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Agastyas --S. Srinivas

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http://www.pragyata.com/mag/agastyas-484

Agastyas

Agastya Muni, as well as his lineage, had a tremendous influence on Indic civilization which stretched all the way to Southeast Asia.


Agastyas

S. Srinivas is a historian and researcher who has worked for over a decade as a lecturer; assistant editor for Quarterly Journal of Mythic Society as well as a journalist. He was awarded a Ph.D. by Bangalore University for his thesis on the History of Civic Administration in Bangalore(1862-1950). Currently, he is fully engaged in writing on topics pertaining to ancient India.

Introduction

Among the rishi families who composed the Rig Vedic hymns, it was the members of the Agastya family who first crossed the Vindhya Mountains and established ashrams in south India. The members of this family acted as preceptors of royal dynasties, propagated Shaivism and played an important role in introducing Hindu religion and culture in south-east Asian countries.

In ancient Indian literary works there are references to the activities of Agastya in relation with characters appearing in different time frames. This indicates that a single Agastya could not have achieved all these feats single handedly and unaided. He was therefore the progenitor of a large family and founded a long surviving generation of representatives known by the name of Agastya gotra. The originator of this family Agastya was the brother of sage Vasishta. His descendants composed hymns in the Rig Veda of which we find 27 hymns in the first mandala, one each in the fifth and eighth mandala, two hymns in the ninth mandala and four hymns in the tenth mandala.

Agastya and Lopamudra

One prominent figure among this family was the one who married Lopamudra and was a contemporary of Alarka, grandson of Pratardana of Kashi. This Alarka was a contemporary of King Dushyanta the father of the famous Paurava ruler Bharata after whom our country is named.

Agastya of Ramayana

In Valmiki’s Ramayana, Aranyakanda sarga II describes the beautiful hermitage of Agastya situated at Nasik, a few miles from Dandakaranya where a peaceful atmosphere prevailed. When Rama and Lakshmana visited his ashram, Agastya presented Rama a bow of Vishnu and later Agastya accompanied Rama and his followers on his return journey to Ayodhya from Lanka with Seeta after killing Ravana.

Exploits of Agastya

According to K.D. Abhyankar, the Puranic story of the Vindhya mountain trying to compete with the Himalayas in height by becoming taller and taller and sage Agastya ordering the Vindhya mountain to lie prostrated till he returned from the south is an allegory to the actual crossing of the Vindhyas by Agastya, a prominent rishi of north India for the first time in history. In ancient times, it was easier to cross the seas by navigation. But it was quite difficult to traverse the mountainous land covered with thick forests and inhabited by wild animals. Hence it was a great feat on the part of Agastya to cross the Vindhya Mountain. Similarly the story of Agastya drinking the water of the ocean is another allegory of his crossing the sea and as we know sage Agastya is quite popular in Indonesia, the land beyond the Indian Ocean.

Star Canopus named after Agastya

The star Canopus is named after Agastya as it was first sighted by him. Around 5000 BCE this star was visible from the south of the Vindhyas, but not from the north of it. As a member of sage Agastya’s family was the first to cross the Vindhyas from the north, he would have been the first northerner to see the star. Hence the star has been named after his family.

Agastya and Tamil

There is no clear and specific mention of Agastya and his exploits in any of the early Tamil works and reference to his work on Tamil grammar called Agattiyam first occur in Iraiyanar Agapporul Urai, a work of the 8th or 9thcentury CE. This work mentions Agastya as a member of the first and second Sangams. Just like the Europeans who have written works on Indian languages after learning them, probably a member of the Agastya clan settled in south India, had learnt Tamil and written a grammatical work which probably has now gone into oblivion.

Founder of Siddha System of Medicine

A daitya named Ilvala who had a grouse against sages used to invite them for lunch, serve the flesh of a goat (which was actually his brother Vatapi turned into a goat) and later call his brother who used to come out ripping the stomach of the diner. Agastya who had gone to Ilvala to seek financial help was also fed in a similar manner but when Ilvala called him, Vatapi could not come out as Agastya had digested him. This incident is probably an allegory to indicate that Ilvala used to kill sages by serving them with poisoned food. A member of Agastya family who was served with poisoned food came out unharmed as he knew about antidotes for food poisoning and was probably the founder of the Siddha system of medicine.

Discoverer of River Cauvery

According to a Tamil work Manimekhalai, Cauvery stream was released by Agastya from his water pot at the request of Chola king Kantan for perennial water. Agastya overturned his pitcher from which Cauvery flowed towards the sea in the east. The Purana also says that Agastya had compressed the River Cauvery and held the water in his water pot and Ganapathi came in the form of a crow and toppled the water pot and got released the river Cauvery. These stories can be interpreted as a member of Agastya family discovering the river Cauvery or naming the discovered river as Cauvery.

Oversea connections of Agastya

Members of this family even migrated to distant lands and introduced Shaivism there. A statue of sage Agastya is found in a Shiva temple in a temple complex at Pramban in Java. Similarly at a cave in Kombeng situated to the north of Muara Kaman in east Borneo we find the image of sage Agastya. Indradevi the queen of the ruler of Kambuja Empire, Indra Varman I (877-889 A.D.) is said to have descended from sage Agastya. In the old Javanese literature we have a work Agastya Parva, where Agastya describes to his son Driddasyu the creation of the world in puranic style.

Cult of Agastya

Members belonging to the Agastya family became the preceptors of royal dynasties. For instance the Pandya king Sundara Pandya is referred as Agastya Shisya ‘disciple of Agastya’. An inscription of Chalukya Kirtiraja of Lata (Gujarat) says that their spiritual preceptor was Agastya. As a preacher and preceptor of Shaiva religion and guru of many princes, Agastya soon came to be regarded as the object of personal worship and a cult of Agastya was soon formulated and his images consecrated in many temples began to receive the honour of worship. The mode of his worship is laid down in the Skanda Purana and Agni Purana. The Agasteshwara temple at Thodnavada in Chittor district, the Meenakshi Agasteshwara temple at Wadapally in Nalgonda district, the Agasteshwara temple at Guntur district all in Andhra Pradesh, the Agasteshwara temple at T.Narasipura in Mysore district of Karnataka and the Agasteshwara temple at Chennai to name a few are some of the temples dedicated to Agastya.

Conclusion

Agastya’s name has often been cited as an example of courage and wisdom which implies that the members of this family were known for their enterprising nature and intelligence. The members of this family played an important role in national integration by synthesizing the culture of north and south India.

References / Footnotes
- K.A.Nilakanta Sastri- A History of South India: From Prehistoric Times to the fall of Vijayanagara
- K.D.Abhyankar – Folklore and Astronomy: Agastya a Sage and a Star, Current Science, Vol- 89, No. 12, 25th December, 2005
- R.C.Majumdar- Hindu Colonies in the Far East
- Swami Parmeshwaranand- Encyclopedic Dictionary of Puranas, Vol-I
- O.C.Gangoly- The cult of Agastya and the origin of Indian colonial art, Quarterly Journal of Mythic Society, Vol-XVII, No.3, January 1927
- Shrikant Talageri- The Rig Veda- A Historical Analysis
- R.N.Saletore-Encyclopedia of Indian Culture

Full text of Chelameswar's letter to CJI accusing a fellow Justice of being more loyal than the king

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Justice J Chelameswar
JUSTICE J CHELAMESWAR
  29-03-2018




Lord Bingham in his book, The Rule of Law, said that “there are countries in the world where all judicial decisions find favour with the powers that be, but they are probably not places where any of us would wish to live”. Let us also not live where Bingham loathed to live.
We, the judges of the Supreme Court of India, are being accused of ceding our independence and our institutional integrity to the executive’s incremental encroachment. The executive is always impatient, and brooks no disobedience even of the judiciary if it can. Attempts were always made to treat the chief justices as the departmental heads in the secretariat. So much for our “independence and preeminence” as a distinct state organ.
Someone from Bangalore has already beaten us in the race to the bottom. The chief justice of the Karnataka High Court has been more than willing to do the executive bidding, behind our back.
sc__012318032047_032_032918055017.jpg
I read with dismay and disbelief the “confidential report” sent to the hon’ble chief justice by Shri Dinesh Maheswari, the chief justice of Karnataka High Court. To begin with, it was unasked for. Second, it is uncalled for. The confidential report blatantly records the impropriety of the executive directly contacting the high court to reassess a collegium recommendation of the Supreme Court.
It is a moot proposition that any principal and sessions judge is the administrative head of the district he works in. He has to exercise his supervisory, and “disciplinary” power over all other judicial officers in that district.
From the letter of the hon’ble chief justice, Karnataka, the following facts can be culled out. In 2014, when Shri Krishna Bhat, a district and sessions judge, was working in Belagavi district, he sent to the high court a report concerning the (mis)conduct of Ms MS Shashikala, a judicial magistrate of first-class. The high court registered a vigilance case (HVC) No 93/2014 but did not choose to act upon the same till February 18, 2016. Till that time, Krishna Bhatt had faced no allegations from any quarter, including his subordinates.
With Shri Krishna Bhatt’s elevation around the corner, Ms MS Shashikala chose to complain against him.
If such retaliatory complaints are entertained, no career conscious judge would ever risk disciplining his subordinates.
From the material available on record, it appears that Ms MS Shashikala offered her resignation in April 2016 and withdrew it in June 2016. The then chief justice of Karnataka High Court was asked to provide the details and background of Ms Shashikala’s resignation. The then chief justice, after inquiring into the issue, sent two confidential reports dated October 14, 2016 and November 14, 2016. He asserted that the allegations levelled against Shri P Krishna Bhatt were incorrect and concocted. He has found that Ms MS Shashikala has made her allegations only to malign Shri P Krishna Bhatt.
In the meanwhile, acting on the recommendations of the Karnataka High Court collegium, we recommended his name, along with five others from the service category, for elevation. At that time we were aware of the allegations, but we consciously and rightly disbelieved them.
Surprisingly, the government selectively withheld his elevation and accepted that of the remaining five others’, though all the five are juniors to Shri Krishna Bhatt.
Now comes what is unpredictable and unthinkable. If the government had any reservations or misgivings about Shri Krishna Bhatt’s nomination, it could have sent back the recommendation for our reconsideration - a well-established though long forgotten practice. Instead, it sat  tight on the file. In other words, our recommendation still retained its validity and legitimacy.
For sometime, our unhappy experience has been that the government’s accepting our recommendations is an exception and sitting on them is the norm. “Inconvenient” but able judges or judges to be are being bypassed through this route.
I do not think any of us disputes that elevating a person to be a judge of a high court is a constitutional concern involving two authorities: the Supreme Court and the executive. The role of high court ceases with its recommendation. Any correspondence, clarificatory or otherwise, has to be between these two authorities. To my mind, I could recollect no instance from the past of the executive bypassing the Supreme Court, more particularly while its recommendations are pending, and asking the high court, as if it were an interdepartmental matter, to look into the allegations already falsified and conclusively rejected by us. Asking the high court to reevaluate our recommendation in this matter has to be deemed improper and contumacious.
Now the chief justice of Karnataka High Court informs us that he had received a communication from the Ministry of Law and Justice “to look into the issue.” The chief justice, establishing himself to be more loyal than the king, acts on it, convenes a meeting of the administrative committee, and decides to reinvestigate the issue, thus burying the previous chief justice’s findings on the same issue, given at our asking. He has been gracious enough to inform us, at least now.
A long time ago, an idealist, without knowing the ways of the world, has said this: the accumulation of all powers legislative, executive and judiciary in the same hands, whether of one, a few or many, and whether hereditary, self-appointed, or elective, may justly be pronounced the very definition of tyranny. Naïve as it may sound now, that was James Madison in the Federalist Papers No 47.
We only have to look forward to the time, which may not be far-off if not already here, when the executive directly communicates with the high courts about the pending cases and what orders to be passed. We can be happy that much of our burden is taken away. And an honourable chief justice like Dinesh Maheswari may perhaps be ever willing to do the executive bidding, because good relations with the other branches is a proclaimed constitutional objective.
We cannot deny Robert H Jackson’s assertion in United States versus Wunderlich that men are more often bribed by their loyalties and ambitions than by money. Let us also not forget that the bonhomie between the judiciary and the government in any state sounds the death knell to democracy. We both are mutual watchdogs, so to say, not mutual admirers, much less constitutional cohorts.
I am of the opinion that this matter is now ripe for the consideration of the full court on the judicial side, if this institution really is to be any more relevant in the scheme of the Constitution.
Since we are a precedent-oriented institution, I may be pardoned for quoting a precedent to the master of roster that it was exactly a similar letter written by the then Union law minister which sparked up a judicial debate in SP Gupta.

Centre slams SC judge for 'twisting facts' in sexual harassment case of a lady magistrate

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Centre slams SC judge for 'twisting facts' in sexual harassment case

Dhananjay Mahapatra| TNN | Updated: Mar 30, 2018, 04:37 IST  

(See full text of SC judge's 'alleged   letter') http://bharatkalyan97.blogspot.in/2018/03/full-text-of-chelameswars-letter-to-cji.html

NEW DELHI: Top Union government functionaries on Thursday slammed Justice J Chelameswar for twisting facts in a sexual harassment case involving Karnatakadistrict judge P Krishna Bhat and said it is 'astonishing' the complainant lady magistrate was neither called to depose in an inquiry nor were the apex court's Vishaka guidelines followed.



Outlining a sharp and 'no-holds-barred' reaction from the law ministry and department of justice, sources explained why the ministry wrote directly to Karnataka chief justice 
Dinesh Maheswari to 'look into' the sexual harassment complaint against Bhat by the lady judicial magistrate .

In a letter to all the judges of the SC, Chelameswar, the senior-most judge, has taken exception to the Centre writing directly to Justice Maheshwari regarding the collegium's recommendation to elevate Bhat to the HC. Chelameswar, who had in January held a press conference to highlight grievances against CJI Dipak Misra, wrote that while five of the recommendations for elevation were accepted by the government, it decided to block Bhat and then wrote directly to Justice Maheshwari instead of taking up the matter with the collegium.

In his letter to the CJI, also marked to all SC judges, he said the judiciary has lately been accused of yielding to the executive, which has been nixing appointment of 'inconvenient' judges.

Sources gave a perspective to what "was not mentioned" in the five-page letter by Justice Chelameswar, who has severely criticised the law ministry and Justice Maheswari for acting in league to scuttle appointment of district judge Bhat as HC judge by attempting to reopen a two-year-old sexual harassment complaint of the lady magistrate.

Chelameswar said then chief justice of Karnataka HC C S K Mukherjee had inquired into the complaint and in his report to the SC collegium termed it "incorrect and concocted" and that the magistrate's allegations were "only to malign Bhat" to nix his appointment as an HC judge.

Government sources said it is unthinkable that the same SC, which had laid down stringent mandatory guidelines to sternly deal with sexual harassment complaints at workplace, should cursorily brush aside the lady magistrate's sexual harassment charges and brand them "incorrect and concocted' through an "unheard of discrete inquiry process' conducted by then Karnataka CJ S K Mukherjee.

"It is unheard of also that a sexual harassment complaint by a judicial officer against her superior got decided without the inquiry officer thinking it fit to hear the complainant's version even once. Does this reflect the sensitivity the SC had attached in the Vishaka case to adjudication of sexual harassment complaints? Is this the example being set by the highest citadels of justice by cursorily discarding a magistrate's complaint," said a source.

"What kind of message is being sent to other subordinate lady judicial officers when sensitive complaints are brushed aside through discrete inquiries by the HC CJ and accepted by the SC collegium? Worse, the person accused of sexual harassment is being persisted for being appointed as a judge in the constitutional co


When the SC collegium buried the complaint and made the complainant appear a liar, the lady officer complained to the President and the Prime Minister. Despite this, successive CJIs had requested the government to appoint Bhat as HC judge as per the earlier recommendation made after a clean chit to him through 'discrete' inquiry. The PMO forwarded the complaint to the law ministry, which decided to write to the HC CJ, given the earlier stonewalling by the higher judiciary .


Sources said Chelameswar appears either "blissfully unaware of the facts" or "not bringing them up in his letter" while criticising the Centre for meddling in the affairs of the judiciary. "He would not have taken up the cause of a person against whom a sexual harassment charge has not been inquired as per the SC's laid down guidelines if he was aware of the facts," said a source.



Dholavira Indus Script signboard proclamation: brass, hard metal, copper (metal) engraver; bright blazing bronze ingots, metalware; metalcasting brass, minerals

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Image result for bharatkalyan97 dholavira signboard
The Signboard was discovered lying on the ground,near the gateway of Dholavira.
The three-part proclamation message of the Dholavira Signboard transcribed:


Image result for dholavira signboard bharatkalyan97
There are three proclamations on the signboard with three segments of messages.
Sign 391 is the opening statement of each of the three segments of Dholavira signboard message. This is a ligatured hieroglyph. 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 arka) copper (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 ஆரக்கால்ஆரஞ்சூழ்ந்தவயில்வாய்நேமியொடு (சிறுபாண்253). Rebus: ஆரம் brass; பித்தளை.(அகநி.) pittal is cognate with 'pewter'.

Segment 1


  a. eraka, arā  b. khuṇṭa  c. loa karaṇika 



erakaarā 'nave of wheel, spoke' rebus: eraka moltencast,  arā 'brass'
khuṇṭa 'peg'; khũṭi = pin (Marathi.)  Rebuskuṇṭha munda (loha) 'hard iron (native metal)' (Munda)
loa'ficus gloomerata' (Santali) Rebus: loh 'copper (metal)' PLUS karaṇika 'ears' rebus: karaṇika engraver, 'writer' (Telugu)

Thus, segment 1 reads: moltencast brass, hard metal, copper (metal) engraver; 

Segment 2
Sign 261 is a variant of Sign 267 kanac (kana, kana kona) mũhã̄ 'corner ingot' rebus: kañcu mũhã̄ 'bell-metal ingot'. Pa. kuṭila— 'bent', n. 'bend'(CDIAL 3231) Rebus: kuṭila 'bronze'. कुटिल  kuṭila, katthīl (8 parts copper, 2 parts tin),
kana, kanac 'corner' (Santali); kañcu  'bronze' (Telugu) kan- 'copper work' (Tamil).

Sign 134 is hakaa 'lid' rebus dhakka 'excellent, bright, blazing metal article'.


a. eraka, arā, b. kañcu mũhã̄  kuṭila c. dhakka d. khāṇḍā 
a. erakaarā 'nave of wheel, spoke' rebus: eraka moltencast,  arā 'brass'
b. kanac 'corner', mũhã̄ 'bun ingot, lozenge shape',kuṭila— 'bent' Rebus: kañcu mũhã̄  kuṭila 'bell-metal ingot, bronze'

c. hakaa 'lid' rebus dhakka 'excellent, bright, blazing metal article'.


d. खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). Rebus: khaṇḍa 'implements' 

Thus, segment 2 reads: bright blazing moltencast bell-metal ingot, bronze, equipment

Segment 3

First two signs a, b.dul eraka, arā c. dhatu
a, b: erakaarā 'nave of wheel, spoke' rebus: eraka moltencast,  arā 'brass'
Reading of a pair of 'spoked wheel hieroglyphs as hypertext': dula 'two, pair' rebus: dul 'metal casting' PLUS erakaarā 'nave of wheel, spoke' rebus: eraka moltencast,  arā 'brass'
c. ḍato 'claws or pincers (chelae) of crab Rebus: dhatu 'mineral' (Santali) 

Thus, segment 3 reads together: metalcasting moltencast brass, minerals


https://tinyurl.com/yblannfg This is an addendum to: Wealth accounting classification ledgers & Arthaśāstra Economics 101 Indus Script dictionary https://tinyurl.com/yctvpzgk With the Indus Script Dictionary made available, some of the 10 'hieroglyphs/hypertexts' of the Dholavira signboard have been read rebus with variant expressions (plain texts).https://tinyurl.com/y8xt9qrk The message of the Signboard of Dholavira is a proclamation of metallurgical competence of the metalsmiths of Dholavira, who produce qualty metal castings, metalware and also engrave on copper (metal).

Image result for dholavira signboard bharatkalyan97
Dholavira Signboard inscription of gypsum inlays on wood measures 3 m. long. Each of the 10 signs is 37 cm. high and 25 to 27 cm. wide and made of pieces of white gypsum inlays; the signs were apparently inlaid in a wooden plank. The conjecture is that this wooden plank was mounted on the Northern Gateway as a Signboard. The message is intended to be a proclamation for seafaring merchants to see from across the PErsian Gulf as they approach the Dholavira citadel. 
Dholavira signboard is a three-part message, each segment starts with a spoked-wheel hieroglyph. 
Hence, Dholavira Signboard is read from left to right.

Cobra hood, tree, thorn, trough, adorant, spy hypertexts of Indus Script signify phaḍa, paṭṭaḍa 'metals manufactory', kuṭhi 'smelter', eraka 'moltencast' catalogues

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https://tinyurl.com/yd5psfo9


kuṭhi, 'smelter', phaḍa, paṭṭaḍa -- metals manufactory; pāṭroṛo pattarపట్ర  paṭra, pāṭan'smith guild, hamlet, maritime port town, market'eraka'moltencast infusion', kharadaखरडें daybook, paṭṭī 'inventory', metalwork catalogues are signified on Indus Script hypertexts. 


The monograph is organized in the following sections:

Section 1. phaḍa 'cobra hood' rebus: phaḍa, paṭṭaḍa 'metals manufactory'
Section 2. Pictorial motif 1. Feeding trough with stripes
Section 3. Pictorial motif 2. Kneeling adorant
Section 4. Pictorial motif 3. Thorny bush
Section 5. Etyma (Bhāratīya sprachbund)



Cobra hoods on either side of eagle h156 Harappa tablet
Cobra hood. Mohenjo-daro 0492 tablet

Cobra hood as tail of composite anunal Field Symbol Cde 25
Harappa tabletNarrative on 'hare' copper tablets

Three hypertexts in narrative on h478 to h480 tablets

Hieroglyph: फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c.फडी phaḍī f (Dim. of फडा) The expanded hood of Coluber Nága &c paṭṭaḍa फड phaḍa

Hieroglyph: फड (p. 313) phaḍa m (Commonly फडा) फडा (p. 313)  f m A common term for the joints of Flat-jointed prickly pear.  A root (as of ginger or turmeric) which separates into cloves, a race or sprig. 4 m An end or a fragment of a branch of the Date-tree: also a spike or pinnate leaf of it. 

pāṭroṛo 'feeding trough' (Sindhi) Variant pronunciations: 


Ta. pātti bathing tub, watering trough or basin, spout, drain; pattal wooden bucket; pattar id.,  Ka. 

pāti basin for water round the foot of a tree. Tu. pāti trough or bathing tub, spout, drain. Te. pādi, pādu basin for water round the foot of a tree. (DEDR 4079) patta -- n. ʻ bowl ʼ, °aka -- n. ʻ little bowl ʼ, pātĭ̄ -- f.; K. pāthar, dat. °tras m. ʻ vessel, dish ʼ, pôturu m. ʻ pan of a pair of scales ʼ (gahana -- pāth, dat. pöċü f. ʻ jewels and dishes as part of dowry ʼ  Ind.); S. ri f. ʻ large earth or wooden dish ʼ, roo m. ʻwooden troughʼ; P. pātar m. ʻ vessel ʼ, parāt f., parātā m. ʻ large wooden kneading vessel ʼog. pāttar m. ʻbrass or wooden do.ʼ; Ku.gng. pāiʻ wooden potʼ (CDIAL 8055)


Tiger, etc. in front of the trough: Hieroglyph: pattar 'trough' Rebus: pattharaka 'merchant' pattar ‘guild, goldsmith’.

battuḍu 'artificer' pattar 'goldsmith guild'

pāṭroṛo 'feeding trough' (Sindhi) rebus: பத்தர்² pattarn. < T. battuu. A guild or title of goldsmiths.பத்தர்pattar, n. perh. vartaka. Merchants; வியாபாரிகள். (W.)


Vikalpa rebus readings may be: paṭṭī 'inventory'; పట్ర  para, patta 'village, hamlet, town'


pattar paṭṭi 'goldsmith guild market, goldsmith guild hamlet'.

