of eastern Iran. Other seals found in ruins such as Konar Sandal are Proto-Elamite in style, showing strong connections with western and central Iran, where the Proto-Elamite writing system is believed to have originated at the same time that Mesopotamian urban life began to flourish in the late fourth millennium B.C.
Seals were powerful markers of economic, political, and social clout. At some eastern Iranian sites such as Shahr-i-Sokhta, they appear to have been largely in the hands of women. Marta Ameri, an archaeologist at the Fashion Institute of Technology in New York, notes that two-thirds of the seals found in Shahr-i-Sokhta's graves are found in female burials. While the grander bronze seals are uncovered mostly in male tombs, the more common bone seals are more often associated with women. Based on remains of sealings made to doors, vases, bags, and other objects, the bone seals were in more frequent use than the bronze. This suggests, Ameri says, that women were in control of food storage and possibly trade goods as well. Until more intact graves are found at other sites such as Shahdad, "we at least have a tantalizing look at the roles women may have played," says Ameri.
Andrew Lawler is a contributing editor at ARCHAEOLOGY. For our 1975 coverage of the excavations at Shahr-i-Sokhta, see archive.archaeology.org/iran.
Retour au fascicule Cultural relationships beyond the Iranian plateau: the Helmand civilization, Baluchistan and the Indus Valley in the 3rd millennium BCE
  Année 2008  Volume 34  Numéro 2  pp. 5-35

Our 1975 coverage of the excavations at Shahr-i-Sokhta, Iran
The ruins of Shahr-i Sokhta, an ancient Bronze Age town, are situated in the Sistan region of southeast Iran near the Afghan-Iranian border. This settlement, which flourished for more than a thousand years between the end of the fourth and the beginning of the second millennium B.C., reached the peak of its prosperity as a center of trade and raw materials around 2700-2600 B.C. Its decline was a consequence of localized environmental changes which began at the beginning of the second millennium B.C. with the drying up of the Hilmand River delta upon which the town rose. Indeed, not just the town by the entire southern portion of the Sistan region was gradually abandoned, and today Shahr-i Sokhta comprises the largest group of ruins in a territory measuring some 1,200 square kilometers along the course of the ancient delta between Chagar Burjak and Hauzdar.
For more of our 1975 coverage of the excavations at Shahr-i-Sokhta, Iran, click to download PDF (9.7 MB).


Region of Bronze Age Meluhha speakers is Sarasvati river basin and Śakasthāna

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I suggest that Arachosia < Haraxvaitī- < सरस्वती (R̥gveda) is the Sarasvati Vedic River Basin, Meluhha speakers moved westwards to Drangiana which is Śakasthāna. Both the regions constituted the region of Meluhha speakers of Sarasvati Civilization, from ca. 8th millennium BCE and constituted the underlying speech for mlecchita vikalpa (Meluhha Indus Script cipher). The migrations of people from Kurukshetra (Sarasvati Basin) isattested in Baudhāyana Śrautasūtra.
The presence of Meluhha settlements in Ancient Near East is attested in cuneiform texts. this finds confirmation in an ancient text.

Baudhāyana śrautasūtra 18.44 which documents migrations of Āyu and Amavasu from a central region:
pran Ayuh pravavraja. tasyaite Kuru-Pancalah Kasi-Videha ity. etad Ayavam pravrajam. pratyan amavasus. tasyaite Gandharvarayas Parsavo ‘ratta ity. etad Amavasavam
Trans. Ayu went east, his is the Yamuna-Ganga region (Kuru-Pancala, Kasi-Videha). Amavasu went west, his is Gandhara, Parsu and Araṭṭa.
Ayu went east from Kurukshetra to Kuru-Pancala, Kasi-Videha. The  migratory path of Meluhha artisand in the lineage of Ayu of the Rigvedic tradition, to Kasi-Videha certainly included the very ancient temple town of Sheorajpur of Dist. Etawah (Kanpur), Uttar Pradesh. See: 

 http://tinyurl.com/h4ynklt


I suggest that the Meluhha word for aloe, 'eagle wood' and cognates in Hebrew, affirms the wesward migrations detailed in Baudhāyana Śrautasūtra:
Periplus maris Erythaei, 37, 39, 49 refers to sailors bring bdellium from Gedrosia and India. (cf. Lassen, Indische Alterthumskunde, I, 289 f. 530,iii,43 Ta. akil (in cpds. akiṛ-) eagle-wood, Aquilaria agallocha; the drug agar obtained from the tree; akku eagle-wood. Ma. akil aloe wood, A. agallocha. Ka. agil the balsam tree which yields bdelliumAmyris agallocha; the dark species of Agallochum; fragrance. Tu. agilů a kind of tree; kari agilů Agallochum. / Cf. Skt. aguru-, agaru-; Pali akalu, akaḷu, agaru, agalu, agaḷu; Turner, CDIAL, no. 49. (DEDR 13) agaru m.n. ʻ fragrant Aloe -- tree and wood, Aquilaria agallocha ʼ lex., aguru -- R. [← Drav. Mayrhofer EWA i 17 with lit.] Pa. agalu -- , aggalu -- m., akalu -- m. ʻ a partic. ointment ʼ; Pk. agaru -- , agaluya -- , agaru(a) -- m.n. ʻ Aloe -- tree and wood ʼ; K. agara -- kāth ʻ sandal -- wood ʼ; S. agaru m. ʻ aloe ʼ, P. N. agar m., A. B. agaru, Or. agarū, H. agaragur m.; G. agaragru n. ʻ aloe or sandal -- wood ʼ; M. agar m.n. ʻ aloe ʼ, Si. ayal (agil ← Tam. akil).. (CDIAL 49)

aloe is said to derive from the Hebrew ahal אהל: O.E. aluwan (pl.) "fragrant resin of an E. Indian tree," a Biblical usage, from L. aloe, from Gk. aloe, translating Heb. ahalim (pl., perhaps ult. from a Dravidian language). The Gk. word probably was chosen for resemblance of sound to the Heb., since the Gk. and L. words originally referred to a genus of plants with bitter juice, used as a purgative drug, a sense which appeared in Eng. 1398. The word was then mis-applied to the American agave plant in 1682. "So perhaps there were two similar words - one Semitic, one from Sanskrit. Both ended up as ahal (in Hebrew) or aloe (in English - eventually)."
सरस्वती [p= 1182,3] N. of a river (celebrated in RV. and held to be a goddess whose identity is much disputed ; most authorities hold that the name सरस्वती is identical with the Avestan Haraquaiti river in Afghanistan , but that it usually means the Indus in the RV. , and only occasionally the small sacred rivers in मध्य-देश [see below] ; the river-goddess has seven sisters and is herself sevenfold , she is called the mother of streams , the best of mothers , of rivers , and of goddesses ; the ऋषिs always recognize the connection of the goddess with the river , and invoke her to descend from the sky , to bestow vitality , renown , and riches ; elsewhere she is described as moving along a golden path and as destroying वृत्र &c ; as a goddess she is often connected with other deities e.g. with पूषन् , इन्द्र , the मरुत्s and the अश्विन्s ; in the आप्री hymns she forms a triad with the sacrificial goddesses इडा and भारती ; accord.to a myth told in the VS. xix , 12 , सरस्वती through speech [वाचा] communicated vigour to इन्द्र ; in the ब्राह्मणs she is identified with वाच् , " Speech " , and in later times becomes goddess of eloquence » below) RV. &c (Monier-Williams)

Gedrosia is Makran: "Inhabitation of Gwadar, like most areas of Balochistan, appears to be ancient. The area shows inhabitation as early as the bronze age with settlements around some of the area's oases. It is from this settlement pattern that word Makran, the original name of Balochistan, is derived. For a period, it was a region of the Achaemenid Persian Empire. It is believed to have been conquered by the founder of the Persian Empire, Cyrus the Great. The capital of the satrapy of Gedrosia was Pura, which is thought to have been located near the modern Bampūr, in Iranian Balochistan. During the homeward march of Alexander the Great, his admiralNearchus, led a fleet along the modern-day Makran coast and recorded that the area was dry, mountainous, and inhabited by the "Ichthyophagoi" (or "fish eaters"), an ancient Greek rendering of the ancient Persian phrase "Mahi khoran," which has itself become the modern word "Makran".[15] After the collapse of Alexander's empire the area was ruled by Seleucus Nicator, one of Alexander's generals. The region then came under Mauryan rule around 303 BCE, after Seleucus made peace with Emperor Chandraguptaand ceded the territory to the Mauryans.https://en.wikipedia.org/wiki/Gwadar

https://www.scribd.com/document/360661090/Archaeology-and-metallurgical-technology-in-prehistoric-Afghanistan-India-and-Pakistan-CC-Lamberg-Karlovsky-1967
See: http://onlinelibrary.wiley.com/doi/10.1525/aa.1967.69.2.02a00020/epdf
Arachosia bordered Drangiana to the west, Paropamisadae (i.e. Gandahara) to the north, a part of ancient India to the east, and Gedrosia (or Dexendrusi) to the south. Drangiana refers to Śakastana  शक--स्थान [p= 1045,3] name of a country (Monier-Williams) Śaka are mentioned in ākhyāna historical narratioves in contests between वसिष्ठ and विश्वामित्र. The शकs are fabled to have been produced by the Cow of वसिष्ठ , from her sweat , for the destruction of विश्वामित्र's army ; in Mn. x , 44; they are mentioned together with the पौण्ड्रकs , ओड्रs , द्रविडs , काम्बोजs , जवनs or यवनs , पारदs , पह्लवs , चीनs , किरातs , दरदs , and खशs , described by Kull. as क्षत्रियs called after the districts in which they reside: according to the VP. iv , 3.They are sometimes regarded as the followers of शक or शालि-वाहन , and are probably to be identified with the Tartars or Indo-Scythians [Lat. Sacae] conquered by  विक्रमा*दित्य (AV.Paris3. Mn. MBh. &c). शकm. a kind of animal Pan5car. (v.l. शलm. a kind of animal Pan5car. (accord. to L. " a camel " or " an ass "). Since śaka is a synonym of śala, śaka era is a synonym for śālivāhana शालि-वाहन.

विक्रमा* दित्य N. of a celebrated Hindu king (of उज्जयिनी and supposed founder of the [मालव-] विक्रम era [cf.संवत्] , which begins 58 B.C.E [but subtract 57-56 from an expired year of the विक्रम era to convert it into C.E.] ; he is said to have driven out the शकs and to have reigned over almost the whole of Northern India ; he is represented as a great patron of literature ; nine celebrated men are said to have flourished at his court [see नव-रत्न] , and innumerable legends are related of him all teeming with exaggerations ; according to some he fell in a battle with his rival शालि-वाहन , king of the south country or Deccan , and the legendary date given for his death is कलि-युग 3044 [which really is the epoch-year of the विक्रम era] ; there are , however , other kings called विक्रमा*दित्य , and the name has been applied to king भोज and even to शालि-वाहन)Inscr. Katha1s. Vet. &c.
In a well-documented and logically argued monograph, Vedveer Arya suggest a date for the saka era. "Since the calendar of Saka era was Chaitradi and amanta, the epoch of the Śaka era must have commenced on 19th Feb 583 BCE.http://bharatkalyan97.blogspot.in/2015/08/the-chronology-of-ancient-india-victim.html 

"Arachosia" is the Latinized form of Greek Ἀραχωσία - Arachōsíā. "The same region appears in the Avestan Vidēvdāt (1.12) under the indigenous dialect form Haraxvaitī- (whose -axva- is typical non-Avestan)."[1] In Old Persian inscriptions, the region is referred to as 𐏃𐎼𐎢𐎺𐎫𐎡𐏁, written h(a)-r(a)-u-v(a)-t-i.[1] This form is the "etymological equivalent" of Vedic Sanskrit Sarasvatī-, the name of a river literally meaning "rich in waters/lakes" and derived from sáras- "lake, pond."(cf. Aredvi Sura Anahita).
"Arachosia" was named after the name of a river that runs through it, in Greek Arachōtós, today known as the Arghandab, a left bank tributary of the Helmand.( Schmitt, Rüdiger (August 10, 2011). "Arachosia". Encyclopædia Iranica.)
Gedrosia (/ɪˈdrʒə/; Greek: Γεδρωσία) is the Hellenized name of the part of coastal Baluchistan that roughly corresponds to today's Makran. 
Jiroft Civilization covered parts of Sistan and Kerman Province (possibly as early as the 3rd millennium BCE)..
The gates of Haozdar, in Sistan (Persian/Baloch/Pashtoسیستان), known in ancient times as Sakastan (Persian/Baloch/Pashto: ساكاستان; "the land of the Saka"), is a historical and geographical region in present-day eastern Iran (Sistan and Baluchestan Province), southern Afghanistan
(NimruzKandahar) and the Nok Kundi region of Balochistan (western Pakistan).
The approximate extent of Eastern Iranian languages and people in Middle Iranian times in the 1st century BCE is shown in orange
'Gorytos' from the Tomb of Philip
Gold 'gorytos' (quiver-and-bow-case) with repousse representation of the capture of a city, from the Tomb of Philip second half of 4th century BC, Thessaloniki, Archaeological Museum.
saka or Scythian warriors, drawn after figures on an electrum cup from the Kul-Oba kurgan burial near Kerch, Crimea. The warrior on the right strings his bow, bracing it behind his knee; note the typical pointed hood, long jacket with fur or fleece trimming at the edges, decorated trousers, and short boots tied at the ankle. Scythians apparently wore their hair long and loose, and all adult men apparently bearded. The gorytos appears clearly on the left hip of the bare-headed spearman. The shield of the central figure may be made of plain leather over a wooden or wicker base. (Hermitage Museum, St Petersburg)
Skunkha, king of the Sakā tigraxaudā ("pointed-cap-wearing Sakae"). Detail of Behistun Inscription.
Sakas were a Scythian tribe which from the 2nd century BC to the 1st century migrated to the Iranian Plateau and India, where they carved a kingdom known as the Indo-Scythian KingdomThe Scythians (/ˈsɪθi.ən/ or /ˈsɪði.ən/; from Ancient GreekΣκύθαι), also known as ScythsSakaSakaeSacaeSaiIskuzai, or Askuzai, were a large group of IranianEurasian nomads who were mentioned by nearby literate peoples as inhabiting large areas in the central Eurasian steppes from about the 9th century BC until about the 1st century BC.[5] The Scythian languages belonged to the Eastern branch of the Iranian languages.
Saka migrated into northwest area of India, attested by a contemporary Kharosthi inscription found on the Mathura lion capital belonging to the Saka kingdom of the Indo-Scythians (200 BC – 400 CE) in northern India,.. In the Persian language of contemporary Iran the territory of Drangiana was called Sakastāna, in Armenian as Sakastan, with similar equivalents in Pahlavi, Greek, Sogdian, Syriac, Arabic, and the Middle Persian tongue used in Turfan, Xinjiang, China. (Bailey, H.W. (1996) "Khotanese Saka Literature", in Ehsan Yarshater (ed), The Cambridge History of Iran, Vol III: The Seleucid, Parthian, and Sasanian Periods, Part 2 (reprint edition), Cambridge: Cambridge University Press, pp 1230–1231.)
Silver coin of Indo-Scythian King Azes II (ruled c. 35–12 BC). Left field on the reverse shows the srivatsa hypertext which also appears on Sanchi and Bharhut stupa toraa-s to signify Indus Script hypertext: ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage; PLUS dhāī f. ʻ wisp of fibres added from time to time to a rope; dāya'dotted circledhāū, dhāv m.f. ʻa particular soft red ore'. Rebus: dhā̆vaḍ 'iron-smelter',Thus, together vākyārtha, meaning of sentence of hypertexts on the coin -- as a Meluhha expression -- is: mineral ore, alloy metal mint, iron smelter.
Sakastan ("the land of the Saka")> Sistan > Saka > Elamite (Sir-ra-an-qa > Old Persian z-r-k (i.e., Zranka) > Sarangian > Zarangian > Drangiana
"DRANGIANA (or Zarangiana), territory around Lake Hāmūn and the Helmand river in modern Sīstān. The name of the country and its inhabitants is first attested as Old Persian z-r-k (i.e., Zranka)in the great Bīsotūn iii inscription of Darius I (col. I l. 16), apparently the original name...in Herodotus’ tribute list (3.93.2) the Sarangians, Sagartians, Thamanaeans, Utians, Mycians (i.e., all the peoples living in the lands extending from the Iranian central desert through Baluchistan to the Persian Gulf), and neighboring islanders were included in the fourteenth tax district, required to pay the relatively high amount of 600 talents annually. " (http://www.iranicaonline.org/articles/drangiana)
The ancient Arachosia and the Pactyan people during 500 BCE.

With the evidence of Indus Script Cipher now available, it is possible to reconstruct CC Lamberg-Karlovsky's sequencing of metallurgical techniques in the Meluhha neighbourhood can be correlated with the evidence from deciphered Indus Script Corpora.


“The available evidence for a metallurgical development in India and Pakistan indicates an early connection with Iran. There the site of Tepe Sialk, where a sequence of developing metallurgical techniques can be placed in a context of successive levels, provides one of the first examples of a developing metal technology. Copper objects of Period I, dated to around 4800 BCE were produced by simple cold-hammering, as were those throughout Period II. In Period III, dated to around 3250 BCE, copper objects were manufactured in open molds; Period III provides the first evidence for the use of closed molds. In Period IV smelting processes are evident, as well as the development of cire perdue techniques…Excavations at Tal-i-Iblis in the Mashiz Valley have uncovered crucibles that on analysis suggest the presence of the earliest-known smelting operations, dated to ca. 4000 BCE…The achievement of copper-tin alloying appears for the first time at Mundigak in Level III (axe with 5% tin); unalloyed copper implements and fragments, however, appear from the start in almost every level. Mundigak provides us with the earliest known metal in this area and suggests a date of ca. 3100 BCE for the inception of a metallurgy in Afghanistan…In Period I at Mundigak the humped bull is introduced, together with Amri influences in pottery and architecture. These influences coincide with the initial presence of metal at Amri in the earliest levels, Dales’s Phase D, which suggests the introduction of metls at Amri from Mundigak…The pipal leaf motif introduced in Period III continues in use; it appears, however, to be purely an Indian motif. A mouflon-headed pin with slightly widened shaft head is similar to those of Hissar II. A concave disc assigned to this period may have been used as a mirror; it also finds its parallel at Hissar...Tin must have been one of the many consumable imports traded for, overland and by sea. The presence of tin, as well as copper, ingots is well attested for at Harappa and at Chanhudaro copper-tin bronze ingots in alloy form have been found…In Baluchistan…rich copper deposits occur at Shah Bellaul and at Robat, where there is evidence of prehistoric (undated) copper smelting operations. Large quantities of slag noticed in many prehistoric sites in southern Seistan suggest that copper was also locally available in this region. Deposits also occur in the Ros Kuh and Kojak Amran Range. Rich veins of copper ore exist in the Shah Maksud Range in Afghanistan, as well as at Kalel Zeri and Anarek in Iran; at both sites there is extensive evidence for prehistoric copper-working. In India, copper mines near Rohira in Sirohi State and near Mewar, Khetri, and Singhana, in the Jaipur State, are believed to have been worked in prehistoric (undated) times. Other important copper deposits are known from Singhbhum in Bihar, Orissa, from Rupavati in the Amreli District, and from Indore...The Indus seals found at Ur and the Akkadian period of occupation at Tell Asmar provide a link with the centers of Mesopotamian metallurgy, while unmistakable proof of contact with Bahrain and other Persian Gulf islands is found at Lothal. By the late third millennium copper was being exported into Mesopotamia from Magan and Meluhha, mentioned in cuneiform texts and perhaps Persian Gulf centers; and during the reign of the Larsa kings, the deposits of Dilmun (Bahrein?) were being tapped. In return for this ore, Lothal must have provided ivory, chank shell, stone beads, and cotton.

”(ibid., pp.145-151).


The humped bull, pipal leaf and mouflon (together with attacking feline) are Indus Script hypertexts signifying:

1.       1. pōḷa ‘zebu, bos indicus’ rebus: pōḷa ‘magnetite, ferrite ore’;

2.       2. loa ‘ficus glomerata’ rebus: loh ‘copper’;


3.       3. Mouflon, ram, ibex, markhor 1.ram मेंढा [ mēṇḍhā ] m (मेष S through H) A male sheep, a ram or tup.(Marathi) me'iron' (Mundari. Remo.) (See copper pin with an animal head, mouflon? ram?)

4. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith'.

Animal headed pin on Harappa artifact (Figure 8):
 


Hero Grasping Bull and Mouflon Menaced by a Lion Attacked by a Second Hero Cylinder seal and impression Mesopotamia, Early Dynastic II period (ca. 2750–2600 B.C.EMarble  28 x 24 mm Seal no. 52 "The heros in the contests often, as in 52, wear flat caps as well as skirts tucked up above the knee to provide freedom of movement. The fact that in a contemporaneous limestone inlay from Kish a king is similarly attired shows that such caps and skirts were characteristic of the Second Early Dynastic period." . Porada, CANES, p. 9-10




Metallurgical technology in prehistoric Meluhha and evidence of Indus Script Corpora

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https://tinyurl.com/y8wuos6f

Indus Script Corpora decipherment validates CC Lamberg-Karlovsky's 1967 thesis of metallurgical technology of Ancient India. Lamberg-Karlovsky's is a succinct account of Meluhha speakers' metallurgical competence.

With the evidence of Indus Script Cipher now available, it is possible to reconstruct CC Lamberg-Karlovsky's (1967 thesis) sequencing of and succinct account of metallurgical techniques & products in the Meluhha neighbourhood can be correlated with the evidence from deciphered Indus Script Corpora.


“The available evidence for a metallurgical development in India and Pakistan indicates an early connection with Iran. There the site of Tepe Sialk, where a sequence of developing metallurgical techniques can be placed in a context of successive levels, provides one of the first examples of a developing metal technology. Copper objects of Period I, dated to around 4800 BCE were produced by simple cold-hammering, as were those throughout Period II. In Period III, dated to around 3250 BCE, copper objects were manufactured in open molds; Period III provides the first evidence for the use of closed molds. In Period IV smelting processes are evident, as well as the development of cire perdue techniques…Excavations at Tal-i-Iblis in the Mashiz Valley have uncovered crucibles that on analysis suggest the presence of the earliest-known smelting operations, dated to ca. 4000 BCE…The achievement of copper-tin alloying appears for the first time at Mundigak in Level III (axe with 5% tin); unalloyed copper implements and fragments, however, appear from the start in almost every level. Mundigak provides us with the earliest known metal in this area and suggests a date of ca. 3100 BCE for the inception of a metallurgy in Afghanistan…In Period I at Mundigak the humped bull is introduced, together with Amri influences in pottery and architecture. These influences coincide with the initial presence of metal at Amri in the earliest levels, Dales’s Phase D, which suggests the introduction of metls at Amri from Mundigak…The pipal leaf motif introduced in Period III continues in use; it appears, however, to be purely an Indian motif. A mouflon-headed pin with slightly widened shaft head is similar to those of Hissar II. A concave disc assigned to this period may have been used as a mirror; it also finds its parallel at Hissar...Tin must have been one of the many consumable imports traded for, overland and by sea. The presence of tin, as well as copper, ingots is well attested for at Harappa and at Chanhudaro copper-tin bronze ingots in alloy form have been found…In Baluchistan…rich copper deposits occur at Shah Bellaul and at Robat, where there is evidence of prehistoric (undated) copper smelting operations. Large quantities of slag noticed in many prehistoric sites in southern Seistan suggest that copper was also locally available in this region. Deposits also occur in the Ros Kuh and Kojak Amran Range. Rich veins of copper ore exist in the Shah Maksud Range in Afghanistan, as well as at Kalel Zeri and Anarek in Iran; at both sites there is extensive evidence for prehistoric copper-working. In India, copper mines near Rohira in Sirohi State and near Mewar, Khetri, and Singhana, in the Jaipur State, are believed to have been worked in prehistoric (undated) times. Other important copper deposits are known from Singhbhum in Bihar, Orissa, from Rupavati in the Amreli District, and from Indore...The Indus seals found at Ur and the Akkadian period of occupation at Tell Asmar provide a link with the centers of Mesopotamian metallurgy, while unmistakable proof of contact with Bahrain and other Persian Gulf islands is found at Lothal. By the late third millennium copper was being exported into Mesopotamia from Magan and Meluhha, mentioned in cuneiform texts and perhaps Persian Gulf centers; and during the reign of the Larsa kings, the deposits of Dilmun (Bahrein?) were being tapped. In return for this ore, Lothal must have provided ivory, chank shell, stone beads, and cotton...A great diversity of copper and bronze objects have been found in all Indus Civilisation sites. These include Harappa, Mohenjodaro, and Chanhudaro, as well as many of the newer sites discovered in Gujarat and Sind, as far as Kalibangan. Those objects that appear most abundantly and are readily identifiable are: flat axes, chisels, fishhooks, bracelets, arrow- and spearheads, razors, knives, kohl sticks, mirrors, and saws…Analysis has shown, though, that the Indus metallurgists did  add tin to copper, thereby deliberately producing the alloy bronze…Through the objects recovered from the Indus sites, the techniques of hammering, alloying, raising, hollowing, sinking, open- and close-mold casting, cire Perdue, riveting, lapping, soldering, and ‘running on’ are known to have been practiced.”(ibid., pp.145-152).