Te. paṭṭika, paṭṭeḍa anvil; paṭṭaḍa workshop.(DEDR 3865). pathürü f. ʻ level piece of ground, plateau, small village ʼ; S. patharu m. ʻ rug, mat ʼ; Or. athuripathuri ʻ bag and baggage ʼ; M. pāthar f. ʻ flat stone ʼ; OMarw. pātharī ʻ precious stone ʼ.(CDIAL 8857)

Thorny bush' hieroglyph shown in front of a hare is read in Meluhha lexis (vocabulary) rebus: kaṇḍho 'thorn' rebus: kaṇṭho, ka market town. Together with hare: kharā 'hare' rebus: khār 'blacksmith', the reading of hypertext is: khār kantho 'blacksmith market town'


See:


Two artisans from kaṇṭho, karā market town. Indus Script hypertexts kharā 'hare' khār 'blacksmith' kola 'tiger' kolhe 'smelter' https://tinyurl.com/y9rfpj7h


pāṭroṛo 'feeding trough' (Sindhi) on Indus Script Corpora rebus బత్తుడు battuḍu 'artificer' pattar 'goldsmith guild' 

Indus Script hieroglyph pāṭroṛo, pattar 'feeding trough' rebus paṭṭī 'inventory'; పట్ర paṭra, patta 'village, hamlet, maritime town' pāṭan 'market'https://tinyurl.com/y6vd6bmu


Indus Script thorny bush and striped feeding trough hypertexts signify artisan guild hamlet, market town of Sarasvati Civilization 

https://tinyurl.com/ybg2djbf

Section 1. phaḍa 'cobra hood' rebus: phaḍa, paṭṭaḍa 'metals manufactory'

phaṭā फटा (Samskrtam), phaḍā फडा (Marathi), paṭam (Tamil. Malayalam), paḍaga (Telugu) (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45.(DEDR 47) Ta. paṭṭaṭai, paṭṭaṟai anvil, smithy, forge. Ka. paṭṭaḍe, paṭṭaḍi anvil, workshop. Te. paṭṭika, paṭṭeḍa anvil; paṭṭaḍa workshop. Cf. 86 Ta. aṭai. (DEDR 3865) There is also a pun on the word aṭai., aṭi. 'anvil' in a smithy. Rebus: phaḍa फड 'manufactory, company, guild'. Rebus: పట్టడ paṭṭaḍa paṭṭaḍu. [Tel.] n. A smithy, a shop. 

Hieroglyph: फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c.फडी phaḍī f (Dim. of फडा) The expanded hood of Coluber Nága &c paṭṭaḍa फड phaḍa

A variant pronunciation of paṭṭaḍa workshop is the semantics relatedto public place, factory,manufactory: Rebus: फड phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nachhouse, गाण्याचा or ख्यालीखुशालीचा फड A singingshop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work,--as a factory, manufactory, arsenal, dock-yard, printing-office &c. 4 A plantation or field (as of ऊस, वांग्या, मिरच्या, खरबुजे &c.): also a standing crop of such produce. 5 fig. Full and vigorous operation or proceeding, the going on with high animation and bustle (of business in general). v चाल, पड, घाल, मांड. 6 A company, a troop, a band or set (as of actors, showmen, dancers &c.) 7 The stand of a great gun. फड पडणें g. of s. To be in full and active operation. 2 To come under brisk discussion. फड मारणें- राखणें-संभाळणें To save appearances, फड मारणें or संपादणें To cut a dash; to make a display (upon an occasion). फडाच्या मापानें With full tale; in flowing measure. फडास येणें To come before the public; to come under general discussion. 

Hieroglyph: फड (p. 313) phaḍa m (Commonly फडा) An end or a fragment of a branch of the Date-tree: also a leaf or spike of it.  फडा (p. 313)  f m A common term for the joints of Flat-jointed prickly pear.  A root (as of ginger or turmeric) which separates into cloves, a race or sprig. 4 m An end or a fragment of a branch of the Date-tree: also a spike or pinnate leaf of it. 
फडकरी (p. 313) phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain). 
फडच्या or छ्या (p. 313) phaḍacyā or chyā m Commonly फडशा. फडशा phaḍaśā m ( H) Clearance, settlement, liquidated state (of a debt): settled, performed, or executed state (of an affair or a business): consumption, exhaustion, consumed state (of articles of provision). कर, हो. 
फडझडती (p. 313) phaḍajhaḍatī f sometimes फडझाडणी f A clearing off of public business (of any business comprehended under the word फड q. v.): also clearing examination of any फड or place of public business. 2 fig. Scolding vehemently; paying off. v काढ, घे g. of o. 3 Search of or inquiry at the several फड q.v.; taking the accounts of the several फड (as to arrivals of goods, sales, rates &c.) 4 Altercation or dispute of two फड or companies of तमाशेगीर (showmen or sportmen). 5 Freely. Examining or sifting rigorously. 
फडणिशी or सी (p. 313) phaḍaṇiśī or sī & फडणीस Preferably फडनिशी or सी & फडनीस. फडनिविशी or सी (p. 313) phaḍaniviśī or sī & फडनिवीस Commonly फड- निशी & फडनीस.  फडनिशी or सी (p. 313) phaḍaniśī or sī f The office or business of फडनीस. फडनीस (p. 313) phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस. 
फडपूस phaḍapūsa f (फड & पुसणें) Public or open inquiry. 

Image result for bharatkalyan97 eagle sealHarappa seal h156A, h156B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255
eruvai  'eagle' rebus: eruvai 'copper' sena 'hawk' rebus: sena 'thunderbolt'
फड, phaḍa 'cobra hood'  फड, phaḍa 'Bhāratīya arsenal of metal weapons'. 


Harappa seal impression. h-161a. Eagle glyph.


Incised eagle from Tepe Yahya (Kohl in Potts 2011: 218, fig. 9.7). Eagle glhyph comparable to the glyph on Harappa seal impression.
Image result for composite animal bharatkalyan97Image result for composite animal indus scriptA truly fascinating paper by Dennys Frenez and Massimo Vidale on composite Indus creatures and their meaning: Harappa Chimaeras as 'Symbolic Hypertexts'. Some Thoughts on Plato, Chimaera and the Indus Civilization at a.harappa.com/... 
FS Fig.51FS code 25 associated with सांगड sāṅgaḍa 'joined animal parts' rebus: samgaha,samgraha 'catalogue' PLUS pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Te.) Rebus: pasra 'smithy' (Santali) PLUS ranku 'liquid measure' rebus: ranku 'tin' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS कारणिक investigating.
The classifier is the cobra hood: फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

Mohenjo-daro. Sealing.  Surrounded by fishes, lizard and snakes, a horned person sits in 'yoga' on a throne with hoofed legs. One side of a triangular terracotta amulet (Md 013); surface find at Mohenjo-daro in 1936, Dept. of Eastern Art, Ashmolean Museum, Oxford. [seated person penance, crocodile?] 

The classifier is the cobra hood: फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

Brief memoranda: kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’; kaṇḍo ‘stool, seat’ Rebus: kāṇḍa  ‘metalware’ kaṇḍa  ‘fire-altar’.

kāru 'crocodile' Rebus: kāru 'artisan'; khar 'blacksmith'
Hieroglyphs (allographs): 
kamaḍha 'penance' (Prakriam) 
kamḍa, khamḍa 'copulation' (Santali)

kamaṭha crab (Skt.)

kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.)  kamat.ha = fig leaf, religiosa (Sanskrit) 

kamaḍha = ficus religiosa (Sanskrit)
kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Sanskrit) 
Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)  kamaṭa = portable furnace for melting precious metals (Telugu); kampaṭṭam = mint (Tamil)
eraka 'upraised arm' rebus: eraka 'moltencast copper' arka 'gold'.
Image result for bharatkalyan97 cobra hood
Image result for bharatkalyan97 serpent hood
The classifier is the cobra hood hieroglyph/hypertext: फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

Text on obverse of the tablet m453A: Text 1629. m453BC Seated in penance, the person is flanked on either side by a kneeling adorant, offering a pot and a hooded serpent rearing up. 

Glyph: kaṇḍo ‘stool’. Rebus; kaṇḍ ‘furnace’. Vikalpa: kaṇḍ ‘stone (ore) metal’.  Rebus: kamaḍha ‘penance’. Rebus 1: kaṇḍ ‘stone ore’. Rebus 2: kampaṭṭa ‘mint’. Glyph: ‘serpent hood’: paṭa. Rebus: pata ‘sharpness (of knife), tempered (metal). padm ‘tempered iron’ (Ko.) Glyph: rimless pot: baṭa. Rebus: bhaṭa ‘smelter, furnace’. It appears that the message of the glyphics is about a mint  or metal workshop which produces sharpened, tempered iron (stone ore) using a furnace.

Rebus readings of glyphs on text of inscription:

koṇḍa bend (Ko.); Tu. Kōḍi  corner; kōṇṭu angle, corner, crook. Nk. Kōnṭa corner (DEDR 2054b)  G. khū̃ṭṛī  f. ʻangleʼRebus: kõdā ‘to turn in a lathe’(B.) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) koḍ ‘artisan’s workshop’ (Kuwi) koḍ  = place where artisans work (G.) ācāri koṭṭya ‘smithy’ (Tu.) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) B. kõdā ‘to turn in a lathe’; Or.kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. Kū̃d ’ lathe’) (CDIAL 3295)  

sal 'splinter' rebus: sal 'workshop'.Vikalpa: aṭar ‘a splinter’ (Ma.) aṭaruka ‘to burst, crack, sli off,fly open; aṭarcca ’ splitting, a crack’; aṭarttuka ‘to split, tear off, open (an oyster) (Ma.); aḍaruni ‘to crack’ (Tu.) (DEDR 66) Rebus: aduru ‘native, unsmelted metal’ (Kannada) 

ã= scales of fish (Santali); rebusaya ‘metal, iron’ (Gujarati.) cf. cognate to amśu 'soma' in Rigveda: ancu 'iron' (Tocharian)
G.karã̄ n. pl. ‘wristlets, bangles’; S. karāī f. ’wrist’ (CDIAL 2779).  Rebus: khār खार् ‘blacksmith’ (Kashmiri)

dula ‘pair’; rebus dul ‘cast (metal)’

Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana,  kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790)

The suggested rebus readings indicate that the Indus writing served the purpose of artisans/traders to create metalware, stoneware, mineral catalogs -- products with which they carried on their life-activities in an evolving Bronze Age.
Jasper Akkadian cylinder seal
Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) cylinder Seal with four hieroglyphs and four kneeling persons (with six curls on their hair) holding flagposts, c. 2220-2159 B.C.E., Akkadian (Metropolitan Museum of Art) Cylinder Seal (with modern impression). The four hieroglyphs are: from l. to r. 1. crucible PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot with overflowing water, 4. fish A hooded snake is on the edge of the composition. (The dark red color of jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see four reedposts held. 

The classifier is the cobra hood hieroglyph/hypertext: फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse'

If the hieroglyph on the leftmost is moon, a possible rebus reading: قمر ḳamar
قمر ḳamar, s.m. (9th) The moon. Sing. and Pl. See سپوږمي or سپوګمي (Pashto) Rebus: kamar 'blacksmith'.

kulā hooded snake Rebus: kolle 'blacksmith' kolhe 'smelters'

koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse'


kamar 'moon' Rebus: kamar 'blacksmith'

arka 'sun' Rebus: arka, eraka 'copper, gold, moltencast, metal infusion'

lokANDa 'overflowing pot' Rebus: lokhaNDa 'metal implements, excellent 

implements'

aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda)

baTa 'six' Rebus: bhaTa 'furnace' PLUS meDh 'curl' Rebus: meD 'iron'

clip_image056m0492t clip_image057[4]2835 Pict-99: Person throwing a spear at a bison and placing one foot on the head of the bison; a hooded serpent at left.

The classifier is the cobra hood hieroglyph/hypertext: फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

Hieroglyph: kolsa = to kick the foot forward, the foot to come into contact with anything when walking or running; kolsa pasirkedan = I kicked it over (Santali.lex.)mēṛsa = v.a. toss, kick with the foot, hit with the tail (Santali) 
 kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’ (Ta.) kolhe (iron-smelter; kolhuyo, jackal) kol, kollan-, kollar = blacksmith (Ta.lex.)•kol‘to kill’ (Ta.)•sal ‘bos gaurus’, bison; rebus: sal ‘workshop’ (Santali)me~ṛhe~t iron; ispat m. = steel; dul m. = cast iron; kolhe m. iron manufactured by the Kolhes (Santali); meṛed (Mun.d.ari); meḍ (Ho.)(Santali.Bodding)
nAga 'serpent' Rebus: nAga 'lead'
Hieroglyph: rã̄go ʻ buffalo bull ʼ 

Rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in earth ʼ  *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.

paTa 'hood of serpent' Rebus: padanu 'sharpness of weapon' (Telugu)

Hieroglyph: kunta1 ʻ spear ʼ. 2. *kōnta -- . [Perh. ← Gk. konto/s ʻ spear ʼ EWA i 229]1. Pk. kuṁta -- m. ʻ spear ʼ; S. kundu m. ʻ spike of a top ʼ, °dī f. ʻ spike at the bottom of a stick ʼ, °diṛī°dirī f. ʻ spike of a spear or stick ʼ; Si. kutu ʻ lance ʼ.
2. Pa. konta -- m. ʻ standard ʼ; Pk. koṁta -- m. ʻ spear ʼ; H. kõt m. (f.?) ʻ spear, dart ʼ; -- Si. kota ʻ spear, spire, standard ʼ perh. ← Pa.(CDIAL 3289)

Rebus: kuṇha munda (loha) 'hard iron (native metal)'

Allograph: कुंठणें [ kuṇṭhaṇēṃ ] v i (कुंठ S) To be stopped, detained, obstructed, arrested in progress (Marathi)
Image result for bharatkalyan97 serpent hood
The classifier is the cobra hood hieroglyph/hypertext: फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.
C-49 a,b,c
+ hieroglyph in the middle with covering lines around/dots in corners poLa 'zebu' rebus: poLa 'magnetite'; dhAv 'strand' rebus: dhAv 'smelter'; Dotted circle: dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ).kulA 'hooded snake' rebus: kolle 'blacksmith' kol 'working in iron' kolhe 'smelter'; kolmo 'three' koD 'horn' rebus: kolimi 'smithy' koD 'workshop'. tri-dhAtu 'three strands, threefold' rebus: tri-dhAv 'three mineral ores'.

Image result for bharatkalyan97 serpent tabernae montana
The classifier is the cobra hood hieroglyph/hypertext: फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

Cylinder seal with a zebu, scorpion, man, snake and tree. Enstatite.H. 2.6 cm (1 in.); diam. 1.55 cm (5/8 in.). Mesopotamia, Ur, U. 16220. Late 3rd millennium BCE. British Museum. BM 122947

Gadd seal 6. (cut down into Ur III mausolea from Larsa level; U. 16220), enstatite; Legrain, 1951, No. 632; Collon, 1987, Fig. 611 Cylinder seal; BM 122947;humped bull stands before a palm-tree, a thorny stone(?), tabernae montana (five-petalled fragrant flower); snake; person with long legs; behind the bull a scorpion ... Deciphered Indus writing: pola 'zebu, bos indicus'; pola ‘magnetite ore’ (Munda. Asuri); bichi 'scorpion'; 'hematite ore'; tagaraka 'tabernae montana'; tagara 'tin'; ranga 'thorny'; Rebus: pewter, alloy of tin and antimony;  kankar., kankur. = very tall and thin, large hands and feet; kankar dare = a high tree with few branches (Santali) Rebus: kanka, kanaka = gold (Samskritam); kan = copper (Tamil) nAga 'snake' nAga 'lead' (Samskritam).
Drum Slab folio 18

Instep venerated. Amaravati sculptural friezes. Skambha with ayo khambhaṛā 'fish-fin' rebus: ayo kammaṭa 'alloy metals mint, coiner, coinage'.
Drawing of a drum slab measuring 4ft.5in. by 3ft.0.9in. [WD1061, folio 20]
Copyright © The British Library Board. (See more examples at 
All Indus Script hypertexts with phaḍā 'serpent hood' signify metals manufactory public officers 
https://tinyurl.com/y7a26nhe)


meD 'step' rebus: meD 'iron' (cf. Santali glosses)
படம் paṭamn. < pada. Instep; பாதத் தின் முற்பகுதி. படங்குந்திநிற்றல் (சூடா. 9, 53). Rebus: pata ‘sharpness (of knife), tempered (metal). padm ‘tempered iron’ (Ko.)

फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.
Image result for bharatkalyan97 cobra hoodBharhut sculptural frieze. 
nagaraja erapattra bharhut Cobra hood and tree. signify metals manufactory and smelter.
Related image BMAC artefacts. फड, phaḍa 'cobra hood'  फड, phaḍa 'Bhāratīya arsenal of metal weapons'. Shaped like a bag or wallet with handle. dhokra 'wallet, basket' rebus; dhokra 'cire perdue metal caster'.


Section 2. Pictorial motif 1. Feeding trough with stripes Variant

Feeding trough (even in front of wild animals) ḍāngra = wooden trough or manger sufficient to feed one animal (Mundari). iṭankār̤i = a capacity measure (Ma.) Rebus: ḍhangar 'blacksmith' (Bi.)  pāṭroṛo m. ʻwooden troughʼ rebus: pattar 'goldsmiths' (Ta.)

Feeding trough in front of wild animals is a signifier that the 'trough' is a hieroglyph.



 Trough PLUS buffalo/bull
Other examples of trough as a hieroglyph on Indus writing seals shown in front of animals. 

Chanhudaro22a ḍhangar ‘bull’. Rebus: ḍhangar‘blacksmith’ pattar ‘trough’. Rebus: pattar (Ta.), battuu (Te.) goldsmith guild (Tamil.Telugu) khōṭ ‘alloyed ingot’;kolmo ‘rice plant’. Rebus: kolami ‘smithy’. koḍi ‘flag’ (Ta.)(DEDR 2049). Rebus: koḍ ‘workshop’ (Kuwi) Vikalpa: baddī = ox (Nahali); bahi = worker in wood and metal (Santali)ḍāngrā = a wooden trough just enough to feed one animal. cf. iankai = a measure of capacity, 20 iankai make a par-r-a (Ma.lex.) angā = small country boat, dug-out canoe (Or.); õgā trough, canoe, ladle (H.)(CDIAL 5568). Rebus: ḍānro  term of contempt for a blacksmith (N.) (CDIAL 5524)
Stamp seal with a water-buffalo, Mohenjo-daro. “As is usual on Indus Valley seals that show a water buffalo,this animal is standing with upraised head and both hornsclearly visible. (Mackay, 1938b, p. 391). A feeding trough is placed in front of it, and a double row of undecipherable script fills the entire space above. The horns are incised to show the natural growth lines. During the Akkadian period, cylinder seals in Mesopotamia depict water buffaloes in a similar pose that may have been copied from Indus seals (see cat. No.135)(For a Mesopotamian seal with water buffalo, see Parpola1994, p. 252 and Collon 1987, no.529 – Fig. 11).”(JMK –Jonathan Mark Kenoyer, Professor of Anthropology, University of Wisconsin, Madison) (p.405). 

ran:gā ‘buffalo’; ran:ga ‘pewter or alloy of tin (ran:ku) sal ‘bos gaurus’ bison; sal ‘workshop’ (Santali)


ibha ‘elephant’ (Skt.); ib ‘iron’ (Santali) 
Animal glyph: elephant ‘ibha’. Rebus ibbo, ‘merchant’ (Gujarati).


bel [Hem. Des. ba-i-lī fr. Skt. balīvarda = a bull] a bull; a bullock; an ox (G.lex.) Rebus:bali bica ‘iron sand ore’ (Mu.)

பத்தர்¹ pattar , n. 1. See பத்தல், 1, 4, 5. 2. Wooden trough for feeding animals; தொட்டி. பன்றிக் கூழ்ப்பத்தரில் (நாலடி, 257). badhia ‘castrated boar’ (Santali); baḍhi ‘a caste who work both in iron and wood’ (Santali) kol ‘tiger’; Vikalpa rebus: kolhe ‘smelters of iron’.

m1521Act m1521Bct
m1523Actm1523Bct
Sign 342 Hieroglyph: कर्ण [p= 256,2] the handle or ear of a vessel RV. viii , 72 , 12 S3Br. ix Ka1tyS3r. &c Rebus: कर्ण the helm or rudder of a ship R. कर्णी [p= 257,3] f. of °ण ifc. (e.g. अयस्-क्° and पयस्-क्°) Pa1n2. 8-3 , 46" N. of कंस's mother " , in comp. Rebus: karī, 'Supercargo responsible for trading cargo of a vessel'.


That such a functionary existed in the mature period of Sarasvati-Sindhu civilization is evidenced by a remarkable two-sided tablet (m1405) which shows a pattharika, 'merchant' graduating as a karī, 'Supercargo functionary' on a seafaring vessel.


The inscription on the tablet juxtaposes – through the hand gestures of a person - a ‘trough’ gestured with the right hand; a ligatured glyph composed of ‘rim-of-jar’ glyph and ‘water-carrier’ glyph (Glyph 15) gestured with the left hand. 


Water-carrier glyph kuṭi ‘water-carrier’ (Telugu); Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛi f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) [The bull is shown in front of the trough for drinking; hence the semantics of ‘drinking’.]

The most frequently occurring glyph -- rim of jar -- ligatured to Glyph 12 becomes Glyph 15 and is thus explained as a kanka, karṇaka: ‘furnace scribe’ and is consistent with the readings of glyphs which occur together with this glyph. Kan-ka may denote an artisan working with copper, ka (Ta.) kaṉṉār ‘coppersmiths, blacksmiths’ (Ta.) Thus, the phrase kaṇḍ karṇaka may be decoded rebus as a brassworker, scribe. karṇaka, karNIka ‘scribe,  accountant’.karNi 'supercargo' 
Glyph15 variants (Parpola)
The inscription of this tablet is composed of four glyphs: bison, trough, shoulder (person), ligatured glyph -- Glyph 15(rim-of-jar glyph ligatured to water-carrier glyph). 

Each glyph can be read rebus in mleccha (meluhhan).

balad m. ʻox ʼ, gng. bald, (Ku.) barad, id. (Nepali. Tarai) Rebus: bharat (5 copper, 4 zinc and 1 tin)(Punjabi) 

pattar ‘trough’ (Ta.), rebus paṭṭar-ai community; guild as of workmen (Ta.); pattar merchants (Ta.); perh. vartaka  (Skt.) pātharī ʻprecious stoneʼ (OMarw.) (CDIAL 8857)


meḍ ‘body’ (Mu.); rebus: meḍ ‘iron’ (Ho.); eṛaka 'upraised arm' (Ta.); rebus: eraka = copper (Ka.)   


Ligature 1 in composite glyph: kan-ka ‘rim of jar’ (Santali), rebus karṇaka ‘scribe, accountant’ (Pa.); karNi 'supercargo' (Marathi) vikalpa: 1. kāraṇika -- m. ʻarrow-maker’ (Pa.) 2. khanaka ‘miner, digger, excavator’ (Skt.). Ligature 2 in composite glyph: kuṭi ‘water-carrier (Telugu), rebus: kuṭhi ‘smelter furnace’ (Santali)
kol 'tiger' Rebus: kole.l 'smithy'; kol 'working in iron'; kolhe 'smelters'; kolle 'blacksmith'.
.gaṇḍa, kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’.  

Were tigers, rhinoceroses, boars domesticated since feeding troughs are shown on Indus Script inscriptions?  Such wild animals were NOT domesticated but were used as hieroglyphs to signify Bronze Age metalwork.


This rhetorical question is intended to underscore that the Indus Script cipher is a messaging system with hieroglyphs as signifiers. Both the animals and feeding troughs are hieroglyphs. The signified are Bronze Age metal- or mint-work catalogues documenting the merchandise of seafaring merchants who are also Supercargo -- merchant's representatives responsible for overseeing the cargo and its sale.

m1405 Pict-97 Reverse: Person standing at the centre pointing with his right hand at a bison facing a trough, and with his left hand pointing to the Sign 15. Obverse: A tiger and a rhinoceros in file. 

 

The tablet signifies three animals: tiger, rhinoceros, ox: 

 

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

 

kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. 

barad, barat 'ox' Rebus: भरत bharata A factitious metal compounded of copper, pewter, tin bel [Hem. Des. ba-i-lī fr. Skt. balīvarda = a bull] a bull; a bullock; an ox (G.lex.) Rebus:bali bica ‘iron sand ore’ (Mu.)

 

pattar 'trough' Rebus pattar, vartaka 'merchant, goldsmith' paṭṭasmithy, shop'.

 

कर्णक kárṇaka, kannā 'legs spread', Rebus kañi-āra 'helmsman' karaṇī 'scribe, supercargo', kañi-āra 'helmsman'. 

eraka 'raised arm' Rebus: eraka 'metal infusion' eraka 'copper'

Sign 15:  kuhi kaṇḍa kanka ‘smelting furnace account (scribe)’. 

kuTi 'water-carrier' rebus: kuThi 'smelter' kanda 'pot' rebus: kanda 'fire-altar' kanka, karanika 'rim of jar' rebus: kāraṇika 'smelter producer'. Thus the hieroglyph-multiplex is an expression: kuThi kāraṇika  'smelter-maker.' kuTi karaṇī 'Supercargo smelter' (i.e. Supercargo responsible for trading produce from smelter and carried by seafaring vessel).

This tablet is a clear and unambiguous example of the fundamental orthographic style of Indus Script inscriptions that: both signs and pictorial motifs are integral components of the message conveyed by the inscriptions. Attempts at 'deciphering' only what is called a 'sign' in the entire Indus Script Corporwill result in an incomplete decoding of the message catalogued on the inscribed object.

 

barad, barat 'ox' Rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c.(Marathi)

 

pattar 'trough'; rebus pattar, vartaka 'merchant, goldsmith' (Tamil) பத்தர்² pattar , n. < T. battuu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று. 

The Pali expression usu -- kāraika -- m. ʻ arrow -- maker ʼ provides the semantics of the word kāraṇika as relatable to a 'maker' of a product. usu-kāraṇika is an arrow-maker. Thus, kuTi kāraṇika can be explained as a smelter-maker. Supercargo is a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale. The Marathi word for Supercargo is: kārī . Thus, it can be suggested that kuTi kāraṇika was an ovrseer of the cargo (from smelter) on a merchantship. In the historical periods, the Supercargo has specific duties "The duties of a supercargo are defined by admiralty law and include managing the cargo owner's trade, selling the merchandise inports to which the vessel is sailing, and buying and receiving goods to be carried on the return voyage...A new supercargo was always appointed for each journey who also had to keep books, notes and ledgers about everything that happened during the voyage and trade matters abroad. He was to present these immediately to the directors of the Company on the ship's return to its headquarters ." 

https://en.wikipedia.org/wiki/Supercargo While a captain was in charge of navigation, Supercargo was in charge of trade. 

कारण 1[p= 274,2] a number of scribes or कायस्थs W. instrument , means;that on which an opinion or judgment is founded (a sin, mark; a proof; a legal instrument, document), Mn. MBh.

 

कारणिक [p= 274,3] mfn. (g. काश्य्-ादि) " investigating , ascertaining the cause " , a judge Pan5cat. a teacher MBh. ii , 167.

 

B. kerā ʻ clerk ʼ (kerāni ʻ id. ʼ < *kīraka -- karaika<-> ODBL 540): very doubtful. -- Poss. ← Ar. qāri', pl. qurrā' ʻ reader, esp. of Qur'ān ʼ.(CDIAL 3110) कर्णक kárṇaka, kannā 'legs spread', 'rim of jar', 'pericarp of lotus' karaṇī 'scribe, supercargo', kañi-āra 'helmsman'.  kāraṇika m. ʻ teacher ʼ MBh., ʻ judge ʼ Pañcat. [kā- raṇa -- ] Pa. usu -- kāraika -- m. ʻ arrow -- maker ʼ; Pk. kāraiya -- m. ʻ teacher of Nyāya ʼ; S. kāriī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karī m. ʻ village accountant ʼ.(CDIAL 3058) kāraṇa n. ʻ cause ʼ KātyŚr. [√kr̥1] Pa. kāraa -- n. ʻ deed, cause ʼ; Aś. shah. karaa -- , kāl. top. kālana -- , gir. kāraa -- ʻ purpose ʼ; Pk. kāraa -- n. ʻ cause, means ʼ; Wg. (Lumsden) "kurren" ʻ retaliation ʼ, Paš. kāran IIFL iii 3, 97 with (?); S. kārau m. ʻ cause ʼ; L. kārnā m. ʻ quarrel ʼ; P. kāra m. ʻ cause ʼ, N. A. B. kāran, Or. kāraa; Mth. kāran ʻ reason ʼ, OAw. kārana, H. kāran m., G. kāra n.; Si. karua ʻ cause, object, thing ʼ; -- postpositions from oblique cases: inst.: S. kāraie°i ʻ on account of ʼ, L. awāṇ. , Addenda: kāraṇa -- : Brj. kāran ʻ on account of ʼ.(CDIAL 3057) kiraka m. ʻ scribe ʼ lex. 

eraka 'raised arm' Rebus: eraka 'metal infusion' (Kannada. Tulu) 

 

Sign 15:  kuhi kaṇḍa kanka ‘smelting furnace account (scribe)’. 

Thus, the hieroglyph multiplex on m1405 is read rebus from r.: kuhi kaṇḍa kanka eraka bharata pattar 'goldsmith-merchant guild -- helmsman, smelting furnace account (scribe), molten cast metal infusion, alloy of copper, pewter, tin.' 

 

Indus inscription on a Mohenjo-daro tablet (m1405) including ‘rim-of-jar’ glyph as component of a ligatured glyph (Sign 15 Mahadevan).

 

It will be demonstrated in this monograph that this inscribed object is decoded as a professional calling card: a blacksmith-precious-stone-merchant with the professional role of copper-miner-smelter-furnace-scribe-Supecargo.

 

m1405At Pict-97: Person standing at the center points with his right hand at a bison facing a trough, and with his left hand points to the ligatured glyph. 

 

The inscription on the tablet juxtaposes – through the hand gestures of a person - a ‘trough’ gestured with the right hand; a ligatured glyph composed of ‘rim-of-jar’ glyph and ‘water-carrier’ glyph (Sign 15) gestured with the left hand. 

 

 A characteristic feature of Indus writing system unravels from this example: what is orthographically constructed as a pictorial motif can also be deployed as a 'sign' on texts of inscriptions. This is achieved by a stylized reconstruction of the pictorial motif as a 'sign' which occurs with notable frequency on Indus Script Corpora -- with orthographic variants (Signs 12, 13, 14).

Section 3. Pictorial motif 2. Kneeling adorant

Image result for bharatkalyan97 cobra hoodGanweriwala tablet. Kneeling adorant.

kneeling adorant బత్తుడు battuḍu. n. A worshipper.பத்தர்³ pattarn. < bhakta. 1. Devotees, votaries Rebus: பத்தர்² pattarn. < T. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று. பத்தர்&sup5; pattar, n. perh. vartaka. Merchants; வியாபாரிகள். (W.)

 

బత్తి batti batti. [for. Skt. భక్తి.] n. Faith. బత్తిగల faithful. "అంగనయెంతటి పుణ్యమూర్తివో, బత్తిజనింపనాదుచెర బాపితి." S. iii. 63. See on భక్తి. బత్తుడు battuḍu. n. A worshipper. భక్తుడు. The caste title of all the five castes of artificers as వడ్లబత్తుడు a carpenter. కడుపుబత్తుడు one who makes a god of his belly. L. xvi. 230. பத்தர்³ pattarn. < bhakta. 1. Devotees, votaries; அடியார். பத்தர் சிக்கெனப் பிடித்த செல் வமே (திருவாச. 37, 8). 2. Persons who are loyal to God, king or country; அன்புடையார். தேசபத்தர். 3. A caste of Vīrašaiva vegetarians; வீரசைவரில் புலாலுண்ணாத வகுப்பினர். Loc.

Section 4. Pictorial motif 3. Thorny bushExamples of incised copper tablets (Hieroglyph-multiplex: hare PLUS thorn/bush):
m1491Act

m1491Bct

m1492Act

m1492Bct

m1493Bct
1706 Hare
m1494 
Pict-42
m1497Act
Hieroglyph kharā 'hare' (Oriya): *kharabhaka ʻ hare ʼ. [ʻ longeared like a donkey ʼ: khara -- 1?]N. kharāyo ʻ hare ʼ, Or. kharā°riākherihā, Mth. kharehā, H. kharahā m(CDIAL 3823) ``^rabbit'' Sa. kulai `rabbit'.Mu. kulai`rabbit'.
KW kulai @(M063)  खरगोस (p. 113) kharagōsa m ( P) A hare.  (Marathi)

Rebus: khār खार् 'blacksmith' (Kashmiri) 

Hypertext: leafless tree, treebranch: A person is seated on a branch of a tree: కమ్మ kamma  [Tel.] n. A branch, or bough of any tree of the palm species.  kuṭi 'tree' Rebus: kuṭhi 'smelter' (smithy) khōṇḍa 'leafless tree' (Marathi). Rebus: kõdār 'turner' (Bengali). konda 'furnace, fire-altar'  kō̃da कोँद 'furnace for smelting':  payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (a potter's, a lime-kiln, and brick-kiln, or the like); a furnace (for smelting). -thöji - or -thöjü -; । परिपाक-(द्रावण-)मूषाf. a crucible, a melting-pot. -ʦañĕ -। परिपाकोपयोगिशान्ताङ्गारसमूहः f.pl. a special kind of charcoal (made from deodar and similar wood) used in smelting furnaces. -wôlu -वोलु&below; । धात्वादिद्रावण-इष्टिकादिपरिपाकशिल्पी m. a metal-smelter; a brick-baker. -wān -वान् । द्रावणचुल्ली m. a smelting furnace.


Hieroglyph: Person seated on a tree: kuṭi 'tree' rebus: kuṭhi 'smelter' PLUS 

Hieroglyph: हेर [ hēra ] m (हेरक S through or H) A spy, scout, explorator, an emissary to gather intelligence. 2 f Spying out or spying, surveying narrowly, exploring. (Marathi) *hērati ʻ looks for or at ʼ. 2. hēraka -- , °rika -- m. ʻ spy ʼ lex., hairika -- m. ʻ spy ʼ Hcar., ʻ thief ʼ lex. [J. Bloch FestschrWackernagel 149 ← Drav., Kuiēra ʻ to spy ʼ, Malt. ére ʻ to see ʼ, DED 765]1. Pk. hēraï ʻ looks for or at ʼ (vihīraï ʻ watches for ʼ); K.ḍoḍ. hērūō ʻ was seen ʼ; WPah.bhad. bhal. he_rnū ʻ to look at ʼ (bhal. hirāṇū ʻ to show ʼ), pāḍ. hēraṇ, paṅ. hēṇā, cur. hērnā, Ku. herṇo, N. hernu, A. heriba, B. herā, Or. heribā (caus. herāibā), Mth. herab, OAw. heraï, H. hernā; G. hervũ ʻ to spy ʼ, M. herṇẽ. 2. Pk. hēria -- m. ʻ spy ʼ; Kal. (Leitner) "hériu"ʻ spy ʼ; G. herɔ m. ʻ spy ʼ, herũ n. ʻ spying ʼ. Addenda: *hērati: WPah.kṭg. (Wkc.) hèrnõ, kc. erno ʻ observe ʼ; Garh. hernu ʻ to look' (CDIAL 14165) Ko. er uk- (uky-) to play 'peeping tom'. Kui ēra (ēri-) to spy, scout; n. spying, scouting; pl action ērka (ērki-). ? Kuwi (S.) hēnai to scout; hēri kiyali to see; (Su. P.) hēnḍ- (hēṭ-) id. Kur. ērnā (īryas) to see, look, look at, look after, look for, wait for, examine, try; ērta'ānā to let see, show; ērānakhrnā to look at one another. Malt. ére to see, behold, observe; érye to peep, spy. Cf. 892 Kur. ēthrnā. / Cf. Skt. heraka- spy, Pkt. her- to look at or for, and many NIA verbs; Turner, CDIAL, no. 14165(DEDR 903)

Rebus: erka = ekke (Tbh.of arka) aka (Tbh. of arka) copper (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.) 

Tiger looking up/back as hieroglyph narrative: kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' krammara 'look back' rebus: kamar 'artisan, smith'.

Pictorial motifs: erga = act of clearing jungle (Kui) [Note image showing two men carrying 

uprooted trees] thwarted by a person in the middle with outstretched hands. 
 kuṭhi karṇī, 'smelter accountant (supercargo)'dhakka karṇī m. ʻferry accountant (supercargo) at quay, wharfʼ.

Image result for harappa tablet tree bharatkalyan97Harappa tablet
h187Ah187B 5282 meṭṭu mound, heap of earth; mēṭu height, eminence, hillock' Rebus: mẽṛhẽt,meḍ 'iron' (Santali.Mu.Ho.)  kuṭhi 'mountain' rebus:  kuṭhi 'smelter'  kanka 'rim of jar' rebus:karNI'supercargo' khareDo 'currycomb' rebus: Rebus: kharādī ' turner' (G.); kharada खरडें daybook, brief memoranda of metalwork. (Products out of) Iron furnace; karaḍā means 'hard alloy of metals such as gold, silver etc.'
m0478A
m0478B tablet 

m0479a
m0479b
m0480a
m0480b
m0478At m0478Bt 

Is the pictorial of a tall jar the Sign 342  with a lid? Sign 45 seems to be a

kneeling adorant offering a pot (Sign 328 ) 2815 Pict-77: Tree, generally

within a railing or on a platform. 3230 Tree and other hieroglyphs, Harappa tablet h0480a baTa'rimless pot' bhaTa 'worshipper' rebus: bhaTa 'furnace' PLUS kuṭi 'tree' rebus kuṭhi 'smelter' (Endless knot is: mēḍhā 'twist' rebus med 'iron' med 'copper' (Slavic)medhā 'dhana, yajna'. gaNDa 'four' rebus:kanda 'fire-altar'baTa 'rimless pot' rebus: bhaTa 'furnace'कणिक kárṇaka, kannā 'legs spread' rebus: कणिक kárṇaka 'helmsman'; dula'pair' rebus: dul 'metal casting' koDa 'one' rebus: koD'workshop' khareDo 'currycomb' rebus: Rebus: kharādī ' turner' (G.) kāmsako, kāmsiyo = a large sized comb (G.) Rebus: kaṁsa 'bronze' (Te.) h180b erga 'jungle clearance' (uprooted trees in the hands of two contending persons; a woman with outstretched arms thwarts the contenders) rebus:erako 'moltencast' eraka, arka 'copper, gold' hence agasAle 'goldsmith'.

kuṭi 'tree'Rebus: kuṭhi 'smelter' bhaṭa 'worshipper' Rebus: bhaṭa 'furnace' baTa 'iron' (Gujarati) This hieroglyph is a phonetic deterinant of the 'rimless pot': baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) bhaṭa 'a furnace'.  Hence, the hieroglyph-multiplex of an adorant with rimless pot signifies: 'iron furnace' bhaTa. 


bAraNe ' an offering of food to a demon' (Tulu) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin) (Punjabi. Bengali) The narrative of a worshipper offering to a tree is thus interpretable as a smelting of three minerals: copper, zinc and tin.


Numeral four: gaNDa 'four' Rebus: kand 'fire-altar'; Four 'ones': koḍa ‘one’ (Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the pair of 'four linear strokes PLUS rimless pot' signifies: 'fire-altar (in) artisan's wrkshop'. 


Circumscript of two linear strokes for 'body' hieroglyph: dula 'pair' Rebus: dul 'cast metal' koḍa ‘one’(Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the circumscript signifies 'cast metal workshop'. meD 'body' Rebus: meD 'iron'.


khareḍo = a currycomb (G.) Rebus: kharādī ‘turner’ (Gujarati)


मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' rebus: mẽṛhẽt, meḍ ‘iron’. medhā yajña, धन Naigh. ii , 10.

Thus, metallic ore. Medha ‘yajna, dhanam’ erga = act of clearing jungle (Kui) [Note image showing two men carrying  uprooted trees] thwarted by a person in the middle with outstretched hands Hieroglyph: era female, applied to women only, and generally as a mark of respect, wife; hopon era a daughter; era hopon a man’s family; manjhi era the village chief’s wife; gosae era a female Santal deity; bud.hi era an old woman; era uru wife and children; nabi era a prophetess; diku era a Hindu woman (Santali) Rebus: er-r-a = red; eraka = copper (Ka.) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) erako molten cast (Tu.lex.)  agasa_le, agasa_li, agasa_lava_d.u = a goldsmith (Te.lex.) kola ‘tiger, jackal’ (Kon.); rebus: kolworking in iron, blacksmith, ‘alloy of five metals, panchaloha’ (Tamil) kol ‘furnace, forge’ (Kuwi) kolami ‘smithy’ (Telugu)   Inverted V, m478 (lid above rim of narrow-necked jar) The rimmed jar next to the tiger with turned head has a lid. Lid ‘ad.aren’; rebus: aduru ‘native metal’ karnika 'rim of jar' Rebus: karni 'supercargo' (Marathi) Thus, together, the jar with lid composite hieroglyhph denotes 'native metal supercargo'. karn.aka = handle of a vessel; ka_n.a_, kanna_ = rim, edge; kan.t.u = rim of a vessel; kan.t.ud.iyo = a small earthen vessel; kan.d.a kanka = rim of a water-pot; kan:kha, kankha = rim of a vessel 

Rebus readings: maṇḍa ‘ some sort of framework (?) ʼ. [In nau - maṇḍḗ n. du. ʻ the two sets of poles rising from the thwarts or the two bamboo covers of a boat (?) ʼ ŚBr. Rebus: M. mã̄ḍ m. ʻ array of instruments &c. ʼ; Si. maḍa -- ya ʻ adornment, ornament ʼ. (CDIAL 9736) kamaḍha 'penance' (Pkt.)Rebus: kampaṭṭam 'mint' (Tamil) battuḍu. n. A worshipper (Telugu) Rebus: pattar merchants (Tamil), perh. Vartaka (Skt.)

erga = act of clearing jungle (Kui) [Note image showing two men carrying uprooted trees].Aḍaru twig; aḍiri small and thin branch of a tree; aḍari small branches (Ka.); aḍaru twig (Tu.)(DEDR 67). Aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) Vikalpa: kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali) hakhara — m.n. ʻbranch without leaves or fruitʼ (Prakrit) (CDIAL 5524) Rebus: dhangar 'blacksmith' (Maithili) •era, er-a = eraka = ?nave; erako_lu = the iron axle of a carriage (Ka.M.); cf. irasu (Ka.lex.) •era_ = claws of an animal that can do no harm (G.) •era female, applied to women only, and generally as a mark of respect, wife; hopon era a daughter; era hopon a man’s family; manjhi era the village chief’s wife; gosae era a female Santal deity; bud.hi era an old woman; era uru wife and children; nabi era a prophetess; diku era a Hindu woman (Santali) •Rebus: er-r-a = red; eraka = copper (Ka.) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) erako molten cast (Tu.lex.)  agasa_le, agasa_li, agasa_lava_d.u = a goldsmith (Te.lex.)  

heraka = spy (Skt.); eraka, hero = a messenger; a spy (Gujarati); er to look at or for (Pkt.); er uk- to play 'peeping tom' (Ko.) Rebus: erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.) eraka ‘copper’ (Kannada) 


Hieroglyph: Looking back: krammara 'look back' (Telugu) kamar 'smith, artisan' (Santali)  kola, ‘tiger, jackal’ (Kon.); rebus: kol working in iron, blacksmith, ‘alloy of five metals, panchaloha’ (Tamil) kol ‘furnace, forge’ (Kuwi) kolami ‘smithy’ 
(Te 
Hieroglyph: era female, applied to women only, and generally as a mark of respect, wife; hopon era a daughter; era hopon a man’s family; manjhi era the village chief’s wife; gosae era a female Santal deity; bud.hi era an old woman; era uru wife and children; nabi era a prophetess; diku era a Hindu woman (Santali)


•Reb er-r-a = red; eraka = copper (Ka.) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) erako molten cast (Tu.lex.)  agasa_le, agasa_li, agasa_lava_d.u = a goldsmith (Telugu) hakhara — m.n. ʻbranch without leaves or fruitʼ (Prakrit) (CDIAL 5524) Rebus: dhangar 'blacksmith'. Glyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist. (DEDR 3031)


The rim of jar PLUS lid is read as hypertext rebus as: dhakka karni 'bright metal supercargo'.

Hypertext: सांगड  sāṅgaḍa m f (संघट्ट S)  f A body formed of two or more (fruits, animals, men) linked or joined together.
Rebus: sãgaṛh 'fortification' sangar 'trade' అంగడి  aṅgaḍi angadi. [Drav.] (Gen. అంగటి Loc. అంగట, plu. అంగళ్లు) n. A shop. అంగడిపెట్టు to open a shop. అంగళ్లవాడ range of shops. అంగట పోకార్చి selling in the shop. అంగడివీధి a market place. Ta. aṅkāṭi bazaar, bazaar street. Ma. aṅṅāṭi shop, bazaar. Ko. aŋga·ḍy id. To. ogoḏy bazaar (? < Badaga). Ka. aṅgaḍi shop, stall. Koḍ. aŋgaḍi id. Tu. aṅgaḍi id. Te. aṅgaḍi id. Kol. aŋgaḍi bazaar. Nk. 
aŋgāṛi id. Nk. (Ch.) aŋgāṛ market. Pa. aŋgoḍ courtyard, compound. / ? Cf. Skt. aṅgaṇa- courtyard. 
(DEDR 35)

Section 5. Etyma (Bhāratīya sprachbund)

Hieroglyph: pāṭroṛo m. ʻwooden troughʼ(Sindhi) pathiyā ʻ basket used as feeding trough for animals  (Maithili): *prasthapattra ʻ seed account ʼ. [prastha -- 2, páttra -- ]K. pathawaturu m. ʻ memorandum showing the area sown ʼ.(CDIAL 8871) prastha2 m.n. ʻ a measure of weight or capacity = 32 palas ʼ MBh.Pa. pattha -- m. ʻ a measure = 1/4 āḷhaka, cooking vessel containing 1 pattha ʼ; NiDoc. prasta ʻ a measure ʼ; Pk. pattha -- , °aya -- m. ʻ a measure of grain ʼ; K. path m. ʻ a measure of land requiring 1 trakh (= 9 1/2 lb.) of seed ʼ; L. patth, (Ju.) path m. ʻ a measure of capacity = 4 boras ʼ; Ku. pātho ʻ a measure = 2 seers ʼ; N. pāthi ʻ a measure of capacity = 1/10 man ʼ; Bi. pathiyā ʻ basket used by sower or for feeding cattle ʼ; Mth. pāthā ʻ large milk pail ʼ, pathiyā ʻ basket used as feeding trough for animals ʼ; H. pāthī f. ʻ measure of corn for a year ʼ; Si. pata ʻ a measure of grain and liquids = 1/4 näliya ʼ.*prasthapattra -- .Addenda: prastha -- 2: WPah.poet. patho m. ʻ a grain measure about 2 seers ʼ (prob. ← Ku. Mth. form) Him.I 110.(CDIAL 8869) Ta. pātti bathing tub, watering trough or basin, spout, drain; pattal wooden bucket; pattar id., wooden trough for feeding animals. Ka. pāti basin for water round the foot of a tree. Tu. pāti trough or bathing tub, spout, drain. Te. pādi, pādu basin for water round the foot of a tree. (DEDR 4079) பத்தல் pattal, n. 1. A wooden bucket; மரத்தாலான நீரிறைக்குங் கருவி. தீம்பிழி யெந்திரம் பத்தல் வருந்த (பதிற்றுப். 19, 23). 2. See பத்தர்¹, 2. 3. See பத்தர்¹, 3. 4. Ditch, depression; குழி. ஆன்வழிப்படுநர் தோண்டிய பத்தல் (நற். 240). 5. A part of the stem of the palmyra leaf, out of which fibre is extracted; நாருரித்தற்கு ஏற்ற பனைமட்டையின் ஓருறுப்பு. (G. Tn. D. I, 221.) பத்தர்¹ pattarn. 1. See பத்தல், 1, 4, 5. 2. Wooden trough for feeding animals; தொட்டி. பன்றிக் கூழ்ப்பத்தரில் (நாலடி, 257). 3. Cocoanut shell or gourd used as a vessel; குடுக்கை. கொடிக்காய்ப்பத்தர் (கல்லா. 40, 3).பாத்திரம்² pāttiram, n. < pātra. 1. Vessel, utensil; கொள்கலம். (பிங்.) 2. Mendicant's bowl; இரப்போர் கலம். (சூடா.)pāˊtra n. ʻ drinking vessel, dish ʼ RV., °aka -- n., pātrīˊ- ʻ vessel ʼ Gr̥ŚrS. [√1]Pa. patta -- n. ʻ bowl ʼ, °aka -- n. ʻ little bowl ʼ, pātĭ̄ -- f.; Pk. patta -- n., °tī -- f., amg. pāda -- , pāya -- n., pāī -- f. ʻ vessel ʼ; Sh. păti̯ f. ʻ large long dish ʼ (← Ind.?); K. pāthar, dat. °tras m. ʻ vessel, dish ʼ, pôturu m. ʻ pan of a pair of scales ʼ (gahana -- pāth, dat. pöċü f. ʻ jewels and dishes as part of dowry ʼ ← Ind.); S. pāṭri f. ʻ large earth or wooden dish ʼ, pāṭroṛo m. ʻ wooden trough ʼ; L. pātrī f. ʻ earthen kneading dish ʼ, parāt f. ʻ large open vessel in which bread is kneaded ʼ, awāṇ. pātrī ʻ plate ʼ; P. pātar m. ʻ vessel ʼ, parāt f., parātṛā m. ʻ large wooden kneading vessel ʼ, ḍog. pāttar m. ʻ brass or wooden do. ʼ; Ku.gng. pāiʻ wooden pot ʼ; B. pātil ʻ earthern cooking pot ʼ, °li ʻ small do. ʼ Or. pātiḷa°tuḷi ʻ earthen pot ʼ, (Sambhalpur) sil -- pā ʻ stone mortar and pestle ʼ; Bi. patĭ̄lā ʻ earthen cooking vessel ʼ, patlā ʻ milking vessel ʼ, pailā ʻ small wooden dish for scraps ʼ; H. patīlā m. ʻ copper pot ʼ, patukī f. ʻ small pan ʼ; G. pātrũ n. ʻ wooden bowl ʼ, pātelũ n. ʻ brass cooking pot ʼ, parāt f. ʻ circular dish ʼ (→ M. parāt f. ʻ circular edged metal dish ʼ); Si. paya ʻ vessel ʼ, päya (< pātrīˊ -- ). (CDIAL 8055)

பத்தர்² pattarn. < T. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று. பத்தர்&sup5; pattar, n. perh. vartaka. Merchants; வியாபாரிகள். (W.)