The humped bull, pipal leaf and mouflon (together with attacking feline) are Indus Script hypertexts signifying:

1.       1. pōḷa ‘zebu, bos indicus’ rebus: pōḷa ‘magnetite, ferrite ore’;

2.       2. loa ‘ficus glomerata’ rebus: loh ‘copper’;


3.       3. Mouflon, ram, ibex, markhor 1. ram मेंढा [ mēṇḍhā ] m (मेष S through H) A male sheep, a ram or tup.(Marathi) me 'iron' (Mundari. Remo.) (See copper pin with an animal head, mouflon? ram?)

4. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith'.

Animal headed pin on Harappa artifact (Figure 8):

 



Hero Grasping Bull and Mouflon Menaced by a Lion Attacked by a Second Hero Cylinder seal and impression Mesopotamia, Early Dynastic II period (ca. 2750–2600 B.C.EMarble  28 x 24 mm Seal no. 52 "The heros in the contests often, as in 52, wear flat caps as well as skirts tucked up above the knee to provide freedom of movement. The fact that in a contemporaneous limestone inlay from Kish a king is similarly attired shows that such caps and skirts were characteristic of the Second Early Dynastic period." . Porada, CANES, p. 9-10
Image result for ficus glomerata bharatkalyan97
Ficus leaf as a ligaturing hieroglyph to create a hypertext of Indus Script.Example of copper tablet, Mohenjo-daro. kamar.kom'ficus' (Santali) rebus: kamaṭa 'portable furnace' kammaṭa 'mint, coiner, coinage'.
Image result for black drongo zebu nausharo pot
Ceramic from Nausharo showing transition from Early to Mature Phase of Sarasvati Civilization (Image after Jarrige, J.F., 1989, Excavations at Nausharo )
Image result for pola zebu bharatkalyan97A zebu bull tied to a post; a bird above. Large painted storage jar discovered in burned rooms at Nausharo, ca. 2600 to 2500 BCE. Cf. Fig. 2.18, J.M. Kenoyer, 1998, Cat. No. 8.


 


pōlaḍu, rebus pōlaḍ  'steel'పసులపోలిగాడు pasula-pōli-gāḍu perched on pōḷa


When a zebu, bos indicus, appears on pots as an inscribed hieroglyph – as at Nausharo --, the message is clear: the rebus-metonymy signifier points to poLa ‘zebu, bull dedicated to the gods’ Rebus: poLa ‘magnetite’. 
Hieroglyph: पोळ [pōḷa] m A bull dedicated to the gods, marked with a trident and discus, and set at large. பொலியெருது poli-y-erutu , n. < பொலி- +. 1. Bull kept for covering; பசுக்களைச் சினையாக்குதற் பொருட்டு வளர்க்கப்படும் காளை. (பிங்.) கொடிய பொலியெருதை யிருமூக்கிலும் கயி றொன்று கோத்து (அறப். சத. 42). 2. The leading ox in treading out grain on a threshing-floor; களத்துப் பிணையல்மாடுகளில் முதற்செல்லுங் கடா. (W.) பொலி முறைநாகு poli-muṟai-nāku, n. < பொலி + முறை +. Heifer fit for covering; பொலியக்கூடிய பக்குவமுள்ள கிடாரி. (S. I. I. iv, 102.) Rebus: cattle festival: पोळा [ pōḷā ] m (पोळ) A festive day for cattle,--the day of new moon of श्रावण or of भाद्रपद. Bullocks are exempted from labor; variously daubed and decorated; and paraded about in worship. "Pola is a bull-worshipping festival celebrated by farmers mainly in the Indian state of Maharashtra (especially among the Kunbis). On the day of Pola, the farmers decorate and worship their bulls. Pola falls on the day of the Pithori Amavasya (the new moon day) in the month of Shravana (usually in August).https://en.wikipedia.org/wiki/Pola_(festival) Festival held on the day after Sankranti ( = kANum) is called pōlāla paNDaga (Telugu).

Rebus: पोळ [ pōḷa ] 'magnetite', ferrous-ferric oxide Fe3O4 (Asuri)

kokkolha 'leopard' Rebus: kolhe 'smelter'. kul ‘tiger’ (Santali); kōlu id. (Te.) kōlupuli = Bengal tiger (Te.)Pk. kolhuya -- , kulha — m. ʻ jackal ʼ < *kōḍhu -- ; H.kolhā, °lā m. ʻ jackal ʼ, adj. ʻ crafty ʼ; G. kohlũ, °lũ n. ʻ jackal ʼ, M. kolhā, °lā m. krōṣṭŕ̊ ʻ crying ʼ BhP., m. ʻ jackal ʼ RV. = krṓṣṭu — m. Pāṇ. [√kruś] Pa. koṭṭhu -- , °uka — and kotthu -- , °uka — m. ʻ jackal ʼ, Pk. koṭṭhu — m.; Si. koṭa ʻ jackal ʼ, koṭiya ʻ leopard ʼ GS 42 (CDIAL 3615). कोल्हा [ kōlhā ] कोल्हें [ kōlhēṃ ] A jackal (Marathi) Rebus: kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pañcaloha’ (Ta.) 

dāˊman1 ʻ rope ʼ RV. 2. *dāmana -- , dāmanī -- f. ʻ long rope to which calves are tethered ʼ Hariv. 3. *dāmara -- .[*dāmara -- is der. fr. n/r n. stem. -- √2] 1. Pa. dāma -- , inst. °mēna n. ʻ rope, fetter, garland ʼ, Pk. dāma -- n.; Wg. dām ʻ rope, thread, bandage ʼ; Tir. dām ʻ rope ʼ; Paš.lauṛ. dām ʻ thick thread ʼ, gul. dūm ʻ net snare ʼ (IIFL iii 3, 54 ← Ind. or Pers.); Shum. dām ʻ rope ʼ; Sh.gil. (Lor.) dōmo ʻ twine, short bit of goat's hair cord ʼ, gur. dōm m. ʻ thread ʼ (→ Ḍ. dōṅ ʻ thread ʼ); K. gu -- dômu m. ʻ cow's tethering rope ʼ; P. dã̄udāvã̄ m. ʻ hobble for a horse ʼ; WPah.bhad. daũ n. ʻ rope to tie cattle ʼ, bhal. daõ m., jaun. dã̄w; A. dāmā ʻ peg to tie a buffalo -- calf to ʼ; B. dāmdāmā ʻ cord ʼ; Or. duã̄ ʻ tether ʼ, dāĩ ʻ long tether to which many beasts are tied ʼ; H. dām m.f. ʻ rope, string, fetter ʼ, dāmā m. ʻ id., garland ʼ; G. dām n. ʻ tether ʼ, M. dāvẽ n.; Si. dama ʻ chain, rope ʼ, (SigGr) dam ʻ garland ʼ. -- Ext. in Paš.dar. damaṭāˊ°ṭīˊ, nir. weg. damaṭék ʻ rope ʼ, Shum. ḍamaṭik, Woṭ. damṓṛ m., Sv. dåmoṛīˊ; -- with -- ll -- : N. dāmlo ʻ tether for cow ʼ, dã̄walidāũlidāmli ʻ bird -- trap of string ʼ, dã̄waldāmal ʻ coeval ʼ (< ʻ tied together ʼ?); M. dã̄vlī f. ʻ small tie -- rope ʼ.2. Pk. dāvaṇa -- n., dāmaṇī -- f. ʻ tethering rope ʼ; S. ḍ̠āvaṇuḍ̠āṇu m. ʻ forefeet shackles ʼ, ḍ̠āviṇīḍ̠āṇī f. ʻ guard to support nose -- ring ʼ; L. ḍã̄vaṇ m., ḍã̄vaṇīḍāuṇī (Ju. ḍ̠ -- ) f. ʻ hobble ʼ, dāuṇī f. ʻ strip at foot of bed, triple cord of silk worn by women on head ʼ, awāṇ. dāvuṇ ʻ picket rope ʼ; P. dāuṇdauṇ, ludh. daun f. m. ʻ string for bedstead, hobble for horse ʼ, dāuṇī f. ʻ gold ornament worn on woman's forehead ʼ; Ku. dauṇo m., °ṇī f. ʻ peg for tying cattle to ʼ, gng. dɔ̃ṛ ʻ place for keeping cattle, bedding for cattle ʼ; A. dan ʻ long cord on which a net or screen is stretched, thong ʼ, danā ʻ bridle ʼ; B. dāmni ʻ rope ʼ; Or. daaṇa ʻ string at the fringe of a casting net on which pebbles are strung ʼ,dāuṇi ʻ rope for tying bullocks together when threshing ʼ; H. dāwan m. ʻ girdle ʼ, dāwanī f. ʻ rope ʼ, dã̄wanī f. ʻ a woman's orna<->ment ʼ; G. dāmaṇḍā° n. ʻ tether, hobble ʼ, dāmṇũ n. ʻ thin rope, string ʼ, dāmṇī f. ʻ rope, woman's head -- ornament ʼ; M. dāvaṇ f. ʻ picket -- rope ʼ. -- Words denoting the act of driving animals to tread out corn are poss. nomina actionis from *dāmayati2. 3. L. ḍãvarāvaṇ, (Ju.) ḍ̠ã̄v° ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several buffalo -- calves together ʼ, Or. daũ̈rādaürā ʻ rope ʼ; Bi.daũrī ʻ rope to which threshing bullocks are tied, the act of treading out the grain ʼ, Mth. dã̄mardaũraṛ ʻ rope to which the bullocks are tied ʼ; H. dã̄wrī f. ʻ id., rope, string ʼ, dãwrī f. ʻ the act of driving bullocks round to tread out the corn ʼ. -- X *dhāgga<-> q.v. *dāmayati2; *dāmakara -- , *dāmadhāra -- ; uddāma -- , prōddāma -- ; *antadāmanī -- , *galadāman -- , *galadāmana -- , *gōḍḍadāman -- , *gōḍḍadāmana -- , *gōḍḍadāmara -- .dāmán -- 2 m. (f.?) ʻ gift ʼ RV. [√1]. See dāˊtu -- . *dāmana -- ʻ rope ʼ see dāˊman -- 1.Addenda: dāˊman -- 1. 1. Brj. dã̄u m. ʻ tying ʼ. 3. *dāmara -- : Brj. dã̄wrī f. ʻ rope ʼ.(CDIAL 6283)*dāmayati2 ʻ ties with a rope ʼ. [dāˊman -- 1] Bi. dã̄wab ʻ to drive bullocks trading out grain ʼ, H. dāwnādã̄nā; G. dāmvũ ʻ to tie with a cord ʼ. -- Nomina actionis from this verb rather than derived directly from dāˊman -- 1, dāmanī -- (but cf. Bi. daũrī < *dāmara<-> denoting both ʻ rope ʼ and nomen actionis): N. (Tarai)dāuni ʻ threshing ʼ, Bi. daunī ʻ treading out corn ʼ, Mth. dāuni; -- Ku. daĩ f. ʻ driving oxen or buffaloes to tread out grain ʼ, N. dāĩdã̄i, Bi.dawã̄hī, Mth. damāhī; H. dāẽ f. ʻ tying a number of bullocks together for treading corn, the treading out, the unthreshed corn. ʼ -- S. ḍ̠āiṇu ʻ to shackle the forelegs ʼ and P. dāuṇā ʻ to hobble horse oṛ ass ʼ rather < *dāyayati.(CDIAL 6285)

Rebus: 'smelter': M. dhāūdhāv 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) 

Debunking myths about history -- CK Raju

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Debunking myths about history 4 Oct. 2017

Western history was written exclusively by Christian priests, who wanted to convert the entire world to Christianity. A sustained debate is needed to expose the lack of evidence for churchified history

One often hears about the saffronisataion of history but never about its churchification. However, for some 1,500 years, Western history was written exclusively by Christian priests. Their stated goal was to convert the whole world to Christianity. Did they speak about the unbiased truth of history? Hardly.

The first church historian, Eusebius, extravagantly glorified the Roman emperor, Constantine the Great, who enabled the church to marry the state —  a marriage which swelled the coffers of the church. To enforce a profitable monopoly, the Christians waged a war against the surviving ‘pagans’; they burnt down the Great Library of Alexandria.  The next church historian, Orosius, wrote during this religious war. The very title of his book, History Against the Pagans, shows it was a war propaganda. He constantly belittled and denigrated ‘pagans’.

This became the model of future church history, glorifying itself and denigrating all ‘others’. With the rise of the Abbasid Caliphate, Constantinople (Istanbul) became a tributary of Baghdad, which invested heavily in knowledge, gathering it from all parts of the world, especially India and China. The Baghdad Bayt-al-Hikma seeded a culture of books, and huge libraries sprouted across the Islamic world from Timbuctoo to Tashkent. 

Many of these Arabic books were translated into Byzantine Greek, in Istanbul. The translators (all priests of the Greek church) injected their chauvinism into the translated texts, planting stray remarks, attributing authorship to Greek names, real or imaginary. Few people are aware that unlike the Rhind papyrus, or Iraqi clay tablets, there are no original Greek sources for the purported achievements of Euclid, Archimedes, Claudius Ptolemy, etc.

Unlike also the Indian case, there is no continuous chain of intermediate commentaries which reproduce the original in full. The ‘evidence’ for claims of Greek scientific achievements comes from stray remarks in discontinuous and late Byzantine Greek texts from over a thousand years after the purported event. In fact, we do not actually have even those ‘early’ Byzantine Greek sources (which are only a thousand years late) but only purported copies and translations of them from several centuries later.

This method of falsifying history by attributing all early knowledge to Greeks turned virulent during the Crusades. Militarily the Crusades (after the first) were failures. A key reason for this failure, as reported by Christian spies like Adelard of Bath, was that the Christians were deficient in knowledge compared to Muslims. Hence, the church now sought knowledge from Muslims. An opportunity arose when Toledo fell, and its huge library of Arabic books came under Christian control. But the church dithered. Why?
The earlier church policy was to burn non-Christian books as heretical. But now it wanted to learn from the books of the religious enemy. That too during a religious war! Therefore, an excuse had to be invented to make the translations of Arabic books seem theologically correct.

It was claimed that all secular knowledge in Arabic books was an exact replica of what the early Greeks did. Since there were no early Greek sources, this claim was faith-based. It is contrary to commonsense that a scientific text would stay unchanged for a thousand years. But evidence or commonsense did not matter to the church, what mattered was that Eusebius had declared the early Greeks as the (sole) “friends of Christians”.  Hence, attributing the source of knowledge to early Greeks made it a Christian inheritance! This flimsy excuse of Greek origins enabled the mass translations of books in the Toledo library, though many of these books were nevertheless initially placed on the index.

Such acts of faith are not history. As David Fowler, a leading expert on Greek mathematics, explained, the earliest source for Archimedes is a Byzantine Greek text supposedly from the ninth century. Alas, even that was lost! What we actually have is a 16th century Latin text asserted to be a translation of it, whereas it probably reflects 16th century. knowledge.  That is, all the evidence for Archimedes comes from a 16th century text in another language from another place, 1,800 years after the purported date of Archimedes!

To call this ‘evidence’ is as fanciful as claiming that a modern text on aerodynamics in English, from London, is an exact replica of an unknown Sanskrit source from the third century CE! The fanciful ‘Archimedes palimpsest’ is hardly worth discussing.

The Greeks could not have done science because they lacked sophistication in mathematics.  Thus, the Greek/Roman system of numeration was so primitive they had no systematic way to represent fractions. Hence, there was no way Archimedes could have done anything on the sphere and cylinder (as Egyptians did). This inability to work with precise fractions is seen also in the calendar. Though the Romans laughed at the Greek calends, and Julius Caesar reformed the calendar with great fanfare, the Julian calendar remained defective just because the Romans had no way to write the precise fraction (not 365 ¼ days) for the duration of the (tropical) year.

This churchified history of Greek origins was later systematically promoted by racist historians who portrayed the Greeks (even from Alexandria in Africa) as white. Colonial historians further advanced it, linking the  ‘Hellenic’ civilisation to the West. This claim facilitated colonial education: The filtered history written by losers in an earlier war, helped to consolidate colonial power. Those who wrote a biased version of history became victors. 
We received this slanted history through colonial education, failing to see it was church education. It was intended to create a sense of inferiority among the colonised, whether Indians or blacks in Africa. Nevertheless, even 70 years after independence, we continue to glorify those mythical Greeks and their imagined achievements in our present-day school math texts from NCERT and various States. This false history is harmful in other subtle ways: Our entire teaching of math is premised on the false history of ‘Euclid’, and masks the demand to imitate church practices related to its theology of reason. 

The colonised mind is comfortable with churchified history, even without evidence, but objects vociferously to any modification.  Our school texts must be changed, but enforcing a change is counter-productive. This results in a flip-flop in the school texts every time the Government changes. A sustained public debate is needed to expose the complete lack of evidence for churchified history.

(The writer is an author)

http://www.dailypioneer.com/columnists/oped/debunking-myths-about-history.html

jangaḍ 'wealth in treasury, accounting of mercantile transaction' signified by sãgaḍ 'lathe, portable furnace' on Indus Script Corpora

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https://tinyurl.com/yaanmbpa

The decipherment that jangaḍ -a high-frequency usage expression on Indus Script Corpora -- signifies 'wealth in treasury, accounting of mercantile transaction' provides a lead into the nature of corporate mercantile law enforced by a śreṇi, 'guild' of artisans/merchants of the Bronze Age. The wealth of goods produced by merchants are handled by कारणीक kāraṇīka, kāraṇī 'supercargo, representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale'. The goods and wealth generated are deposited in the treasury, constituting the 'commonwealth' of the śreṇi. The semantics of the expression jangaḍ expands to signify a 'fortification' which is evidenced by the citadels or high-wall fortifications found in hundreds of archaeological sites of the civilization. Many sites also evidence warehouses. The importance of the jangaḍ 'treasury' is also signified by the semantics of cognate etyma: sã̄gāḍā m. ʻ frame of a building ʼ (M.)(CDIAL 12859)  سنګر sangar, s.m. (2nd) A breastwork of stones, etc., erected to close a pass or road; lines, entrenchments.(Pashto) જંગડિયો  jangaḍiyo  ‘military guard who accompanies treasure into the treasury’ (Gujarati)
Image result for citadel fortification harappa
Group of towers at the south-eastern corner of the Citadel, Mohenjo-daro
https://www.harappa.com/sites/default/files/slides/n-117.jpg
Image result for citadel fortification harappa
Mohenjo-daro Citadel Gateway Excavations
https://www.harappa.com/sites/default/files/slides/c-112.jpg
Image result for citadel fortification harappa
Citadel fortification wall at Harappa metropolis in Dholavira

There are two distinctive hypertexts orthographed on Indus Script Corpora to signify treasure or wealth, mercantile transactions:

1 . standard device generally in front of one-horned young bull
2.  combined animals orthographed into hypertexts

Both hypertexts are allographs and framed on the hieroglyph word sãgaḍ which means 'joined animals or animal parts' and sãgaḍ which means both lathe and portable furnace. 

Thus, both categories -- standard device and combined animals -- signify sãgaḍ. 

Hieroglyph  sãgaḍ is read rebus in Meluhha speech to signify Rebus 1. jangaḍ 'goods transported into the treasury, wealth, treasure; mercantile transaction' (hence,  jangaḍiyo means 'soldier guarding the treasure taken into the treasury'; this specific semantics suggests a possible early meaning for jangaḍ 'wealth in treasury; mercantile transaction'). Rebus 2. jangaḍ 'seafaring dhow'Rebus 3: sangaḍa 'a cargo boat'. Rebus 4: sangar̥h 'proclamation'. Rebus 5: sangar 'trade' Rebus 6: sangar'fortification'. A parallel rebus reading is provided by 'chain' hieroglyph: s. (Annex A. Note on chain hieroglyph on Indus Script Corpora 

jangaḍ 'wealth in treasury' is further amplified in Ancient Bhāratīya tradition with the accounting standard signified by the word jangaḍ semantically expanded with meaning well-settled in Indian legal system to signify "Goods sent on approval or 'on sale or return'. (See:

Annex B. )


See: 

https://tinyurl.com/y8rtl5xl


sãgaḍ f. ʻa body formed of two or more fruits or animals or men &c. linked together' (Marathi)(CDIAL 12859). This gloss sãgaḍ as a body of written or pictorial material of hieroglyphs (voiced in Meluhha speech) can be used to create a ciphertext with elements of enhanced cyber-security encryptions. This ciphertext can be called: Hieroglyphmultiplextext. Rebus 1: sãgaḍ māṇi 'alloying adamantine glue, सं-घात caravan standard' -- vajra saṁghāṭa in archaeometallurgy, deciphered in Indus Script Corpora. Enhanced encryption cyber-security. 

सांगड [sāṅgaḍa]  That member of a turner's apparatus by which the piece to be turned is confined and steadied (Marathi) sanghāḍo (G.) cutting stone, gilding (G.) सांगडणी (p. 495) sāṅgaḍaṇī f (Verbal of सांगडणें) Linking or joining together.  सांगड (p. 495) sāṅgaḍa m f (संघट्ट S)That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig. 

 sanghāa 'collection of words'; sangāṭh संगाठ् । सामग्री m. (sg. dat. sangāṭas संगाटस्), a collection (of implements, tools, materials, for any object), apparatus, furniture, a collection of the things wanted on a journey, luggage

A glyph which occurs as frequently as the one-horned heifer is the 'standard device' in front of the heifer. 
A hieroglyph with the most frequent occurrence on Indus Script Corpora. 
See: 

Annex B. 


saṅgaḍa 'gimlet, portable furnace'. Rebus: jāṅgaḍa जांगड 'goods on approval basis'. 

 sanghāa 'collection of words'; sangāṭh संगाठ् । सामग्री m. (sg. dat. sangāṭas संगाटस्), a collection (of implements, tools, materials, for any object), apparatus, furniture, a collection of the things wanted on a journey, luggage, and so on. -- karun -- करुन् । सामग्रीसंग्रहः m.inf. to collect the ab. Semant. in Samskritam for a phonetic variant attested in Ramayana: संघट् 1 Ā. To meet, assemble together. -Caus. 1 To join or fasten together, bring together. संघाटः Fitting and joining of timbers, joinery, carpentry; तौ काष्ठसंघाटमथो चक्रतुः सुमह्लाप्लवम् Rām.2. 55.14. This is an emphatic explanation of the semantics of the word as related to work of a turner working with a lathe on alloyed metals and stones.



m0490
m0491 Banners shown in procession on two Mohenjo-daro tablets. See: http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-art-indus-writing.html

This can be viewed as the standard of the Indus-Sarasvati civilization. This tablet Mohenjo-daro m0491 shows a person of three persons (There is another standard-bearer in front of the scarf-standard bearer; maybe, he is carrying a banner of a stone-bead) R. to L: one carries a post with a scarf hanging like a flag; the second carries a pedestal on which one-horned young bull calf is shown; the third carries a 'standard device' (lathe + furnace). On m0490 a fourth banner is hazily visible and may be reconstructed as 'spoked wheel', comparable to the banner shown on Tukulti-Ninurta I altar.
Image result for tukulti ninurta altarThe spoked wheel hieroglyph may be read as: *ஆரம்² āram

n. < āra. 1. Spoke of a wheel. See ஆரக்கால். ஆரஞ் சூழ்ந்த வயில்வாய் நேமியொடு (சிறுபாண். 253). Rebus: āram Brass; பித்தளை. (அக. நி.). Thus the procession banner list may be read in sequence as four categories offered as utsavabera, procession icons: brass, mineral, turner/engraver, collection of metalwork: 

āra, 'spoked wheel' rebus: 'brass'
dhātu, 'scarf' rebus: 'mineral'
kõdā , 'young bull' rebus: 'turner-engraver, brassworker'

sangāṭh, 'lathe' rebus: 'metalwork consignment'



Read rebus:

1. kandi (pl. –l) necklace, beads (Pa.) Ga. (P.) kandi (pl. –l) bead, (pl.) necklace; (S.2) kandiṭ bead (DEDR 1215). kandil, kandīl = a globe of glass, a lantern (Ka.lex.) Rebus: kaṇḍ 'fire-altar'.