Rebus 1: పట్టీ paṭṭī . [Tel.] n. A list or inventory, a roll of names పట్టి paṭṭi  A list. 


Rebus 2: పట్ర  paṭra . [Tel.] n. A village, a hamlet. పల్లెపట్ర villages and hamlets. H. iv. 108. పట్రవాండ్లు paṭra-vānḍlu. n. plu. A certain caste skin to the Boyas. Also called ఏకరివాండ్లు. பட்டி¹ paṭṭi, n. prob. படு¹-. 1. [K. M. paṭṭi.] Cow-stall; பசுக்கொட்டில். (பிங்.) 2. [K. M. paṭṭi.] Sheep-fold; ஆட்டுக்கிடை. (W.) 3. A measure of land, as sufficient for a sheep-fold; நிலவளவு வகை. (J.) 4. [K. paṭṭi.] Cattle-pound; கொண் டித்தொழ. 5. [T. paṭra, K. paṭṭi.] Hamlet, village; சிற்றூர். (நாமதீப. 486). 6. Place; இடம். (பிங்.) 

Ta.
 paṭṭi cow-stall, sheepfold, hamlet, village; paṭṭam sleeping place for animals; paṭṭu hamlet, small town or village; paṭṭiṉam maritime town, small town; paṭappu enclosed garden; paṭappai id., backyard, cowstall. Ma. paṭṭi fold for cattle or sheep. Ko. paṭy Badaga village. To. oṭy id. (< Badaga haṭṭi). Ka.paṭṭi pen or fold, abode, hamlet; paṭṭa city, town, village. Tu. paṭṭů nest. Te. paṭṭu abode, dwelling place. / Cf. Turner, CDIAL, no. 7705, paṭṭana-.(DEDR 3868)

 
paṭṭana n. ʻ town ʼ Kauṭ., °nī -- f. lex. 2. páttana -- n. MBh. [Prob. ← Drav. T. Burrow BSOAS xii 383 and EWA ii 192 with ṭṭ replaced by IA. tt. But its specific meaning as ʻ ferry ʼ in S. L. P. B. H. does lend support to its derivation by R. A. Hall in Language 12, 133 from *partana -- (√pr̥ ~ Lat. portus, &c.). Poss. MIA. pattana -- , paṭṭana -- ʻ *ferry ʼ has collided with Drav. loanword for ʻ town ʼ]1. Pa. paṭṭana -- n. ʻ city ʼ, °aka -- n. ʻ a kind of village ʼ; Pk. paṭṭaṇa -- n. ʻ city ʼ; K. paṭan m. ʻ quarter of a town, name of a village 14 miles NW of Śrinagar ʼ; N. pāṭan ʻ name of a town in the Nepal Valley ʼ; B. pāṭan ʻ town, market ʼ; Or. pāṭaṇā°anā ʻ town, village, hamlet on outskirts of a big village ʼ; Bi. paṭnā ʻ name of a town ʼ; H. pāṭan m. ʻ town ʼ, G. pāṭaṇ n.; M. pāṭaṇ ʻ name of a town ʼ; Si. paṭuna ʻ town ʼ. -- Pa. paṭṭana -- n. ʻ harbour, port ʼ, Pk. paṭṭaṇa -- n.; H. paṭnīpā̆ṭaunīpāṭūnī m. ʻ ferryman ʼ; Si. paṭuna ʻ harbour, seaport ʼ.2. Pk. pattaṇa -- n. ʻ town ʼ, Si. patana. -- S. pataṇu m. ʻ ferry ʼ (whence pātaṇī m. ʻ ferryman ʼ, f. ʻ ferry boat ʼ); L. pattan, (Ju.) pataṇ m. ʻ ferry ʼ; P. pattaṇ ʻ ferry, landing -- place ʼ, pattaṇī°tuṇī m. ʻ ferryman, one who lives near a ferry ʼ; B. pātanī ʻ ferryman ʼ. (CDIAL 7705) பட்டிகை¹ paṭṭikain. cf. id. 1. Raft, float; தெப்பம். (திவா.) 2. Boat, dhoney; தோணி. (யாழ்அக.)
K. khāra -- basta f. ʻ blacksmith's skin bellows ʼ(CDIAL 9424)  khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु‍&below; । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -; or -güjü -ग&above;जू&below; । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü , a blacksmith's smelting furnace; cf. hāl 5. -kūrü ; । लोहकारकन्या f. a blacksmith's daughter. -koṭu -। लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü - । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above;च&dotbelow;ू&below; । लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु&below; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.


Ta. paṭṭai palmyra timber, rafter; paṭṭiyal lath, reeper. Ma. paṭṭa areca bough. Ka. paṭṭe palmyra timber, rafter, areca bough; paṭṭi piece of timber of door-frame, rafter, joist; paṭṭika board. Tu. pa

rafter. Te. paṭṭe bar or spar of wood, piece of timber of door-frame; paṭṭi plank; paṭṭika plank, board, bar of wood. Kol. paṭṭe plank. Nk. paṭi id. Pa. peṭṭi (pl.peṭkul) beam, post. Ga. (P.) paṭiya beam. 

Kui paṭi beam; paṭa board. Kur. paṭṭā beam in oilmill. (DEDR 3875)

prastha2 m.n. ʻ a measure of weight or capacity = 32 palas ʼ MBh.Pa. pattha -- m. ʻ a measure = 1/4 āhaka, cooking vessel containing 1 pattha ʼ; NiDoc. prasta ʻ a measure ʼ; Pk. pattha -- , °aya -- m. ʻ a measure of grain ʼ; K. path m. ʻ a measure of land requiring 1 trakh (= 9 1/2 lb.) of seed ʼ; L. patth, (Ju.) path m. ʻ a measure of capacity = 4 boras ʼ; Ku. pātho ʻ a measure = 2 seers ʼ; N. pāthi ʻ a measure of capacity = 1/10 man ʼ; Bi. pathiyā ʻ basket used by sower or for feeding cattle ʼ; Mth. pāthā ʻ large milk pail ʼ, pathiyā ʻ basket used as feeding trough for animals ʼ; H. pāthī f. ʻ measure of corn for a year ʼ; Si. pata ʻ a measure of grain and liquids = 1/4 näliya ʼ. *prasthapattra -- .Addenda: prastha -- 2: WPah.poet. patho m. ʻ a grain measure about 2 seers ʼ (prob.  Ku. Mth. 

ˊtra n. ʻ drinking vessel, dish ʼ RV., °aka -- n., pātrīˊ- ʻ vessel ʼ Gr̥ŚrS. [√1]Pa. patta -- n. ʻ bowl ʼ, °aka -- n. ʻ little bowl ʼ, pātĭ̄ -- f.; Pk. patta -- n., °tī -- f., amg. pāda -- , pāya -- n., pāī -- f. ʻ vessel ʼ; Sh. păti̯ f. ʻ large long dish ʼ ( Ind.?); K. pāthar, dat. °trasm. ʻ vessel, dish ʼ, pôturu m. ʻ pan of a pair of scales ʼ (gahana -- pāth, dat. pöċü f. ʻ jewels and dishes as part of dowry ʼ  Ind.); S. ri f. ʻ large earth or wooden dish ʼ, roo m. ʻ wooden trough ʼ; L. pātrī f. ʻ earthen kneading dish ʼ, parāt f. ʻ large open vessel in which bread is kneaded ʼ, awāpātrī ʻ plate ʼ; P. pātar m. ʻ vessel ʼ, parāt f., parātā m. ʻ large wooden kneading vessel ʼ, og. pāttar m. ʻ brass or wooden do. ʼ; Ku.gng. pāi ʻ wooden pot ʼ; B. pātil ʻ earthern cooking pot ʼ, °li ʻ small do. ʼ Or. pātia°tui ʻ earthen pot ʼ, (Sambhalpur) sil -- pā ʻ stone mortar and pestle ʼ; Bi. patĭ̄lā ʻ earthen cooking vessel ʼ, patlā ʻ milking vessel ʼ, pailā ʻ small wooden dish for scraps ʼ; H. patīlā m. ʻ copper pot ʼ, patukī f. ʻ small pan ʼ; G. pātrũ n. ʻ wooden bowl ʼ, pātelũ n. ʻ brass cooking pot ʼ, parāt f. ʻ circular dish ʼ ( M. parāt f. ʻ circular edged metal dish ʼ); Si. paya ʻ vessel ʼ, päya (< pātrīˊ -- ). *kācapātra -- , khagapātra -- , tāmrapātra -- .pāthá -- m. ʻ way, path ʼ Pā.gaa. [pánthā -- ]śabdapātha -- .Addenda: ˊtra -- : S.kcch. pātar f. ʻ round shallow wooden vessel for kneading flour ʼ; WPah.kg. (kc.) pərāt f. (obl. -- i) ʻ large plate for kneading dough ʼ  P.; Md. tilafat ʻ scales ʼ (+ tila < tulāˊ -- )(CDIAL 8055).

Mth. pāthā ʻ large milk pail ʼ, pathiyā ʻ basket used as feeding trough for animals ʼTu. pāti trough or bathing tub. These variant pronunciations in Maithili and Tulu indicate the possibility that the early word which signified a feeding trough was pattha, patthaya 'measure of grain' (Prakrtam). 

Ta. paṭṭi cow-stall, sheepfold, hamlet, village; paṭṭam sleeping place for animals; paṭṭu hamlet, small town or village; paṭṭiṉam maritime town, small town; paṭappu enclosed garden; paṭappai id., backyard, cowstall. Ma. paṭṭi fold for cattle or sheep. Ko. paṭy Badaga village. To. oṭy id. (< Badaga haṭṭi). Ka. paṭṭi pen or fold, abode, hamlet; paṭṭa city, town, village. Tu. paṭṭů nest. Te. paṭṭu abode, dwelling place. / Cf. Turner, CDIAL, no. 7705, paṭṭana-(DEDR 3868) paṭṭana n. ʻ town ʼ Kauṭ., °nī -- f. lex. 2. páttana -- n. MBh. [Prob.  Drav. T. Burrow BSOAS xii 383 and EWA ii 192 with ṭṭ replaced by IA. tt. But its specific meaning as ʻ ferry ʼ in S. L. P. B. H. does lend support to its derivation by R. A. Hall in Language 12, 133 from *partana -- (√pr̥ ~ Lat. portus, &c.). Poss. MIA. pattana -- , paṭṭana -- ʻ *ferry ʼ has collided with Drav. loanword for ʻ town ʼ]

1. Pa. paṭṭana -- n. ʻ city ʼ, °aka -- n. ʻ a kind of village ʼ; Pk. paṭṭaa -- n. ʻ city ʼ; K. paan m. ʻ quarter of a town, name of a village 14 miles NW of Śrinagar ʼ; N. an ʻ name of a town in the Nepal Valley ʼ; B. an ʻ town, market ʼ; Or. pā̆aā°anā ʻ town, village, hamlet on outskirts of a big village ʼ; Bi. pa ʻ name of a town ʼ; H. an m. ʻ town ʼ, G. an.; M. a ʻ name of a town ʼ; Si. pauna ʻ town ʼ. -- Pa. paṭṭana -- n. ʻ harbour, port ʼ, Pk. paṭṭaa -- n.; H. papā̆aunīūnī m. ʻ ferryman ʼ; Si. pauna ʻ harbour, seaport ʼ. 2. Pk. pattaa -- n. ʻ town ʼ, Si. patana. -- S. patau m. ʻ ferry ʼ (whence pātaī m. ʻ ferryman ʼ, f. ʻ ferry boat ʼ); L. pattan, (Ju.) pata m. ʻ ferry ʼ; P. patta ʻ ferry, landing -- place ʼ, pattaī°tuī m. ʻ ferryman, one who lives near a ferry ʼ; B. pātanī ʻ ferryman ʼ.(CDIAL 7705)

paṣṭha 8015 *paṣṭha ʻ young animal ʼ. 2. *pāṣṭha -- . [Connexion with paṣṭhaváh -- ʻ four or five year old bull ʼ VS. (ND 374 a 21, EWA ii 241) very doubtful: and in absence of other evidence for -- ṣṭh -- orig. rather *paṭṭha -- , *ṭṭha<-> ~ *ḍḍa -- q.v.] 1. S. paha f. ʻ kid of 8 or 9 months ʼ; L. paṭṭhpaṭṭhī f., pahōrā m., °rī f. ʻ kid ʼ, paṭṭ m., ° f. ʻ young donkey ʼ; P. paṭṭh f. ʻ young she -- goat not yet giving milk, pullet ʼ, paṭṭ m. ʻ young he -- goat or cock or man or grass ʼ, paṭṭ f. ʻ young girl before puberty ʼ, pahor°rī f., °rā m. ʻ young goat ʼ; WPah. bhal. pahe_r m.f. ʻ well -- developed lamb ʼ; Ku. ho m.,° f. ʻ kid, lamb ʼ, paṭṭ ʻ young man ʼ, pahaaro ʻ young she -- goat ʼ, gng. h m., pyeh f. ʻ kid ʼ; N. ho m., °hi f. ʻ kid ʼ; A. pa ʻ full -- grown uncastrated goat ʼ,  ʻ she -- goat ʼ; B. ̄(h)ā ʻ he -- goat, young ram ʼ, ̄hi ʻ young she -- goat, any young female animal ʼ; Or. peṇṭ m., ° f. ʻ kid, lamb ʼ; Bi.  m., °pahiyā f. ʻ kid ʼ, Bhoj. ,paṭṭ; H. paṭṭpah m. ʻ young full grown animal ʼ, pahiyā f. ʻ young she -- goat ʼ; M. (h) f. ʻ kid ʼ; Si. avāiyā ʻ young of any animal, young person ʼ, -- ext. kk -- : Sh. faikĕr m.f. ʻ foal ʼ; Si. ikkī ʻ girl ʼ.
2. K.pog. h ʻ kid ʼ; S. hohuru m. ʻ 10 or 12 months old kid ʼ; P.  m. ʻ young elephant ʼ; H.  f. ʻ young buffalo ʼ (or < *ḍḍa -- ?).
*paṣṭharūpa -- ; *ajapaṣṭha -- , *avipaṣṭha -- .
Addenda: *paṣṭha -- : S.kcch. paṭṭh m. ʻ young goat ʼ.

paṣṭharūpa 8016 *paṣṭharūpa ʻ young animal ʼ. [*paṣṭha -- , rūpá -- ] Bi. pahrū ʻ kid, lamb ʼ; Bhoj. paharū ʻ buffalo calf ʼ699 paṭṭa1 m. ʻ slab, tablet ʼ MBh., °aka -- m., °ikā -- f. Kathās. [Derivation as MIA. form of páttra -- (EWA ii 192), though very doubtful, does receive support from Dard. *paṭṭa -- ʻ leaf ʼ and meaning ʻ metal plate ʼ of several NIA. forms of páttra -- ] Pa. paṭṭa -- m. ʻ slab, tablet ʼ; Pk. paṭṭa -- , °aya -- m., °iyā<-> f. ʻ slab of stone, board ʼ; NiDoc. paami loc. sg., pai ʻ tablet ʼ; K. paa m. ʻ slab, tablet, metal plate ʼ, pou m. ʻ flat board, leaf of door, etc. ʼ, ü f. ʻ plank ʼ, paürü f. ʻ 

plank over a watercourse ʼ (< -- aikā -- ); S. pao m. ʻ strip of paper ʼ, °i f. ʻ boat's landing plank ʼ, °ī f. ʻ board to write on, rafter ʼ; L.paṭṭ m. ʻ thigh ʼ, f. ʻ beam ʼ, paṭṭā m. ʻ lease ʼ, °ī f. ʻ narrow strip of level ground ʼ; P. paṭṭ m. ʻ sandy plain ʼ, °ā m. ʻ board, title deed to land ʼ, °ī f. ʻ writing board ʼ; WPah.bhal. paṭṭ m. ʻ thigh ʼ, °o m. ʻ central beam of house ʼ; Ku. o ʻ millstone ʼ, °ī ʻ board, writing board ʼ; N. o ʻ strip, plot of land, side ʼ, °i ʻ tablet, slate, inn ʼ; A.  ʻ board ʼ, paā ʻ stone slab for grinding on ʼ; B. °ā ʻ board, bench, stool, throne ʼ, °i ʻ anything flat, rafter ʼ; Or. a ʻ plain, throne ʼ, °ipaā ʻ wooden plank, metal plate ʼ; Bi.  ʻ wedge fixing beam to body of plough, washing board ʼ, °ī ʻ side -- piece of bed, stone to grind spices on ʼ, (Gaya) paṭṭā ʻ wedge ʼ; Mth.  ʻ end of handle of mattock projecting beyond blade ʼ, °ā ʻ wedge for beam of plough ʼ; OAw. a m. ʻ plank, seat ʼ; H. °ā m. ʻ slab, plank ʼ, °ī ʻ side -- piece of bed ʼ, paṭṭā m. ʻ board on which to sit while eating ʼ; OMarw. ī f. ʻ plank ʼ; OG.īu n. ʻ plank ʼ, alaü m. ʻ dining stool ʼ; G.  f., lɔ m. ʻ bench ʼ, 

ɔ m. ʻ grinding stone ʼ, °iyũ n. ʻ plank ʼ, °ṭṛɔ m., °ṭṛī f. ʻ beam ʼ; M.  m. ʻ bench ʼ, °ā m. ʻ grinding stone, tableland ʼ, °ī f. ʻ writing board ʼ; Si. paa ʻ metal plate, slab ʼ. -- Deriv.: N. paāunu ʻ to spread out ʼ; H.  ʻ to roof ʼ.

Hare khāra 'blacksmith' Indus Script hypertexts implements town, bright alloy metal, ingot furnace, tin smithy, forge, smelter

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This is an addendum to 

 

https://tinyurl.com/yd5psfo9 wherein the hare + thorny bush is read rebus: kaṇḍho 'thorn' rebus: kaṇṭho, ka market town. Together with hare: kharā 'hare' rebus: khār 'blacksmith', the reading of hypertext is: khār kantho 'blacksmith market town'.

It is also possible to read the hypertext on the following copper tablets as: Thorny bush: kaṇḍiru ʻ, kã̄ṭīkāˊṇḍ rebus: khaṇḍa 'implements'. Thus, hare + thorny bush is read a hypertext: khāra 'blacksmith' + khaṇḍa 'implements' + 

kantho 'market town', i.e. blacksmith implements town.

کنديَ kandaey, s.m. (1st) A division, a district, a parish, a ward, a quarter of a town or city. Pl. يِ ī. (S کهنڐه‍).(Pashto) cf.Bundelkhand 'mountain region' (Madhya Pradesh, India) Thus, 

khār khaṇḍa means 'blacksmith quarter of a town'.


Thorny bushExamples of incised copper tablets (Hieroglyph-multiplex: hare PLUS thorn/bush):
m1491Act

m1491Bct

m1492Act

m1492Bct

m1493Bct
1706 Hare






pajhaṛ = to sprout from a root (Santali); Rebus:pasra 'smithy, forge' (Santali) kūṭī kūdī, 'a stalk/twig, sprout (or tree branch)' kūdī, kūṭī bunch of twigs (Sanskrit) + Rebus: kuṭhi‘smelting furnace‘ (Santali) Thus, pasra kuṭhi 'smithy, smelter'
Sign 183. ranku 'antelope' + koḍa 'one' rebus: koḍ 'workshop' rebus: + Rebus: rango ‘pewter’. ranga, rang pewter is an alloy of tin, lead, and antimony (anjana) (Santali).  Hieroglyhph: buffalo: Ku. N. rã̄go ʻ buffalo bull ʼ (or < raṅku -- ?).(CDIAL 10538, 10559) Rebus: raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1] Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅrāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562) B. rāṅ(g) ʻ tinsel, copper -- foil ʼ.(CDIAL 10567). Thus, ranku koḍ  'tin workshop'.
 Sign 407 is inclined stroke infixed + Sign 403. Sign 403 is a duplication of  dula 'pair, duplicated' rebus: dul 'metalcasting' PLUS  Sign'oval/lozenge/rhombus' hieoglyph Sign 373. Sign 373 has the shape of oval or lozenge is the shape of a bun ingotmũhã̄ = the quantity of iron produced atone time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed likea four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes andformed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt komūhā akata = the Kolhes have to-day produced pig iron (Santali). Thus, Sign 373 signifies word, mũhã̄ 'bun ingot'. Thus, hypertext Sign 403 reads: dul mũhã̄ 'metalcast ingot'. Inclined stroke is a semantic determinant to signify ingot: ḍhāḷ = a slope; the inclination of a plane (G.) Rebus: : ḍhāḷako = a large metal ingot (G.). Thus, the Sign 407 hypertext reads: dul mũhã̄ ḍhāḷako  metal casting large ingot.
 Sign 89 kolomo 'three' rebus: kolami 'smithy, forge'.
 Sign 336 has hieroglyph components: muka 'ladle' (Tamil)(DEDR 4887) Rebus: mū̃h 'ingot' (Santali).PLUSSign 328  baṭa 'rimless pot' rebus: baṭa 'iron' bhaṭa 'furnace'. The hypertext reads: mū̃h bhaṭa 'ingot furnace'

Sign 65 is a hypertext composed ofSign 59 and 'lid of pot' hieroglyph.Sign 134 ayo 'fish' rebus: ayas 'alloy metal' ays 'iron' PLUS dhakka 'lid of pot' rebus: dhakka 'bright' Thus, ayo dhakka, 'bright alloy metal.' Thus, Sign 65 hypertext reads: ayo dhakka 'bright alloy metal'.

The reading of incription on 'hare' copper plate is with the following hypertexts to signify metalwork catalogue of a blacksmith:

khāra'blacksmith' + khaṇḍa 'implements' + 

kantho 'market town', i.e. blacksmith implements town.

+
ayo dhakka'bright alloy metal'
mū̃h bhaṭa 'ingot furnace'
kolami 'smithy, forge'
dul mũhã̄ ḍhāḷako  metal casting large ingot. + pasra kuṭhi 'smithy, smelter'
ranku koḍ  'tin workshop'
pasra kuṭhi 'smithy, smelter'


m1494 
Pict-42
m1497Act
Hieroglyph kharā 'hare' (Oriya): *kharabhaka ʻ hare ʼ. [ʻ longeared like a donkey ʼ: khara -- 1?]N. kharāyo ʻ hare ʼ, Or. kharā°riākherihā, Mth. kharehā, H. kharahā m(CDIAL 3823) ``^rabbit'' Sa. kulai `rabbit'.Mu. kulai`rabbit'.
KW kulai @(M063)  खरगोस (p. 113) kharagōsa m ( P) A hare.  (Marathi)

Rebus: khār खार् 'blacksmith' (Kashmiri) 


Thorny bush: kaṇḍiru ʻ, kã̄ṭīkāˊṇḍ:

 kaṇṭin ʻ *thorny ʼ (ʻ name of various plants ʼ). [kaṇṭa -- 1]Pk. kaṁṭiya -- ʻ thorny ʼ; S. kaṇḍī f. ʻ thorn bush ʼ; N. kã̄ṛe ʻ thorny ʼ; A. kã̄ṭi ʻ point of an oxgoad ʼ, kã̄iṭīyā ʻ thorny ʼ; H. kã̄ṭī f. ʻ thorn bush ʼ; G. kã̄ṭī f. ʻ a kind of fish ʼ; M. kã̄ṭīkāṭī f. ʻ thorn bush ʼ. -- Ext. with -- la -- : S. kaṇḍiru ʻ thorny, bony ʼ; -- with -- lla -- : Gy. pal. ḳăndīˊla ʻ prickly pear ʼ; H. kãṭīlākaṭ° ʻ thorny ʼ.(CDIAL 2679)kāˊṇḍa (kāṇḍá -- TS.) m.n. ʻ single joint of a plant ʼ AV,  ʻ cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion with gaṇḍa -- 2makes prob. non -- Aryan origin (not with P. Tedesco Language 22, 190 < kr̥ntáti). Prob. ← Drav., cf. Tam. kaṇ ʻ joint of bamboo or sugarcane ʼ EWA i 197]Pa. kaṇḍa -- m.n. ʻ joint of stalk, stalk, arrow, lump ʼ; Pk. kaṁḍa -- , °aya -- m.n. ʻ knot of bough, bough, stick ʼ; Gaw. kāṇḍkāṇ; Kho. kan ʻ tree, large bush ʼ; kōṇ; K. kã̄ḍ m. ʻ stalk of a reed, straw ʼ, °no m. ʻ reed ʼ, °nī f. ʻ topmost joint of the reed Sara, reed pen, stalk, straw, porcupine's quill ʼ; L. kānã̄ m. ʻ stalk of the reed Sara ʼ, °nī˜ f. ʻ pen, small spear ʼ; P. kānnā m. ʻ the reed Saccharum munja, reed in a weaver's warp ʼ,  Bi. kã̄ṛā ʻ stem of muñja grass (used for thatching) ʼ; Mth. kã̄ṛ ʻ stack of stalks of large millet ʼ, kã̄ṛī ʻ wooden milkpail ʼ; Bhoj. kaṇḍā ʻ reeds ʼ; H. kaṇḍā m. ʻ reed, bush ʼ (← EP.?); G. kã̄ḍ m. ʻ joint, bough, arrow S.kcch. kāṇḍī f. ʻ lucifer match ʼ? (CDIAL 3023)Gaw. khaṇḍa ʻ hill pasture H. khaṇḍar ʻ broken ʼ, m. ʻ hole, pit ʼ, khãṛar ʻ dilapidated ʼ, m. ʻ broken ground, chasm, hole ʼ (see also *khaṇḍaghara -- ).As ʻ hill, mountain pass ʼ (< ʻ *rock ʼ < ʻ piece ʼ or < ʻ *pass ʼ < ʻ gap ʼ and perh. X skandhá -- : cf. IIFL i 265, iii 3, 104, AO xviii 240): Gaw. khaṇḍa ʻ hill pasture ʼ (see ab.); Bshk. khan m. ʻ hill ʼ, Tor. khān, (Grierson) khaṇḍ, Mai. khān, Chil. Gau. kān, Phal. khã̄ṇ; Sh. koh. khŭṇ m., gur. khonn, pales. khōṇə, jij. khɔ̈̄ṇ ʻ mountain ʼ, gil. (Lor.) kh*ln m. ʻ mountain pass ʼ.ʼ(CDIAL 3792)
Rebus:  khaṇḍa ‘implements’


Kuwait gold disc, gold seal Indus Script hypertexts, metalwork catalogues, repertoire of Meluhha metalworkers

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https://tinyurl.com/yb4zaoaa

The al-Sabah Collection contains almost two thousand items of metalwork ranging from elaborately worked vessels inlaid with precious metals to simply cast bronze finials in the form of animals. Islamic metalworkers, whether in Cairo or Herat, often fashioned relatively simple forms covered the surface in dazzling engraved or precious metal-inlaid patterns of arabesque interlace, processions of animals or long benedictory inscriptions. Objects with calligraphy as decoration occur more frequently in metalwork than any other medium used for objects of utility. These range from benedictory inscriptions to verses from the Qur’an to lines of poetry, and sometimes include the signatures of the artists.

The ancient Near East has a long history of working in copper alloy and bronzes and brasses (copper alloyed with other metals) became the most important material in the mediaeval period. Objects are almost invariably sculpturally powerful, and examples of everyday objects such as oil lamps or incense burners became works of art. Brass was especially popular in the Mamluk domains. In the later period, especially in Iran and India, steel was used for decorative purposes; despite its hardness, it could be cut in openwork patterns, such as arabesques and calligraphic compositions as delicate as lace. View some of the collections at: http://darmuseum.org.kw/dai/the-collections/metals/


A gold disc is now in al-Sabah collection of Dar al-Atharal-Islamiyyah (Kuwait National Museum). This gold disc is a veritable metalwork catalogue, consistent with the entire Indus Script Corpora as catalogus catalogorum of metalwork.  The uniqueness of the collection of hieroglyph-multiplexs on this gold disc is that a large number of metalwork catalogue items (more than 12) have been presented on a circular space with 9.6 cm diameter validating the Maritime Tin Route which linked Hanoi to Haifa through the Persian Gulf. I assume that this disc may date to 3rd millennium BCE as evidenced by archaeological data of contacts between Sarasvati Civilization and the Persian Gulf Bronze Age sites.

"Gold disc. al-Sabah Collection, Kuwait National Museum. 9.6 cm diameter, which was obviously from the Indus Valley period in  India. Typical of that period, it depicts zebu, bulls, human attendants, ibex, fish, partridges, bees, pipal free an animal-headed standard." Benoy K. Behl Source: https://www.facebook.com/BenoyKBehlArtCulture

सांगड sāṅgaḍa 'joined animal', rebus: sangaDa ‘lathe’ sanghaṭṭana ‘bracelet’ rebus 1: .sanghāṭa ‘raft’ sAngaDa ‘catamaran, double-canoe’rebusčaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats, also rafts. 2  jangaḍia 'military guard accompanying treasure into the treasury' ചങ്ങാതം čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. rebus 3: जाकड़ ja:kaṛ जांगड़ jāngāḍ‘entrustment note’ जखडणें tying up (as a beast to a stake) rebus 4: sanghāṭa ‘accumulation, collection’ rebus 5. sangaDa ‘portable furnace, brazier’ rebus 6: sanghAta ‘adamantine glue‘ rebus 7: sangara ‘fortification’ rebus 8: sangara ‘proclamation’ 9: samgraha, samgaha 'arranger, manager''catalogue, list'.


Top register (Left) next to markhor. Pajhar 's[rpit'; rebus: pasra 'smithy' कूदी f. a bunch of twigs , bunch (v.l. कूट्/ईAV. v , 19 , 12 Kaus3.ccord. to Kaus3. Sch. = बदरी, "Christ's thorn".(Monier-Williams) kūdī 'bunch of twigs' (Sanskrit) Rebus: kuṭhi. 'smelter furnace' (Santali)

The central circles embedded with a copper plate signifies: dhātu, dhāv 'strands' rebus: 'dhātu, dhāv 'mineral'  PLUS cicles: vaa 'circle'  Read together as: धावड dhāvaḍa'red ferrite ore smelter'

In the context of the bronze-age, the hieroglyphs are read rebus in Meluhha (mleccha) speech as metalware catalogs. 
The hieroglyphs on the Kuwait Museum gold disc can be read rebus:

Why are animals shown in pairs? The pair or mirror image signifies: dula‘pair’ (Kashmiri); rebus: dul‘cast metal,metal casting’ (Mu.)

1. A pair of tabernae montana flowers tagara 'tabernae montana' flower; rebus: tagara 'tin'

2. A pair of rams tagara 'ram'; rebus: damgar 'merchant' (Akkadian)

3. Ficus religiosa leaves on a tree branch (5) loa 'ficus leaf'; rebus: loh 'metal'. kol in Tamil means pancaloha 'alloy of five metals'.

4. A pair of bulls tethered to the tree branch:  ḍhangar 'bull'; rebus ḍhangar 'blacksmith' Bulls tied to post: 

mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP.1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ
Rebus: meḍ‘iron’ (Ho.)
Two persons touch the two bulls: meḍ ‘body’ (Mu.) Rebus: meḍ‘iron’ (Ho.) Thus, the hieroglyph composition denotes ironsmiths.

5. A pair of antelopes looking back: krammara 'look back'; rebus: kamar 'smith' (Santali); ranku 'antelope' rebus: ranku 'tin'. Vikalpa: tagara 'antelope'; rebus: damgar 'merchant' (Akkadian)

6. A pair of antelopes mē̃ḍh 'antelope, ram'; rebus: mē̃ḍ 'iron' (Mu.) 

miṇḍāl 'markhor' rebus: mẽṛhet  mē̃ḍ 'iron' (Santali.Mu.Ho.)
7. A pair of combs kã̄gsī f. ʻcombʼ (Gujarati); rebus 1: kangar ‘portable furnace’ (Kashmiri); rebus 2: kamsa 'bronze'.

8. A pair of fishes ayo 'fish' (Mu.); rebus: ayo 'metal, iron' (Gujarati); ayas 'iron, alloy metal' (Sanskrit)steel L. ; ([ayas अयस् cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa ; Old Germ. e7r , iron ; Goth. eisarn ; Mod. Germ. Eisen.]) (Monier-Williams)
9.A pair of buffaloes tethered to a post-standard: ran:gā ‘buffalo’; ran:ga ‘pewter or alloy of tin (ran:ku), lead (nāga) and antimony (añjana)’(Santali) AN.NAKU 'tin' (Akkadian) 
10. A pair of birds  पोळ [ pōḷa ] 'A bull dedicated to the gods, marked with a trident and discus, and set at large.''Zebu,bos indicus' rebus: पोळ [ pōḷa ] 'magnetite ferrite ore' . पोलाद [ pōlāda ] 'black drongo' Rebus: n ( or P) Steel. पोलादी a Of steel. .

Vikalpa: కారండవము [ kāraṇḍavamu ] n. A sort of duck. కారండవము [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. कारंडव [kāraṇḍava ] m S A drake or sort of duck. कारंडवी f S The female. karandava [ kârandava ] m. kind of duck. कारण्ड a sort of duck R. vii , 31 , 21 கரண்டம் karaṇṭam, n. Alternative: कोळी kōḷī 'an aquatic bird' (Marathi) Rebus: kol 'working in iron' (Tamil) Hieroglyph 1: kōḍi. [Tel.] n. A fowl, a bird. (Telugu) Rebus: khōṭ ‘alloyed ingots’. Rebus 2: kol ‘the name of a bird, the Indian cuckoo’ (Santali) kol 'iron, smithy, forge'. Rebus 3: baṭa = quail (Santali) Rebus: baṭa = furnace, kiln (Santali) bhrāṣṭra = furnace (Skt.) baṭa = a kind of iron (G.) bhaṭa ‘furnace’ (G.) 

11.A post-standard with curved horns on top of a stylized 'eye' with one-horn on either side of two faces. The orthography indicates the depiction of eyebrows:भ्रू--कुटी f. contraction of the brows , a frown (also -कुटि Pa1n2. 6-3 , 61 Va1rtt. 3 Pat. , and कुटिक mfn. ifc. L. MBh. R. &c
[L=153775]acc. with √कृ or बन्ध् , to knit the eyebrows bhr̥kuṭi f. ʻ frown ʼ MBh., bhrakuṭi -- Yaśast. [bhr̥ -- and bhra -- (though the latter is given by Pāṇ. as the form of bhrūˊ -- in cmpds.)
were orig. independent of bhrūˊ -- and may be of Austro -- as. and Mu. origin (cf. esp.
Sant. kuṭi<-> ʻ brows ʼ); though later replaced in bhrū˘kuṭi -- MBh., Pa. bhūkuṭi -- . --
EWA ii 517 with lit.]
Pa. bhakuṭi -- f. ʻ frown ʼ, Pk. bhiuḍi -- f.; OG. bhayaḍi<-> f. ʻ eyebrow  (CDIAL 9575) भुंवई (p. 361) bhuṃvī f An eyebrow. See phrases under भंवई. 
Rebus: kuṭhi 'smelter'

A segment from the bottom register of the gold disc which creates a stylized 'eye' atop a stand or flagstaff with two ligatured 'faces' back-to-back and adorned by curling horns (of a ram or markhor). The stand is flanked by two buffaloes and two birds.

mũh‘face’; rebus: mũh‘ingot’ (Mu.) 

ṭhaṭera ‘buffalo horns’. ṭhaṭerā   ‘brass worker’ (Punjabi) 
dol ‘eye’; Rebus: dul ‘to cast metal in a mould’ (Santali)
kandi ‘hole, opening’ (Ka.)[Note the eye shown as a dotted circle on many Dilmun seals.]; kan‘eye’ (Ka.); rebus: kandi (pl. –l) necklace, beads (Pa.);kaṇḍ 'stone ore'  Vikalpa: கண்வட்டம் kaṇ-vaṭṭamn. < id. +. 1. Range of vision, eye-sweep, full reach of one's observation; கண்பார்வைக்குட்பட்ட இடம். தங்கள் கண்வட்டத்திலே உண்டுடுத்துத்திரிகிற (ஈடு, 3, 5, 2). Rebus: கண்வட்டம் kaṇ-vaṭṭamn. < id. +. 1. Range of vision, eye-sweep, full reach of one's observation; கண்பார்வைக்குட்பட்ட இடம். தங்கள் . Mint; நாணயசாலை. கண்வட்டக்கள்ளன் (ஈடு.). Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mintKa. kammaṭa id.; kammaṭi a coiner.(DEDR 1236)

khuṇḍ ʻtethering peg or post' (Western Pahari) Rebus: kūṭa‘workshop’; kuṭi= smelter furnace (Santali); Rebus 2: kuṇḍ 'fire-altar' Rebus 3: khoṭā 'alloy of metal'.H کهوٿا खोटा khoṭā 'to alloy' goṭā edging of gold lace (Hindi) 

In this perspective, the hieroglyphs on the Kuwait Museum gold disc can be read rebus:

1. A pair of tabernae montana flowers tagara 'tabernae montana' flower; rebus: tagara 'tin'

2. A pair of rams meḍh: 'ram' rebus:meḍh 'helper ofmerchant'.

Vikalpa: tagara 'ram'; rebus: damgar 'merchant' (Akkadian) Next to one ram: kuTi 'tree' Rebus: kuThi 'smelter' Alternative: kolmo 'rice plant' Rebus: kolimi 'smithy, forge'.

3. Ficus religiosa leaves on a tree branch (5) loa 'ficus leaf'; rebus: loh 'metal'. kol in Tamil means pancaloha'alloy of five metals'. PLUS flanking pair of lotus flowers: tAmarasa 'lotus' Rebus: tAmra 'copper' dula 'pair' Rebus: dul 'cast metal' thus, denoting copper castings. : The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha brass (i.e. alloy of copper + zinc). Thus,five leaves signify: ṭhaṭṭha 'copper alloy, brass'(with sattva 'zinc').

4. A pair of bulls tethered to the tree branch: barad, barat 'ox' Rebus: bharata 'alloy of copper, pewter, tin' (Marathi) PLUS kola 'man' Rebus: kolhe 'smelter' kur.i 'woman' Rebus: kol 'working in iron' Alternative: ḍhangar 'bull'; rebus ḍhangar 'blacksmith' poLa 'zebu' Rebus: poLa 'magnetite'.

Two persons touch the two bulls: meḍ ‘body’ (Mu.) Rebus: meḍ ‘iron’ (Ho.) Thus, the hieroglyph composition denotes ironsmiths.

5. A pair of antelopes looking back: krammara 'look back'; rebus: kamar 'smith' (Santali); tagara 'antelope'; rebus: damgar 'merchant' (Akkadian) Alternative: melh, mr..eka 'goat' (Brahui. Telugu) Rebus: milakkhu 'copper' (Pali), mleccha-mukha 'copper' (Samskritam)

6. A pair of antelopes mē̃ḍh 'antelope, ram'; rebus: mē̃ḍ 'iron' (Mu.) 

7. A pair of combs  khareḍo 'a currycomb (Gujarati) Rebus: kharaḍāखरडें 'daybook, wealth-accounting ledger'.Vikalpa: kāṅga 'comb' Rebus: kanga 'brazier, fireplace'


Phal. kāṅga ʻ combing ʼ in ṣiṣ k° dūm ʻI comb my hairʼ  khyḗṅgiakēṅgī f.;
kaṅghā m. ʻ large comb (Punjabi) káṅkata m. ʻ comb ʼ AV., n. lex., °tī -- , °tikã -- f. lex. 2. *kaṅkaṭa -- 2. 3. *kaṅkaśa -- . [Of doubtful IE. origin WP i 335, EWA i 137: aberrant -- uta -- as well as -- aśa -- replacing -- ata -- in MIA. and NIA.]1. Pk. kaṁkaya -- m. ʻ comb ʼ, kaṁkaya -- , °kaï -- m. ʻ name of a tree ʼ; Gy. eur. kangli f.; Wg. kuṇi -- přũ ʻ man's comb ʼ (for kuṇi -- cf. kuṇälík beside kuṅälíks.v. kr̥muka -- ; -- přũ see prapavaṇa -- ); Bshk. kēṅg ʻ comb ʼ, Gaw. khēṅgīˊ, Sv. khḗṅgiāTor. kyäṅg ʻ comb ʼ (Dard. forms, esp. Gaw., Sv., Phal. but not Sh., prob. ← L. P. type < *kaṅgahiā -- , see 3 below); Sh. kōṅyi̯ f. (→ Ḍ. k*lṅi f.), gil. (Lor.) kōĩ f. ʻ man's comb ʼ, kōũ m. ʻ woman's comb ʼ, pales. kōgō m. ʻ comb ʼ; K. kanguwu m. ʻ man's comb ʼ, kangañ f. ʻ woman's ʼ; WPah. bhad. kãˊkei ʻ a comb -- like fern ʼ, bhal. kãkei f. ʻ comb, plant with comb -- like leaves ʼ; N. kāṅiyokāĩyo ʻ comb ʼ, A. kã̄kai, B. kã̄kui; Or. kaṅkāikaṅkuā ʻ comb ʼ, kakuā ʻ ladder -- like bier for carrying corpse to the burning -- ghat ʼ; Bi. kakwā ʻ comb ʼ, kaka°hī, Mth. kakwā, Aw. lakh. kakawā, Bhoj. kakahī f.; H. kakaiyā ʻ shaped like a comb (of a brick) ʼ; G. (non -- Aryan tribes of Dharampur)kākhāī f. ʻ comb ʼ; M. kaṅkvā m. ʻ comb ʼ, kã̄kaī f. ʻ a partic. shell fish and its shell ʼ; -- S. kaṅgu m. ʻ a partic. kind of small fish ʼ < *kaṅkuta -- ? -- Ext. with --l -- in Ku. kã̄gilokāĩlo ʻ comb ʼ.2. G. (Soraṭh) kã̄gaṛ m. ʻ a weaver's instrument ʼ?3. L. kaṅghī f. ʻ comb, a fish of the perch family ʼ, awāṇ. kaghī ʻ comb ʼ; P. kaṅghā m. ʻ large comb ʼ, °ghī f. ʻ small comb for men, large one for women ʼ (→ H. kaṅghā m. ʻ man's comb ʼ, °gahī°ghī f. ʻ woman's ʼ, kaṅghuā m. ʻ rake or harrow ʼ; Bi. kãga ʻ comb ʼ, Or. kaṅgei, M. kaṅgvā); -- G. kã̄gsī f. ʻ comb ʼ, with metath. kã̄sko m., °kī f.; WPah. khaś. kāgśī, śeu. kāśkī ʻ a comblike fern ʼ or < *kaṅkataśikha -- .WPah.kṭg. kaṅgi f. ʻ comb ʼ; J. kāṅgṛu m. ʻ small comb ʼ.(CDIAL 2598)

Rebus: large furnace, fireplace: kang कंग् । आवसथ्यो &1;ग्निः m. the fire-receptacle or fire-place, kept burning in former times in the courtyard of a Kāshmīrī house for the benefit of guests, etc., and distinct from the three religious domestic fires of a Hindū; (at the present day) a fire-place or brazier lit in the open air on mountain sides, etc., for the sake of warmth or for keeping off wild beasts. nāra-kang, a fire-receptacle; hence, met. a shower of sparks (falling on a person) (Rām. 182). kan:gar `portable furnace' (Kashmiri)Cf. kã̄gürü, which is the fem. of this word in a dim. sense (Gr.Gr. 33, 7). kã̄gürü काँग्् or 
kã̄gürü काँग or kã̄gar काँग््र्् । हसब्तिका f. (sg. dat. kã̄grĕ काँग्र्य or kã̄garĕ काँगर्य, abl. kã̄gri काँग्रि), the portable brazier, or kāngrī, much used in Kashmīr (K.Pr. kángár, 129, 131, 178; káṅgrí, 5, 128, 129). For particulars see El. s.v. kángri; L. 7, 25, kangar;and K.Pr. 129. The word is a fem. dim. of kang, q.v. (Gr.Gr. 37). kã̄gri-khŏphürükã̄gri-khŏphürü काँग्रि-ख्वफ््&above;रू&below; । भग्ना काष्ठाङ्गारिका f. a worn-out brazier. -khôru -खोरु&below; । काष्ठाङ्गारिका<-> र्धभागः m. the outer half (made of woven twigs) of a brazier, remaining after the inner earthenware bowl has been broken or removed; see khôru. -kŏnḍolu -क्वंड । हसन्तिकापात्रम् m. the circular earthenware bowl of a brazier, which contains the burning fuel. -köñü -का&above;ञू&below; । हसन्तिकालता f. the covering of woven twigs outside the earthenware bowl of a brazier.

It is an archaeometallurgical challenge to trace the Maritime Tin Route from the tin belt of the world on Mekong River delta in the Far East and trace the contributions made by seafaring merchants of Meluhha in reaching the tin mineral resource to sustain the Tin-Bronze Age which was a revolution unleashed ca. 5th millennium BCE. See: http://bharatkalyan97.blogspot.in/2015/08/indus-script-corpora-as-catalogus.html

8. A pair of fishes ayo 'fish' (Mu.); rebus: ayo 'metal, iron' (Gujarati); ayas 'metal' (Sanskrit)

9.A pair of buffaloes tethered to a post-standard kāṛā ‘buffalo’ கண்டி kaṇṭi buffalo bull (Tamil); rebus: kaṇḍ 'stone ore'; kāṇḍa ‘tools, pots and pans and metal-ware’; kaṇḍ ‘furnace, fire-altar, consecrated fire’.

10. A pair of birds Rebus 1: 
kōḍi. [Tel.] n. A fowl, a bird. (Telugu) Rebus: khōṭ ‘alloyed ingots’. Rebus 2: kol ‘the name of a bird, the Indian cuckoo’ (Santali) kol 'iron, smithy, forge'. Rebus 3: baṭa = quail (Santali) Rebus: baṭa = furnace, kiln (Santali) bhrāṣṭra = furnace (Skt.) baṭa = a kind of iron (G.) bhaṭa ‘furnace’ (Gujarati) 

11. The buffaloes, birds flank a post-standard with curved horns on top of a stylized 'eye' PLUS 'eyebrows' with one-horn on either side of two faces

mũh ‘face’; rebus: mũh ‘ingot’ (Mu.) 

ṭhaṭera ‘buffalo horns’. ṭhaṭerā   ‘brass worker’ (Punjabi) 

Pe. kaṇga (pl. -ŋ, kaṇku) eye.  Rebus: kanga ' large portable brazier, fire-place' (Kashmiri).
Thus the stylized standard is read rebus: Hieroglyph components:kanga ṭhaṭerā 'one eye + buffalo horn' Rebus: kanga 'large portable barzier' (Kashmiri) +  ṭhaṭerā   ‘brass worker’ (Punjabi) 

 Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. Ma. kaṇ, kaṇṇu eye, nipple, star in peacock's tail, bud. Ko. kaṇ eye. To. koṇ eye, loop in string.Ka. kaṇ eye, small hole, orifice. Koḍ. kaṇṇï id. Tu. kaṇṇů eye, nipple, star in peacock's feather, rent, tear. Te. kanu, kannu eye, small hole, orifice, mesh of net, eye in peacock's feather. Kol. kan (pl. kanḍl) eye, small hole in ground, cave. Nk. kan (pl. kanḍḷ) eye, spot in peacock's tail. Nk. (Ch.) kan (pl. -l) eye. Pa.(S. only) kan (pl. kanul) eye. Ga. (Oll.) kaṇ (pl. kaṇkul) id.; kaṇul maṭṭa eyebrow; kaṇa (pl. kaṇul) hole; (S.) kanu (pl. kankul) eye. Go. (Tr.) kan (pl.kank) id.; (A.) kaṛ (pl. kaṛk) id. Konḍa kaṇ id. Pe. kaṇga (pl. -ŋ, kaṇku) id. Manḍ. kan (pl. -ke) id. Kui kanu (pl. kan-ga), (K.) kanu (pl. kaṛka) id. Kuwi(F.) kannū (pl. kar&nangle;ka), (S.) kannu (pl. kanka), (Su. P. Isr.) kanu (pl. kaṇka) id. Kur. xann eye, eye of tuber; xannērnā (of newly born babies or animals) to begin to see, have the use of one's eyesight (for ērnā, see 903). Malt. qanu eye. Br. xan id., bud. (DEDR 1159) kāṇá ʻ one -- eyed ʼ RV. Pa. Pk. kāṇa -- ʻ blind of one eye, blind ʼ; Ash. kã̄ṛa°ṛī f. ʻ blind ʼ, Kt. kãŕ, Wg. kŕãmacrdotdot;, Pr. k&schwatildemacr;, Tir. kāˊna, Kho. kāṇu NTS ii 260,kánu BelvalkarVol 91; K. kônu ʻ one -- eyed ʼ, S. kāṇo, L. P. kāṇã̄; WPah. rudh. śeu. kāṇā ʻ blind ʼ; Ku. kāṇo, gng. kã̄&rtodtilde; ʻ blind of one eye ʼ, N. kānu;A. kanā ʻ blind ʼ; B. kāṇā ʻ one -- eyed, blind ʼ; Or. kaṇā, f. kāṇī ʻ one -- eyed ʼ, Mth. kān°nākanahā, Bhoj. kān, f. °nikanwā m. ʻ one -- eyed man ʼ, H. kān,°nā, G. kāṇũ; M. kāṇā ʻ one -- eyed, squint -- eyed ʼ; Si. kaṇa ʻ one -- eyed, blind ʼ. -- Pk. kāṇa -- ʻ full of holes ʼ, G. kāṇũ ʻ full of holes ʼ, n. ʻ hole ʼ (< ʻ empty eyehole ʼ? Cf. ã̄dhḷũ n. ʻ hole ʼ < andhala -- ).S.kcch. kāṇī f.adj. ʻ one -- eyed ʼ; WPah.kṭg. kaṇɔ ʻ blind in one eye ʼ, J. kāṇā; Md. kanu ʻ blind ʼ.(CDIAL 3019) Ko. kāṇso ʻ squint -- eyed ʼ.(Konkani)

Paš. ainċ -- gánik ʻ eyelid ʼ(CDIAL 3999) Phonetic reinforcement of the gloss: Pe. kaṇga (pl. -ŋ, kaṇku) eye. 