2. dhàṭṭu m. ʻwoman's headgear, kerchiefʼ;  dhaṭu  m.  (also dhaṭhu)  m. ‘scarf’  (WPah.); rebus: dhātu‘mineral’ (Skt.), dhatu id. (Santali). 

3. kōḍu horn (Kannada. Tulu. Tamil) खोंड [khōṇḍa] m A young bull, a bullcalf. (Marathi) Rebus: कोंड [kōṇḍa] A circular hamlet; a division of a मौजा or village, composed generally of the huts of one caste. खोट [khōṭa] Alloyed--a metal (Marathi).

kõdā meaning 'lathe-turning' for making perforated beads or for turning/forging metalware..This may explain why in the tablets showing procession as a festival ceremony, two hieroglyphs are carried as standards: both hieroglyphs relate to the one-horned young bull and the standard device (lathe). The related words reading hieroglyphs rebus from Meluhha (Mleccha) speech are: kõdā sã̄gāḍī  Rebus words denote: ‘metals turner-joiner (forge); worker on a lathe’ – associates (guild)'.

m008 Mohenjodaro seal.

Hieroglyph composite of the animal pictorial motif: 1. bullcalf, 2. horn/branch of a tree, 3. pannier

1. खोंड [khōṇḍa] m A young bull, a bullcalf.
2. கோடு² kōṭu Horn; விலங்கின் கொம்பு. கோட்டிடை யாடினை கூத்து (திவ். இயற். திருவிருத். 21).  [K. kōḍu.] Branch of a tree; மரக்கொம்பு. (பிங்.) 8. Body of a lute; யாழ்த்தண்டு. மகர யாழின் வான்கோடு தழீஇ (மணி. 4, 56).
3. खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood.

Rebus: 1. turner 2. brass-worker 3. engraver (writer)

kõdā ‘to turn in a lathe’ (Bengali). kũdar ‘brass-worker, turner’. 

खोट [khōṭa] Alloyed--a metal (Marathi).


खोदकाम [ khōdakāma ] n Sculpture; carved work or work for the carver. खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving: also sculptured or carved work. கொத்து¹-தல் kottu-, 5 v. tr. cf. kuṭṭ. [K. M. kottu.] . To carve, engrave; எழுத்து
முதலியன செதுக்குதல்.(DEDR 2091 Ma. kottuka to dig, carve; Te. kondu to mince, cut or chop into small pieces; Malt. kothke to peck or strike with the beak, sear with a hot iron; Nk. gondip- to tattoo).
saṁghāṭa m. ʻ fitting and joining of timber ʼ R. [√ghaṭPa. nāvā -- saṅghāṭa -- , dāru -- s° ʻ raft ʼ; Pk. saṁghāḍa -- , °ḍaga -- m., °ḍī -- f. ʻ pair ʼ; Ku. sĩgāṛ m. ʻ doorframe ʼ; N. saṅārsiṅhār ʻ threshold ʼ; Or. saṅghāṛi ʻ pair of fish roes, two rolls of thread for twisting into the sacred thread, quantity of fuel sufficient to maintain the cremation fire ʼ; Bi. sĩghārā ʻ triangular packet of betel ʼ; H. sĩghāṛā m. ʻ piece of cloth folded in triangular shape ʼ; 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, 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), sã̄gāḍā m. ʻ frame of a building ʼ, °ḍī f. ʻ lathe ʼ; Si. san̆gaḷa ʻ pair ʼ, han̆guḷaan̆g° ʻ double canoe, raft ʼ.Addenda: saṁghāṭa -- : Md. an̆goḷi ʻ junction ʼ?saṁghāṭayati ʻ joins together ʼ Sarvad., ʻ causes to collect ʼ Kathās. [√ghaṭOr. saṅghāṛibā ʻ to mix up many materials, stir boiling curry, tie two cattle together and leave to graze ʼ.(CDIAL 12859, 12860)  जंगडी or जंगड (p. 176) jaṅgaḍī or jaṅgaḍa f Strong attachment; inseparableness (esp. among animals) of them that have always been yoked together. Hence close or thick friendship; close confederation or concert. जंगी (p. 176) jaṅgī f (Commonly जंगडी) Close attachment &c. जांगल (p. 183) jāṅgala f Linking together &c. See जांगड Sig. III.  saṁghaṭayati ʻ strikes (a musical instrument) ʼ R., ʻ joins together ʼ Kathās. [√ghaṭ]Pa. saṅghaṭita -- ʻ pegged together ʼ; Pk. saṁghaḍia<-> ʻ joined ʼ, caus. saṁghaḍāvēi; M. sã̄gaḍṇẽ ʻ to link together ʼ. Addenda: saṁghaṭayati: A. sāṅoriba (phonet. x -- ) ʻ to yoke together ʼ AFD 333, sāṅor (phonet. x -- ) ʻ yoking together ʼ 223.(CDIAL 12855)

जांगला or जांगळा (p. 183) jāṅgalā or jāṅgaḷā a (जंगल) A contemptuous or careless epithet for an European. 

Marathi: सांगड [ sāgaa ] m f (संघट्ट S) A float composed of two canoes or boats bound together: also a link of two pompions &c. to swim or float by. 2 f A body formed of two or more (fruits, animals, men) linked or joined together. 3 That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.

సంకరము (p. 1269) saṅkaramu sankaramu [Skt.] n. Mixing, blending. సంకలనము (p. 1269) saṅkalanamu san-kalanamu. [Skt.] n. Addition in Arithmetic, సంఖ్యలనుకూర్చుట. సంకలితము ṣankalitamu. adj. That which is added. Added together, as a figure, కూర్పబడిన (సంఖ్య.) 

सांगडणी [ sāgaaī ] f (Verbal of सांगडणें) Linking or joining
together.

सांगडणें [ sāgaaē ] v c (सांगड) To link, join, or unite together (boats, fruits, animals). 2 Freely. To tie or bind up or unto.

Rebus 1: जांगड (p. 183) jāṅgaḍa f ( H) Goods taken from a shop, to be retained or returned as may suit: also articles of apparel taken from a tailor or clothier to sell for him. 2 or जांगड वही The account or account-book of goods so taken. 3 Linking together (of beasts): joining or attaching (as a scholar to a superior one, in order to learn). v घाल, कर. Also the state, linkedness, co-yokedness, attachment, association. जांगड (p. 183) jāṅgaḍa ad Without definitive settlement of purchase--goods taken from a shop.  शाखोट (p. 463) śākhōṭa a P (साख) Creditable or credible; trustworthy or true;--as a person or a statement. Rebus 2: जांगड [ jāṅgaḍa ] or जांगड वही The account or account-book of goods so taken.Rebus 3: sangaḍa 'a cargo boat'. Rebus 4: sangar̥h'proclamation'. Rebus 5: sangar'trade'.

sã̄gāḍā m. ʻ frame of a building ʼ (M.)(CDIAL 12859)  سنګر sangar, s.m. (2nd) A breastwork of stones, etc., erected to close a pass or road; lines, entrenchments.(Pashto) 

sā̃gāḍo, sãgaḍa(lathe/portable furnaceసంగడి sangaḍi. n. A couple, pair (Telugu) Rebus: 1. sãngatarāsu ‘stone-cutter, stone-carver’. संगतराश lit. ‘to collect stones, stone-cutter, mason.’ (Hindi)  sanghāḍo (G.) cutting stone, gilding (Gujarati) 2. sangara [fr. saŋ+gṛ] promise, agreement J iv.105, 111, 473; v.25, 479 (Pali) 3. jangaḍ  id. (Hindi. Gujarati.Marathi)

Sangar 'fortification', Afghanistan (evoking the citadels and fortifications at hundreds of archaeological sites of Sarasvati-Sindhu civilization).


saṁghāḍa -- , °ḍaga -- m., °ḍī -- f. ʻ pair ʼ (Prakrit)(CDIAL 12859) సంగడి sangaḍi. n. A couple, pair (Telugu) cf. Pairing of two hieroglyphs into a composite ‘standard device’ (as shown in the diagram below).with two distinct components: lathe (gimlet) and (portable) furnace both denoted by lexeme:sangaḍ  The word is read rebus for jangaḍ ‘good entrusted on approval basis’.

sãgaḍ ʻfloat made of two canoes joined togetherʼ (Marathi) (LM 417 compares saggarai at Limurike in the Periplus, Tamil. śaṅgaḍam, Tulu. jaṅgala ʻ double -- canoe ʼ) Si. san̆gaḷa ʻpairʼ, han̆guḷa, ang° ʻdouble canoe, raftʼ (CDIAL 12859). saṅghātanika -- in cmpd. ʻbinding togetherʼ (Pali)(CDIAL 12863).
సంగడి A raft or boat made of two canoes fastened side by side (Telugu)சங்கடம்² caṅkaṭam, n. < Port. jangada. Ferry-boat of two canoes with a platform thereon; இரட்டைத்தோணி. (J.) cf. Orthographic technic on ancient Near East artifacts such as seals: Paired hieroglyphs, example: of two bulls, two buffaloes, two tigers, two antelopes.






Janga or Entrust Receipt is denoted by the 'standard device' hieroglyph read: sangaḍ 'lathe/gimlet, portable furnace'. Note: The meaning of ‘Janga’ is well-settled in Indian legal system. Janga means "Goods sent on approval or 'on sale or return'… It is well-known that the Janga transactions in this country are very common and often involve property of a considerable value." Bombay High Court Emperor vs Phirozshah Manekji Gandhi on 13 June, 1934 Equivalent citations: (1934) 36 BOMLR 731, 152 Ind Cas 706 Source: http://www.indiankanoon.org/doc/39008/ 
The terms jangad and karanika are represented as the most frequently used hieroglyphs on Indus writing. The hieroglyphs are: sangaḍa 'lathe, portable furnace' and kanka 'rim of jar' represented by the following glyphs: sangaḍa appears on the round as a ivory object together with other examples of specific glyphic features deployed on objects inscribed with Indus writing. kanka 'rim of jar' is shown on a circular Daimabad seal. The mercantile agents who were jangadiyo had received goods on jangad 'entrusted for approval'.

Annex A. Note on chain hieroglyph on Indus Script Corpora


śã̄gal, śã̄gaḍ ʻchainʼ (WPah.) śr̥ṅkhala m.n. ʻ chain ʼ MārkP., °lā -- f. VarBr̥S., śr̥ṅkhalaka -- m. ʻ chain ʼ MW., ʻ chained camel ʼ Pāṇ. [Similar ending in mḗkhalā -- ]Pa. saṅkhalā -- , °likā -- f. ʻ chain ʼ; Pk. saṁkala -- m.n., °lā -- , °lī -- , °liā -- , saṁkhalā -- , siṁkh°siṁkalā -- f. ʻ chain ʼ, siṁkhala -- n. ʻ anklet ʼ; Sh. šăṅāli̯ f., (Lor.)š*lṅālišiṅ° ʻ chain ʼ (lw .with š -- < śr̥ -- ), K. hö̃kal f.; S. saṅgharu m. ʻ bell round animal's neck ʼ, °ra f. ʻ chain, necklace ʼ, saṅghāra f. ʻ chain, string of beads ʼ,saṅghirī f. ʻ necklace with double row of beads ʼ; L. saṅglī f. ʻ flock of bustard ʼ, awāṇ. saṅgul ʻ chain ʼ; P. saṅgal m. ʻ chain ʼ, ludh. suṅgal m.; WPah.bhal. śaṅgul m. ʻ chain with which a soothsayer strikes himself ʼ, śaṅgli f. ʻ chain ʼ, śiṅkhal f. ʻ railing round a cow -- stall ʼ, (Joshi) śã̄gaḷ ʻ door -- chain ʼ, jaun. śã̄galśã̄gaḍ ʻ chain ʼ; Ku. sã̄glo ʻ doorchain ʼ, gng. śāṅaw ʻ chain ʼ; N. sāṅlo ʻ chain ʼ, °li ʻ small do. ʼ, A. xikali, OB. siṅkala, B. sikalsiklichikalchikli, (Chittagong) hĩol ODBL 454, Or.sāṅk(h)uḷā°ḷi,
sāṅkoḷisikaḷā̆°ḷisikuḷā°ḷi; Bi. sīkaṛ ʻ chains for pulling harrow ʼ, Mth. sī˜kaṛ; Bhoj. sī˜karsĩkarī ʻ chain ʼ, OH. sāṁkaḍasīkaḍa m., H. sã̄kalsã̄kar,°krīsaṅkal°klīsikalsīkar°krī f.; OG. sāṁkalu n., G. sã̄kaḷ°kḷī f. ʻ chain ʼ, sã̄kḷũ n. ʻ wristlet ʼ; M. sã̄k(h)aḷsāk(h)aḷsã̄k(h)ḷī f. ʻ chain ʼ, Ko. sāṁkaḷ; Si. säkillahä°ä° (st. °ili -- ) ʻ elephant chain ʼ.śr̥ṅkhalayati.Addenda: śr̥ṅkhala -- : WPah.kṭg. (kc.) śáṅgəḷ f. (obl. -- i) ʻ chain ʼ, J. śã̄gaḷ f., Garh. sã̄gaḷ.śr̥ṅkhalayati ʻ enchains ʼ Daś. [śr̥ṅkhala -- ]
Ku.gng. śāṅaī ʻ intertwining of legs in wrestling ʼ (< śr̥ṅkhalita -- ); Or. sāṅkuḷibā ʻ to enchain ʼ.(CDIAL 12580, 12581)சங்கிலி¹ caṅkilin. < šṛṅkhalaā. [M. caṅ- kala.] 1. Chain, link; தொடர். சங்கிலிபோ லீர்ப்புண்டு (சேதுபு. அகத். 12). 2. Land-measuring chain, Gunter's chain 22 yards long; அளவுச் சங்கிலி. (C. G.) 3. A superficial measure of dry land=3.64 acres; ஓர் நிலவளவு. (G. Tn. D. I, 239). 4. A chain-ornament of gold, inset with diamonds; வயிரச்சங்கிலி என்னும் அணி. சங்கிலி நுண்டொடர் (சிலப். 6, 99). 5. Hand-cuffs, fetters; விலங்கு.

Rebus: Vajra Sanghāta 'binding together': Mixture of 8 lead, 2 bell-metal, 1 iron rust constitute adamantine glue. (Allograph) Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati)

Seal m0296 Two heads of young bulls, nine ficus leaves)

m0296 Two heads of one-horned bulls with neck-rings, joined end to end (to a standard device with two rings coming out of the top part?), under a stylized pipal tree with nine leaves. Text 1387 
 dula 'pair' rebus: dul 'cast metal' dhAv 'string/strand' rebus: dhAv, dhAtu 'element, ore'.

Mohenjo-daro Seal impression. m0296 Two heads of one-horned bulls with neck-rings, joined end to end (to a standard device with two rings coming out of the top part?), under a stylized tree-branch with nine leaves.

खोंद [ khōnda ] n A hump (on the back): also a protuberance or an incurvation (of a wall, a hedge, a road). Rebus: खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engrave. खोद खोदून विचारणें or -पुसणें To question minutely and searchingly, to probe.गोट [ gōṭa ] m (H) A metal wristlet. An ornament of women. 2 Encircling or investing. v घाल, दे. 3 An encampment or camp: also a division of a camp. 4 The hem or an appended border (of a garment).गोटा [ gōṭā ] m A roundish stone or pebble. 2 A marble (of stone, lac, wood &c.) 3 fig. A grain of rice in the ear. Ex. पावसानें भाताचे गोटे झडले. An overripe and rattling cocoanut: also such dry kernel detached from the shell. 5 A narrow fillet of brocade.गोटाळ [ gōṭāḷa ] a (गोटा) Abounding in pebbles--ground.गोटी [ gōṭī ] f (Dim. of गोटा) A roundish stone or pebble. 2 A marble. 3 A large lifting stone. Used in trials of strength among the Athletæ. 4 A stone in temples described at length under उचला 5 fig. A term for a round, fleshy, well-filled body.
Rebus: गोटी [ gōṭī ] f (Dim. of गोटा A lump of silver: as obtained by melting down lace or fringe. 
Hieroglyph: lo = nine (Santali); no = nine (B.)  on-patu = nine (Ta.)

[Note the count of nine fig leaves on m0296] Rebus: loa = a species of fig tree, ficus glomerata,
the fruit of ficus glomerata (Santali.lex.)
    Epigraph: 1387 
kana, kanac =
corner (Santali); Rebus: kan~cu
= bronze (Te.)  Ligatured glyph. ara 'spoke' rebus: ara 'brass'. 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]erka = ekke (Tbh.of arka) aka (Tbh. of arkacopper (metal);crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = anymetal infusion (Ka.Tu.); erako molten cast (Tu.lex.) Rebus: eraka= copper (Ka.)eruvai =copper (Ta.); ere - a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a= syn. erka, copper, weapons (Ka.)Vikalpa: ara, arā (RV.) = spokeof wheel  ஆரம்² āram , n. < āra. 1. Spokeof a wheel.See ஆரக்கால்ஆரஞ்சூழ்ந்தவயில்வாய்
நேமியொடு (சிறுபாண்253). Rebus: ஆரம் brass; பித்தளை.(அகநி.) pittal is cognate with 'pewter'.
kui = a slice, a bit, a small piece (Santali.lex.Bodding) Rebus: kuṭhi
‘iron smelter furnace’ (Santali) kuhī factory (A.)(CDIAL 3546)
Thus, the sign sequence
connotes a copper, bronze, brass smelter furnace
Ayo ‘fish’; kaṇḍa‘arrow’; rebus: ayaskāṇḍa. The sign sequence is ayaskāṇḍa ‘a quantity of iron,excellent iron’ (Pāṇ.gaṇ) ayo, hako 'fish'; a~s = scales of fish (Santali); rebus:aya = iron (G.); ayah, ayas = metal (Skt.) kaṇḍa‘fire-altar’ (Santali) DEDR 191 Ta. ayirai,acarai, acalai loach, sandy colour, Cobitisthermalis; ayilai a kind of fish. Ma. ayala a fish,mackerel, scomber; aila, ayila a fish; ayira a kind ofsmall fish, loach.
kole.l 'temple, smithy'(Ko.); kolme ‘smithy' (Ka.) kol ‘working in iron, blacksmith (Ta.); kollan-blacksmith (Ta.); kollan blacksmith, artificer (Ma.)(DEDR 2133)  kolme =furnace (Ka.)  kol = pan~calo_ha (five
metals); kol metal (Ta.lex.) pan~caloha =  a metallic alloy containing five metals: copper, brass, tin, lead and iron (Skt.); an alternative list of five metals: gold, silver, copper, tin (lead), and iron (dhātu; Nānārtharatnākara. 82; Man:garāja’s Nighaṇṭu. 498)(Ka.) kol, kolhe, ‘the koles, an aboriginal tribe if iron smelters speaking a language akin to that of Santals’ (Santali)
Zebu and leaves. In
front of the standard device and the stylized tree of 9 leaves, are the black
buck antelopes. Black paint on red ware of Kulli style. Mehi. Second-half of
3rd millennium BCE. [After G.L. Possehl, 1986, Kulli: an exploration of an
ancient civilization in South Asia
, Centers of Civilization, I, Durham, NC:
46, fig. 18 (Mehi II.4.5), based on Stein 1931: pl. 30. 
poLa 'zebu' rebus; poLa 'magnetite'

ayir = iron dust, any ore (Ma.) aduru = gan.iyindategadu 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 interpretationof the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330) DEDR 192  Ta.  ayil iron. Ma. ayir,ayiram any ore. Ka. aduru native
metal.
 Tu. ajirdakarba very hard iron
V326 (Orthographic variants of Sign 326) V327 (Orthographic variants of Sign 327)
loa = a species of fig tree, ficus glomerata, the fruit of ficus
glomerata
 (Santali.lex.) Vikalpa: kamaṛkom ‘ficus’ (Santali);
rebus: kampaṭṭam ‘mint’ (Ta.) patra ‘leaf’ (Skt.); rebus: paṭṭarai
‘workshop’ (Ta.) Rebus: lo ‘iron’ (Assamese, Bengali); loa ‘iron’ (Gypsy) lauha = made of
copper
 or iron (Gr.S'r.); metal, iron (Skt.); lo_haka_ra = coppersmith, ironsmith (Pali);lo_ha_ra = blacksmith (Pt.); lohal.a (Or.); lo_ha = metal, esp. copper or
bronze
 (Pali); copper (VS.); loho, lo_ = metal, ore, iron (Si.) loha lut.i = iron utensils and implements (Santali.lex.) koṭiyum = a wooden circle put round the neck of an animal; koṭ = neck (G.lex.) kōṭu = horns (Ta.) kōḍiya, kōḍe = 
young bull (G.) Rebus: koḍ  = place where artisans work (G.lex.)
dol = likeness, picture, form (Santali) [e.g., two tigers, two bulls, duplicated signs] me~ṛhe~t iron; ispat m. = steel; dul m. = cast iron (Santali) [Thus, the paired glyph of one-horned heifers connotes (metal) casting (dul) workshop (koḍ)]

PLUS

śã̄gaḍ ʻchainʼ rebus: sanghāta 'vajra, metallic adamantine glue'. Thus, the metallurgist has achieved and documented the alloy of copper, as adamantine glue.

The chain hieroglyph component is a semantic determinant of the stylized 'standard device' sã̄gaḍa, 'lathe, portable brazier' used for making, say, crucible steel. Hence the circle with dots or blobs/globules signifying ingots.

m1429 Mohenjo-dar tablet showing a boat carrying a pair of metal ingots. 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.) Alternative: jangaḍ 'seafaring dhow'.

 The note presents many parallels between hieroglyphs used rebus on Indus writing and on ancient Near East artifacts. The names Dilmun, Magan and Meluhha appear on ancient cuneiform documents in the context of maritime trade, in particular with Sea-faring merchants from Meluhha (Mleccha, that is part of Indian sprachbund).


There is a remarkable statement in Tolkappiyam an ancient text of Sangam period:


பொய்யும் வழுவும் தோன்றியபின்னர் 

அய்யர் யாத்தனர் கரணம் என்ப  (தொல் காப்பியம் பொருள் அதிகாரம்)

When falsehood and deception came into vogue, the Brahmin scholars codified the accounting system.


An ancient Near East accounting system was jangaḍ. The system of jangaḍ simply meant 'goods on approval' with the agent -- like the Meluhhan merchant-agents or brokers living in settlements in ancient near East -- merely responsible for showing the goods to the intended buyers.

 

 
We are dealing with the times of Indus-Sarasvati civilization when goods were transacted without definitive settlements of purchase. Mercantile transactions took place on the basis of trust. This system of trust gets institutionalised in the trusteeship system which is the central regulating feature of śreṇi, artisan-merhant guilds. Actions such as criminal breach of trust or deception  or criminal conspiracy were rare occurrences.

Goods were couriered and delivered by consignor on entrustment basis for the consignee to make the settlements AFTER the goods are finally sold to third parties. Such an accounting system was called jangaḍ


The couriers who effect the delivery of the goods are called jangaḍiyo. In old Gujarati, the term jangaḍiyo  ‘military guard who accompanies treasure into the treasury’. The term sanghāḍiyo 'a worker on a lathe' (Gujarati)

kanka ‘rim of jar’ (Santali) Rebus: khanaka ‘miner’ karaka ‘scribe’ (Skt.)


Goods taken from a shop – without definitive settlement of purchase


Some lexemes from Indian sprachbund:

जांगड [jāṅgaḍa] ad Without definitive settlement of purchase--goods taken from a shop. जांगड [ jāṅgaḍa ] f ( H) Goods taken from a shop, to be retained or returned as may suit: also articles of apparel taken from a tailor or clothier to sell for him. 2 or जांगड वही The account or account-book of goods so taken.


कारणी or कारणीक [kāraṇī or kāraṇīka] a (कारण S) That causes, conducts, carries on, manages. Applied to the prime minister of a state, the supercargo of a ship &c करणी [ karaṇī ] f (करणें) Presenting (in marriages) of cloths, ornaments &c. to the bridegroom and his party. v कर. (Marathi) కరణము [karaamu] karaamu. [Skt.] n. A village clerk, a writer, an accountant. వాడు కూత కరణముగాని వ్రాతకరణముకాడు he has talents for speaking but not for writing. స్థలకరణము the registrar of a district. కరణికము or కరణీకము karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu)

கரணிகம் karaikam [Telugu. karaikamu.] Office of accountant. See கருணீகம். Loc. கருணீகம் karuṇīkam , n. < karaa. [T. karaikamu.] Office of village accountant or karṇam; கிராமக்கணக்குவேலை. கரணன் karaa , n. < karaa. Accountant; கணக்கன். கரணர்கள் வந்தனர் கழல் வணங்கினார் (கந்தபு. மார்க்கண். 210).கரணம் karaam, n. < karaa. Accountant, karnam; கணக்கன். (S.I.I. i, 65.) கரணம்பலம் karaampalam, n. < id. + அம் பலம். Ancient name for the office of village headman; வரிதண்டும் உத்தியோகம். Rd. கரணியமேனிக்கல் karaiya-mēi-k-kal, n. A kind of metal-ore; கரும்புள்ளிக்கல். (W.) (Tamil) ஒற்றிக்கரணம் oṟṟi-k-karaṇam n. < ஒற்றி +. See ஒற்றிச்சீட்டு. ஒற்றிச்சீட்டு oṟṟi-c-cīṭṭu , n. < ஒற்றி +. Usufructuary mortgage deed; ஒற்றிப்பத்திரம். கரணகளேபரம் karaṇa-kaḷēparam, n. < karaகரணத்தான் karaattā , n. < id. Accountant; கணக்கன்.  ந்நகரக்கரணத்தான் (S.I.I. iii, 23). கரணத்தியலவர் karaattiyalavar, n. < id. + இயலவர். Account officers working under a king, one of eperu-n-tuaivar, q.v.; அரசர்க்குரிய எண்பெருந்துணைவருள் ஒருவராகிய கணக்கர். (திவா.)