See also: nimišta kanag 'to write' (SBal): *nipēśayati ʻ writes ʼ. [√piś] Very doubtful: Kal.rumb. Kho. nivḗš -- ʻ to write ʼ more prob. ← EPers. Morgenstierne BSOS viii 659. <-> Ir. pres. st. *nipaiš -- (for *nipais -- after past *nipišta -- ) in Yid. nuviš -- , Mj. nuvuš -- , Sang. Wkh. nəviš -- ; -- Aś. nipista<-> ← Ir. *nipista -- (for *nipišta -- after pres. *nipais -- ) in SBal. novīsta or nimišta kanag ʻ to write ʼ.(CDIAL 7220)

Alternative: dol ‘eye’; Rebus: dul ‘to cast metal in a mould’ (Santali)Alternative: kandi  ‘hole, opening’ (Ka.)[Note the eye shown as a dotted circle on many Dilmun seals.]kan ‘eye’ (Ka.); rebus: kandi (pl. –l) necklace, beads (Pa.);kaṇḍ 'stone ore' Alternative: kã̄gsī f. ʻcombʼ (Gujarati); rebus 1: kangar ‘portable furnace’ (Kashmiri); rebus 2: kamsa 'bronze'.

khuṇḍ ʻtethering peg or post' (Western Pahari) Rebus: kūṭa ‘workshop’; kuṭi= smelter furnace (Santali); Rebus 2: kuṇḍ 'fire-altar'

Why are animals shown in pairs?

dula ‘pair’ (Kashmiri); rebus: dul ‘cast metal’ (Mu.)

Thus, all the hieroglyphs on the gold disc can be read as Indus writing related to one bronze-age artifact category: metalware catalog entries.





Gold cylinder seal depicting complex mythological scenes. Possibly southeastern Iran, mid 3rd millennium BCE. Ht. 2.21 cm. dia. 2.74 cm. Fabricated from gold sheet with chased decoration. Inv. No. LNS 4517J

http://darmuseum.org.kw/dai/wp-content/uploads/2013/05/Splendour-Exhibition-Brochure.pdf
On this gold cylinder seal Indus Script hieroglyphs are embossed and engraved.
Gold cylinder seal. Hieroglyphs are in fine chasing. Compare with hieroglyphs on chlorite vessels of Bactria-Margiana, Jiroft, Tepe Yahya, Gulf. 

There are two scenes on the gold cylinder seal of al-sabah collection in Kuwait: 

1. The first scene has bull-headed person with huge inward curving horns, large ears, massive biceps and a long beard faces forward with an eight-petal rosette between the horns. Human-headed birds, on both sides, walk towards the bull-headed person. The birds' heads face away. Open-mouthed, undulating snakes and scorpions flank both birds. 
Hieroglyphs: bull, eight-petal flower (safflower), bird, snake, scorpion

Hieroglyph: करडी [ karaḍī ] f (See करडई) Safflower: also its seed. Rebus: karaḍa 'hard alloy' of arka 'copper'. Rebus: fire-god: @B27990.  #16671. Remo <karandi>E155  {N} ``^fire-^god''.(Munda).

Hieroglyph: karaṛa -- ḍhī˜gu m. ʻ a very large aquatic bird ʼ (Sindhi) (CDIAL 2787).Rebus: karaḍa 'hard alloy' of arka 'copper'. 

Hieroglyph: kulā 'hooded snake' Rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith'

Hieroglyph: bicha 'scorpion' (Assamese) Rebus: bica 'stone ore' as in:  meṛed-bica = 'iron stone ore', in contrast tobali-bica, 'iron sand ore' (Munda). 

Hieroglyph: barad, balad 'ox': balivárda (balīv° ŚBr.) m. ʻ ox, bull ʼ TBr., balivanda- m. Kāṭh., barivarda -- m. lex. [Poss. a cmpd. of balín -- (cf. *balilla -- ) and a non -- Aryan word for ʻ ox ʼ (cf. esp. Nahālī baddī and poss. IA. forms like Sik. pāḍō ʻ bull < *pāḍḍa -- : EWA ii 419 with lit.)]
Pa. balivadda -- m. ʻ ox ʼ, Pk. balĭ̄vadda -- , balidda -- , baladda -- m. (cf. balaya -- m. < *balaka -- ?); L. baledā, mult. baled m. ʻ herd of bullocks ʼ (→ S.ḇaledo m.); P. baldbaldhbalhd m. ʻ ox ʼ, baledbaledā m. ʻ herd of oxen ʼ, ludh. bahldbalēd m. ʻ ox ʼ; Ku. balad m. ʻ ox ʼ, gng. bald, N. (Tarai) barad, A.balad(h), B. balad, Or. baḷada, Bi. barad(h), Mth. barad (hyper -- hindiism baṛad), Bhoj. baradh, Aw.lakh. bardhu, H. baladbarad(h), bardhā m. (whencebaladnā ʻ to bull a cow ʼ), G. baḷad m. balivárda -- [Cf. Ap. valivaṇḍa -- ʻ mighty ʼ, OP. balavaṇḍā]: WPah.kc. bɔḷəd m., kṭg. bɔḷd m. (LNH 30 bŏḷd), J. bald m., Garh. baḷda ʻ bullock ʼ.(CDIAL 9176) Rebus: भरत bharat 'alloy' bhāraṇ = to bring out from a kiln (G.)  bāraṇiyo = one whose profession it is to sift ashes or dust in a goldsmith’s workshop (G.lex.) In the Punjab, the mixed alloys were generally called, bharat (5 copper, 4 zinc and 1 tin). In Bengal, an alloy called bharan or toul was created by adding some brass or zinc into pure bronze. bharata = casting metals in moulds; bharavum = to fill in; to put in; to pour into (G.lex.) Bengali. ভরন [ bharana ] n an inferior metal obtained from an alloy of coper, zinc and tin. baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)

2. The second scene is around a vegetation female with long hair. She is bare-chested, wears a flounced skirt. She sits with her legs tucked under her skirt on the backs of two addorsed ibexes that turn back to look at each other. 

Between the rumps of the ibexes below the female is a pile of lozenges perhaps representing a mountain. 

Heavy foliage of branches and leaves springs from her sides and fills the upper register. To her upper left is a crescent moon.

Hieroglyphs: woman, pair of ibexes with turned heads, mountain range, twigs, crucible (crescent)

Hieroglyph: miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) Alternatives: mr̤eka, melh 'goat' (Telugu. Brahui) Rebus: melukkha 'milakkha, copper'.  ranku 'antelope' Rebus: ranku 'tin'

Hieroglyph: turned head: క్రమ్మరు [ krammaru ] krammaru. [Tel.] v. n. To turn, return, go back. మరలుక్రమ్మరించు or క్రమ్మరుచు krammarinṭsu. v. a. To turn, send back, recall. To revoke, annul, rescind. క్రమ్మరజేయుక్రమ్మర krammara. adv. Again. క్రమ్మరిల్లు or క్రమర
బడు Same as క్రమ్మరుkrammara 'look back' (Telugu) Rebus: kamar 'metalsmith, artisan'.

Hieroglyph: mountain: khãṛar ʻ dilapidated ʼ, m. ʻ broken ground, chasm, hole ʼ (see also *khaṇḍaghara -- ).As ʻ hill, mountain pass ʼ (< ʻ *rock ʼ < ʻ piece ʼ or < ʻ *pass ʼ < ʻ gap ʼ and perh. X skandhá -- : cf. IIFL i 265, iii 3, 104, AO xviii 240): Gaw. khaṇḍa ʻ hill pasture ʼ (see ab.); Bshk. khan m. ʻ hill ʼ, Tor. khān, (Grierson) khaṇḍ, Mai. khān, Chil. Gau. kān, Phal. khã̄ṇ; Sh. koh. khŭṇ m., gur. khonn, pales. khōṇə, jij.khɔ̈̄ṇ ʻ mountain ʼ, gil. (Lor.) kh*ln m. ʻ mountain pass ʼ.(CDIAL 3792) Rebus: khaṇḍa 'implements', Thus, mẽṛhẽt or meḍ khaṇḍa 'metal implements' (Santali)
The bunch of twigs = kūdi_, kūṭī  (Skt.lex.) kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kauśika Sūtra (Bloomsfield's ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).
कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.accord. to Kaus3. Sch. = बदरी, "Christ's thorn". (Monier-Williams) Rebus: kuṭhi 'smelter' (Santali) 

kuire bica duljad.ko talkena, ‘they were feeding the furnace with ore’. (Santali) This use of bica in the context of feeding a smelter clearly defines bica as ‘stone ore, mineral’, in general.

kuṭhi  ‘vagina’; rebus: kuṭhi  ‘smelting furnace bichā 'scorpion' (Assamese). Rebus: bica 'stone ore' as in meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.) dul 'pair, likeness' Rebus: dul 'cast metal' (Santali) Thus the hieroglyphs connote a smelter for smelting and casting metal stone ore. Rebus: kuṭhi ‘smelter furnace’ (Mu.) khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947), Rebus: kuhi ‘a furnace for smelting iron ore to smelt iron’; kolheko kuhieda koles smelt iron (Santali) kuhi, kui (Or.; Sad. kohi) (1) the smelting furnace of the blacksmith; kuire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of ēkui has been given to the fire which, in lac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kuhi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, as seen in fig. 1, and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari) kuhi = a factory; lil kuhi = an indigo factory (kohi - Hindi) (Santali.Bodding) kuhi = an earthen furnace for smelting iron; make do., smelt iron; kolheko do kuhi benaokate baliko dhukana, the Kolhes build an earthen furnace and smelt iron-ore, blowing the bellows; tehen:ko kuhi yet kana, they are working (or building) the furnace to-day (H. kohī ) (Santali. Bodding)  kuṭṭhita = hot, sweltering; molten (of tamba, cp. uttatta)(Pali.lex.) uttatta (ut + tapta) = heated, of metals: molten, refined; shining, splendid, pure (Pali.lex.) kuṭṭakam, kuṭṭukam  = cauldron (Ma.); kuṭṭuva = big copper pot for heating water (Kod.)(DEDR 1668). gudgā to blaze; gud.va flame (Man.d); gudva, gūdūvwa, guduwa id. (Kuwi)(DEDR 1715). dāntar-kuha = fireplace (Sv.); kōti wooden vessel for mixing yeast (Sh.); kōlhā house with mud roof and walls, granary (P.); kuhī factory (A.); kohābrick-built house (B.); kuhī bank, granary (B.); koho jar in which indigo is stored, warehouse (G.); kohīlare earthen jar, factory (G.); kuhī granary, factory (M.)(CDIAL 3546). koho = a warehouse; a revenue office, in which dues are paid and collected; kohī a store-room; a factory (Gujarat) ko = the place where artisans work (Gujarati) 

Hieroglyph:  kohAri 'crucible Rebus: kōṣṭhāgārika m. ʻ storekeeper ʼ BHSk. [Cf. kōṣṭhā- gārin -- m. ʻ wasp ʼ Suśr.: kōṣṭhāg1āra -- ]Pa. koṭṭhāgārika -- m. ʻ storekeeper ʼ; S. koṭhārī m. ʻ one who in a body of faqirs looks after the provision store ʼ; Or. koṭhārī ʻ treasurer ʼ; Bhoj. koṭhārī ʻ storekeeper ʼ, H. kuṭhiyārī m.Addenda: kōṣṭhāgārika -- : G. koṭhārī m. ʻ storekeeper ʼ.(CDIAL 3551)


Iris of the eye + markhor Indus Script hypertext on Kuwait gold disc signifies 'goldsmith's ironsmith's workshop'

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https://tinyurl.com/yc7ra4p2

This is an addendum to Kuwait gold disc, gold seal Indus Script hypertexts, metalwork catalogues, repertoire of Meluhha metalworkers https://tinyurl.com/yb4zaoaa 


A modified rebus reading is suggested for the 'eye', 'eyebrow' and 'iris of the eye' signified by the hypertext on Kuwait gold disc.


The iris of the is plal 'iris of the eye' (Gaw.)(CDIAL 8711) a pronuciation variant is provided by pā̆hār ʻsunshine' in Nepali. If this phonetic form pā̆hār explains the hieroglyph 'iris of the eye', the rebus reading is: pahārā m. ʻ goldsmith's workshop ʼ(Punjabi)(CDIAL 8835).. The 'iris of the eye' hieroglyph is adorned with the horns of a markhor. The markhor is read rebus: miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ(Tor.): mēṇḍha2 m. ʻ ram ʼ, °aka -- , mēṇḍa -- 4miṇḍha -- 2°aka -- , mēṭha -- 2mēṇḍhra -- , mēḍhra -- 2°aka -- m. lex. 2. *mēṇṭha- (mēṭha -- m. lex.). 3. *mējjha -- . [r -- forms (which are not attested in NIA.) are due to further sanskritization of a loan -- word prob. of Austro -- as. origin (EWA ii 682 with lit.) and perh. related to the group s.v. bhēḍra -- ]
1. Pa. meṇḍa -- m. ʻ ram ʼ, °aka -- ʻ made of a ram's horn (e.g. a bow) ʼ; Pk. meḍḍha -- , meṁḍha -- (°ḍhī -- f.), °ṁḍa -- , miṁḍha -- (°dhiā -- f.), °aga -- m. ʻ ram ʼ, Dm. Gaw. miṇ Kal.rumb. amŕn/aŕə ʻ sheep ʼ (a -- ?); Bshk. mināˊl ʻ ram ʼ; Tor. miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ; Chil. mindh*ll ʻ ram ʼ AO xviii 244 (dh!), Sv. yēṛo -- miṇ; Phal. miṇḍmiṇ ʻ ram ʼ, miṇḍṓl m. ʻ yearling lamb, gimmer ʼ; P. mẽḍhā m., °ḍhī f., ludh. mīḍḍhāmī˜ḍhā m.; N. meṛhomeṛo ʻ ram for sacrifice ʼ; A. mersāg ʻ ram ʼ ( -- sāg < *chāgya -- ?), B. meṛā m., °ṛi f., Or. meṇḍhā°ḍā m., °ḍhi f., H. meṛhmeṛhāmẽḍhā m., G. mẽḍhɔ, M. mẽḍhā m., Si. mäḍayā.
2. Pk. meṁṭhī -- f. ʻ sheep ʼ; H. meṭhā m. ʻ ram ʼ.3. H. mejhukā m. ʻ ram ʼ.*mēṇḍharūpa -- , mēḍhraśr̥ṅgī -- .Addenda: mēṇḍha -- 2: A. also mer (phonet. mer) ʻ ram ʼ(CDIAL 10310) Rebus:meḍ 'iron'. mẽṛhet 'iron' (Santali.Mu.Ho.).

Thus, the iris of the eye + markhor (horns) is a hypertext which signifies: meḍ mẽṛhet pahārā m. ʻgoldsmith's, ironsmith's workshopʼ 

*prabhāla ʻ light ʼ. [Cf. bhāla -- 3 n. ʻ splendour ʼ Inscr. -- prabhāˊ -- : √ bhā]Dm. pral ʻ light ʼ; Gaw. plalplɔl ʻ light, iris of eye ʼ, adj. ʻ light, bright ʼ; Kal. (Leitner) pralik, rumb. prelík ʻ light ʼ, Bshk. čālčäl, Chil. čulo; Sv. plal adj. ʻ light, bright ʼ; Gau. čou sb., Phal. prāl; Sh. c̣alō m. ʻ lighted torch ʼ (on ac. of a and ō perh. rather < *pralōka -- ); N. pālā ʻ lamp ʼ AO xviii 230.(CDIAL 8711) N. pā̆hār ʻ sunshine, sunny place ʼ, A. pohar ʻ light ʼ; -- M. pahāṭ f. ʻ period before sunrise, dawn ʼ (+?).prabhāˊ f. ʻ light ʼ Mn. [√bhā]Pa. Pk. pabhā -- f. ʻ light ʼ, Pk. pahā -- f.; K. prawa f. pl. ʻ rays of light, sunshine ʼ; S. piriha f. ʻ dawn ʼ; L. pôh f. ʻ dawn ʼ, (Ju.) pau f., mult. parah f., P. pauhpaih°hi f., ḍog. pao f.; OA. puhā, A. puwā ʻ sunrise, morning time ʼ; H. pahpohpau f. ʻ dawn ʼ; OM. pāhe f. ʻ dawn, next day ʼ; Si. paha ʻ fire ʼ, pähä ʻ light, brilliance ʼ (or < prakāśá -- ), paba ʻ light, brightness (← Pa.?); -- ext. -- ḍa<->(CDIA 8705)

M. pasārā; -- K. pasôru m. ʻ petty shopkeeper ʼ; P. pahārā m. ʻ goldsmith's workshop ʼ; A. pohār ʻ small shop ʼ; -- ← Centre: S. pasāru m. ʻ spices ʼ; P. pasār -- haṭṭā m. ʻ druggist's shop ʼ; -- X paṇyaśālā -- : Ku. pansārī f. ʻ grocer's shop ʼ.prasāra m. ʻ extension ʼ Suśr., ʻ trader's shop ʼ Nalac. [Cf. prasārayati ʻ spreads out for sale ʼ Mn. -- √sr̥]Paš. lāsar ʻ bench -- like flower beds outside the window ʼ IIFL iii 3, 113; K. pasār m. ʻ rest ʼ (semant. cf. prásarati in Ku. N. Aw.); P. puhārā m. ʻ breaking out (of fever, smallpox, &c.) ʼ; Ku. pasāro ʻ extension, bigness, extension of family or property, lineage, family, household ʼ; N. pasār ʻ extension ʼ; B. pasār ʻ extent of practice in business, popularity ʼ, Or. pasāra; H. pasārā m. ʻ stretching out, expansion ʼ (→ P. pasārā m.; S. pasārom. ʻ expansion, crowd ʼ), G. pasār°rɔ m., (CDIAL 8835)

Vratyas in Indus Seals -- Rekha Rao (2017)

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Abstract

Interpreting Indus Seals by deploying the literary sources, social and cultural practices that prevailed in those times, unearths information hidden in the seals. Some of the Indus seals show a peculiar picture of a man merging with a tiger. The man is adorned with the animal skin and has long matted hair depicted horizontally like a snake. His head is decorated with a turban on which are the decorations of twigs and flowers. The extended portion of the turban is held in the left hand. The merging with animal body is depicted with the front two feet like human and the back ones like tiger’s. The arms are serrated and depicted to be holding a long Stick, Shula or lance in the right hand. These characters correlate closely with the Rig Vedic description of a group of ascetics of tribal origin termed Vratyas or Kesins who are described in the 10th mandala (Hymns of Rig Veda, 10.136.1-7 (Griffith, 1973). Since the depiction of vratyas is seen in the Indus seals, as described in Vedas, one can say that Vratyas lived either before or during the time of Indus civilisation.
This paper attempts to trace the term Vratyas described in Vedas and how well the vratyas and Vratya pati – Rudra is mirrored in the Indus seals. My analysis of the 4 seals here, show a strong correlation to Vedic practices that were followed in Indus period.

Type and Theme of Indus Seals

A brief Description of Seals:

The Indus / Harappan Seals, many as tiny as 3cms / 3.5cms, and weighing nine to ten grams approximately were discovered in the vast expanse of Indus civilization sites of Harappa – Mohenjo-Daro and north Western parts of India, were unearthed in the excavations of 1927-1931. These seals with finely executed carvings are the archaeological proof of the civilization that existed around 2300 B.C.E. Most of the Indus Seals are made of a type of Soft Stone called Steatite, a type of white or greenish rock, composed of talc and resistant to high temperatures. The softness of this variety of soap stone when freshly cut probably made it popular for carving artefacts, seals with pictures and Symbols.
The scholars are more inclined to accept the date of C-14 test and have fixed the lower date to be 1500 B.C.E. It is also interesting to note that the date of Rig Veda and the other three Vedas is said to be compiled approximately in 1400 B.C.E. in its evolved form. The Indus seals can be thus considered as the archaeological proof of the civilization of Vedic period. Some seals depict the Symbols of bird altar as well as the three sacrificial altars as Symbols inscribed that looks like Script, Support the view that the information contained in the Seals are related to fire altars of yajna. The social pattern of life and Vedic rituals that were in vogue during the Vedic and post Vedic period could be considered as the primary tools to the study of seals. An insight into the Vedic rituals appears essential for a proper understanding of Vedic as well as Indus civilisation that existed at least 3000 years ago.
The social order and the concept of God, their role as protectors and giver of wealth, the rituals adopted to please these deities, the abode of dead Pitrus (fore fathers), the demons who bothered humans in many ways, all aspects that were probably part of the pre-Rig Veda civilisation, got expressed in Rig Veda in a poetic form. Many seals depicted like an action tableau can be related to the legends and episodes of the Vedas. The social life pattern of the ancient Vedic civilisation can be seen depicted in the Indus seals in which the information is documented in Symbol form for reasons – the script of language had not yet evolved. The contents of the literary creations were translated as archaeological proofs of seals over a period in the post Vedic period. The seals reflect the spirit of an age in which the intellectual activity was concentrated on the yajna and sacrifices.

The Two Types of Seals – Vidhi and Arthavada:

The Indus Seals are mainly of two types. Firstly, the ones with a single horned bull or an animal representation like rhino, bull or an elephant along with five to ten Symbols inscribed. Secondly, some are the pictorial presentation of an episode with human figures with or without Symbols inscribed. The reason for the difference in representation could be understood when the two types of explanations of the rituals, as explained in the post Vedic literature, the Brahmana text are considered.
According to Arthur A Macdonell in “History of Sanskrit Literature”, “The period in which the Vedic Samhitas arose was followed by one which produced a different type of literature, a theological treatise called Brahmanas.” Brahmanas are the ritual text-books on the details of sacrifice or Yajna, explained in a prose order for easy understanding. In other words, the name ‘Brahmana’ means the explanation of a ritual by a learned priest for those who were familiar with the sacrifice procedures. The description, though not exhaustive gave the outlines. Another Set of Work regarded as auxiliary and the six limbs of the Vedas called Vedangas were made in the post Vedic period to help in the proper phonetical and ritual understanding of Vedas. One of the Vedangas was the Kalpa, which also dealt with the procedural percept associated with performance like how and when the rituals of sacrifices are performed. The figures and the inscriptions on the seals when analyzed appeared to have the contents of Brahmana texts; hence, may belong to a period later to Brahmana text compilation. An attempt was made in seals for the brief coded form of contents of Vedas. Though the Brahmana texts deal with the following six topics, the first two were considered as the main type of explaining a ritual. The Six Categories were — Vidhi, Arthavada, Ninda, Prashansha, Purakalpa and Parakriti. Vidhi-dealt with the rules and injunctions of a yajna ritual Arthavada — dealt with explicatory System.
The Vidhi type of explanations usually come with the picture of a single horned bull or an animal along with 5-6 symbols in a seal. This part sets forth the various details relating to a sacrifice like proper time, the place for sacrifice, the rite of initiation, the priests, the sacred fires, the divinities, the oblations offered to them, the utensils and other materials used and the procedure of reciting Mantras and the metre of it, the Chandas. The other details were conveyed symbolically in the inscription part. The Vidhi consists of a rule of ritualistic procedure, or commandment- a sacred precept. (This type of seals is not a part of this article, but are discussed in my E book “Symbolography in Indus Seals”, Rekha Rao).
Arthavada comprises the numerous explanatory remarks on the meaning of Mantras of particular rites and are more to illustrate the vidhi – the rules of a Sacrifice and picturise a Sacrifice. In Arthavada, the ancient legends, most of which had the conflicts between Gods and demons as their central theme and narrate how Gods became powerful enough to vanquish the demons. Such topics got picturised in the arthavada set of Seals.
Arthavada seals also depict the variations in costume and the ornaments that adorn the figures because they were the faithful representation of the descriptions given in Vedas. The figures of tribal origin wearing the costume of an animal skin around the waist and an elaborate head dress are shown in contrast to the hair style, tied into a bun of the priestly class. The depictions of human and animal form, Complete in physical structure, are full of action and expression, presented like a perfect picture in two-inch square seals. The thoughts have precision in their execution. In addition, the tools used being sophisticated contributed to the precision and complexity of the seals. The caliber of narration of episodes with illustrations in the Indus seals can be compared to miniature paintings in its Sophistication. The Symbols and motifs have been used extensively to convey the vast information of rituals.