It is significant that the word கரணம் is used. This word in old Tamil denotes the work of karaṇikaṉ ‘village accountant’.


For describing goods transacted under jangaḍ accounting, it was enough to detail the technical specifications of the goods. The quantities involved, the prices to be settled at the time of final sale and final settlement between the consignor and the consignee are subject to separate, later day transactions AFTER the final delivery on the entrustment note -- jangaḍ -- takes place to the final purchaser or owner of the goods.


The foundatio of jangaḍ accounting is trust in mercantile transactions and an honour system for processing the transactions between the producer and the final consumer.



The ancient, traditional mercantile transactions using jangaḍ accounting was adjudicated in Bombay High Court in 1938 where violations of the founding principles of jangaḍ were the principal causes for the litigation. A write-up on the case is appended. The judgement of Kania, J. notes the quote of an earlier judge in another case: "Assuming that jangad in Gujerati ordinarily means 'approval' there is no reason to assume that the goods entrusted jangad are goods to be sold on approval, rather than goods to be shown for approval." -- Madgavkar J. But, jangad also meant 'sale or return' in addition to the dictionary meaning 'approval'. The Judge adjudicated on the issues of 'good faith' involving diamonds/pearls adjudicating that the relation of a dealer and a broker or mercantie agent is that of a principal and agent and not of a seller and a buyer. The obiter dicta was: "If the person who takes [the property] on jangad, sells the property at a price in excess of that which he has agreed to pay to the seller, he keeps the difference and he does not have to account to the seller as an agent. On the other hand, if the purchaser from him does not pay, he is still liable to pay on his own contract with his seller."



The point made in this note is that jangaḍ accounting transactions for high-value goods like diamonds/pearls/metalsware were in vogue as evidenced on Indus writing and the tradition continued into historical times and are in vogue even today in a remarkable civilizational continuum.



A remarkable contract is recorded in Mesopotamian archives, attesting to the good-faith doctrine in financial or property transactions:

Contract for the Sale of Real Estate, Sumer, c. 2000 B.C.

This is a transaction from the last days of Sumerian history. It exhibits a form of transfer and title which has a flavor of modern business method about it.

Sini-Ishtar, the son of Ilu-eribu, and Apil-Ili, his brother, have bought one third Shar of land with a house constructed, next the house of Sini-Ishtar, and next the house of Minani; one third Shar of arable land next the house of Sini-Ishtar, which fronts on the street; the property of Minani, the son of Migrat-Sin, from Minani, the son of Migrat-Sin. They have paid four and a half shekels of silver, the price agreed. Never shall further claim be made, on account of the house of Minani. By their king they swore. (The names of fourteen witnesses and a scribe then follow.) Month Tebet, year of the great wall of Karra-Shamash. 

http://www.fordham.edu/halsall/ancient/mesopotamia-contracts.asp
Decipherment of hypertexts on m1429 Prism tablet
m1429 prism tablet. Boat glyph as a Sarasvati hieroglyph on a tablet.Three sided molded tablet. One side shows a flat bottomed boat with a central hut that has leafy fronds at the top of two poles. Two birds sit on the deck and a large double rudder extends from the rear of the boat. On the second side is a snout nosed gharial with a fish in its mouth. The third side has eight glyphs of the Indus script.

Material: terra cotta
Dimensions: 4.6 cm length, 1.2 x 1.5 cm width Mohenjo-daro, MD 602
Islamabad Museum, NMP 1384
Dales 1965a: 147, 1968: 39


The large oxhide ingots were signified by ḍhālako a large metal ingot (Hieroglyph:  dhāḷ 'a slope'; 'inclination'  ḍhāla n. ʻ shield ʼ lex. 2. *ḍhāllā -- .1. Tir. (Leech) "dàl"ʻ shield ʼ, Bshk. ḍāl, Ku. ḍhāl, gng. ḍhāw, N. A. B. ḍhāl, Or. ḍhāḷa, Mth. H. ḍhāl m.2. Sh. ḍal (pl. °le̯) f., K. ḍāl f., S. ḍhāla, L. ḍhāl (pl. °lã) f., P. ḍhāl f., G. M. ḍhāl f.Addenda: ḍhāla -- . 2. *ḍhāllā -- : WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f.(CDIAL 5583). 

I suggest that the rebus rendering of ḍhāla to signify ḍhālako'large ingot' is phonetically reinforced by the hieroglyphs of two palm trees which read: tāḷa 'palm tree' rebus:dhāḷ'larg ingot'. 

[Two palm trees flank two ox-hide shaped ingots] Alternative:  tāḷa'palm tree' rebus:dhāḷa 'larg ingot (oxhide)' *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. tāṛatāṛitāḷa, Bi. tārtāṛ, OAw. tāra, H. G. tāṛ m., M. tāḍ m., Si. tala. -- Gy. gr. taróm., 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. tārītāṛī, 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.Addenda: tāḍa -- 3: S.kcch. tāṛ m. ʻ palm tree ʼ.(CDIAL 5750) hintāla m. ʻ the marshy date -- palm Phoenix paludosa ʼ Hariv. [Cf. tāḍa -- 3] Pa. hintāla -- m. ʻ Phoenix paludosa ʼ, B. hĩtālhẽt°; Si. hitul ʻ the swamp date -palmʼ, kitul (X kaduru < kharjūˊra -- ?).(CDIAL 14093)

tamar ‘palm’ (Hebrew) Rebus: tam(b)ra ‘copper’ (Santali) dula ‘pair’ Rebus: dul ‘cast metal’ (Santali) ḍhālako ‘large ingot’. खोट [khōṭa] ‘ingot, wedge’; A mass of metal (unwrought or of old metal melted down)(Marathi)  khoṭ f ʻalloy (Lahnda) Thus the pair of ligatured oval glyphs read: khoṭ ḍhālako ‘alloy ingots’ PLUS dula 'pair' Rebus: dul 'cast metal'.








Three alternatives: 
Alternative 1: baTa 'quail' Rebus: bhaTa 'furnace' (i.e., supercargo out of furnace)
Alternative 2: karaṇḍa ‘duck’ (Sanskrit) karaṛa ‘a very large aquatic bird’ (Sindhi) kāraṇḍava m. ʻ a kind of duck ʼ MBh. [Cf. kāraṇḍa- m. ʻ id. ʼ R., karēṭu -- m. ʻ Numidian crane ʼ lex.: see karaṭa -- 1]Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , °ḍaga -- , °ḍava -- m. ʻ a partic. kind of bird ʼ; S. kānero m. ʻ a partic. kind of water bird ʼ < *kāreno.(CDIAL 3059) करढोंक or की (p. 78) karaḍhōṅka or kī m करडोक m A kind of crane or heron (Marathi)  kāraṇḍava m. ʻ a kind of duck ʼ MBh. [Cf. kāraṇḍa- m. ʻ id. ʼ R., karēṭu -- m. ʻ Numidian crane ʼ lex.: see karaṭa -- 1]Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , °ḍaga -- , °ḍava -- m. ʻ a partic. kind of bird ʼ; S. kānero m. ʻ a partic. kind of water bird ʼ < *kāreno.(CDIAL 3059) करढोंक or की (p. 78) karaḍhōṅka or kī m करडोक m A kind of crane or heron (Marathi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi)
Alternative 3: Hieroglyph: pōlaḍu, 'black drongo' rebus: pōlaḍ 'steel'. 
Black drongo is pōlaḍu, rebus pōlaḍ  'steel'పసులపోలిగాడు pasula-pōli-gāḍu perched on pōḷa 'zebu, bos indicus' Rebus: pōḷa 'magnetite ore'.
పసులపోలిగాడు pasula-pōli-gāḍu. n. The Black Drongo or King crow, Dicrurusater. (F.B.I.) ఏట్రింత. Also, the Adjutant. తోకపసులపోలిగాడు the Raquet-tailed Drongo shrike. Jerdon. No. 55. 56. 59. కొండ పనులపోలిగాడు the White bellied Drongo, Dicrurus coerulescens. వెంటికపనుల పోలిగాడు the Hair-crested Drongo, Chibia hottentotta. టెంకిపనుల పోలిగాడు the larger Racket-tailed Drongo, Dissemurus paradiseus (F.B.I.) 

पोळा [ pōḷā ] 'zebu' rebus: पोळा [ pōḷā ] rebus: पोळा [ pōḷā ] 'magnetite, Fe3O4'. The word for magnetite ore [pōḷa] gave the root for the famed crucible wootz steel called [pōlāda] n ( or P)  [pōlādi]  'steel'. A variant expression iin Russian is:  bulat 'steel'.
Image result for black drongo zebu
Wootz Steel as the Acme of Mankind’s Metallurgical Heritage

“Wootz was the first high-quality steel made anywhere in the world. According to reports of travelers to the East, the Damascus swords were made by forging small cakes of steel that were manufactured in Southern India. This steel was called wootz steel. It was more than a thousand years before steel as good was made in the West.” -J. D. Verhoeven and A. Pendray, Muse, 1998
... ‘…’pulad’ of Central Asia. The oasis of Merv where crucible steel was also made by the medieval period lies in this region. The term ‘pulad’ appears in Avesta, the holy book of Zoroastrianism and in a Manicheen text of Chinese Turkestan. There are many variations of this term ranging from the Persian ‘polad’, the Mongolian ‘bolat’ and ‘tchechene’, the Russian ‘bulat’, the Ukrainian and Armenian ‘potovat’, Turkish and Arab ‘fulad’, ‘farlad’ in Urdu and ‘phaulad’ in Hindi. It is this bewildering variety of descriptions that was used in the past that makes a study of this subject so challenging.’ (p.30)

PWLẠD (پولاد) > BOLD RUSSIAN (ПОЛАД) ORIGIN: PERSIAN (TĀJĪK)  /  MONGOLIAN 
INDO-EUROPEAN > INDO-IRANIAN > INDO-ARYAN 
This name derives from the Mongolian (Qalq-a ayalγu) “Bold”, from the Persian (Tājīk) "pwlạd", meaning “steel”. Bolad († 1313), was a Mongol minister of the Yuan Dynasty, and later served in the Ilkhanate as the representative of the Great Khan of the Mongol Empire and cultural adviser to the Ilkhans. Geographical spread:
http://www.name-doctor.com/name-polad-meaning-of-polad-25852.html
Russ. bulat; Mizdzhegan polad, bolat; Mongol. bolot, bulat, buriat. He is unable to suggest an origin for these words. Fr. Muller pointed out that the Pehlevi and Armenian should be polapat and suggested Greek 'much-beaten' as the original word...not all the countries of Asia had been exhausted in search for similar names...by adding Tibetan p'olad, Sulu bAlan, Tagalog patalim, Ilocano paslip, we at once see that the origin of the word may lie to the east. Naturally one thinks of China as the possible point of issue, for there steel was known in the third millenium before our era and we have the positive reference to steel in a Chinese writer of the fifth century BCE...Cantonese dialect fo-lim, literally 'fire-sickle'..."(Wiener, Leo, 2002, Contributions toward a history of Arabico-Gothc culture, vol.4, Gorgias Press LLC, pp. xli-xlii)
"...‘pulad’ of Central Asia. The oasis of Merv where crucible steel was also made by the medieval period lies in this region. The term ‘pulad’ appears in Avesta, the holy book of Zorastrianism and in a Manichéen text of Chinese Turkestan. There are many variations of this term ranging from the Persian
‘polad’, the Mongolian ‘bolat’ and ‘tchechene’, the Russian ‘bulat’, the Ukrainian and Armenian ‘potovat’, Turkish and Arab ‘fulad’, ‘farlad’ in Urdu and ‘phaulad’ in Hindi. It is this bewildering variety of descriptions that was used in the past that makes a study of this subject so challenging."
https://www.scribd.com/doc/268526061/Wootz-Steel-Indian-Institute-of-Science 
Side A: kāru a wild crocodile or alligator (Telugu) ghariyal id. (Hindi)
kāru 'crocodile' (Telugu) கராம் karām, n. prob. grāha. 1. A species of alligator; முதலைவகை. முதலையு மிடங்கருங் கராமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.) కారుమొసలి a wild crocodile or alligator. (Telugu) Rebus: kāru ‘artisan’ (Marathi) kāruvu 'artisan' (Telugu) khār 'blacksmith' (Kashmiri)

[fish = aya (G.); crocodile = kāru (Telugu)] Rebus: ayakāra ‘ironsmith’ (Pali) 

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.)

Side C: Text 3246 on the third side of the prism. kāḍ  काड् ‘, the stature of a man’ Rebus: खडा [ khaḍā ] m A small stone, a pebble (Marathi) dula ‘pair’ Rebus: dul ‘cast (metal)’shapes objects on a lathe’ (Gujarati) 
कर्णक 'spread legs' rebus: 'helmsman'
kanka, kar
ṇaka ‘rim of jar’ Rebus: karṇaka ‘account scribe’. kārṇī  m. ʻsuper cargo of a ship ʼ(Marathi)


 
The hieroglyphs are: side a: eight sign glyphs including: body, rim of jar, two ingots, rim of jar, fish, three, graft infix ligature in ingot.side b: boat, two trees, two birds; side b: gharial (alligator), fish; Boat: kolam; rebus: kolami 'furnace'

kolmo ‘three’ Rebus: kolami ‘furnace,smithy’. Thus, the pair of glyphs may denote lapidary work – working with stone, mineral, gemstones.
 
ayo ‘fish’ Rebus: ayas ‘metal’. kāru ‘crocodile’ Rebus: kāru ‘artisan’. Thus, together read rebus: ayakara ‘metalsmith’.
kanka 'rim of jar' (Santali) karṇika id. (Samskritam) Rebus: kārṇī m. ʻsuper cargo of a ship ʼ(Marathi) 
meḍ ‘body’, ‘dance’ (Santali) Rebus: meḍ‘iron’ (Ho.)
 med'copper' (Slavic languages)
Alternative: kāḍ  काड् ‘, the stature of a man’ Rebus: खडा [ khaḍā ] m A small stone, a pebble khaḍā ‘nodule (ore), stone’(Marathi) <khadan>  {N} ``a ^mine, place where earth is ^excavated for roads, buildings, etc.''.  @2417.  #13731.(Munda)

A pair of ingots with notches in-fixed as ligatures.
 
ḍhālako ‘large ingot’. खोट [khōṭa] ‘ingot, wedge’; A mass of metal (unwrought or of old metal melted down)(Marathi)  khoṭ f ʻalloy (Lahnda) Thus the pair of ligatured oval glyphs read: khoṭ ḍhālako ‘alloy ingots’ PLUS dula 'pair' Rebus: dul 'cast metal'.

Rebus: khāṇḍā 'tools, pots and pans,metal-ware' (Marathi) H. lokhar m. ʻ iron tools, pots and pans ʼ; -- X lauhabhāṇḍa -- : Ku. lokhaṛ ʻ iron tools ʼ; H.lokhaṇḍ m. ʻ iron tools, pots and pans ʼ; G. lokhãḍ n. ʻ tools, iron, ironware ʼ; M. lokhãḍ n. ʻ iron ʼ (LM 400 < -- khaṇḍa -- ).(CDIAL 11171)

खांडा [ khāṇḍā ] m A kind of sword, straight, broad-bladed, two-edged, and round-ended.

लोखंड [ lōkhaṇḍa ] n (लोह S) Iron. लोखंडाचे चणे खावविणें or चारणें To oppress grievously.
लोखंडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.
लोखंडी [ lōkhaṇḍī ] a (लोखंड) Composed of iron; relating to iron. 

Indus Script Resources document Ancient India's contributions to Economic History of Eurasia Bronze Age

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https://tinyurl.com/y8coxfz2

The challenge to Economic Historians is to document the Economic History of Eurasia Bronze Age, starting with the following summary provided by Angus Maddison to OECD. What activities of artisans/merchants of history prior to 1CE, i.e. during the Bronze Age, from ca. 5th millennium BCE, explain the fact that India accounted for over 32% of the Global GDP in 1CE? What were the contributions of Ancient India to the Bronze Age Revolution of Eurasia?


I suggest that in addition to the leads provided by Maurizio Tosi in the following presentation (2014) in reference to work jointly done with Lamberg-Karlovsky on Shahr-i Sokhta and Tepe Yahya: Tracks on the earliest history of the Iranian Plateau (1973), an important resource now available is the deciphered Indus Script Corpora of over 8000 inscriptions. This Corpora and decipherment explain the hieroglyphs/hypertexts cited by Maurizio Tosi in his presentation. Indus Script inscriptions have been found in Meluhha speakers' interaction areas of Sarasvati Civilization, along the Persian Gulf, in Ancient Near East and Ancient Far East (which is the largest tin belt of the globe and constituted the principal source of tin which made the Bronze Age revolution possible).

Shahr-i Sokhta and Tepe Yahya: Tracks on the Earliest History of the Iranian Plateau

C.C. Lamberg-Karlovsky and Maurizio Tosi
East and West
Vol. 23, No. 1/2 (March-June 1973), pp. 21-57
Excerpt from Page 21:






This monograph indicates how Indus Script Corpora provide the Bronze Age framework which resulted in intractions between Meluhha speakers' epicentre of Sarasvati Civilization and nearby sites such as Shahdad, Tepe Yahya, Tell Abraq, Shahr-i Soktha. Many hieroglyphs/hypertexts presented by Maurizio Tosi have been explained in the context of metalwork accounting ledgers created on Indus Script Corpora.
Published on 
Shahdad and the bronze age in southeast Iran, A workshop commemorating Prof. Ali Hakemi’s work at Shahdad and 40 years of excavations in Southeast Iran, Cambridge 15-16 July 2011

Presentation made by Maurizio Tosi, Univ. of Bologna, Italy titled: Shahdad, Shahr-I Sokhta, Tepe Yahya. Many sites for a single history?



Excerpts from slides.


















kuṭhāru  कुठारु [p= 289,1] m. a tree L.; a monkey L.
kuṭhāru 'armourer L.' (Monier-Williams)



























dāya'dotted circle, one on dice' rebus: dhā̆vaḍ'iron-smelter'

Decipherment of inscription (Indus Script)

karibha 'trunk of elephant' rebus: karba 'iron' ibha 'elephant' rebus: ib 'iron' Hieroglyph: ingot out of crucible: muh 'ingot' kuThAru 'crucible' rebus:kuThAru 'armourer' kolmo 'rice plant' rebus:kolimi 'smithy, forge'. Thus ingot for forge.  sal 'splinter'rebus: sal 'workshop' aDaren 'lid' rebus: aduru 'native metal' aya, ayo 'fish' rebus: aya 'iron' ayas 'metal' khambhaṛā''fish-fin' rebus: kammaTa 'mint, coiner, coinage'. Hieroglyph: 
kāmṭhiyɔ m. ʻ archer ʼ.rebus: kammaTa 'mint, coin, coiner' ranku 'liquid measure' rebus: ranku 'tin' kolmo 'rice plant' rebus: kolimi 'smithy, forge' karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karnaka 'engraver, scribe'.







530 and 531 ivory rods are shaped like a meDga 'stake' rebus: medha 'yajna' (yupa) with caSAla (as described in Satapatha Brahmana and Taittiriya Samhita) for a Soma yaga.

John Marshall wrote: "Seals of this group [cylinder seals, although Mackay above is not sure they are true cylinder seals]], if indeed they are seals, are very rarely found at Mohenjo-daro, only five specimen being obtained in all. They are all made of ivory and differ from the cylinder seals of other countries in being very long and thing; nor are they perforated for suspension on a cord. It is possible that these so-called seals are not true seals at all. They incised characters upon them might conceivably be identification marks for a game or something similar. On the other hand, they are certainly suitable for use a seals and in this account they are included in this chapter For the sake of clearness the actual seal is shown side by side with each impression.

No 529 (Pl. CXIV, HR 5515). Ivory. 2.7 inches long by 0.25 in. in diameter. Double groove at one end for attachment of cord. The other end is decorated with three parallel grooves. Level, 4 feet below surface. Central Courtyard (30), House LIII, Block 7, HR Area.
No 530 (Pl. CXIV, HR 4985). Ivory. 2.05 inches long by 0.25 in. in diameter. Double groove at one end for a cord; the other end is broken. Level 3 feet below surface. Central Courtyard (30), House LIII, Block 7, HR Area.
No 531 (Pl. CXIV, DK 2666). Ivory. Now 2.05 inches long by 0.3 in. in diameter. Its polish shows that it has been much used. About one-half of the seal is covered with an inscription, deeply and roughly incised and bordered by two deep cut lines. One end of the seal is shaped into a conical head with a deep groove possibly intended for a cord. The seal is not bored; nor is it perfectly round. Level, 4 feet below surface. Street between Blocks 1 and 2, Section B, DK Area.
No 532 (Pl. CXIV, VS 875). Ivory. Now 2 inches long by 0.3 in. in diameter. One end is broken and a small piece is missing. The seal tapers slightly towards its complete end. Five deeply incised characters occupy a space of about two-thirds of the circumference of the seal. Level, 12 feet below surface. Found in front of Room 70, House XXVII, VS Area.
No 533 (Pl. CXIV, VS 958). Ivory. 2.75 inches long by 0.3 in. in diameter. Decorated at 0-.5 in. from each end with a deeply incised cross-hatched border. Towards one end of the intervening space are two deeply incised characters This seal is not perfectly round. Level, 10 feet below surface of the ground. From Room 69, House XXVIII, VS Area. (John Marshall, Mohenjo-daro and the Indus Civilization, p. 371

The 5 ivory rod inscriptions (529 to 533 Marshall) are flipped left horizontally and presnted with rebus readings:

Ivory inscription 1

kuTi 'water carrier' rebus: kuThi 'smelter' dula 'two' rebus: dul 'metal casting' PLUS karNika 'spread legs' rebus: karNI 'Supercargo' meD 'body' rebus: meD 'iron' med 'copper' (Slavic) baTa 'rimless pot' rebus: bhaTa 'furnace' gaNDa 'four' rebus: kaNDa 'implements'. Thus the message is: Smelter, metalcater, Supercargo working with iron/copper implements and furnace.



Ivory inscription 2

khaNDa 'divisions'; rebus: kaNDa 'implements' dhAv 'strand' dhAv 'string' rebus: dhAvaD 'smelter' dhaTo 'claws of crab' rebus: dhatu 'minerals'. Thus the message is: Smelter of minerals, (maker of metal) implements.'

Ivory inscription 3

dula 'two' rebus: dul 'metal casting' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) kamaTha 'bow and arrow' rebus: kammaTa 'mint, coiner, coinage' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' khANDA 'notch' rebus: kaNDa 'implements' PLUS  khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) muh 'ingot'.Thus, the message is: Turner of metal castings, mins-master-coiner, iron (metal) implements, ingots and metal (alloys) turner.

Ivory inscription 4

 (529 Marshall Ivory rod) khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' karã̄ 'wristlets, bangles' rebus: khAr 'blacksmith' sal 'splinter' rebus: sal 'workshop' khANDA 'notch' rebus: kaNDa 'implements' Fish-fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus: kammaTa 'mint, coiner, coinage'. Thus, the message is: Blacksmith, Turner, Supercargo implements workshop, mint-master/coiner. (529 and 530 ivory rods have identical inscriptions; 530 has an additional hieroglyph: three linear strokes)

Ivory inscription 5

(530 Marshall Ivory rod) khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, engraver, account' karã̄ 'wristlets, bangles' rebus: khAr 'blacksmith' sal 'splinter' rebus: sal 'workshop' khANDA 'notch' rebus: kaNDa 'implements' Fish-fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus: kammaTa 'mint, coiner, coinage'. kolom 'three' rebus: kolimi 'smithy, forge'. Thus, the message is: Blacksmith, Turner, Supercargo (engraver) implements workshop, mint-master/coiner, (working in) smithy/forge..