Who were Vratyas?

Regarding the literary evidences for vratyas, the Rig Veda, generally, employs the term Vratya or Kesins to denote breakaway group or an inimical horde, living in temporary settlements. Satha Rudriya of YajurVeda, the Vratya Kanda (15th kanda) of AtharvaVeda, Tandya (24-18) and Jaiminiya Brahmana (2:222) introduces Vratyas as nomadic ascetics roaming about themselves in an intoxicated State. The Tandya; however, addresses them as divine – Vratyas (Daiva Vai Vratyah). The Vajasaneyi Samhita refers to them as physicians and as guardians of truth. They seem to have been a community of ascetics living under a set of Strange religious vows called Vrata, and hence the name Vratya.
Indus Seals with VratyasFig.1 and 2: Indus Seals with Vratya Figures
The Vratyas worshipped elements of nature like Agni, Vayu, and Varuna; however, Rudra was their preferred deity. Some of them lived alone and some in groups, away from populated areas, following their own cult-rules and practises. They were the Wandering Seekers, drifted everywhere; roamed from the Indus valley to banks of the Ganga. They were non-conformists and rejected the validity of the Vedas and their rituals. They were an atrociously heterogeneous Community; and moved like rebels in a group of thirty-three, with a leader. The amazing community of the Vratyas included talented ones like magicians, medicine men, singers, mystics, materialists, mendicants, roaming warriors, mercenaries, poison eaters, libidinous pleasure seekers and wandering Swarm of austere ascetics. Some of them were violent and some others were refined and austere.

The Dress Code of Vratyas:

The Vratyas were wanderers (indicated in the Seal by a fearless animal, attached to human body). RigVeda (10.136.1-7) explains about the ascetics called Kesins-(the other term for vratyas) who were wearers of long loose hair or locks of hair that were matted. Etymologically Kesin mean – a lion, is from the root word Keshara-meaning the mane of a lion, with luxuriant hair, also described as the best, excellent or prominent of a class. They were Muni or ascetics, who worshiped elements of nature like Sun, air, moisture and so on. They always loved to be in a state of ecstasy and never wore any girdle on waist or Yajnopavita like a dvija or brahmin class. They were the sons and descendants of Sage Vata Rashana – which meant wind girdled or moving like wind in life style, following their own vratas and hence, called Vratyas. Rig Veda (Griffith) 10.136.1-7says about Vratyas:
“He (Kesins) with the long loose locks supports Agni and moisture, has all sky to look upon (meaning free) with long hair that is called this light
The munis girdled with wind, wore garments Soiled of yellow hue (means the skin of animals). They following the wind’s Swift course go where the Gods have gone before.
Transported with munihood mortal men, behold our natural bodies and no more (were naked).The steed of Vata, Vayu’s friend, the Muni, by God’s impelled, in both the oceans hath his home in eastern and in Western Sea.”
The address of sea may be indicative of the mighty rivers Ganga and Sindhu.
Vratyas were distinguished by their black turbans (Krishnam Ushnisham Dharayanti) worn in a slanting manner, displaying long matted hair (Kesi). This is depicted in seals as long Snake like head decoration. Atop was the buds of plants attached; a set of round ornaments for the ears (Pravartau). Varieties of neck ornaments were hanging by the neck across the chest with rows of long necklaces of Strange beads (mani) Swinging. Two (dvi) deer-skins were tied together for lower garment, (displayed as a long piece of skin tied around the waist, that was extracted from the animal), and sandals for the feet (Upanahau). They carried a lance called Pra-toda. A white blanket was thrown across the shoulders.
The Vratyas spoke the dialect of Prachya, the source of the languages of ancient Eastern India. It is also said; the Vratyas also spoke the language of the initiated (Dikshita – vac), though not themselves initiated (Adikshita), however, also used that which is easy to utter (a- durukta) and difficult to utter. (Panchavinsa Brahmana 17.1.9). This may mean that the Vratyas were familiar and comfortable both in Sanskrit and in Prakrit. Vratyas did not use refined Vedic dialect in their speech nor hired a priest of evolved class to guide their rituals. They lived alone or in groups, away from populated areas. They followed their own Cult rules and practises.

Lifestyle of Vratyas:

Vratyas observed their own set of rituals, different from the Vedic prescriptions Vratya Sukta of Atharvaveda (15th Kanda), provide graphic descriptions of these Magis. The Vratyas used a rickety cart that was in bad condition called Vipatha, which was difficult to drive and driven by a mule. The Indus figurines of a rickety cart, hitherto classified as a toy for children may be the cart of Vratyas. These descriptions put together project a truly impressive, Colourful and awe-inspiring image of the Wandering Vratyas.
Panchavinsh Brahmana 17.1.9-15 further states that the Vratya leader wore a turban (usinisha), carried a whip (Pratoda), a kind of bow (Jyadroda, also called Pinaka), was clothed in a black (Krsnasa) garment and two skins (Ajina), black and white (Krishna-Valaksa), and owned a rough wagon (Vipatha) covered with planks (Phalakastirna). The others, followers of the group or subordinate to the leader, had garments with fringes of red (Valukantani Dam Atusam). They did not consider either the rituals or for initiations, and not at all for celibacy (Na Hi Brahmacharyam Charanthi). They did not engage themselves in agriculture (Na Krishim) or in trade (Na Vanijyam). They behaved as if they were possessed (Gandharva Grithaha) or drunk or just mad. The Scholars generally believe, what has come down to us, as Tantra is, in fact, a residue of the Cult-practises of the Vratyas. The Tantra, event this day, is considered non-Vedic, if not anti-Vedic.
The Atharvaveda mentions that Vratyas were also a set of talented composers and singers. Their preferred deity Rudra who was associated with wind. Vratyas knew the art and effect of controlled breathing and used it in their music. They found they could sing a lot better – and probably hold the notes longer – when they practised what they called Pranayama, a type of breath control and learn to live in harmony with nature. There is, therefore, a school of thought, which asserts, what came to be known as Yoga in the later periods had its roots in the ascetic and ecstatic practises of the Vratyas. The vratyas who could imitate the sounds of nature in their singing methods, influenced the evolved divijas to chant the samans of Samaveda in a melodious form. The Vratyas were, therefore said to be the precursors of the later evolved ascetics and yogis.
The Vratyas roamed about near the furrowed lands of sacrificial arena and probably consumed the germinating plants. The two sets of 6 furrows inscribed in the seal Fig. 1, probably indicates the furrowed land where, the orthodox Brahmins ploughed the land (in sets of six furrows for the six seasons) and they were sowing the seeds as a perpetual source of food. Vratyas consumed these foods and hence were called unevolved.
The Vratyas did not observe the orthodox Yajna of offering Soma juice to Indra. They crushed Soma and drank it by themselves without observing any ritual procedure. The pounding Stone Ashman, one Span long, narrower at upper end has been indicated as the first four symbols of the inscription of the seal, Fig.2. The pressing stones, generally four in number were used for pounding grains, or pounding of Soma twig. The Putika, replacement of Soma is indicated in the seal as the last Symbol of figure-2, which were crushed with stones and consumed by a Vratyas. The Symbol of Soma twig and Ashman stones indicates the Vratyas crushed out Soma juice and drank it without getting into rituals of offering it to Indra before.

The Geographical Migration of Vratyas:

The Atharvaveda 15.2 makes a very ambiguous statement: “Of him in the eastern quarter, faith is the harlot, Mitra the Magadha, discrimination is the garment, etc”. Probably, it is taken to mean that the Magadha tribes (The area of present day Bihar, South of Ganges) were friends, advisers, and thunder (strong Supporters) of the Vratyas. The implication of this is rather interesting. The breakaway group, the Vratyas from among the Vedic people, left their main land of the basin of Indus river and moved away eastwards.
Vratyas are also described to be pre Vedic people, but associated more with nature and declined the formalism of Vedic seers. They were not accepted by Vedic followers; hence, Vratyas moved away from them. They roamed over to the East; and ultimately settled in the regions of Magadha and Anga where they found friends and supporters. (Magadha and Anga is mostly, in the regions to the East and North-west of the Madhyadesha – the mid part of Ganga Valley, the present day Uttar Pradesh). The reason for that friendly reception appears to be that the Magadha tribes in Eastern India were not in good terms with the Vedic people in the Indus basin; and saw no difficulty in accommodating the Vratyas. In addition, more importantly, the Magadha did not follow or approve the Vedic religion; and they, too, like the Vratyas, Were against the rites, rituals, and sacrifices of the evolved Vedic community.

Depiction of Vratyas and Vratya Stoma, A Ritual of Proselytization (attempt to convert) in the Harappan Seal of Kalibangan:

Interpreting Indus seals by deploying the literary sources, social and cultural practices that prevailed in those times brings out the information hidden in the seals. The seal, analysed here, show a strong correlation to Social practices that were followed in Vedic period.
The Seal of Kalibangan (Fig. 3), with four male figures, show three types of dress Code of men. The last and fourth figure is a peculiar picture of a man merging with a tiger. The human part has feet as human legs but the other two back legs are like that of goat and a tail of tiger. This seal is the Symbolic representation that vratyas were forceful fighters, skilled hunters, lonely and fearless like tiger or some lived in groups like goats. This idea is also conveyed through both man and animal forms with the same animal skin.
Vratyas in Indus Seals - KalibanganFig 3. Harappan Seal of Kalibangan
The man is adorned with the animal skin, serrated arms (Vajra bahu) and has long matted hair. Their head is decorated with twigs or flowers, long matted hair is depicted horizontally like a Snake and a long turban that adorns his head is well displayed. Of the first three figures, the middle one is a vratya without the head decorations or matted hair but still with the turban. He is wearing animal skin but feet are like human. The two taller figures on either side hold the point of the long lance to the shoulder region. They have hair tied into a bun, wearing woven cloth and not wearing animal skin (may be the evolved dwija status) Vratyas were an unorthodox group who detested the practices of Worship of Indra that was followed by the orthodox evolved class of people called Aryans and hence were not included in the Aryan group.
Katyayana Shrauta Sutra (22.4, 1-28) also says that by performing vratya Stoma, Vratyas lose their vratya Status and become eligible for social life with the followers of dharma. Vratya stoma is the rite of adoption of a group of four Ekaha (Soma Sacrifice of one day duration) adopted by Vratyas so that they can renounce Vratyahood and then become socially eligible and accepted as orthodox Brahmin class- dvija. It is a remarkable rite and the only proselytization (attempt to convert) in Vedic rituals. Vratyas were considered divine by some Scholars as they belonged to Sage Vata Rashana and were called followers who moved swiftly like Vayu – the wind. The Seal (Fig.3) depicts two figures holding a long lance, the Weapon of Vratyas-the Shula that is pointing to the shoulder where Yajnopavita is worn and the Vratya man is standing in between them. The fourth figure shows a combination of man and animal depicted as though they are one, which depicts the Vratya in original form.
This seal is informative about how Vratyas had an option to convert themselves to the Dvija – orthodox Brahmin class by performance of four Agnistoma Ekaha as an expiatory ritual, after which they wore the Yajnopavita, the sacred thread on their left shoulder. They also changed their dress Code from animal skin to clothes that Orthodox class Wore. The person who intended a conversion had to come with animal skin in black and white colours and a pair of shoes shaped like ears and other accessories they often sported. All these articles were donated to another Vratya (the fourth human figure) who had not undergone conversion or donated to a Brahmin of Magadha region, a place that was not strictly Brahmanical. After the ritual, the aspirant Vratya ceased to have the characteristic objects, changed their dress code to woven cloth, tied their hair, and gained full membership to Brahmanical Society in pursuit of learning the evolved form of the sacred language. (Vratyas, though spoke Sanskrit did not use the refined Vedic dialect). The fact that Vratyas attempted for their conversion to the Dvija – Brahmanical, has been depicted in the seal through the depiction of two types of costume representation – the orthodox and Vratya style of dress code and hair do.

Depiction of Rudra-the Vratyapati, Shooting the Arrow at Tripurasura:

The Vratyas worshipped elements of nature and Rudra was their preferred deity. The figure of Rudra shooting with his special type of String-less bow Jyadroda, depicts an episode of the fight between Devas and demons. The seal looking like a frozen action tableau, with man and animals in action is associated with the episode of the conflict between the Devas and the demon Tripurasura, as described in Yajur Veda. Yajurveda (The Veda of The Black Yajus School, A. B. Keith), Kanda 4.5.3 Says about Rudra, his bow and arrows:
“Homage to the turbaned wanderer on the mountains to the lord of pluckers, homage to the bearer of arrows, and to you the bow man, homage to that string(the bow), homage to you that bend (the bow), and to you that let go the arrows, homage’.
Vratyas in Indus Seals - Rudra as VratyapatiFig. 4: Rudra as Vratyapati with his Bow Pinaka, also called Jyadroda
The seal depicting an episode is a good example of arthavada type of explanation as prescribed in Brahmana texts (Fig. 4). The first half of the seal has one human figure, shooting arrow at a wild boar and a dog is also chasing the animal. Some Symbols are inscribed on the other half of the Seal to convey some information about the episode depicted. Since the hunter wears a turban, holds a strong bow, it can be linked to the epithet of Rudra as Tripurantaka, that is described in Yajurveda.
Of the several epithets of Rudra in Shatha Rudriya of Yajurveda celebrates the glory of one-hundred-and-eight forms of Rudra. Some are relevant to the picture of Rudra in the seal Fig. 4. He is called Vratya pati-the leader of vratyas, Pinaki-the holder of the mighty bow Pinaka which is also called Jyadroda, Usnishi – the turbaned wanderer, Tripurantaka-killer of tripurasura demon, Swapatibhyascha -keeper of hounds/dog, and So on.
Looking like a Warrior in a heroic posture he is shooting an arrow at an animal the wild boar, which is a representation of demon Tripurasura. Regarding the story part, (The Veda of The Black Yajus School, AB Keith) Kanda-6, Prapatika 2 and 3 says:
“The Gods and Asuras were in conflict. The Gods in fear entered Agni- (meaning seek protection). Therefore, they say Agni is all the Gods. Asuras had three citadels, the lowest was of iron, and the middle of silver and the topmost was of gold. The Gods could not conquer the 3 citadels; hence, sought to conquer them by siege. They made ready an arrow with Agni as the point, Soma as the socket (Bow) and Visnu as the shaft of the bow. They said: Who should shoot the arrow? “Rudra’, they said, as Rudra is Cruel, let him shoot it. Rudra Said “let me choose a boon. Let me be the overlord of cattle.”
Therefore, Rudra became the overlord of animals. “Rudra let it go’, it cleft the three citadels and drove the Asuras away from the three Worlds.
The details of the episode is that the demons when they turned out stronger, occupied all the three worlds and built citadels of iron, silver and gold. Gods decide to wage a war against them and chose Rudra because only he was the owner of the bow and physically strong enough to shoot arrows that would cross the three Worlds. The arrows used by Rudra for his Pinaka bow was unique. Agni Settles as the head of the arrow as he could move in upward direction. Vishnu (also called rays of Sun) settled in the shaft as he had the capacity to cover all three worlds. Goddess Saraswati settled at the tip of the arrow as Mantras or knowledge. The demon Tripurasura gets defeated when a powerful arrow was shot and runs out of the citadel. Rudra was hence called Tripurantaka-the destroyer of demon.

The Symbols:

Regarding the Symbols, they indicate the deity involved, period of the episode and the yajna to be performed as per the “Vidhi’ ways of explaining a ritual.
Symbol.1. The Arrow
Agnishikha is a fearsome fire arrow (like a rocket). According to the legend of Yajurveda 6.2.3, the Gods and Asuras (demons) were in conflict. The Gods in fear entered Agni. The arrow, designed by Devatas, has Agni in the triangular part (the Symbol of eternally moving upwards), and Sarasvati – the goddess of Mantra being installed at the tip of the arrow and Vishnu in the shaft to cover space. The upward triangle is the Symbol of Agni, the eternally upward moving element, and fire is revered as Agni. Agni and Brihaspati, indicative of the heat and light aspects of fire are Symbolised by arrow and read according to the theme presented in a Seal.
Symbol.2. The Citadel of Gold (called Brahmapuri)
The Symbol has the representation of the citadel that looks like the Structure of a house above the arrow. Asuras had three citadels, the lowest was of iron, and the middle of silver and the topmost was of gold (called Brahmapuri). The Gods could not conquer the three citadels; hence, they sought to conquer them by siege. Rudra shot the arrow from his mighty bow Pinaka, drove the Asuras away from the three Worlds and recovered the citadels. The demon called Tripurasura is represented as wild boar, running away. The arrow is depicted as crossing the two Worlds and the citadel can be seen like a house in the top part of the arrow.
Symbol 3. The Solstice day
The third Symbol that is inscribed has three sections. A circle indicative of the period of one year is cut here into two halves. The first arc is the first six-month of the year, and similarly the second arc Vratyas in Indus Seals 113 represents the other half of the year. The middle part is the Visuvat day. The Symbol of two half circles, crossing at the middle part and creating a space may be the indication the Visuvat, the autumn Solstice where the day part is shortest. The halves of the year, (two arcs in opposite direction) are his right and left halves. The two solstice’s days are indicated as two lines adjoining the side of the arcs.
Visuvat is the central auspicious day that divides the Gavamayana Sattra, the Sacrificial Session lasting one year into two equal parts. The two-intersecting bow / curve indicate the travelling of the Sunrays between the Dakshinayana and the Uttarayana path of Sun’s rays. The central day of the solstice is the auspicious Vishuvat day on which the Gods won wealth from the daemons, and hence, celebrated by chanting of Samans of Ekavimshatistoma on this day (AP. SR 21.15-16, as quoted by Sen).
Symbol 4. The 12 Day Sacrificial Ritual
The last Symbol of twelve strokes also indicates the celebration of victory of Devas by the performance of “sattra”-the eleven or twelve-day sacrificial session, a type of. When it extends to one year, it is called Gavamayana satra or SamvatSarika.
The 12 day sacrifice called Dvadasha ratra is performed for long life. By performing the eleven and twelve day sacrifices, one can create, win, procure, and possess offspring. This may indicate that one must not only procure offspring, but also should be able to live harmoniously with them.

Conclusion:

One of the significant type of Seals under Vratyas, describing the Social aspects of this group of ascetics, are very well depicted in the four seals that are described in this text. The highlight of this research is an extraordinary correlation to the social and ritual practices that were followed in those times. In a way, these seals depict the life and practices of Vratyas to the Vedic practices in a precise manner.
The fact that Vratyas who were followers of Rudra did not accept Indra as their deity, might have been the cause for clashes with the evolved Aryans forcing vratyas to migrate to the Gangetic plains where they got accepted.
This paper is an independent research on Vratyas may prove as the first step in the new approach of understanding what these set of seals Communicate.
Reference:
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  • Sen, Chitrabhanu: 1978 (reprint 2001), A Dictionary of the Vedic Rituals, Concept Publishing Company, New Delhi
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The article first appeared in Arnava Vol VI No 1 (2017) and has been republished with permission.

A tribute to baḍhi, వడ్ర, baḍaga, yajña puruṣa. He is Varāha,’boar’ & tiger on Indus Script Corpora artisan working in iron, wood & seafaring Meluhha merchant

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https://tinyurl.com/y84vj7ff

Thanks to Rekha Rao for focussing attention on tiger representations on Indus Script seals: Kalibangan cylinder seal, Kalibangan stamp seal, Mohenjo-daro ligatured tiger seal and a seal of Schoyen collection which shows a hunter, a boar and a tiger together with Indus Script inscription. See: http://bharatkalyan97.blogspot.in/2018/03/vratyas-in-indus-seals-rekha-rao-2017.html

At the outset, reference to Vrātya is not necessary to decipher the hieroglyphs/hypertexts of the seals referred to by Rekha Rao. This monograph deciphers hypertexts of Indus Script Cipher on these and other inscriptions/artifacts of Sarasvati Civilization, as rebus representations of metalwork catalogues, in the context of wealth creation by Meluhha metalworkers and seafaring merchants of the Bronze Age.
Kalibangan050Ligatured to a tiger. Scarf, markhor horn, twig. Same as on Kalibangan cylinder seal. PLUS Shape of markhor horn: Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.)
gaNDa 'four' rebus: kaNDa 'implements''fire-altar' (Santali)
pon ‘four’ (Santali); pon ‘metal’ (Ta.)

kūtī = bunch of twigs (Skt.)
  

The bunch of twigs = kūdī, kūṭī (Skt.lex.) kūdī (also written as kūṭīin manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kauśika Sūtra (Bloomsfield's ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss anBohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).
  
kuṭhi 'smelting furnace‘; koṭe ‘forged metal’ (Santali)


maṇḍa 
   = a branch; a twig; a twig with leaves on it (Te.)
maṇḍā 
  
 = warehouse, workshop (Kon.)

aaru twig; ad.iri small and thin branch of a treeaari small branches  (Ka.); aaru twig (Tu.)(DEDR 67).adar = splinter (Santali); rebus: adaru = native metal (Ka.)

kolom ‘three’ (Mu.) kolmo ‘rice plant' (Mu.)  
  
 kolom = cutting, graft; to graft, engraft, prune; kolma hoṛo = a variety of the paddy plant (Desi)(Santali.) 
kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace (Ka.); kolimi furnace (Te.); pit (Te.); kolame a very deep pit (Tu.); kulume kanda_ya a tax on blacksmiths (Ka.);kol, kolla a furnace (Ta.) kole.l smithy, temple in Kota village (Ko.); kwala.l Kota smithy (To.); konimi blacksmith; kola id. (Ka.); kolle blacksmith (Kod.); kollusa_na_ to mend implements; kolsta_na, kulsa_na_ to forge; ko_lsta_na_ to repair (of plough-shares); kolmismithy (Go.); kolhali to forge (Go.)(DEDR 2133).] kolimi-titti = bellows used for a furnace (Te.lex.) kollu- to neutralize metallic properties by oxidation (Ta.lex.) kol brass or iron bar nailed across a door or gate; kollu-t-tat.i-y-a_n.i large nail for studding doors or gates to add to their strength (Ta.lex.)kollan--kamma_lai < + karmas'a_la_, kollan--pat.t.arai, kollan-ulai-k-ku_t.am blacksmith's workshop, smithy (Ta.lex.) cf. ulai smith's forge or furnace (Na_lat.i, 298); ulai-k-kal.am smith's forge; ulai-k-kur-at.u smith's tongs; ulai-t-turutti smith's bellows; ulai-y-a_n.i-k-ko_l smith's poker, beak-iron (Ta.lex.) [kollulaive_r-kan.alla_r: nait.ata. na_t.t.up.); mitiyulaikkollan- mur-iot.ir.r.an-n-a: perumpa_)(Ta.lex.) Temple; smithy: kol-l-ulai blacksmith's forge (kollulaik ku_t.attin-a_l : Kumara. Pira. Ni_tiner-i. 14)(Ta.lex.) cf. kolhua_r sugarcane milkl and boiling house (Bi.); kolha_r oil factory (P.)(CDIAL 3537). kulhu ‘a hindu caste, mostly oilmen’ (Santali) kolsa_r = sugarcane mill and boiling house (Bi.)(CDIAL 3538).

Together with kol 'tiger, woman'; the ligatured glyph composition with twig as head-dress connotes: metal alloy furnace-smelter/workshop.

kōlupuli = Bengal tiger (Te.); kol = tiger (Santali) kōla = woman (Nahali)
Rebus: kol metal (Ta.) kol = pan~calōkam (five metals) (Ta.lex.)  

There are leaf-less branches of tree in the background of the entire pictorial composition of the Kalibangan cylinder seal.




Pk. ḍhaṁkhara -- m.n. ʻ branch without leaves or fruit ʼ (CDIAL 5524)





Rebus: 
  
 ḍān:ro = a term of contempt for a blacksmith (N.)(CDIAL 5524).   ṭhākur = blacksmith (Mth.) (CDIAL 5488). 
m0311 The composite hieroglyph shows a 'tiger + woman' ligatured to a scarf as a pigtail, ram's horns and a twig on the head.m0311 The composite hieroglyph shows a 'tiger + woman' ligatured to a scarf as a pigtail, ram's horns and a twig on the head. Text message: 

dāntā 'tooth, tusk' rebus: dhāˊtu 'ore of red colour' (ferrite ores, copper ores). dula 'two' rebus: dul 'metal casting'. sal 'splinter' rebus: sal 'workshop'. Thus, workshop for metal castings of mineral ores.


koi 'flag' Rebus: ko 'workshop'.Oval shape: Rebus: mũhe, muhã 'ingot' muhã 'quantity of metal produced at one time in a native smelting furnace.PLUS' खााडा [ kāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or ...ʻswordʼ Rebus: khāṇḍa, khaṇḍa. 'implements'. 


kola 'woman'; kol 'tiger' Rebus: kol 'working in iron, blacksmith'.


dhau  m.  (also dhahu)  m. scarf  (WPah.) 