Ivory inscription 6
 m1650 Ivory stick Hypertext 3505 daTo 'claws of crab' rebus: dhatu 'mineral' kanac 'corner' rebus: kancu 'bronze' gaNDA 'four' rebus: kaNDa 'implements' PLUS kolom 'three' rebus: kolimi 'smithy, forge' dula 'two' rebus: dul 'metal casting' dula 'two' rebus: dul 'metal casting' PLUS baTa 'rimless pot' rebus: bhaTa 'furnace'  karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account'  khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.)Thus, the message is: Supercargo, (worker in) minerals, bronze implements, smithy/forge, metal caster, Metals turner (alloys) using furnace


Ivory inscription 7
Pict-141 Geometrical pattern  Hypertext 2942 karNika 'spread legs' rebus: karNI 'Supercargo' meD 'body' rebus: meD 'iron' med 'copper' (Slavic) PLUS khANDA 'notch' rebus: kaNDa 'implements' sal 'splinter' rebus: sal 'workshop' khaNDa 'divisions'; rebus: kaNDa 'implements'. Tus, the message is: Supercargo (working in) iron/copper implements workshop.


Ivory inscription 8

Pict 142 geometrical pattern Hypertext 2941 Ivory or bone rod geometrical pattern followed by inscription koDa 'one' rebus: koD 'workshop'  dula 'two' rebus: dul 'metal casting' dula 'two' rebus: dul 'metal casting' PLUS baTa 'rimless pot' rebus: bhaTa 'furnace'  karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account'  khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). Thus, the message is: Turner, Supercargo in metal casting workshop and (working with) furnace


Ivory inscription 9

Hypertext 2943 Hypertext 2943 is a duplication of the Hypertext 2941: koDa 'one' rebus: koD 'workshop'  dula 'two' rebus: dul 'metal casting' dula 'two' rebus: dul 'metal casting' PLUS baTa 'rimless pot' rebus: bhaTa 'furnace'  karNI 'Supercargo' karNaka 'scribe, account'  khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). Thus, the message is: Turner, Superargo in metal casting workshop and (working with) furnace.

Ivory inscription 10

Pict 143 Geometrical pattern Hypertext 2948 gaNDa 'four' rebus: kaNDa 'implements' ranku 'liquid measure' rebus: ranku 'tin' (thus, tin implements) kuTi 'water carrier' rebus: kuThi 'smelter' PLUS karNI 'Supercargo' karNaka 'scribe, account'  khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). (thus, Supercargo, engraver working with smelter) khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) Thus, the message is: Supercargo (working with smelter) Tin work and Turner (of metal alloys) working with furnace and engraving.

Ivory inscription 11

Hypertext 2944 Ivory or bone rod Phal. tērc̣hi ʻ adze ʼ (with "intrusive" r).Rebus: takṣa in cmpd. ʻ cutting ʼ, m. ʻ carpenter ʼ VarBr̥S PLUS kolom 'three' rebus: kolimi 'smithy, forge' (Thus, carpenter working with smithy/forge). muH 'ingot' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge' (Thus smithy/forge ingots) kuTi 'water carrier' rebus: kuThi 'smelter' PLUS karNI 'Supercargo' karNaka 'scribe, account' Thus the message is: Carpenter working with smithy/forge, ingots for smithy and Supercargo working with smelter and engraving.

Ivory inscription 12

Hypertext 2945 Ivory or bone rod gaNDa 'four' rebus: kaNDa 'implements' kolmo 'rice plant' rebus: kolimi 'smithy, forge' Thus, the message is: (Maker of) implements in smithy/forge.

Ivory inscription 13


 Ivory rod, ivory plaques with dotted circles. Mohenjo-daro (Musee National De Arts Asiatiques, Guimet, 1988-1989, Les cites oubliees de l’Indus Archeologie du Pakistan.] dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'. dATu 'cross' rebus: dhatu 'mineral'. Thus, the message signified by dotted circles and X hieroglyph refers to dhā̆vaḍ priest of 'iron-smelters'. The aquatic duck shown atop an ivory rod is:  karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) Thus, the metalworker (smelter) works with hard alloys (using carburization process). Three dotted circles: kolom 'three' rebus: kolimi 'smithy, forge'. Thus working with minerals and hard alloys for smithy, forge.

Ivory inscription 14

m1652 Ivory stick sal 'splinter' rebus: sal 'workshop' PLUS daTo 'claws of crab' rebus: dhatu 'mineral' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' koDa 'one' rebus: koD 'workshop' dula 'two' rebus: dul 'metal casting'. Thus the message is: workshop for minerals, metals and metalcaster.

Ivory inscription 15

 
 m1651 Ivory stick A, D, F
 Hypertext 2947 Dotted circle hieroglyphs at the ends of the rod: dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter) dATu 'cross' rebus: dhatu 'mineral'. Fish-fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus: kammaTa 'mint, coiner, coinage'.muh 'ingot' PLUS khANDA 'notch' rebus: kaNDa 'implements' (Thus, ingot implements) koḍa 'sluice'; Rebus: koḍ 'artisan's workshop (Kuwi) karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). thus the message is: Working with dhatu (minerals), mint (coiner), ingot implements workshop, Supercargo (scribe, account), Turner (alloys) of metal, Smelter














Ivory inscription 16

Hypertext 2940 Ivory or bone rod dula 'two' rebus: dul 'metal casting' arA 'spokes' rebus: Ara 'brass' eraka 'nave of wheel' rebus: eraka 'molten cast, copper'.kamaTha 'bow and arrow' rebus: kammaTa 'mint, coiner, coinage' karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). Thus, the message is: Supercargo (scribe, account), Turner (of alloys) of metal, mint-master, working with metal casting.

Ivory inscription 17

m1653 ivory plaqueHypertext 1905 bhaTa 'warrior' rebus: bhaTa 'furnace' kuṭila 'bent' CDIAL 3230) Rebus:kuṭila, katthīl = bronze (8 parts copper and 2 parts tin).Thus, a bronze furnace worker.

Ivory inscription 18.

 m1654 Ivory cube with dotted circles Dotted circle hieroglyphs on each side of the cube (one dotted circle surrounded by 7 dotted circles): dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter).

Ivory inscription 19

Ivory is also used to record an inscription in Harappa:

h101 Ivory stick Hypertext 4561 dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter) koDa 'one' rebus: koD 'workshop' khANDA 'notch' rebus: kaNDa 'implements'. Thus, Smelter (ores) and implements workshop.




















Map Courtesy: Victor Sarianidi






A clay figurine of Bactria Margiana Archaeological Complex (BMAC) is a sculpture of extraodinary artistry, beauty and elegance inscribed with unambiguous Indus Script hieroglyphs which are read rebus in a 'dialect of Sanskrit', Meluhha (of Bharata sprachbund, language union) in the context of metal artifacts unearthed in excavations together with the figurines (See Lamberg-Karlovsky's articl on Oxus Civilization -- embedded). 


Image result for Clay figurine with bronze earring from Gonur depe. Votive figure from Altyn-Depe

Line drawing shows front and back of votive figurine from Altyn Depe (the Golden Hill), Turkmenistan. Altyn-Depe is an ancient settlement of the Bronze Age (3,000 - 2,000 B.C.E.) on the territory of ancient Abiver. It's known locally as the "Turkmen". Female Figurine Clay; modelled. 16.5x7 cm Namazga (V). 2nd millennium BCE Excavations by V.M. Masson, 1971, Southern Turkmenia, Altyn-Depe Settlement 


A remarkable feature of the clay (terracotta) figurine is the inscription in Indus Script incised on the sculpture. The hieroglyphs of Indus Script and their rebus readings are technical description of a metalwork catalogue of smelting iron, iron castings, metal ingots, forging metal implements. The artisan signified is dhā̆vaḍ m. ʻ a caste of iron -- smelters and professional competence of ʼ, dhāvḍī ʻ composed of or relating to iron ʼ). 

 WPah.kg. tau m. ʻ crown of head, skull ʼ; Md. tala ʻ crown of head ʼ tālukē du. ʻ two veins in the palate ʼ TUp. [Orm. tâlâk ʻ crown of head ʼ K.tāl f. ʻ palate, crown of head ʼL. tālū̃ m. ʻ palate, crown of head ʼ, P. u, ūā m. ʻpalate, crown of head ʼ . u f.,  n., tālu f. (for l cf. tālkũ below) ʻ palate, crown of head ʼ; M. ū, āū f. ʻ palate, forepart of head ʼ; Ko. u f. ʻcrown of head WPah.bhal. tālko m. ʻ upper part of a cap ʼ; G. tālkī f. ʻ palate, crown of head ʼ, tālkũ, ālkũ n. ʻ crown of head (CDIAL 5803) Rebus: hāla 'large ingot' (Gujarati)   


dula 'pair' rebus: dul 'metal casting' PLUS
dhāˊtu 'strand' rebus: dhāˊtu  'mineral' dhāūdhāv 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) PLUS
mē̃ḍhī 'braid in a woman's hair' rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.) PLUS 
kolom 'three' rebus: kolimi 'smithy, forge' PLUSkuṭhi  ‘vagina’ Rebus: kuṭhi ‘smelter furnace’ (Santali) 
kola 'woman' rebus: kol 'metal, working in iron' kolle 'blacksmith' kole.l 'smithy, forge' kole.l 'temple'.

On the shoulder of the woman, some leafy branches or sprigs are signified: Hieroglyph टाळा (p. 196)ṭāḷā R (Usually टाहळा) A small leafy branch; a spray or sprig.  Rebus: ḍhāla 'large ingot' (Gujarati) 

On the belly of the woman, just above the waistline, a 'stalk' hieroglyph is signified:

Hieroglyphs: kandə ʻpineʼ, ‘ear of maize’.  కండె kaṇḍ] kaṇḍe. [Telugu] n. A head or ear of millet or maize. జొన్నకంకిOr. ṇḍa, ̄ṛ ʻstalk, arrow ʼ (CDIAL 3023). kaṇḍe A head or ear of millet or maize (Telugu) 


Rebus: khāṇḍā ‘tools, pots and pans, metal-ware’ (Marathi) kāḍ ‘stone’. Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298). Rebus: kanda 'fire-altar' (Santali)Tu. kandůka, kandaka ditch, trench. Te.  kandakamu id.   Konḍa kanda trench made as a fireplace during weddings. Pe. kanda fire trench. Kui kanda small trench for fireplace. Malt. kandri a pit. (DEDR 1214).


Hieroglyph टाळा (p. 196) ṭāḷā R (Usually टाहळा) A small leafy branch; a spray or sprig.  


Rebus: ḍhāla 'large ingot' (Gujarati)   

This is a tribute to the splendid archaeological work done by Ali Hakemi in Shahdad. Hakemi, Ali, 1997, Shahdad, archaeological excavations of a bronze age center in Iran, Reports and Memoirs, Vol. XXVII, IsMEO, Rome. 766 pp.
I am thankful to Prof. Mehdi Mortazavi Assoc. Professor, University of Sistan and Baluchestan for the links and references provided. His insights and encouragement are gratefully acknowledged and have led me to this monograph. For the opinions expressed herein, I am responsible.

Pierre Amiet summarises Hakemi’s report with a brilliant exposition: “The discovery, long after that of the great Mesopotamian civilization, just after World War I, of an urban civilization which emulated that of Sumer in the Indus Valley, followed even more recently by the equally impressive civilization of Turkmenia, immediately raised the question of what presumably happened in the immense territory between th two, represented by the Iranian plateau…(Aurel Stein) had crossed Baluchistan and Kerman, ultimately reaching, on the westward side, the only historical entity of Iran predating the Persians – the ancient country of Elam – to all intents and purposes part of Mesopotamia, although essentially a country of mountaineers. In its geographic duality in which the mountain valleys of Fars were associated with the lowlying plains of Susiana, Elam, which was also an ethnic duality, was presumably linked with a hinterland that had remained in the wings of history and comprised the Kerman mountains dominating the salt pans of the Lut Desert. The province which was traditionally rich in stones and metals, and scantly explored by the pioneers, must have been a home to the major witnesses of what Gordon Childe as early as 1934 called the ‘mechanism of the spread’ of the conquests of civilization…in eastern Bactria, bounded the wide loop of Amu Darya, the site of Shortughai corresponds to a settlement of ‘colonists’ from Harappan India, with their characteristic pottery, who saw to the transit of copper and doubtless also of lapis lazuli. These observations seem to be indicative of what probably happened in western Bactria where fortresses housing stores, as at Dashly Tepe, may have been built by a merchant-colonist elite to guarantee trade with the workshops set up either at Shah-I Sokhta or at Shahda and Tepe Yahya and, through them, with Elam, as well as by sea, with Mesopotamia. Unlike Anatolia, where the intense metalworking activity does not seem to have produced any art specific to a given civilization or else highly customized before the 2nd millennium, Iran thus appears to hav been a huge community enlivened by a network of very long routes spreading out from the towns and villages of craftsmen who were creating a different art and using a wide range of techniques, perhaps simulated by Elam. These craftsmen worked copper and soft, colored stones, such as chlorite and alabaster, found locally, together with imported hard stones such as carnelian and lapis lazuli. They must have come into close contact with the transporters, presumably nomadic, according to the tradition of the bearers of the intercultural style. Shahdad lay at the crossroads of these routes, the one running north-south from Gorgan and Tepe Hissar and passing through Tepe Yahya on its way to the Persian Gulf, and those crossing the Lut desert or skirting it through Bampur, towards the north and south of the Hindu Kush and from there into India.” (Introduction, pp.8 - 10)
Shahdad standard.
Steppe eagle Aquila nipalensis


Two possible rebus readings: 1. pajhaṛ ‘kite’. Rebus: pasra ‘smithy, forge’ (Santali)
2. śyēná m. ʻhawk, falcon, eagleʼ RV.Pa. sēna -- , °aka -- m. ʻhawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻkiteʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻfalcon, eagle, kiteʼ. (CDIAL 12674) Rebus: Senaka a carter ThA 271 (=sākaṭika of Th 2, 443) (Pali) sēnāpati m. ʻ leader of an army ʼ AitBr. [sḗnā -- , páti -- Pa. sēnāpati -- , °ika -- m. ʻgeneralʼ, Pk. sēṇāvaï -- m.; M. śeṇvaī°vīśeṇai m. ʻa class of Brahmansʼ, Ko. śeṇvi; Si. senevi ʻgeneralʼ (CDIAL 13589).


Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace, altar (Santali.lex.)



kola 'woman' (Nahali). Rebus: kol ‘working in iron’; pañcaloha, alloy of five metals (Tamil).

 “The shaft is set on a 135 mm high pyramidal base. The thin metal plate is a square with curved sides set in a 21 mm wide frame. On the plate there is a figure of a goddess sitting on a chair and facing forward. The goddess has a long face, long hair and round eyes. Her left hand is extended as if to take a gift…a square garden divided into ten squares. In the center of each square there is a small circle. Beside this garden there is a row of two date palm trees…Under this scene the figure of a bull flanked by two lions is shown…The sun appears between the heads of the goddess and, one of the women and it is surrounded by a row of chain decorative motives.” (p.271, p.649). The inscriptional evidence discovered at this site which is on the crossroads of ancient bronze age civilizations attests to the possibility of Meluhha settlements in Shahdad, Tepe Yahya and other Elam/Susa region sites. The evolution of bronze age necessitated a writing system -- the answer was provided by Indus writing using hieroglyphs and rebus method of rendering Meluhha (mleccha) words of Indian sprachbund.

Shown are the glyphs of 1. zebu and 2. tigers which are also glyphs on Indus writing which I decode as related respectively to 1. blacksmithy on unsmelted metal (Adar Dhangar, zebu) 2. working with alloys (kol, tiger) !!! The tree is a smelter furnace (kuTi). The endless-knot motif is iron (meD, knot, iron).

The accounting system had advanced beyond bullae-tokens to a writing system to prepare stone-, metal-ware catalogs on thousands of inscriptions using mleccha language for Indus writing.

This is the Indian example. This is cited by Richard Meadow of the HARP (Harvard) Project which found it in Harappa. Meadow calls it the earliest writing system of the world. 

This is the comparable image on Indus writing with five petals. This is dated to ca. 3500 BCE according to the HARP Harvard report.


This is a frequently ocurring glyph.

Tabernae montana is called tagaraka in Sanskrit. Rebus reading (of a similar sounding word) is tagaram which means 'tin' (Tamil). Tin is a mineral alloyed with copper to create bronze alloy. Earlier bronzes were naturally occurring arsenic bronzes, that is, copper and arsenic ore together. The addition of tin to copper to create bronze meant a revolution in metallurgy and there was intense demand for 'tin' mineral in the entire civilization region of Metopotamia, Sumer, Elam and the Persian Gulf.

Connections between glyphs and intended meanings are provided by the rebus method. If two similar sounding words have different meanings -- one, pictorial meaning and the other metallurgical meaning -- and if this happens consistently for hundreds of word-pairs, the application of the rebus method for writing is a reasonable deduction. Similar was the method used on Narmer palette in Egypt. N'r meant 'cuttle fish'; M'r meant 'awl'. Together, they gave the Emperor's name and so, N'r + M'r pictorials are shown in front of this person.


Irrespective of the dates assigned to Rigveda and other Veda texts, the fact that the words get used over an extended period of time can be extrapolated to the bronze age, even upto 5th millennium BCE in some cases. One word, aya, is an instance in point. It means 'metal (alloy)', different languages including Pre-Indo-Iranian assigned the meanings of 'copper, bronze' to this word. A word with similar sound is aya 'fish' in Munda languages.

This is a glyph showing five petals. Characteristic of tabernae montana tulip flower which is a fragrant flower used as hair-dressing is that it has five petals. So, the word tagaraka has two meanings: 'hair fragrance'; 'tabernae montana tulip' (Sanskrit). This glyph is what is reflected on Shahdad cylinder seal. 
My evidence is the glossary of words of Indian sprachbund (linguistic union) where the words are commonly used across the set of families of languages (Indo-Aryan, Indo-Iranian, Dravidian, Munda). I have compiled an Indian Lexicon with about 8000 semantic clusters to prove the sprachbund. In my Indus Writing in Ancient Near East I have provided hundreds of examples of such semantic clusters in the context of bronze age metallurgy.


Inter-Iranian trade community from Harappa settled on the crossroads at Shahdad?



Plate 1. The upper section of the Shahdad Standard, grave No. 114, Object No. 1049 (p.24)



Plates 5 & 6. Chlorite incised vessel Grave No. 001.

Object No. 0004 (p.26)

Figure 45. Proto-Elamite pictograms (“From a total of 606 different types of signs found on red ware of Shahdad, 331 are incised and 275 of them are impressed. The star is one of the most common signs, and it has been found in both incised and impressed signs. In the Sumerian and Elamite pictograms a star is an accepted figure representing gods.” p.67)


FIgure 44. Impressed pictograms on Plain Red Ware pottery (p. 66).



 Figure 50: Metal foundry kiln, Site D (p.87)






 Drawings of two cylinder seal impressions. (p.661)


 (p.577)

( Vorgelegt von David Mathias Philip Meier aus Mannheim,, 2008, Die metallnadeeln von Shahdad – eine funktionstypologische untersuchung, pp.82-199 present 121 tafels – plates -- of sets of metal pins and objects discovered at Shahdad.)








Copper plate in the Metropolitan Museum of Art

Copper lid or plate from Tepe-Hissar, Univ. Museum of Pennsylvania (After Schmidt 193, fig. 120).

Copper plate in Louvre Museum (After Amiet 1976b:no. 21)

Copper/bronze dish from Shahdad, Iran Bastan Museum.

Copper/bronze dish from Shahdad. Iran Bastan Museum.

Copper/bronze dish from Shahdad. Iran Bastan Museum.

Rounded shape copper/bronze dish from Shahdad. Iran Bastan Museum.


“Shahdad (Islamis Khabis) is to be remembered as one of the East Iranian Centres for making metal artefacts in the 3rdmillennium BCE. During the years 1971-77 an archaeological mission working in the Lut area under my supervision discovered a wide variety of metal objects in the three main burial grounds A,B and C. Over a period of seven years about 700 broke or unbroken metal objects were discovered…From the study of the metal workshops in 1977, we learned that the base metal copper had been extracted and used in three stages: a) ore smelting, b) purification and c) moulding…The upper side of the plates have embossed moulded figures of living creatures, such as crabs, fish, snakes and gazelles…The abundance of rich copper mines and skillfully mad artefacts in the vicinity of Shahdad supports the view that the prehistoric people of Shahdad were peaceful artisans engaged in the art of producing earthenware, stonework and domestic metal artefacts…The large decorated metal plates discovered in the main cemeteries, especially, confirm that the Shahdad workshop did not just make a few modest articles, but was producing work of great historical significance in the 3rd millennium BCE. It can also be concluded that similar plates, mainly that found at Tepe Hissar, and perhaps some of the others presented in this work, could likely come from the southeastern region of Iran.” (Hakemi, Ali, 1997, Comparison between the plates of Shahdad and other plates that exist in a few museums, In: Taddei, Maurizio and Giuseppe de Marco, eds., 2000, South Asian Archaeology, 1997, Vol. 1, Istituto Italiano per l’africa e l’oriente, Rome, pp. 943-959).


The finds of Shahdad; three plates are taken from the 1972 Catalogue: Note the pictographic writing on red ceramics (Plates XXIIB and XXIIC). These includes possible bullae with ‘tokens’ representing some articles being counted.


Plate XXIIIB includes picture of two footprints. This glyph occurs on Indus writing.



Disk seal (glyptic catalogue no. 58; 15 mm in dia. X 8 mm) Excavations at Tepe Yahya, 3rd millennium, p. 154 Double-sided steatite stamp seal with opposing foot prints and six-legged creature on opposite sides. Tepe Yahya. Seal impressions of two sides of a seal. Six-legged lizard and opposing footprints shown on opposing sides of a double-sided steatite stamp seal perforated along the lateral axis. 

Lamberg- Karlovsky 1971: fig. 2C Shahr-i-Soktha Stamp seal shaped like a foot. 
Shahdad seal (Grave 78). It is significant that a footprint is used as a seal at Shahdad. The glyph is read rebus as rebus word for 'iron':

Rebus readings:

Glyph: meṭṭu  ‘foot’. Rebus: me  ‘iron’ (Ho.Mu.) dula ‘pair’ (Kashmiri); dul ‘cast (metal)(Santali). Six legs of a lizard is an enumeration of six ‘portable furnaces’ ; rebus: kakra. ‘lizard’; kan:gra ‘portable furnace’. bhaṭa ‘six’ (G.) rebus: baṭa = kiln (Santali); baṭa = a kind of iron (G.) bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits)’. Read rebus as : dul (pair) meḍ ‘cast iron’; kan:gra bhaṭa ‘portable furnace’.


Tepe Yahya. Two sides of Tepe Yahya (‘weight’?) fragment apparently reused as door socket during IVB times. One side depicts palms, and the other has a representation of a humped bull with a scorpion set above its back.

Glyph: ‘foot, hoof’: Glyph: ‘hoof’: Ku. khuṭo ʻ leg, foot ʼ, °ṭī ʻ goat's leg ʼ; N. khuṭo ʻ leg, foot ʼ(CDIAL 3894). S. khuṛī f. ʻ heel ʼ; WPah. paṅ. khūṛ ʻ foot ʼ. khura m. ʻ hoof ʼ KātyŚr̥. 2. *khuḍa -- 1 (khuḍaka -- , khula° ʻ ankle -- bone ʼ Suśr.). [← Drav. T. Burrow BSOAS xii 376: it belongs to the word -- group ʻ heel <-> ankle -- knee -- wrist ʼ, see *kuṭṭha -- ](CDIAL 3906). Ta. kuracu, kuraccai horse's hoof. Ka. gorasu, gorase, gorise, gorusu hoof.  Te. gorija, gorise, (B. also) gorije, korije id. / Cf. Skt.khura- id. (DEDR 1770). Allograph: (Kathiawar) khũṭ m. ʻ Brahmani or zebu bull ʼ (G.) Rebus: khũṭ  ‘community, guild’ (Santali)

Alternative reading: meṭ sole of foot, footstep, footprint (Ko.); meṭṭu step, stair, treading, slipper (Te.)(DEDR 1557). Rebus: मेढ ‘merchant’s helper’ (Pkt.); me  ‘iron (Munda).


Sibri:


Source: Jarrige, Catherine, Jean-François Jarrige, Richard H. Meadow, and Gonzague Quivron, editors (1995/1996) Mehrgarh: Field Reports 1974-1985 - From Neolithic Times to the Indus Civilization. The Reports of Eleven Seasons of Excavations in Kachi District, Balochistan, by the French Archaeological Mission to Pakistan. Sindh, Pakistan: The Department of Culture and Tourism, Government of Sindh, Pakistan, in Collaboration with the French Ministry of Foreign Affairs.


The text on pg. 326 says:

6.6. Terracotta
Pawns, small wheels, spindle whorls, rattles (fig. 7.32C), sling-balls, and two crucibles, all in terracotta, were collected, together with a large number of discs formed from potsherds. One of the rattles with circular impressions on its surface is very similar to a specimen from a deposit of Period VIII at Mehrgarh, and another one, so far exceptional, bears incised signs and dots that could represent numbers (fig. 7.31C, 7.32C).

6.7. Seals
The seals are of two types. The most common type is the compartmented seal in bronze or in stone. Three specimens have a triangular shape while a terracotta cake bears several imprints of a square-shaped seal with a cruciform motif (fig. 7.31A). The second type is represented by a single piece, a black steatite cylinder seal with knob (fig. 7.31D). It was engraved with the representation of a zebu facing a lion and, on the base, a scorpion. This cylinder seal was found associated with two beads in black steatite and must have been part of a necklace as indicated by its suspension hole. This seal is very similar to a few cylinder seals found in Margiana, in particular at the site of Taip, where such objects are considered to reveal
Mesopotamian influence. One seal from Taip bears the representation of a zebu.

6.8. Copper/Bronze
In the same square (2K) where the cylinder seal was found, a bronze shaft-holed axe-adze of a type also often found in the Murghabo-Bactrian area was discovered (fig. 7.32B). A famous example of such an axe-adze comes from Mohenjo-daro. Other objects in bronze or copper include a few pins.

6.9. Figurines
Terracotta figurines, all made of sherd-tempered ware, were found in large numbers (fig. 7.32B). The main type is a "violin-shaped" female figurine. Eyes and breasts are "applique" as is the coiffure in some cases. Some of the figurines also bear necklaces or ornaments represented by small incised holes. Most of the time, however, only indications of sex are represented including applique breasts and small incised points marking the pubic area and the armpits. This violin-shaped type of figurine is quite original although it does have parallel among a few specimens from sites in the lower Murghab Delta and from later contexts at Pirak and in India (Navdatoli).


A second type of figurine is represented by a seated callipyge individual while a third type is a standing, flat figurine with small applique breasts. In contrast to the large number of human figurines, very few animal figurines (three humped bulls and some others more difficult to identify) were found.


In Jarrige, Jean-François (1994) The final phase of the Indus occupation a Nausharo and its connection with the following cultural complex of Mehrgarh VIII. In: Asko Parpola and Petteri Koskikallio, eds., South Asian Archaeology 1993, Volume 1, pp. 295-313. Hesinki: Suomalainen Tiedeakatemia, Jarrige discusses relations between Central Asia, Balochistan, and the Indus Valley.





Scanned pages: pp. 360-361 (Sibri1996.pdf)



Rebus reading of + glyph with dots on four corners of the + glyph, on the bulla shown on 7.31a. The + glyph may denote a fire-altar (of temple). kaṇḍ ‘furnace, fire-altar’ (Santali) khondu id. (Kashmiri) kŏnḍ क्वंड् ‘a hole dug in the ground for receiving consecrated fire’ (Kashmiri) kunḍa ‘consecrated fire-pit’. ayaskāṇḍa is explained in Panini as ‘excellent quantity of iron’ or ‘tools, pots and pans and metal-ware’. [It is possible that there were allographs to depict the word: kāṇḍa. The allographs are: arrow-glyph; large dot; notch as a short numeral stroke (for example, ligatured on a fish-glyph or a 'rim-of-jar' glyph; dotted circle.]

Example of use of allograph on a seal from Banawali showing women acrobats leaping over a water-buffalo:
Impression and line-drawing of a steatite stamp seal with a water-buffalo and leapers. Buffalo attack or bull-leaping scene, Banawali (after UMESAO 2000:88, cat. no. 335). A figure is impaled on the horns of the buffalo; a woman acrobat wearing bangles on both arms and a long braid flowing from the head, leaps over the buffalo bull. Two Indus script glyphs in front of the buffalo.

Glyphs: ‘1. arrow, 2. jag/notch’:

1.     kaṇḍa ‘arrow’ (Skt.) H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers (CDIAL 3024). Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ)

2.     खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā ‘tools, pots and pans, metal-ware’.


The message of stone ore is reinforced by the glyphics of buffalo and overthrow of an acrobat woman (kola ‘woman’; rebus: kol‘smithy’):


கண்டி kaṇṭi buffalo bull (Tamil) kaṇḍ ‘buffalo’; rebus: kaṇḍ ‘stone (ore)’. kiḍāvu. He-buffalo; எருமைக்கடா(Malayalam) Colloq.கடவு³ kaṭavu , n.  < கடா. 1. Male buffalo; எருமைக்கடா. முதுகடவு கடவி (அழகர்கல. 33). kaawan ho ‘a man who has buffaloes’. (George L. Campbell, Compendium of the World’s Languages, Routledge, London, 1991, p. 1199).Rebus: khāḍ ‘trench, firepit’ (G.) khāṛo ‘pit, bog’ (Nepali)
Rebus: kāḍ ‘stone’. Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298). mayponḍi kanḍ whetstone;  (Ga.)(DEDR 4628).(खडा) Pebbles or small stones: also stones broken up (as for a road), metal. खडा [ khaḍā ] m A small stone, a pebble. 2 A nodule (of lime &c.): a lump or bit (as of gum, assafœtida, catechu, sugar-candy): the gem or stone of a ring or trinket: a lump of hardened fæces or scybala: a nodule or lump gen. CDIAL 3018 kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone ʼ lex.] 

baṭi trs. To overturn, to overset or ovethrow; to turn or throw from a foundation or foothold (Santali) baṭi to turn on the ground to any extent, or roll; uaurbaṭi, to upset or overthrow by shoving or pushing; mabaṭi to overturn by cutting, to fell trees; baṭi-n rflx. v., to lay oneself down; ba-p-aṭi repr. V., to throw each other; baṭi-o to be overturned, overthrown; ba-n-at.i vrb.n., the extent of the overturning, falling down or rolling; baṭi-n rlfx.v., to lie down; baṭi-aṛagu to bring or send down a slope by rolling; baṭi bar.a to roll again and again or here and there; baṭi-bur to turn over by rolling (Mundari) Rebus: baṭi, bhaṭi ‘furnace’ (H.) Rebus: baṭa = a kind of iron (G.) bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali). bhaṭa = an oven, kiln, furnace (Santali) baṭhi furnace for smelting ore (the same as kuṭhi) (Santali)

Sibri cylinder seal with Indus writing hieroglyphs: notches, zebu, tiger, scorpion?. Each dot on the corner of the + glyph and the short numeral strokes on a cylinder seal of Sibri, may denote a notch: खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus:khāṇḍā ‘tools, pots and pans, metal-ware’.
The + glyph of Sibri evidence is comparable to the large-sized 'dot', dotted circles and + glyph shown on this Mohenjo-daro seal m0352 with dotted circles repeated on 5 sides A to F. 
Rebus readings of m0352 glyphs:

1. Round dot like a blob -- . Glyph: raised large-sized dot -- (gōṭī ‘round pebble);

2. Dotted circle khaṇḍa ‘A piece, bit, fragment, portion’; kandi ‘bead’;

3. A + shaped structure where the glyphs  1 and 2 are infixed.  The + shaped structure is kaṇḍ  ‘a fire-altar’ (which is associated with glyphs 1 and 2)..

Rebus readings are: 1. khoṭ m. ʻalloyʼ; 2. khaṇḍā ‘tools, pots and pans and metal-ware’; 3. kaṇḍ ‘furnace, fire-altar, consecrated fire’.


Four ‘round spot’; glyphs around the ‘dotted circle’ in the center of the composition: gōṭī  ‘round pebble; Rebus 1:L. khoṭf ʻalloy, impurityʼ, °ṭā ʻalloyedʼ, awāṇ. khoṭā  ʻforgedʼ; P. khoṭ m. ʻbase, alloyʼ  M.khoṭā  ʻalloyedʼ (CDIAL 3931)Rebus 2: kōṭhī ] f (कोष्ट S) A granary, garner, storehouse, warehouse, treasury, factory, bank. khoṭā  ʻalloyedʼ metal is produced from kaṇḍ ‘furnace, fire-altar’ yielding khaṇḍā ‘tools, pots and pans and metal-ware’. This word khaṇḍā is denoted by the dotted circles.


Rebus readings of zebu and ‘tiger’? on the cylinder seal shown on 7.31d: khũṭ m. ʻ Brahmani or zebu bull ʼ (G.) Rebus:khũṭ  ‘community, guild’ (Santali) kola ‘tiger’ Rebus: kol ‘working in iron’; pañcaloha, alloy of five metals (Tamil).

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.); aḍaruni ‘to crack’ (Tu.) (DEDR 66) Rebus: aduru ‘native, unsmelted metal’ (Kannada) adurugaiyinda tegadu karagade iruva aduru’, that is, ore taken from the mine and not subjected to melting in a furnace (Kannada)



The numerical strokes on the seal may denote the number of ‘ingots?’ of iron made for the guild by the artisan who owned the cylinder seal. It may also denote that he was a worker in ‘iron’ for the smithy guild. An allograph to denote a guild is: footprint shown on some seals discussed in previous section.



Other glyphs used at Shahdad as evidenced by the drawings and artefacts unearthed by Ali Hakemi:

aya 'fish' (Munda) Rebus: aya 'metal (alloy)' (Sanskrit) (cf. Motif shown on copper/bronze plates).

On Shahdad standard there is an endless knot motif like a chain. This motif also appears on Indus writing.


If the date palm denotes tamar (Hebrew language), ‘palm tree, date palm’ the rebus reading would be: tam(b)ra, ‘copper’ (Pkt.)

But in one Indian language -- Kannada --, tamara means: tagarm tin (Ko.); tagara, tamara, tavara id. (Kannada.) 

The endless knot motif on Indus writing is as shown on the copper plate of Mohenjo-daro. This is a lot different from the continuous endless chain shown on Shahdad standard.

Another comparable motif on Indus writing is a 'chain' like a beaded chain as shown on some seals.

If there is a word to describe the Shahdad glyph of endless knot motif, there are two possibilities: meDhA 'tangle in cord' rebus: meD 'iron'. 

Another set of words from Indian sprachbund

Glyph: kaḍī a chain; a hook; a link (G.); kaḍum a bracelet, a ring (G.) Rebus: kaḍiyo [Hem. Des. kaḍaio = Skt. sthapati a mason] a bricklayer; a mason; kaḍiyaṇa, kaḍiyeṇa a woman of the bricklayer caste; a wife of a bricklayer (G.)
Inline image 3Mohenjo-daro m1406 Seal Drummer vaulting over. Endless knot (chain like beads) motif.
Inline image 4Kalibangan seal. k020 Glyphs: threaded beads + water-carrier

Inline image 2m1457 copper plate Mohenjo-daro Endless knot motif


मेढा mēḍhā A twist or tangle arising in thread or cord, a curl or snarl. (Marathi) Rebus: meḍ ‘iron’ (Ho.) 

few samples of Indus writing glyphs of tree, zebu, knot, tiger -- the glyphs are not exactly comparable in style but the key is that these specific glyphs are deployed on seals. There are many more recording these glyphs.

Hieroglyphs from a vase in Tell Asmar (29-27th cent. BCE). Pair of tigers, pair of zebu; a person holding two snakes; eagle and lion attacking a zebu. The Khafajeh vessel, 2600 BC, was made in the territory of today's Iran. On the left man / Enki (?) Kneels on a pair of cattle (Zebu). It holds two streams of water irrigating palm trees and plants. Above him the crescent moon and the star The second character stands between two cats. Holds two snakes. Above her the star. The right bird and the lion attack the lying bull.

Image result for m0309 tiger spy tree mohenjodaro sealm0309 Mohenjo-daro seal (Tree and a person on a tree branch) कुठि [p= 289,1] kuṭhi mfn. " leafless , bare " or " crooked , wry " (Comm. ; said of a tree) Shad2vBr.m. a tree L. rebus: kuṭhi 'smelter'
kola 'tiger' Rebus: kol'working in iron'; kolhe 'smelter' 
heraka 'spy' Rebus: eraka 'moltencast, copper'

Image result for harappa tablet h188aHarappa tablet h188A, B 

कुठि [p= 289,1] kuṭhi mfn. " leafless , bare " or " crooked , wry " (Comm. ; said of a tree) Shad2vBr.m. a tree L. rebus: kuṭhi'smelter'


aḍar 'harrow'; rebus: aduru 'native unsmelted metal' bhaTa 'warrior' rebu:bhaTa 'furnace' kanka 'rim of jar' rebus:karNI 'supercargo' कर्णक kárṇaka, kannā 'legs spread' rebus: कर्णक kárṇaka 'helmsman' khareDo 'currycomb' rebus: Rebus: kharādī ' turner' (G.) kāmsako, kāmsiyo = a large sized comb (G.) Rebus: kaṁsa 'bronze' (Te.) 

meḍha ‘polar star’ (Marathi). Rebus: ‘iron’ (Ho.)


bicha ‘scorpion’ (Assamese) Rebus: bica ‘stone ore’ (Munda)
    ḍato ‘claws or pincers of crab (Santali) rebus: dhatu ‘ore’ (Santali)

    Crab ‘kamaṭha’; rebus: kampaṭṭam ’mint’ (Tamil Malayalam) kamaṭa = portable furnace for melting precious metals (Telugu)

    kuṭi 'tree'. khũṭ m. ʻstump of tree’ (Marathi) Rebus: kuṭhi ‘smelter furnace’ (Munda) 

    tamar, ‘palm tree, date palm’ (Hebrew) Rebus reading would be:  tam(b)ra, ‘copper’ (Prakrit)



    Other examples of rebus readings of Indus writing:


    The major contribution made by Meluhhans in Sumer was tin and zinc as alloying minerals to create tin-, zinc-bronzes (to complement naturally-occurring copper + arsenic ores for arsenic bronzes).

    Meluhhan artisans in Sumer used Indus writing to create metal-ware catalogs.

    Meluhhan settlements in ancient Near East have been discussed. Rebus readings are based on substrate lexemes of Indian sprachbund, a contact region.with pronounced bronze-age contributions of creating alloys with tin and zinc.


    Image 1. Eight fish, four peacocks holding four fish, slanting strokes surround


    Image 2. Six women, curl in hair, six scorpions


    Image 3. Warka vase . Antelope, ingot tiger, ingot, face of bull, procession of bovidae, tabernae Montana stalks


    Rebus readings of hieroglyphs which also recur on Indus writing corpora :

    dhāḷ ‘a slope’; ‘inclination of a plane’ (G.); dhāḷako ‘large metal ingot’ (G.) 

    ayo ‘fish’; rebus: ayas ‘metal’

    mora peacock; morā ‘peafowl’ (Hindi); rebus: morakkhaka loha, a kind of copper, grouped with pisācaloha (Pali). moraka "a kind of steel" (Sanskrit)

    gaṇḍa set of four (Santali); rebus: kaṇḍ ‘fire-altar, furnace’ (Santali)

    मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). S. mī˜ḍhī f., °ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ° m. ʻbraid of hair on a girl's forehead ʼ (CDIAL 10312). Rebus: mē̃ḍ ‘iron’ (Mu.) meṛha M. meṛhi F.’twisted, crumpled, as a horn’; meṛha deren ‘a crumpled horn’ (Santali) मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock. मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.

    The entire composition of glyphic elements on a Harappa tablet, h180:

    4304


    Other glyphic elements of the tablet:

    Two tigers rearing on their hindlegs standing face to face.


    Glyph: tiger: kola ‘tiger’. Rebus: kol ‘working in iron’
    Glyph: dula ‘pair’. Rebus: dul ‘casting (metal). 

    A person carrying a sickle-shaped weapon and a wheel on his bands faces a woman with disheveled hair and upraised arm. kuṭhāru ‘armourer’ (Skt.) The glyptic composition is decoded as kuṭhāru sal ‘armourer workshop.’ eṛaka 'upraised arm' (Ta.). Rrebus: eraka = copper (Ka.) Thus, the entire composition of these glyphic elements relate to an armourer’s copper workshop. The hairstyle of the woman is comparable to the wavy hair shown on the Samarra bowl (Image 2. Six women, curl in hair, six scorpions)


    The glyphic elements shown on the tablet are: copulation, vagina, crocodile. h180 tablet. Gyphic: ‘copulation’: kamḍa, khamḍa 'copulation' (Santali) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.) Vikalpa: kaṇḍa ‘stone (ore)’. Glyph: vagina: kuṭhi ‘vagina’; rebus: kuṭhi ‘smelting furnace’. The descriptive glyphics indicates that the smelting furnace is for stone (ore). This is distinquished from sand ore. Glyph: ‘crocodile’: karā ‘crocodile’. Rebus: khar ‘blacksmith’. kāru a wild crocodile or alligator (Te.) కారు mosale ‘wild crocodile or alligator. S. ghaṛyālu m. ʻ long — snouted porpoise ʼ; N. ghaṛiyāl ʻ crocodile’ (Telugu)ʼ; A. B. ghãṛiyāl ʻ alligator ʼ, Or. Ghaṛiāḷa, H. ghaṛyāl, ghariār m. (CDIAL 4422) கரவு² karavu, n. < கரா. Cf. grāha. Alligator; முதலை. கரவார்தடம் (திவ். திருவாய். 8, 9, 9). கரா karā, n. prob. Grāha. 1. A species of alligator; முதலை. கராவதன் காலினைக்கதுவ (திவ். பெரியதி. 2, 3, 9). 2. Male alligator; ஆண்முதலை. (பிங்.) கராம் karām Thus, the message of the glyphic composition is: kammaṭa kaṇḍa kuṭhi khar mint (coiner) stone (ore) smelting furnace, blacksmith.A comparable glyphic composition is a naked woman seated with her legs spread out flanked by two scorpions. Cylinder-seal impression from Ur showing a squatting female. L. Legrain, 1936, Ur excavations, Vol. 3, Archaic Seal Impressions. This glyphic composition depicts a smelting furnace for stone ore as distinguished from a smelting furnace for sand ore. meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.)


    bicha, bichā ‘scorpion’ (Assamese) Rebus: bica ‘stone ore’ (Mu.) sambr.o bica = gold ore (Mundarica) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.)

    bhaṭa ‘six ’; rebus: bhaṭa ‘furnace’. 

    satthiya ‘svastika glyph’; rebus: satthiya ‘zinc’, jasta ‘zinc’ (Kashmiri), satva, ‘zinc’ (Pkt.)

    kola ‘woman’; rebus: kol ‘iron’. kola ‘blacksmith’ (Ka.); kollë ‘blacksmith’ (Koḍ)

    muha -- n. ʻmouth, faceʼ (Pkt.) mũh ‘face’; rebus: mũh ‘ingot’ (Mu.) 

    kul ‘tiger’ (Santali); kōlu id. (Te.) kōlupuli = Bengal tiger (Te.) कोल्हा [ kōlhā ] कोल्हें [kōlhēṃ] A jackal (Marathi) rebus: kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pañcaloha’ (Tamil) kol ‘working in iron, blacksmith’; kollaṉ ‘blacksmith’ (Tamil). 

    ṭagara = tabernae montana (Skt.) ṭagara ‘antelope’; rebus: ṭagara ‘tin’. Cf. cognate: tamkāru, damgar ‘merchant’(Sumerian).

    ḍã̄gar ‘horned cattle’ (K.) rebus: ḍāṅgar ‘blacksmith’ (H.) damgar ‘merchant, trader’(Sumerian).

    Sources for the images:

    Image 1. The Samarra bowl (ca. 4000 BC) at on exhibit at the Pergamon museum, Berlin. The bowl was excavated as Samarra by Ernst Herzfeld in the 1911-1914 campaign, and described in a 1930 publication. The design consists of a rim, a circle of eight fish, and four fish swimming towards the center being caught by four birds. At the center is a swastika symbol. (Ernst Herzfeld, Die vorgeschichtlichen Töpfereien von Samarra, Die Ausgrabungen von Samarra 5, Berlin 1930.)

    Image 2. Women with flowing hair and scorpions, Samarra, Iraq. After Ernst Herzfeld, Die Ausgrabungen von Samarra V: Die vorgeschichtischenTopfereien, Univ. of Texas Press, pl. 30. Courtesy Dietrich Reimer. This image is discussed in Denise Schmandt-Besserat, When writing met art, p.19. “The design features six humans in he center of the bowl and six scorpions around the inner rim. The six identical anthropomorphic figures, shown frontally, are generally interpreted as females because of their wide hips, large thighs, and long, flowing hair…Six identical scorpions, one following after the other in a single line, circle menacingly around the women.”

    Image 3. “The Warka Vase or the Uruk Vase is a carved alabaster stone vessel found in the temple complex of the Sumerian goddess Inanna in the ruins of the ancient city of Uruk, located in the modern Al Muthanna Governorate, in southern Iraq. Like the Narmer Palette from Egypt, it is one of the earliest surviving works of narrative relief sculpture, dated to c. 3,200–3000 BC. The vase was discovered as a collection of fragments by German Assyriologists in their sixth excavation season at Uruk in 1933/1934. It is named after the modern village of Warka - known as Uruk to the ancient Sumerians.” 

    Some examples of use of comparable hieroglyphs from, Indus writing corpora may be cited:

    Chanhu-daro Seal obverse and reverse. The oval sign of this Jhukar culture seal is comparable to other inscriptions. Fig. 1 and 1a of Plate L. After Mackay, 1943. The hieroglyphs of the seal relate representations of bun ingots to two orthographic representations of ‘antelopes’: one is shown walking, the other is shown with head turned backwards. A flower is shown, perhaps, a representation of tabernae Montana.


    Stamp seal from Susa , at Louvre Museum. “Susa is one of the oldest known settlements of the world, possibly founded about 4200 BC, although the first traces of an inhabited village have been dated to ca. 7000 BCE. The seal depicts two goat-antelopes head to tail, outside an oval.” 


    Tin bun ingot. Late Bronze Age, 10th-9th century B.C.E. Salcombe shipwreck, 300 yards off the South Devon coast, England, 2009. 


    Cylinder seal: lion and sphinx over an antelope 


    The depiction of a bull’s head together with an antelope is significant and recalls the association of bull’s head with oxhide ingots. The antelope looking backwards is flanked by a lion (with three dots at the back of the head) and a winged animal (tiger?)

    Bhirrana


    Allograph: Kur. xolā tail. Malt. qoli id. (DEDR 2135). [The ‘short-tail’ is a hieroglyph which is ligatured to an ‘antelope’ – as a hieroglyph read rebus. Such a ligatured-tail evolved into a ‘sign’ of the Indus script which appears on inscribed copper-tablets.] Rebus: kol ‘working in iron (metal), blacksmith (in this case, tin-smith)’. baṭa ‘six’ (hence six short strokes)(G.); rebus: bhaṭa ‘furnace, smelter’ (Santali). The stalk in front of the antelope is explained rebus: kolmo ‘rice-plant’(Santali); rebus: kolami ‘smithy/forge’ (Te.) The antelope orthography shows a ‘ram’: tagara ‘ram’; if the plant is tabernae montana, tagaraka ‘tabernae montana’; rebus: tagara ‘tin’. The seal shows an artisan-merchant who has a smelter to produce tin ingots.Antelope: meḷh ‘goat’ (Br.) Rebus: meṛha, meḍhi ‘merchant’s clerk; (G.) meḍho ‘one who helps a merchant’ vi.138 ‘vaṇiksahāyah’ (deśi. Hemachandra). Cf. meluhha-mũh > mleccha-mukha ‘copper (ingot)’.

    Harppa. Potsherd with incisions of three glyphs. “The earliest (Indus) inscriptions date back to 3500 BC.” h1522A sherd. Slide 124. Inscribed Ravi sherd. The origins of Indus writing can now be traced to the Ravi Phase (c. 3300-2800 BCE) at Harappa. Some inscriptions were made on the bottom of the pottery before firing. Other inscriptions such as this one were made after firing. This inscription (c. 3300 BCE) appears to be three plant symbols arranged to appear almost anthropomorphic. The trident looking projections on these symbols seem to set the foundation for later symbols…"
    http://news.bbc.co.uk/2/hi/science/nature/334517.stm This is the Meadow reference. The image posted by BBC was later replaced by Meadow with the glyphs of 'five petals' incised on a potsherd of Harappa dated to ca. 3300 BCE.



    The glyph is tabernae montana, ‘mountain tulip’. A soft-stone flask, 6 cm. tall, from Bactria (northern Afghanistan) showing a winged female deity (?) flanked by two flowers similar to those shown on the comb from Tell Abraq. Ivory comb with Mountain Tulip motif and dotted circles. TA 1649 Tell Abraq.

    Susa pot, from Meluhha, with metal artifacts. The pot has an inscription, painted with ‘fish’ hieroglyph. 


    [quote] “...the earliest brass in the world was in the Harappan site of Lothal and then in the early PGW site of Atranjikhera. The primacy of zinc metallurgy in India is established by three kinds of evidences: (a) second millennium BCE radiocarbon dating of zinc ore mine in Southern Rajasthan, (b) fourth century BCE brass vase in Taxila assaying 34% zinc, and (c) second century AD literature of Nagarjuna describing distillation of zinc…(paper) details…large scale zinc manufacture in medieval Zawar and the unique phenomenon of a technology transfer from India to the western world…The earliest method of making brass was possibly the cementation process in which finely divided copper fragments were intimately mixed with roasted zinc ore (oxide) and reducing agent, such as charcoal, and heated to 1000 degrees C in a sealed crucible. Zinc vapour formed dissolved into the copper fragments yielding a poor quality brazz, zinc percentage of which could not be easily controlled. Fusion of zinc with copper increases the strength, hardness and toughness of the latter. When the alloy is composed of 10-18% zinc, it has a pleasing golden yellow colour. It can also take very high polish and literally glitter like gold. For this property, brass has been widely used for casting statuary, covering temple roofs, fabricating vessels, etc…Lothal (2200-1500 BCE) showed one highly oxidized antiquity (No. 4189), which assayed 70.7# copper, 6.04# zinc, 0.9% Fe and 6.04% acid-soluble component (probably carbonate, a product of atmospheric corrosion)…Most of the brass samples in ancient India contained variable proportions of Zn, Sn and Pb…During the Harappan era, copper used to be alloyed with tin and arsenic; since these were scarce commodities, alternative alloying elements had to be looked for. Artisans in the Rajasthan-Gujarat region might have stumbled on to zinc ore deposit as a new source of alloying element…(Taxila vase BM 215-284)…dated to the 4th century BCE. This brass sample contains 34.34% zinc, 4.25% Sn, 3.0% Pb, 1.77% and 0.4% nickel. This is very strong evidence for the availability of metallic sinc in the 4th century BCE. Possibly India was the first to make this metal zinc (rasaka) by the distillation process, as practiced for other metal mercury (rasa)...The pseudo-Aristotelian work, ‘On marvelous things heard’ mentioned: “They also say that amongst the Indians the bronze is so bright, clean and free from corrosion that it is indistinguishable from gold, but that amongst the cups of Darius there is a considerable number that could not be distinguished from gold or bronze except by color.”...The Indian emphasis was on the ‘gold-like’ brass and not on the zinc metal…The discovery of three important hoards of metallic art objects at Mahudi of north Gujarat, Lilvadeva (north-east) and Akota of central Gujarat, dated between 6th and 11th centuries AD, proved that the artisans there had developed four varieties of alloys: (a) bronze, (b) zinc-bronze, (c) lead brass, and (d) conventional brass…The technical term ārakūṭa for brass persisted through centuries and we find this mentioned in the 4th century AD Jaina text Angavijja (as hārakūḍa) and also in Amarakośa (450 AD)…Pliny mentioned the Latin term aurichalcum (golden copper), made in India from cadmia, identified as calamine or the zinc ore. Samuel Beal suggested that the name cadmia came from Calamina, a port at the mouth of the Indus, which negotiated the export of the ore or the alloy of zinc. Ball, however, suggested that the port was Calliana or Kalyan near Bombay. The sixth century AD traveler Sopater had mentioned Calliana exporting brass…The earliest reference to zinc as a metl is found in Nagarjuna’s Rasa-Ratnākara. In one passage (RR 3) it was mentioned: “What wonder is that rasaka (zinc or zinc ore) roasted with three parts of śulva (copper) converts the latter into gold”. Actually, this was gold-coloured 25% zinc-brass, also known as pīta-tāla (pitala) or yellow alloy.”…jast (derived from Sanskrit jaśada or zinc)…On brass and zinc metallurgy, the primacy of India in the ancient and medieval world is now beyond any dispute.” [unquote]

    [quote] "The first smelting of iron [ore] may have taken place as early as 5000 BC" at Samarra, Mesopotamia, but more commonly early iron was recovered from fallen meteors (yielding iron with a characteristic 4+% nickel content). By the middle of the fourth millennium BC, "both texts and objects reveal the presence of iron" in Mesopotamia, from where the Jaredites departed. Just possibly they brought with them to the New World technical knowledge of that metallurgy. Sporadically throughout the Bronze Age (about 3500 BC–1000 BC) in the Near East, wrought (nonmeteoric) iron objects were being produced, along with continued use of the meteoric type. Yet details of the history at that time are poorly known. The find of an iron artifact from Slovakia dated to the 17th century BC leads one researcher to lament "how little we actually know about the use of iron during the second millennium BCE." Steel is "iron that has been combined with carbon atoms through a controlled treatment of heating and cooling." Yet "the ancients possessed in the natural (meteoric) nickel-iron alloy a type of steel that was not manufactured by mankind before 1890." (It has been estimated that 50,000 tons of meteoritic material falls on the earth each day, although only a fraction of that is recoverable.) By 1400 BC, smiths in Armenia had discovered how to carburize iron by prolonged heating in contact with carbon (derived from the charcoal in their forges). This produced martensite, which forms a thin layer of steel on the exterior of the object (commonly a sword) being manufactured. Iron/steel jewelry, weapons, and tools (including tempered steel) were definitely made as early as 1300 BC (and perhaps earlier), as attested by excavations in present-day Cyprus, Greece, Turkey, Syria, Egypt, Iran, Israel, and Jordan. "Smiths were carburizing [i.e., making steel] intentionally on a fairly large scale by at least 1000 BC in the Eastern Mediterranean area." [unquote]

    Tokens of Susa evolve into hieroglyphic Indus writing in ancient Near East

    Shape of a token representing one ingot of metal, Susa, Iran, ca. 3300 BCE.


    Denise Schmandt-Besserat, 2009, Tokens and writing: the cognitive development, Scripta, Vol. 1 (September 2009): 145-154

    The development of the power of abstraction as illustrated by the evolution of counting in the ancient Near East. Tokens indicates that counting was first done concretely in one-to-one correspondence. The claytokens, that appeared in the Near East about 7500 BC, abstracted the goods they represented. For example a cone abstracted a measure of grain. About 3300 BC, when tokens were kept in envelopes, markings on envelopes abstracted the tokens held inside. Abstract numbers are the culmination of the process, following the invention of writing.

    Excerpts:

    ‘For example, the number of token shapes which was limited to about 12 around 7500 BC, increased to some 350 around 3500 BC, when urban workshops started contributing to the redistribution economy. Some of the new tokensstood for raw materials such as wool and metal while others represented finished products, among them textiles, garments, jewelry, bread, beer and honey (Fig. 2).’ (p.148, ibid.)

    Bronze-age advance in accounting for metalware and metallurgical processing categories using Indus writing

    The corpora of inscriptions with Indus writing has now grown to over 5,000 and the evidence, together with the lexemes of Indian sprachbund provide a method for validating the rebus readings of hundreds of hieroglyphs to categorise and account for work-in-process transactions from furnace or smelter to the forge (on workers' platforms) and for compiling metalware catalogs of minerals used, metals and alloys smelted or forged.

    Hundreds of hieroglyphs are read rebus using the substrate lexemes of Indian sprachbund to decipher the inscriptions in Indus writing. 

    On this seal, ayo 'fish' read rebus ayas 'metal'; ḍangar 'bull' read rebus ḍangar 'blacksmith'; koṭ 'horn; red rebus: khoṭ 'alloy'; khoṇḍ 'young bull-calf' read rebus khuṇḍ '(metal) turner'.


    The ayo 'fish' hieroglyph thus adequately categorizes the metalware contents of a pot discovered in Susa.


    m1429B. Glyphs: crocodile + fish ayakāra ‘blacksmith’ (Pali)kāru a wild crocodile or alligator (Te.) aya 'fish' (Mu.) The method of ligaturing enables creation of compound messages through Indus writing inscriptions.


    Conclusions


    The continued use of hieroglyphs of Indus writing together with cuneiform texts is a characteristic feature of the evolution of writing in ancient Near East as it progressed from the use of tokens and bullae to the use of glyphs to denote many metallurgical categories. A method of rebus readings evidenced for Narmer palette in Egypt applied to the Indus writing glyphs reveals Meluhha (mleccha) substrate lexemes from Indian sprachbund.



    Source:  "Catalogue de l'exposition: LUT/xabis 'Shahdad'- Premier Symposium Annuel de la recherche Archéologique en Iran, Festival de la Culture et des arts, 1972," and published in Tehran. The text on p. 20 (French portion of the publication) identifies the bulla (No. 54 in the catalogue) as "Boule en terre cuite rouge creuse qui contient des cailloux. Décor estampé. Diam: 6 cm, Xabis "Shahdad" Kerman. 2ème moité du IV mill. av. J.-C.  No. F.258/48."



    Archaeometallurgical investigaions on bronze age metal finds from shahdad and tappeh yahya (I.R. Iran))more by David Meier (Iranian Journal of Archaeological Studies, 1:2 (2011)

    http://www.academia.edu/2182599/archaeometallurgical_investigaions_on_bronze_age_metal_finds_from_shahdad_and_tappeh_yahya_I.R._Iran_ 
    IJAS_1.2_2011_dmpm.pdf

    http://www.scribd.com/doc/155933212/Archaeometallurgical-investigaions-on-bronze-age-metal-finds-from-shahdad-and-tappeh-yahya-I-R-Iran-more-by-David-Meier-Iranian-Journal-of-Archaeo

    Bronze in Archaeology: A Review of the 
    Archaeometallurgy of Bronze in Ancient Iran 
    Omid Oudbashi, S. Mohammadamin Emami, and Parviz Davami This is dated 1980 and included in:
    T. Wertime & J. Muhly (Eds.), The coming of the Age of Iron (pp. 229–. 266). New Haven: Yale University Press.

    http://www.scribd.com/doc/155936341/Bronze-in-Archaeology-a-Review-of-the-Archaeometallurgy-of-Bronze-in-Ancient-Iran-1980-Omid-Oudbashi-S-Mohammadamin-Emami-and-Parviz-Davami



    The Early Bronze Age of Iran, Tepe Yahya (Lamberg-Karlovsky&Kohl). Expedition, Spring/Summer 1971
    http://www.scribd.com/doc/156061928/The-Early-Bronze-Age-of-Iran-Tepe-Yahya-Lamberg-Karlovsky-Kohl

    BRONZE AGE, in Iranian archeology a term used informally for the period from the rise of trading towns in Iran, ca. 3400-3300 B.C., to the beginning of the Iron Age, ca. 1400-1300 B.C. It was originally adopted as part of a chronological system based on assumptions about successive changes in the use of raw materials for tool manufacture, but, along with Iron Age and other comparable terms, it has long since lost any precise meaning in relation to technology. More commonly today, however, it simply refers to archeological sites and events regarded as occurring after the Neolithic (more precisely, after the Chalcolithic) era and before the Iron Age, and this sense is the one that has been adopted here.
    Archeological knowledge of Bronze Age Iran has been derived primarily from intensive regional studies in which systematic surface surveys have been combined with excavation at sites having long, well-defined stra­tigraphic sequences and with more limited excavations designed to obtain information on specific periods (Figure 29; for an outline of the results of these excavations, a detailed chronology, a discussion of chronological problems, and a full set of references, see Voigt and Dyson).
    During the Bronze Age the populations of the Iranian plateau, bounded on the east by the Hindu Kush and the Himalayas and on the west by the lowlands of Ḵūzestān and Mesopotamia, prospered greatly, owing to rich natural resources and the overland trade routes between the western lowlands and the Indus valley, central Asia, and Afghanistan. There is evidence that at the end of the 4th millennium B.C. settlements through­out Iran were linked in a common cultural network, the “Proto-Elamite horizon.” Subsequently, however, dis­tinct regional cultural and political systems and a major division between eastern and western Iran developed. As these regions exhibited strong cultural continuity throughout the Bronze Age, cultural development in each will be traced from the Proto-Elamite period.
    Southwestern Iran. Modern archeological research on Iran began in the lowlands of Ḵūzestān, known in antiquity as Elam. This region passed from the prehis­toric into the protohistoric period in the mid-4th millennium B.C. The most important site in the region is Susa, where in 1897 a French mission began work that continued intermittently until 1977. In the early years large settlement areas were excavated; more recently the focus has been on detailed stratigraphic analysis (see Carter and Stolper). The results of intensive surface surveys on the surrounding Susiana plain have been summarized for this period by J. Alden (1987) and R. Schacht (cf. Wright, for the adjacent Deh Luran [Dehlorān] plain).
    At Susa a great many texts in Proto-Elamite script (including both pictograms and numerical symbols) have been found on small clay tablets dated to the end of the 4th millennium (Meriggi, 1971). This script was superseded by cuneiform writing borrowed from Sumer in about 2300 (Carter and Stolper). The pottery of the earliest Proto-Elamite level (Susa III) is quite different from that of the underlying (Susa II) deposits, which are contemporary with the Late Uruk period in Meso­potamia (ca. 3500-3100 B.C.); in contrast, the Susa III pottery has parallels with that of the Jemdet Nasr (Jamdat Naṣr) and Early Dynastic I period in Mesopotamia (ca. 3100-2800 B.C.). Proto-Elamite Susa is estimated to have had a total area of about 11 ha, but the excavated architecture provides little information on community organization. Elsewhere on the Susiana plain there were only small, scattered settlements.
    The influence of Susa, revealed through the presence of Proto-Elamite tablets, cylinder seals, products bear­ing seal impressions, and selected pottery types, extended far to the east and north, where trade in raw materials and manufactured goods among a series of cities and towns was well established by 3100 B.C. The geographic range of this Pro-Elamite network encompassed the plateau as far east as Shahr-i Sokhta (Šahr-e Sūḵta) in Sīstān and Tepe Hissar (Ḥeṣār) on the Dam­ghan (Dāmḡān) plain in the north. The archeological evidence from Proto-Elamite sites differs, and the exact nature of the economic and political ties among them therefore remains problematic. Nevertheless, such settlements as those of Susa III, the Banesh (Baneš) period at Tal-e Malyan (Tall-e Malīān), Sialk (Sīalk) IV:2, Tepe Yahya (Yaḥyā) IVC, and Shahr-i Sokhta I/II produced Proto-Elamite texts and glyptic finds that suggest both shared ideology and economic ties (Carter and Stolper; Alden, 1982; Amiet, Dyson, 1987; Fink­beiner and Rollig; Lamberg-Karlovsky, 1977; idem and Tosi; Weiss and Young).
    To the east of Ḵūzestān the prehistoric period is well documented in the Kor river basin of Fārs province. The major excavated Bronze Age sites in this region are Malyan (Sumner) and Darvazeh (Darvāza) Tepe (Jacobs). Surface surveys conducted by Louis Vanden Berghe, William Sumner, and others have shown signifi­cant changes in settlement patterns and economic life during this period (Sumner, with references). In the Banesh (Proto-Elamite period) there was a smaller settled population in this region than in previous times, probably as a result of a broad shift from sedentary farming to pastoral nomadism. Malyan itself was a city, with a built-up area of about 50 ha. (In the Late Banesh period this area and about 150 ha of open space were enclosed by a wall.) Excavation has produced evidence of craft specialization, for example, production of small personal ornaments from imported raw materials. A large number of Proto-Elamite tablets, cylinder seals and sealings, and ceramics from Banesh Malyan are directly related to those in Susa III, evidence of strong contact between the two regions. There is, however, no evidence of political domination by Susa, and Sumner has suggested that Malyan was “the seat of a local tribal khan who exercised some form of political authority over the settled population and the pastoral nomads [of Fārs]” (p. 317). During the later 3rd millennium, when Susa and the lowlands were under the domination of Mesopotamian rulers, Ḵūzestān and Fārs showed greater cultural divergence. In Fārs after the Banesh phase there was a “severe depopulation” of the Kor river basin, lasting approximately from 2600 to 2200 B.C. There is no evidence for agricultural settlement, but the area is assumed to have been used by pastoral nomads.
    Settlement data from the succeeding Kaftari phase (2200-1600 B.C.) in the Kor river basin suggest a state organization centered on the walled city of Anshan (Tal-i Malyan) and the reestablishment of ties with the lowlands. The rulers of Fārs also played a role in political developments in Mesopotamia: Both the Ak­kadian king Maništusu (2269-2255 B.C.) and Gudea of Lagash (2143-2124 B.C.) claimed to have defeated Anshan, and subsequently the city became part of the Elamite political sphere (Carter and Stolper, pp. 13-16; Sumner, pp. 316-18). Little is known about Fārs from 1600 to 1300 B.C.; the population again declined, and the remaining settlements were divided into two geo­graphically distinct cultural groups, named Qale (Qaḷʿa) and Shoga Teimuran (Šoga Teymūrān) by William Sumner (Sumner; Jacobs).
    The southeastern plateau. Excavations at Tepe Yahya in Kermān province have uncovered occupation levels dating from the end of the 4th and the 3rd millennium (Lamberg-Karlovsky, 1970, 1977; Potts, 1980); inten­sive surface surveys have yielded further data (Prickett). In the Proto-Elamite period (IVC) Yahya was a large village or a small town in a sparsely populated region. Excavation has revealed a large building with a number of rooms that contained artifacts associated with economic administration: inscribed Proto-Elamite and blank tablets, seals and sealings, and pottery vessels apparently imported from Elam. This structure has been interpreted as an enclave for foreigners, because contemporary domestic structures on the mound con­tained artifacts and ceramics typifying a continuous indigenous cultural tradition. During the middle and late 3rd millennium (IVB) Yahya specialized in pro­duction of vessels and other small objects from chlorite, a soft stone that is abundant locally (Kohl). These items were exported to Mesopotamia, probably by way of Susa, and to settlements along the Persian Gulf, which conducted a flourishing sea trade extending as far as the Indus valley.
    North of Yahya, on a deltaic fan at the western edge of Dašt-e Lūt, Shahdad (Šāhdād, historic Ḵabīṣ) has been explored by means of excavations in a cemetery and a surface survey of the settlement (Hakimi; Sal­vatore and Vidale). The site was apparently occupied during the Proto-Elamite period, though the evidence has not yet been fully reported. In the second half of the 3rd millennium it was an active production center for artifacts of copper and semiprecious stones like agate, carnelian, and chalcedony. A large cemetery of pit graves yielded metal tools, vessels, and ornaments. Quantities of ceramics bear incised and stamped signs related to the older Proto-Elamite script. Similar pot­tery with some of the same signs was found in Yahya IVB and A (Potts, 1981). Several cylinder seals from Shahdad, apparently depicting a vegetation goddess, are also paralleled in contemporary levels at Yahya. Unique modeled clay busts of men and women have been compared with the stone sculptures of Early Dynastic II in Mesopotamia (ca. 2700-2600 B.C.). Two types of artifact from the cemetery, compartmented copper stamp seals and miniature columns of limestone, are common at sites of the same period in eastern Iran and central Asia and provide evidence of long distance trade on the eastern plateau. No doubt Shahdad served as a point of departure for the dangerous journey across Dašt-e Lūt to northeastern and eastern Iran.
    The farthest eastern extension of the Proto-Elamite network has been documented by a single tablet, seals, and sealings from period I at Shahr-i Sokhta. This site on the Helmand delta, which has been explored by means of surface surveys and extensive excavations of both the settlement and cemetery areas, was founded around 3200 B.C. (Tosi, 1983). By the mid-3rd millen­nium (periods II-III) it had grown into a major urban center covering 80 ha, surrounded by rural villages each with a surface area of between 0.5 and 2 ha. At the height of its development Shahr-i Sokhta was divided into functional zones, with an area devoted to public and administrative buildings, residential quarters, and a cemetery covering 21 ha. Productive activities were initially scattered but were later concentrated in what may have been a craftsmen’s quarter. Crafts document­ed at the site include the working of lapis lazuli, turquoise, chalcedony, quartz, and flint, as well as of copper. Pottery was manufactured at a small specialized kiln site (Rūd-e Bīābān) located about 30 km away; the styles of painted pottery were shared with central Asia and Baluchistan. During the mid-3rd millennium Shahr-i Sokhta was apparently the largest settlement on the eastern Iranian plateau. Whether or not a state organization had been achieved remains a matter for speculation. Nevertheless, given the size of the settle­ment and the complexity of its spatial organization, the presence of a state apparatus in periods II-III seems likely.
    The central and northern plateau. The influence of Proto-Elamite Susa can also be seen in the mountains of central western Iran and along the northern east-west overland route via Sialk (near Kashan/Kāšān) to Tepe Hissar. In the central Zagros the best known Bronze Age sequence comes from excavations at Godin (Gowdīn) Tepe in the Kangāvar valley (Young and Levine). In the last quarter of the 4th millennium an enclave of lowland traders (or indigenous admini­strators with strong ties to the lowlands) had been established there (periods VI-V; see Weiss and Young). A complex of buildings in an open court was sur­rounded by an oval wall. Within the enclosure such exotic items as tablets (all numerical except for one example inscribed with a single non-numerical charac­ter), seals and sealings, and types of ceramic vessels identified with the lowlands were found, as were objects of local manufacture. The latter included pottery typi­cal of preceding occupation levels (period VI) and of contemporary settlements on the surrounding plain and in adjacent valley systems as far north as Bījār and south into Luristan. The oval enclosure at Godin was appar­ently abandoned in some haste, for numerous pots and other objects were left on the floors of the buildings. Following a brief (?) hiatus the settlement was reoccupied around 2700 B.C. by people with a very different material culture (Godin IV, “Yanik period”; see “Northwestern Iran” below), including dark, burnished pottery with incised and white-filled decoration. These people had apparently migrated to the Kangāvar area (and to the Qazvīn and Malāyer plains) from north­western Iran and ultimately from across the Caucasus (Burney and Lang, p. 59).
    The later Bronze Age is well documented for the Kangāvar region, owing to excavations over a large area at Godin (III: 6-2) and to extensive surface survey­ing (Henrickson, 1987, with references). Surrounding valleys, including the Māhī Dašt, or Kermānšāh plain, are known only from surface surveys and limited soundings (Henrickson, 1987; Schacht). For Luristan survey data are supplemented by excavations at a series of cemeteries in the Pusht-i Kuh (Pošt-e Kūh; Vanden Berghe); these burial grounds are not associated with settlements and may indicate the presence of nomadic pastoralists in the area. Historical sources from Susa and Mesopotamia attest that in the middle and late 3rd millennium the Zagros valleys were occupied by ethnic groups called Guti and Lulubi and were under the control of the Elamite dynasties of Awan and Shimashki (Carter and Stolper, pp. 10-23; Gadd, pp. 429ff.; Schacht). The archeological evidence (see Henrickson, 1987) indicates that at the beginning of this period, during the occupation of Godin III:6, large parts of the central Zagros shared a distinctive ceramic tradition, with more distant links to Ḵūzestān (Susa IV) and Fārs (Late Banesh). This pattern is generally interpreted as an indication of shared contact and economic (rather than political) ties. When Susa came under the control of the Akkadian dynasty, diverging ceramic styles within the mountains reflect isolation from the lowlands. This isolation appears to have persisted after Susa became part of the Ur III state, though both peaceful and military contacts have been documented in texts. Finally, in the early 2nd millen­nium settlements like the town designated Godin III:2 were linked in a broad cultural zone, attested by elements of a ceramic style that extended throughout central western Iran. This common style may reflect a degree of economic and political unity as well: It has been suggested that the central Zagros was the location of the kingdom of Shimashki, contemporary with the Suk­kalmah dynasty at Susa (Henrickson, 1984).
    Farther east the Proto-Elamite occupation of Sialk IV:1-2 was contemporary with Godin VI/V, though it lasted into a slightly later period. Like Shahdad, Sialk is located on a deltaic fan at the edge of the central desert. Limited excavations in the ruins of several small mud-­brick structures produced diagnostic artifact types (tablets, glyptic, and ceramics) that clearly demonstrate contact with Godin and Susa (Dyson, 1987). As at Godin, however, other elements of material culture show a continuing local cultural tradition. The impor­tance of Sialk within the Proto-Elamite network may have been owing to its proximity to a major source of copper at Anārak; the geographical location of Sialk was equally critical, for it lay on the route from Susa to the north via Fārs (Amiet). Shortly after the beginning of the 3rd millennium Sialk was abandoned; it was not resettled until the Iron Age, late in the 2nd millennium.
    Still farther east, along the northern edge of the desert on the northern east-west route, often called the “high road,” is Tepe Hissar (Schmidt; Dyson and Howard), near Damghan. It is also located on a rich deltaic fan, and its population was able to draw on the natural resources of both mountains and plain. In about 3000 B.C. a Bronze Age town (Hissar Middle and Late II) evolved from the earlier settlement (Hissar I-Early II). It consisted of small houses of mud brick separated by open spaces and unpaved walks. About a third of the town was given over to craft production, especially smelting of copper and production of copper objects and working of large quantities of lapis lazuli, a raw material imported from the area that is now northern Afghanistan. Unoccupied parts of the mounds were used for burials. A major innovation characterized this period of town life: the introduction of reduction kilns for the mass production of burnished gray pottery imitating metal vessel forms. Soon this gray ware had almost entirely replaced painted pottery. Although copper technology was already known in Hissar I, more extensive smelting of copper ores led to an increase in the number and types of metal objects produced in Hissar II. The importation of lapis lazuli and turquoise demonstrates links with the east, but at the same time blank clay tablets of the size and shape characteristic of Proto-Elamite tablets, clay tokens (cones, balls, and other forms), and a single cylinder seal show continuing contact with the west. The large number of burials at Hissar from the middle of the 3rd millennium is evidence of considerable wealth within the community. Although the town was somewhat reduced in area, it contained a special, well-built structure filled with rich materials: copper, gold, and silver vessels and weapons. This building housed a small fire altar in one corner of the main room and may have been a shrine. A compartmented bronze stamp seal with a stepped­-square design links it to Altyn Tepe, a contemporary urban center in southern Turkmenia. The building at Hissar was destroyed by fire, clearly as the result of violent attack: Remains of a number of bodies were found sprawled on the floor, and the surrounding debris was filled with stone arrowheads. Little is known about the town at Hissar during the remainder of the Bronze Age. In the last phase of its occupation (III) yellow alabaster or calcite objects increased in quantity. Among them were miniature columns with grooved ends, which have now also been found at Tureng (Tūrang) Tepe in Gorgān, in southern Turkmenia, in Bactria, in Sīstān, and at Shahdad. The contexts of these finds can be interpreted as religious, suggesting that some kind of cult practice linked all of eastern Iran at the end of the 3rd millennium.
    North of Hissar, across the Alborz (Elburz) range at the southeast corner of the Caspian plain, lay the town of Tureng Tepe (Deshayes, 1977, with references). Like Hissar it had been founded much earlier and remained occupied into the 2nd millennium B.C. Although the pottery and artifacts of Tureng and Hissar II differ somewhat in style, there are many similarities, and both centers participated in the lapis lazuli trade. The outstanding feature of Bronze Age Tureng was a major terraced mud-brick structure built around 2000 B.C. It was 80 m long and rose 13.50 m into the air, in two stages. It was thus comparable in scale to the contemporary Ur­-Nammu ziggurat at Ur. Miniature columns of Hissar type were found on the upper story of this building, together with pottery of the Tureng IIIC1 period. Comparable brick structures have been identified at Altyn Tepe (the High Terrace, 12 m high) and at Mundigak (Mondīgak) in Afghanistan (the Monument Massif of period V). Deshayes concluded that toward the end of the 3rd millennium central Asia and eastern Iran were part of a cultural community that was influenced by Mesopotamia. These terraced structures were certainly cult centers of the type mentioned in the legend “Enmerkar and the Lord of Aratta” (Jacobsen, 1987, pp. 275-319).
    Northwestern Iran. Throughout the Bronze Age northwestern Iran, or Azerbaijan, constituted a separate cultural zone, more closely related to adjacent regions to the north and west than to the Iranian plateau. Although geographically a unit, this region often com­prised two separate cultural provinces, northern and southern Azerbaijan, divided by Lake Urmia. For the Bronze Age the key site for northern Azerbaijan is Haftavan (Haftavān) Tepe (Burney, 1976; Edwards); important supplementary data have resulted from earlier excavations at Geoy (Gūy/Gök) Tepe (Burton­-Brown, 1951), nearby Gijlar (Gejlār) Tepe (Pecorella and Salvini, 1987), and Yanik Tepe (Burney, 1961, 1962). Late in the 4th millennium people with a distinctive material culture including round houses and burnished dark pottery migrated into the area, apparently from the north; closely related material (the Early Trans­caucasian, or Kur-Araxes, assemblage) has also been found in eastern Anatolia (Sagona, 1984). In Iranian Azerbaijan the earliest excavated settlement yielding this kind of material is at Geoy Tepe (K:1), cleared only in a deep sounding. Settlements dated to the 3rd millennium are better documented, for example, the Early Bronze Age I and II occupations at Yanik, Gijlar, and Geoy K:2-3 (Burney and Lang, pp. 59-66). In the 2nd millennium these sites were characterized by a very different ceramic assemblage consisting of mono­chrome- and polychrome-painted buff wares. At the same time Haftavan (period VIB) was experiencing its greatest prosperity. The town was built on a series of terraces, and there is some evidence of functional differentiation of space (Burney, 1974, 1975). Although there are a few parallels with sites in the southern part of the Urmia basin, these northern sites are most closely related to settlements in the Trans-Caucasus and Anatolia, continuing the pattern established at the begin­ning of the Bronze Age.
    To the south of Lake Urmia only the Ošnū and Soldūz valleys have been well documented archeologi­cally (Dyson, 1983, with references). Following a period of abandonment that appears to have lasted through most of the 4th millennium and well into the 3rd, this region was reoccupied by agricultural groups living in sizable towns like Hasanlu (Ḥasanlū) VII. The distinc­tive pottery is only distantly related to that of northern Mesopotamia and the central Zagros. In the 2nd millennium the presence at sites like Dinkha (Denḵā) Tepe IV and Hasanlu VI of ceramics typical of the Khabur (Ḵābūr) region in ancient Mesopotamia (mod­ern north Syria) reflects strong economic or political ties with the west, particularly the kingdom of Shamsi-Adad (Kramer, p. 105). Northern Mesopotamia and Syria are easily accessible from the Ošnū valley through the Kelešīn pass, and these Iranian sites may have participated in the tin trade, which was dominated by Assyria in the early 2nd millennium. Massive mud-brick walls at Dinkha suggest an urban settlement, but the architecture and settlement layout of this period are not well known because of limited excavations.
    The end of the Bronze Age. In the late 1960s, in the absence of regional surveys, careful excavations, and analytical studies of resources, technology and sub­sistence, the apparent abrupt decline of urban centers in the east, from southern Turkmenia to the Indus valley, was attributed to violent invasion and mass migration. Current research suggests, however, that the decline of urban centers and long-distance trade was a more gradual process, beginning as early as 1850 B.C. and continuing for several centuries at varying rates in different regions (Tosi, 1986). Some areas remained unoccupied, for example, the vicinity of Tepe Sialk, whereas others, like the plain around Hissar, were now abandoned. Gorgān and southern Turkmenia remained inhabited but with greatly reduced populations. The area later known as the Bactrian plain, on the other hand, appears to have been resettled; there towns were replaced by scattered rural villages and administrative centers established along natural water courses or man-made canals (Biscione, 1977).
    In the Helmand basin shifting hydrological con­ditions probably played a role in the abandonment of Shahr-i Sokhta and the immediately surrounding ter­ritory. The town appears to have been abandoned gradually, for in each succeeding occupation level more open space occurs until finally, in period IV, only one large building stood on the site. At the same time, however, about forty small nearby villages remained occupied, indicating a change in social and political organization, rather than a depopulation of the area (Tosi, 1980). Subsequently these villages also shifted, probably following the water supply. In southern Baluchistan there is also evidence of continuity of occupation (Jarrige, 1983). The introduction of new crops (rice and sorghum) and of double cropping were among major economic changes that took place late in the 2nd millennium B.C. (Costantini, 1981).
    Reconstructions of the linguistic and historical geography of eastern Iran suggest that the area was occupied in the 3rd and 2nd millennia by proto-Indo-­Aryan speakers (Burrow, 1973) and that Iranian­-speaking groups began to move in between about 1400 B.C. and the early 1st millennium (Gnoli, 1980), three or four centuries after the beginning of the decline of the cities. It is relevant to this problem that horse bones and equestrian figurines have been found for the first time in late 2nd-millennium contexts in southern Baluchistan (Jarrige, 1983). Furthermore, sherds of Andronovo pottery, derived from southern Siberia and traditionally linked by scholars with Iranian tribes, appear for the first time in central Asia at the end of the Bronze Age (i.e., the end of the Namazga/Namāzgāh VI period), half a millennium after the onset of urban decline (Biscione, 1977; L’Asie centrale, 1988).
    The transition from the Bronze Age to the Iron Age in western Iran is still extremely difficult to trace and has recently been discussed by Young (1985) and Levine (1988).

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    Figure 29. Bronze Age sites in Iran and Afghanistan
    (Robert H. Dyson, Jr., and Mary M. Voigt)
    Originally Published: December 15, 1989
    Last Updated: December 15, 1989
    This article is available in print.
    Vol. IV, Fasc. 5, pp. 472-478
    http://www.iranicaonline.org/articles/bronze-age

    PROTO-ELAMITE HISTORY

    By: R. K. Englund

      Figure 1. Proto-Elamite administrative account of four sheep herds. (Scheil, 1905, no. 212; scale 1:2)
    Figure 2. A proto-Elamite account of cereal rations for labor gangs of two superv isors (Scheil, 1905 no. 4997;
     (Click to enlarge)

    Figure 3. Complex rotation of the proto-Elamite
    account (Scheil, 1905, no. 4997).
    (Click to enlarge)

    proto3.gif (46825 bytes)
    Figure 4. Numerical sign systems attested in the proto-Elamite text corpus (Damerow and Englund, 1989, 18-30; the numbers located above the arrows indicate how many respective units were replaced by the next higher unit). In the capacity system, the basic sign (= "1" in the systems qualifying discrete units) may have represented ca. 25 liters of grain. (Click to enlarge)

    .
    "Proto-Elamite" is the term for a writing system in use in the Susiana plain and the Iranian highlands east of Mesopotamia between ca. 3050 and 2900 B.C.E., a period generally considered to correspond to the Jamdat Nasr/Uruk III through Early Dynastic I periods in Mesopotamia. This span is represented in Iran by levels 16-14B in the Acropole at Susa (Le Brun, 1971), as well as Tepe Yahya (Yahyâ) IVC, Sialk (Sîâlk) IV2, and Late Middle Banesh (Baneš). Proto-Elamite tablets are the earliest complex written documents from the region; the script consists of both numerical and ideographic signs, the latter sometimes assumed to represent a genetically related precursor of the Old Elamite language (see iv, below). This supposed precursor language is, however, unknown, and the script itself has been only partially deciphered. Nevertheless, conclusions about the contents of the Proto-Elamite texts can be drawn from contextual analyses and formal similarities to proto-cuneiform tablets from Mesopotamia. In particular, the structure of published documents containing accounts and the use of numerical signs and of certain signs for objects in bookkeeping can be somewhat clarified.

    History of decipherment
    Since the first Proto-Elamite documents were discovered at the turn of the century (Scheil, 1900, pp. 130-31; Friberg, I, pp. 22-26) approximately 1,450 Proto-Elamite tablets from Susa have been published. Recent excavations at other sites have proved that the script and numerical systems known from Susa were in use at administrative centers ranging across Persia as far as the Afghan border, including the sites of Sialk, Malyan (Malîân), Yahya, and Shahr-i Sokhta (Šahr-e Sûkhta; Damerow and Englund, 1989, pp. 1-2; Stolper, 1985, pp. 6-8; Sumner, 1976; Carter and Stolper, p. 253; Nicholas, p. 45). The texts, written on clay tablets, seem without exception to be administrative documents: receipts and transfers of grain, livestock, and laborers; rationing texts; and so on. There are neither literary nor school texts of the sort known as "lexical lists" from contemporary Mesopotamia. The earlier "numerical tablets" from Godin (Gowdîn) Tepe V and Chogha Mish (Chogha Mîš, q.v.), generally dated contemporary with Uruk IVb and level 17 in the Acropole at Susa, lack ideographic signs and are thus not classified as Proto-Elamite (Weiss and Young, pp. 9-10; Porada, p. 58)
    Some scholars have attempted to demonstrate a link between the Proto-Elamite and Linear Elamite scripts (see v, below; Hinz, 1975; Meriggi, 1971-74, I, pp. 184-200; Andre‚ and Salvini), but adducing syllabic values proposed for Linear Elamite has not led to successful deciphering of Proto-Elamite. A preliminary graphotactical analysis of the Proto-Elamite texts has also met with only modest success (Meriggi, 1975; idem, 1971-74, I, pp. 172-84; Brice, 1962-63, pp. 28-33; Gelb, 1975). Other scholars have attempted to establish a connection between Proto-Elamite and proto-cuneiform, which first appeared in Uruk IVa (ca. 3200-3100 B.C.E.) and thus seems to predate Proto-Elamite by about a century (Langdon, p. viii; de Mecquenem, p. 147; Gelb, 1952, pp. 217-20; Meriggi, 1969; Damerow and Englund, 1989, pp. 11-28).
    Advances in the decipherment of Proto-Elamite have been hindered to a certain degree by the absence of necessary philological tools. A first step would be a sign list sufficiently dependable and cleansed of redundant variants to offer an approximate idea of the number and frequency of signs in the scribal repertoire, as well as providing a transcriptional instrument for analysis of sign combinations and simple contexts. Such textual work is a pre-requisite for a complete edition of the Proto-Elamite texts.

    Sign lists provided by early editors (Scheil, 1905; idem 1923; idem, 1935; de Mecquenem; Meriggi, 1971-74) have proved wanting (Damerow and Englund, 1989, pp. 4-7). The first serious attempt at a formal description and decipherment of Proto-Elamite script was undertaken in the 1960s and early 1970s (Brice, 1962-63; idem, 1963; Meriggi, 1971-74; Vaiman, 1989a). Most recent advances have resulted from a new understanding of the structure of the numerical sign systems, which has provided a powerful tool for semantic identification of a number of ideograms, including those for grain products, animals, and, it seems, human beings (Vaiman, 1989a; Friberg, I; Damerow and Englund, 1989).

    Format and semantic hierarchy
    Proto-Elamite texts are written on clay tablets similar in general shape and proportions to Mesopotamian clay tablets of the 3rd millennium B.C.E., including Uruk III proto-cuneiform tablets of the later phase. The tablets are thick oblongs, their height and width normally in a ratio of 2:3. Following the convention established in the earliest proto-cuneiform phase, Proto-Elamite scribes used both sides of the tablet. Regardless of the space remaining after two or more entries on the obverse, the scribe usually rotated the tablet around a vertical axis and recorded the totals along the upper edge of the reverse. Larger accounts could have a more complex format (Brice, 1962-63, pp. 20-21; Vaiman, 1989a, pp. 130-32; Damerow and Englund, 1989, pp. 11-13; Figure 1).

    Three features distinguish Proto-Elamite tablets from proto-cuneiform documents, however. First, the Proto-Elamite documents were written in a linear script. Second, the first signs on a tablet, the heading, have approximately the same function as the proto-cuneiform "colophon," which is usually inscribed together with the final total on the reverse of the tablet; Proto-Elamite headings never contain numerical notations, however. Third, each entry normally includes an ideogram followed by a numerical notation, a divergence from the strict sequence of numerical sign followed by ideogram in proto-cuneiform texts. 

    The heading of a Proto-Elamite tablet generally specifies the purpose and authorizing person or institution; the best known such ideographic designation is the so-called "hairy triangle", which seems to represent a leading institution or possibly kin group in Elam. Qualifying ideograms were inscribed within this sign, apparently to designate subordinate institutions or groups (Dittmann, 1986a, pp. 332-66; Lamberg-Karlovsky, p. 210; Damerow and Englund, 1989, p. 16). Following these introductory sign combinations are the individual entries, in horizontal registers without regard to formal arrangement into columns (Figures 2 & 3). The ideograms in Proto-Elamite text entries seem almost exclusively to denote persons, quantified objects, or both; sign combinations seeming to designate persons invariably precede those designating quantified objectswhen both appear in one notation. A sign or sign combination representing a person or title is often introduced by a sign representing his position. Objects are generally designated by ideograms in combination with qualifiers; as yet, however, there are no statistical means of testing the probability that certain signs functioned as qualifiers of presumed substantives.

    In Proto-Elamite documents there can be multiple entries with different levels of internal organization. A text may consist simply of a sequence of entries of exactly the same type; an example would be a list of grain rations for a number of different recipients. A text may also embody a hierarchical order of transmitted information, as in the oft-encountered alternation of two different types of entry, perhaps a number of workers followed by the amount of grain allotted to them. In this instance the two entries may be considered to be combined in a more comprehensive text unit. A text may also, however, be highly structured, with many identifiable levels, reflecting, for instance, the organizational structure of a labor unit (Figures 2-3; Nissen, Damerow, and Englund, pp. 116-21).

    That all entries seem to contain numerical notations suggests that they represent a bookkeeping system, rather than the distinct sentences or other comparable semantic units of a spoken language. This semantic structure is evidence of a close relation between Proto-Elamite and proto-cuneiform texts. Proto-Elamite headings correspond to the "colophons" that often accompany totals on proto-cuneiform texts. Entries in Proto-Elamite documents correspond to the physically encased notations on proto-cuneiform texts; curiously, the hierarchical structure of individual Proto-Elamite entries is not reflected in a syntactical structure, whereas in Mesopotamian texts this hierarchy continues to be represented in some measure by the graphic arrangement of cases and subcases. Despite different graphic forms, Proto-Elamite texts thus exhibit the same general semantic structure as that of proto-cuneiform texts. This relationship must be considered a strong indication of their relative chronology: The more developed linear syntax apparent in Proto-Elamite texts, in which the graphical arrangement of semantic units has been dispensed with, implies that proto-cuneiform is earlier. This conclusion is in full accord with the established stratigraphic correspondences between Susa and Uruk (Dittmann, 1986a, pp. 296-97, 458 table 159e; Dittmann, 1986b, p. 171 n. 1).
    Numerical sign systems. Early work on the numerical notations in Proto-Elamite texts was hampered by inadequate identification of individual signs and in particular of sign systems, which were applied in Mesopotamia and Elam to record different types of objects. Initially there was an attempt to combine a large number of what are now recognized as incompatible numerical notations into a single "decimal" system (Scheil, 1905, pp. 115-18; idem, 1923, p. 3). This attempt was abandoned in 1935, when it was recognized that different numerical systems had been in use in Mesopotamia, particularly for enumeration of discrete objects and for measuring grain by capacity (Scheil, 1935, pp. i-vi). It was, however, mistakenly assumed that the sign had the same decimal value 10 x (instead of 6 x) when representing grain measures as when representing numbers of discrete objects (Thureau-Dangin, p. 29; Langdon, pp. v, 63-68; Vaiman, 1989a), which prevented understanding of capacity notations until the late 1970s (Friberg, 1978-79). Although detailed documentation of the various numerical systems has not yet been undertaken, the formal structure of these systems and their dependence upon the older proto-cuneiform systems are now clear (Damerow and Englund, 1987, pp. 117-21, 148-49 n. 12; idem, 1989, pp. 18-30).

    As the semantic analysis of Proto-Elamite is largely dependent upon examination of the contexts in which signs are used, the close connection with proto-cuneiform sources in the numerical systems has been helpful in establishing correspondences between Proto-Elamite and proto-cuneiform ideograms. For example, the sexagesimal system used in Meso-potamia for most discrete objects, including domestic and wild animals, human beings, tools, products of wood and stone, and containers (sometimes in standard measures), is also well attested in the Susa administrative texts, though the field of application seems limited to inanimate objects like jars of liquid and arrows (Damerow and Englund, 1989, pp. 52-53). A decimal system used in Proto-Elamite texts for counting animals and human beings has no proto-cuneiform counterpart. 

    Bisexagesimal notations qualify barley products, as in contemporary Mesopotamian documents. The numerical system for indicating grain capacity involves signs from the sexagesimal system but with entirely different arithmetical values. This system is well attested in both Proto-Elamite and proto-cuneiform sources and seems to have had the same area of application. In particular, the small units inscribed below are qualifying ideograms for grain products, thus denoting the quantity of grain in one unit of the product. The Proto-Elamite system differs from the proto-cuneiform system in that below the sign only units that are multiples of one another appear (e.g. 1/2, 1/4, 1/8), a simpler system than the somewhat cumbersome use of fractions in proto-cuneiform texts (Damerow and Englund, 1987, pp. 136-41). As with the proto-cuneiform texts, in the Proto-Elamite texts there are numerical systems graphically derived from the basic systems but perhaps applied to different sorts of discrete objects or grain (Figure 3). All these similarities together suggest that the Proto-Elamite systems, with the exception of the decimal system, were borrowed from Mesopotamia; even signs in the decimal system were apparently borrowed from the Mesopotamian bisexagesimal system to represent the higher values 1,000 and 10,000.

    Ideograms
    Semantic analysis of the objects counted by the decimal system has led to the probable identification of a number of ideograms. The most important are the two signs (Symbol 3) and (Symbol 4) . The graphic form, as well as the association, of the ideogram (Symbol 3) with other signs strongly resembling proto-cuneiform signs known to represent domestic animals, in particular sheep and goats (Symbol 5), suggests the interpretation of this sign as "sheep" (Figure 1). In texts from the essentially rural economy of ancient Persia the large numerical notations qualifying this ideogram and related signs seem to confirm the identification. The fact that the signs are on the whole abstract forms may suggest either a set of symbols for domestic animals common in Mesopotamia and Susiana before the inception of written documents or, more likely, signs borrowed in altered form from Uruk (Damerow and Englund, 1989, pp. 53-55).

    It appears that the very common sign (Symbol 4) was used to qualify personal names. All signs or sign combinations in a text may be introduced by it, though more commonly it introduces only the first entry (Damerow and Englund, 1989, pp. 53-55). The same sign was used as an ideogram for objects, together with decimal notations commonly used for counting animals. This double function suggests that the sign denotes a category of workers or slaves. The use of the sign in both ways is firmly established in the text illustrated in Figures 2-3 (Damerow and Englund, 1989, pp. 56-57; Nissen, Damerow, and Englund, pp. 116-21). In the same text numbers of objects represented by this ideogram correspond to a regular capacity measure of barley of 1/2 (Symbol 2), parallel to texts known from contemporary Mesopotamia. Finally, the sign is often used parallel to signs that may thus also be interpreted as referring to persons. One of them is a clear graphic equivalent of the proto-cuneiform sign SAL (Symbol 6), so that both the graphic and semantic correspondences of proto-Elamite (Symbol 4) to proto-cuneiform (Symbol 7), meaning "male slave/laborer" (Vaiman, 1989b), seem clear.

    Bibliography
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    Source/Extracted From: Encyclopaedia Iranica

    http://www.cais-soas.com/CAIS/History/Elamite/proto_elam_history.htm
    cf. Mirrored at http://cdli.ucla.edu/staff/englund/publications/englund1998a.pdf

    See: http://cdli.ox.ac.uk/wiki/doku.php?id=proto-elamite

    Susa. "Copper came from Magan and later Dilmun through the Persian Gulf (Tallon). Tin reached Mesopotamia through Susa and probably also through some route(s) through the central or northern Zagros to Assur (Larsen; Cleziou and Berthoud; Tallon). The Habur ware assemblage at Dînkhâ Tappa (q.v.; Hasanlû VI) in northwestern Persia reflects strong contact with northern Mesopotamia in the early second millennium (Hamlin). " Henrickson, Robert C., Economy of Ancient Iran, Economy in Pre-Achaemenid Iran http://flh.tmu.ac.ir/hoseini/mad-hakha/articles-1/79.htm
    See: "This review of recent archaeological work in Central Asia and Eurasia attempts to trace and date the movements of the IndoIranians—speakers of languages of the eastern branch of ProtoIndo-European that later split into the Iranian and Vedic families. Russian and Central Asian scholars working on the contemporary but very different Andronovo and Bactrian Margiana archaeological complexes of the 2d millennium b.c. have identified both as Indo-Iranian, and particular sites so identified are being used for nationalist purposes. There is, however, no compelling archaeological evidence that they had a common ancestor or that either is Indo-Iranian. Ethnicity and language are not easily linked with an archaeological signature, and the identity of the Indo-Iranians remains elusive." C.C. Lamberg-Karlovsky, Archaeology and Language, the Indo-Iranians, in: Current Anthropology, Vol. 43, Number 1, Feb. 2002, pp.63-88.

    http://mapageweb.umontreal.ca/tuitekj/cours/IE/LambergKarlovsky.pdf
    Potts, DT, A new Bactrian find from southeastern Arabia, in: Antiquity 67 (1993), pp. 591-6. 

    http://faculty.ksu.edu.sa/archaeology/Publications/Arabia/Bacterian%20Camel%20in%20Arabia.pdf

    http://www.scribd.com/doc/156075547/Bactrian-Find-in-southeastern-Arabia-Potts-DT-1993

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