Rebus: dhatu 'mineral' 


Ligatured to a tiger. Scarf, markhor horn, twig. Same as on Kalibangan cylinder seal narrated above. PLUS Shape of markhor horn: Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: me (Ho.); mhet 'iron' (Munda.Ho.)

Ram's horns: tagara 'ram' Rebus: tagara 'merchant'; tagara 'tin'. 


kūtī = bunch of twigs (Skt.) Rebus: kuhi = (smelter) furnace (Santali) The narrative is that of a (smelter) furnace for iron, merchant tin mineral.


karã̄ n. pl. wristlets, ̆angles (Gujarati)(CDIAL 2779)  rebus: khāखार् 'blacksmith'.

मेढा (p. 665) [ mēhā ] m A stake, esp. as forked. Rebus: medhā, 'yajña'.'dhanam'. 




Image result for tiger woman indus script
Kalibangan065 Cylinder seal impression. Note the scarf of the person ligatured to a tiger.




dhaṭu
  m.  (also dhaṭhu)  m. ‘scarf’  (WPah.) (CDIAL 6707); 



Rebus: dhātu ‘mineral (Pali).

kola 'tiger' Rebus: kol 'working in iron' kolhe 'smelter'

kūtī = bunch of twigs (Skt.)The bunch of twigs = kūdī, kūṭī(Skt.lex.) kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda(AV 5.19.12) and KauśikaSūtra (Bloomsfield's ed.n, xliv. cf. Bloomsfield,American Journal of Philology, 11, 355; 12,416; Roth, Festgruss anBohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).Rebus: kuṭhi 'smelting furnace‘; koṭe ‘forged metal’ (Santali)

kuṭi 'tree' Rebus: kuṭhi 'smelting furnace‘; koṭe ‘forged metal’ (Santali)(Phonetic determinant of the twig on the horns of the woman ligatured to the tiger'

Part of Kalibangan cylinder seal narrative. Ligatured to a tiger. Scarf, markhor horn, twig, next to tree. Rice-plant. dhatu 'scarf' Rebus: dhatu 'mineral' mũh 'face' Rebus mũhã̄ 'iron furnace output' kōḍu horn rebus: koD 'workshop' kolmo 'rice plant' rebus: kolimi 'smithy, forge' kolom 'three' rebus: kolimi 'smithy, forge' kuTi 'tree' rebus: kuThi 'smelter' kola 'tiger' rebus: kol 'working in iron'.

kou 'horn' Rebus: ko 'workshop'

kolmo 'three' Rebus: kolimi 'smithy, forge'
tagaraka, tabernae montana 'flower', 'hair fragrance' Rebus: tagara 'tin'
Two fencers: dula 'two' rebus: dul 'metal casting' PLUS
karaṭi, karuṭi, keruṭi fencing, school or gymnasium where wrestling and fencing are taught (Ta.); garaḍi, garuḍi fencing school (Ka.); garaḍi, garoḍi (Tu.); gariḍi, gariḍī id., fencing (Te.)(DEDR 1262). 
Rebus 1: करडा [ karaḍā ] Hard fromalloy--iron, silver &c. Rebus 2: kharādī = turner (G.) Rebus 3:  kharaḍa, brief memoranda of metalwork Rebus: karaṇḍi 'fire-god' (Remo)Remo <karandi>E155 {N} ``^fire-^god''.(Munda). 
Hieroglyph: karã̄ n. pl. ʻ wristlets, bangles ʼ (Gujarati) Rebus: khār 'blacksmith' kola 'woman' Rebus: kolhe 'smelter' kol 'working in iron' kolle 'blacksmith' kolimi 'smithy, forge'.kole.l 'smithy, forge' kole.l 'temple'.
Hieroglyph: kunta1 ʻ spear ʼ. 2. *kōnta -- . [Perh. ← Gk. konto/s ʻ spear ʼ EWA i 229]1. Pk. kuṁta -- m. ʻ spear ʼ; S. kundu m. ʻ spike of a top ʼ, °dī f. ʻ spike at the bottom of a stick ʼ, °diṛī°dirī f. ʻ spike of a spear or stick ʼ; Si. kutu ʻ lance ʼ.2. Pa. konta -- m. ʻ standard ʼ; Pk. koṁta -- m. ʻ spear ʼ; H. kõt m. (f.?) ʻ spear, dart ʼ; -- Si. kota ʻ spear, spire, standard ʼ perh. ← Pa.(CDIAL 3289) Rebus: kuṇha munda (loha) 'hard iron (native metal)' Allograph: कुंठणें [ kuṇṭhaṇēṃ ] v i (कुंठ S) To be stopped, detained, obstructed, arrested in progress (Marathi) Rebus: kundār 'turner'. Thus,the spears used by the fencers and the fencing are senantic determinatives of 'turner's work': kundār 'turner' synonym: khara_di_ = turner. 

Tiger, tied by a rope and led by an archer

An extraordinary hypertext from Kalibangan is on a terracotta cake which signifies a tiger tied to and dragged by a rope and an archer.

चतुर्श्रि, अष्टाश्रि quadrangular, octagonal yupa skambha or pillars are attested ca. 2500 BCE, archaeologically in Kalibangan and Binjor respectively, both on the banks of Vedic River Sarasvati. Hieroglyphs skambha, stambha signify tã̄bā 'copper', and hieroglyph garland signifies dhāu 'red ore'. (perhaps hematite, ferrite ore). 


Kalibangan Yajnakunda with square pillar. Terracotta cake with Indus Script inscription of a tiger tied to a rope. 

kamāṭhiyo 'archer, hunter? rebus: kammaṭa 'coiner, mint' 


It is unclear if the horned person is an archer. If an archer, the reading is: kamaDha 'archer' rebus: kammaTa 'mint, coiner, coinage'.

bhaTa 'warrior' rebus: bhaTa 'furnace'
kolmo 'rice plant' rebus: kolimi 'smithy, forge'
koD 'horn' rebus: koD 'workshop'

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

The tiger is being pulled to be tied to a post, pillar. Hieroglyph: Ka. kunda a pillar of bricks, etc. Tu. kunda pillar, post. Te. kunda id. Malt. kunda block, log. ? Cf. Ta. kantu pillar, post. (DEDR 1723) Rebus: (agni)kuNDA 'fire-altar, vedi'.
Hieriglyph: meṛh rope tying to post, pillar: mēthí m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., °thī -- f. KātyŚr.com., mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP.1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), mihomiyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽhmẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. mehmehā ʻ the post ʼ, (SBhagalpur)mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīrmīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2); L. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛ f., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛhamehra ʻ a circular construction, mound ʼ; Or. meṛhī,meri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.mēthika -- ; mēthiṣṭhá -- . mēthika m. ʻ 17th or lowest cubit from top of sacrificial post ʼ lex. [mēthí -- ]Bi. mẽhiyā ʻ the bullock next the post on threshing floor ʼ.mēthiṣṭhá ʻ standing at the post ʼ TS. [mēthí -- , stha -- ] Bi. (Patna) mĕhṭhā ʻ post on threshing floor ʼ, (Gaya) mehṭāmẽhṭā ʻ the bullock next the post ʼ.(CDIAL 10317 to, 10319) Rebus: meD 'iron' (Ho.); med 'copper' (Slavic).

The narrative is  set of hieroglyphs read rebus. Rebus readings connote that the cylinder seal impressions on the proto-cuneiform tablet relate to the smelting furnace for metalware: 


pasara 'quadrupeds' Rebus: pasra 'smithy' (Santali)

1. a tiger, a fox on leashes held by a man kol 'tiger' Rebus: kol 'working in iron, alloys' lo ‘fox’ (WPah.) Rebus: lōha ʻmetalʼ (Pali) 

2. a procession of boars (rhinoceros?) and tiger in two rows kāṇṭā 'rhinoceros. Rebus: āṇḍa ‘tools, pots and pans and metal-ware’ (Gujarati)

3. a stalk/twig, sprout (or tree branch) kūdī, kūṭī bunch of twigs (Sanskrit) Rebus: kuṭhi ‘smelting furnace‘ (Santali)

Thanks to Abdallah Kahil for the line drawing which clearly demonstrates that the narrative is NOT 'a hunting with dogs or herding boars in a marsh environment.' Traces of hieroglyphs are found on both sides of the tablet which also contains a proto-cuneiform inscription. It is noteworthy that cuneiform evolved TOGETHER WITH the use of Indus writing hieroglyphs on tablets, cylinder seals and other artifacts. I wish every success for efforts at decoding proto-elamite script using Reflectance Transformation Imaging (RTI) System (see below).
Fig. 24 Line drawing showing the seal impression on this tablet. Illustration by Abdallah Kahil. Proto-Cuneiform tablet with seal impressions. Jemdet Nasr period, ca. 3100-2900 BCE. Mesopotamia. Clay H. 5.5 cm; W.7 cm.  The blurb of Metropolitan Museum of Art says "The seal impression depicts a male figure guiding two dogs on a leash and hunting or herding boars in a marsh environment."

The imagery of the cylinder seal records information. A male figure is guiding dogs (?Tigers) and herding boars in a reed marsh. Both tiger and boar are Indus writing hieroglyphs, together with the imagery of a grain stalk. All these hieroglyphs are read rebus in Meluhha (mleccha),of Indian sprachbund in the context of metalware catalogs of bronze age. kola 'tiger'; rebus: kol 'iron'; kāṇḍa 'rhino'; rebus: kāṇḍa 'metalware tools, pots and pans'. Ka. (Hav.) aḍaru twig; (Bark.) aḍïrï small and thin branch of a tree; (Gowda) aḍəri small branches. Tu. aḍaru twig.(DEDR 67) Rebus: aduru gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddhānti Subrahmaṇya’ Śastri’s new interpretation of the AmarakoŚa, Bangalore, Vicaradarpana Press, 1872, p.330) Alternative rebus: If the imagery of stalk connoted a palm-frond, the rebus readings could have been: 

Ku. N. tāmo (pl. ʻ young bamboo shoots ʼ), A. tām, B. tã̄bā, tāmā, Or. tambā, Bi tã̄bā, Mth. tām, tāmā, Bhoj. tāmā, H. tām in cmpds., tã̄bā, tāmā m. (CDIAL 5779) Rebus: tāmrá ʻ dark red, copper -- coloured ʼ VS., n. ʻ copper ʼ Kauś., tāmraka -- n. Yājñ. [Cf. tamrá -- . -- √tam?] Pa. tamba -- ʻ red ʼ, n. ʻ copper ʼ, Pk. taṁba -- adj. and n.; Dm. trāmba -- ʻ red ʼ (in trāmba -- lac̣uk ʻ raspberry ʼ NTS xii 192); Bshk. lām ʻ copper, piece of bad pine -- wood (< ʻ *red wood ʼ?); Phal. tāmba ʻ copper ʼ (→ Sh.koh. tāmbā), K. trām m. (→ Sh.gil. gur. trām m.), S. ṭrāmo m., L. trāmā, (Ju.) tarāmã̄ m., P. tāmbā m., WPah. bhad. ṭḷām n., kiũth. cāmbā, sod. cambo, jaun. tã̄bō (CDIAL 5779) tabāshīr तबाशीर् । त्वक््क्षीरी f. the sugar of the bamboo, bamboo-manna (a siliceous deposit on the joints of the bamboo) (Kashmiri)


Source:  Kim Benzel, Sarah B. Graff, Yelena Rakic and Edith W. Watts, 2010, Art of the Ancient Near East, a resource for educators, New York, Metropolitan Museum of Art 
http://www.metmuseum.org/~/media/Files/Learn/For%20Educators/Publications%20for%20Educators/Art%20of%20the%20Ancient%20Near%20East.pdf

Schoyen Collection
Introduction
Schoyen Collection of manuscripts (MS) in Oslo, Norway, list the
following eight Indus seals (all carrying inscriptions composed of
hieroglyphs which can be read rebus in mleccha).
This URL contains pictures of some manuscripts from the Schoyen
collection which comprises most types of manuscripts from the whole
world spanning over 5000 years. It is the largest private manuscript
collection formed in the 20th century. The whole collection MSS 1-
5245, comprises 13,010 manuscript items, including 2,172 volumes.
6,510 manuscript items are from the ancient period, 3300 BCE - 500
CE. Included in this manuscript collection are some epigraphs closely
associated with the script of the Sarasvati-Sindhu (Indus)
civilization.
* MS 4602 Indus Valley, ca. 3000 BC
* MS 5062 Indus Valley, 2200-1800 BC
* MS 5065 Indus Valley, ca. 1800 BC
* MS 2645, Afghanistan, 23rd-21st c. BC
* MS 4617, Indus Valley, ca. 2200-2000 BC
* MS 4619, Mohenjo-Daro, ca. 2200-1800 BC
* MS 5059, Indus Valley, 2200-1800 BC
* MS 5061, Indus Valley, 2200-1800 BC
..It is remarkable that almost all the hieroglyphs used on the two
seals --MS 5059 and MS 2645 -- relate to the repertoire of a
turner/smith artisan of the civilization and provenance from Meluhha
(mleccha) -- using mlecchita vikalpa (alternative form of
cryptographic writing) on Indus script. The annex details many
lexemes cognate with these rebus readings. These lexemes are from the
Indian linguistic area and are relatable to the hieroglyphs of the
Indus script.
..In the context of a typical Indus script glyph -- crocodile - an exquisite Bastar bronze
statue depicting a mother and a crocodile clinging to her breasts has been reviewed. The 'crocodile' glyph is also seen on a Seal of the
Schoyen collection: MS 5059.The Schoyen collection also includes MS 2645 (Indus cylinder seal) and MS 2814 (Cuneiform inscription) which
clearly point to the possible interactions between Meluhha and Mesopotamia. ..That these glyphs read rebus point to a legacy of stone-workers,
turners is consistent with the archaeological evidence of the artefacts associated with the Indus script seal finds. 

D 

This is a bronze sculpture attributed to Bastar artisans. I found this statue shown in a blog post. This description claims the bronze to be from Bastar (Orissa). But, a blurb on a slide showing the same statue on a school ppt links it to Indus civilization reads: "Small sculptures in stone, terra cotta, and bronze appear to represent priestly or governmental officials, dancing girls, and perhaps mother goddesses." http://www.leon.k12.fl.us/
Location of Bastar (southern Chattisgarh, close to Orissa border)

I think the artist is trying to convey something important through the use of the motifs. In my usual penchant for rebus reading, I thought this could refer to a cowherd woman, goi; also meaning 'lizard, crocodile' in Oriya language. I think we have to refer this to some Bastar tribespeople and investigate further. Conjecture 1: Could this be a method used by the Bastar artisan to denote the Oriya lexeme, goi?

Or. goi ʻ female of cowherd caste ʼ (CDIAL 4289)
N. gohi, guhi ʻ crocodile ʼ; A. gũi ʻ iguana ʼ,Or. gohi, goi, gui; Mth. gohi ʻ alligator ʼ (CDIAL 4286).

Conjecture 2: Is there any significance for the motif of lizard/crocodile clinging to the body of the exquisite brass statue? The bronze sculpture is a legacy of the metaphors of Indus civilization which used glyphs to denote lexemes - in particular, the repertoire of artisans.

Bastar is in a rich mineral belt of India; a veritble of mine or rich iron ore resources (see news report annexed).

Consistent with my reading rebus of many bizarre Indus glyphs, I think this bronze statue (made using the cire perdue technique) is to be read as ligatured glyph using lexemes from Indian linguistic area.

The lexemes which match the orthography of the sculpture are as follows:

கரா karā , n. prob. grāha. 1. A species of alligator; முதலை. கராவதன் காலினைக்கதுவ (திவ். பெரியதி. 2, 3, 9). 2. Male alligator; ஆண்முதலை. (பிங்.)(Tamil lexicon)

கராம் karām, n. prob. grāha. 1. A species of alligator; முதலைவகை. முதலையு மிடங்கருங் கராமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.)(Tamil lexicon)

kāru a wild crocodile or alligator (Te.) ayakāra ‘blacksmith’ (Pali) kāruvu = mechanic, artisan, Viśvakarma, the celestial artisan (Te.)

kōla = woman (Nahali) Rebus: kol ‘metal; working in iron’ (Ta.)

dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]
Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773)

da'tu-kui(B),datu-kui(B),da'ti-kui(B),,dati-kui(B),,Datu=kwi>(F)``^breast, ^teat; breast-^milk''. Pl. -le. |-kui,-kwi `woman'. E.g. da'ti-kui sop'- `to hold the breast (a form of courtship)'. @B15260,N51. #6882.

``^big-headed'':
Sa. DaDu ~ DaTu `big-headed'.Mu. DaDu `big-headed'.KW DaDu@(M068)

So, I read the sculpture as denoting:
DaTu kola kaaru: DaTu 'big head'; kola 'woman'; rebus: dhatu 'mineral'; kola 'metal'; kaaru 'crocodile'; rebus: kaaru 'artisan'. Thus, the sculpture denotes the mineral, metal artisan.

Mineral resources of Bastar

Chhattisgarh spots four new iron ore deposits
Monday, April 23rd 2007
Chhattisgarh has located four new iron ore deposits with an estimated 71 million metric tonnes of finest quality reserves.
The state’s mineral department conducted a widespread survey for a year and located iron ore reserves of over 40 million metric tonnes in Iklama and Sindhari areas in Kawardha district, an official release said Monday.
‘Besides Kawardha, 15 million metric tonne iron ore reserves were located in Rowghat area in hilly Bastar district, 11 million metric tonnes in forested Aridongri region in Kanker district and about five million metric tonnes in Dantewada district’s Bailadila pockets,’ the release added.
Officials claim that Chhattisgarh’s hilly chain, beginning from Dalli Rajhara in Durg district to Bailadila, has two billion tonnes of iron ore stocks that alone account for India’s 18.55 percent of total iron ore reserves.
Chhattisgarh, ranked second in the country in mineral production, has 20 percent of India’s iron ore deposits.
The state’s Bailadila hilly region, divided into 14 deposits, is one of the world’s largest and finest quality iron ore stocks where public sector National Mineral Development Corporation Ltd (NMDC) has major iron ore facilities since 1967 for large domestic supply and exports to China and Japan.
The state government signed a deal in July 2006 with the NMDC to set up a joint venture for opening up a deposit no-13 in Bailadila – with 35 million metric tones reserves.
Information from: IANS via in.news.yahoo.com

Chattisgarh

Among India's most mineral-rich states, producing 28 major minerals, including coal and iron ore.

Produces approximately 16% of India’s coal, 10% of iron ore, 5% bauxite, 5% limestone and 88% tin.

Fifth largest contributor to the value of minerals produced; generating Rs 5049 crore in 2004-05.

Mining contributes 12% to the state's GDP

About 90,000 ha of land is under mining.

44% of the state's land area is under forests (12% of the country's forested area); most of the dense forests are in the mineral-rich districts.

Ranks 2nd in terms of total forest land diverted for mining in India.

Tribals comprise 31% of the state's total population - Dantewada, Bastar, Surguja are most mined districts.

About 40.5% of the state's population lives below the poverty line. Despite large-scale mining projects, six of the seven key mining districts are listed in the 150 most backward districts in India.

The state is witnessing increased industrial activity in recent years. This has been accompanied by protests in different parts of the states – Bastar, Korba, and Dantewada districts, in particular.

DANTEWADA

Has rich reserves of iron ore, tin and corrandum. Around 2010 ha of land in the district is already under mining with leading steel companies envisaging interest in the district.

Rich forest reserves with 64% of its land under forest cover and almost 79% tribal population. Although rich in natural wealth, the district has not seen much development - only 30% of the population is literate; about a half of the state's population has access to clean drinking water; and less than 25% population has access to electricity. The district ranks seventh among the 150 backward districts of the country.
.
Essar Steel acquired land for its steel plant in the tribal villages of Dhurli and Bhansi, despite widespread local opposition. Many suspect that the company, in cahoots with the government, used coercion to obtain special permission from the Gram Sabha to acquire land in this Schedule V area.

Dantewada and the neighbouring district of Bastar is affected by naxalism. Maoists are against transfer of land to the companies and have threatened to disrupt mining operations. In a recent attack, some villagers who had handed over their land to Essar Steel, were killed.
BAILADILA

The hills are rich with dense deciduous forests - an ecological hotspot; its vast reserves of high quality iron ore also places the area's biodiversity under serious threat from mining.

Mining and industrialisation have devastated the region, especially places like Kirandul, Bacheli and Bhansi.

The Shankhini and Dankini rivers, which flow through the region are among the most polluted in India. Shankhini is often referred to as 'lal pani' (red waters); people from about 100 villages are dependant on this water source.

Iron ore tailings from National Mineral Development Corporation (NMDC)’s Bailadila mines have polluted the river and also damaged 35,000 ha of agricultural and forest land. On account of this, state government directed the company to dig 200 wells in 65 villages affected along the river.

Most of the drinking water wells are dry.


BASTAR (on the right bank of Indravati river)

Government here too has helped private mining companies to acquire land in Schedule V villages of Bastar. The companies are Tata’s plant at Lohinduga and NDMC’s plant at Nagarnar.

Nagarnar has witnessed a long-drawn conflict between the locals and the state over land allotment to the public sector NMDC. The struggle also turned violent when activists protesting against the project were apprehended and shot at by the police; 45 people, mostly women, were injured and around 250 people were jailed.

An inquiry conducted by the National Commission for Scheduled Castes and Scheduled Tribes (NCSCST) concluded that the acquisition process violated the constitutional mandate for scheduled areas and therefore was null and void.

Inspite of the NCSCST findings and protests by locals, the state government still went ahead with the land acquisition process.

Nagarnar steel plant is yet to start functioning because of technological failures in using iron filling waste from the Bailadila mines.

Conclusion

Clearly, the statue has to be meaningful for the artisan who made this exquisite bronze using the cire perdue technique of bronze casting which harks back to the days of Indus-Sarasvati civilization. Similar technique is used for bronze casting in Swamimalai on the banks of River Kaveri in Tamil Nadu.

Further investigations are needed to unravel the metallurgical traditions of Bastar and their roots which perhaps may lie in Sarasvati metallurgical heritage.

The rebus reading of the glyptics of the sculpture (woman, breasts, crocodile)is relatable to the Indian linguistic area. The reading is suggested as a calling card of a smith of Bastar: mineral, metal, artisan: dhatu kola kaaru. It is significant that the lexeme khar means 'blacksmith' in Kashmiri; kaaru denotes a crocodile in Telugu language. kola means 'woman' in Nahali language. kol means 'metal' in Tamil. dhatu means 'mineral' in Prakrit language; datu also means woman's breast in Munda language. I suggest that these lexemes relate to the Indian linguistic area from the days of Indus-Sarasvati civilization and the practice of using hieroglyphs decoded as connoting, rebus, the repertoire of artisans.

Yes, there is a time gap of millennia between the possible date of this Bastar bronze and the Indus-Sarasvati metallurgical, sculpturl tradition exemplified by the 'dancing girl' bronze wearing the same types of bangles and anklets as shown on this Bastar bronze. Yes, the Hindu civilization has an abiding presence and continuum in the Indian linguistic area - as evidenced by the use of metaphors of Indus script glyphs which continued into the punch-marked and cast coins of the historical periods. One early coin showed a crocodile catching a fish as note by Theobald. W. Theobald, Symbols on punch-marked coins of Hindustan (1890, 1901). This glyptic combination is a unique metaphor of Sarasvati hieroglyphs evidenced in Indus script inscriptions. This metaphor of fish + crocodile read rebus: aya kaara 'metal smith'.


It is not clear if the crocodile metaphor has any link with Egyptian Sobek.

Sobek (Sebek)

He who causes to be fertile

Symbols: Crocodiles

Depiction: The male deity Sobek was depicted as a crocodile or as a man with the head of a crocodile.

Mythology: As told in the Book of the Dead, Horus the Elder enlisted the help of Sobek to kill his uncle Seth. Sobek helped Horus on another occasion when he rescued Horus’ four sons from the waters of Nun. Sobek was the god of crocodiles. Ancient Egyptians, who lived in cities that depended on water, worshipped him to placate the crocodiles. For instance, the people of Crocodilopolis (Arsinoe) would husband crocodiles in pools and adorn them with jewels. The importance of crocodiles to ancient Egyptian culture is demonstrated by the numerous mummified crocs that have been found in tombs.

MS 5059 Schoyen Collection. For large image of the seal and an impression go to the Schoyen Collection:

http://www.nb.no/baser/schoyen/5/5.6/ The third glyph from the left is a lizard/crocodile.










Image result for indus script boar tiger hunter seal

Oslo Museum. Unprovenanced cylinder seal (from Afghanistan?)
baḍhoe‘a carpenter, worker in wood, iron’; badhoria‘expert in working in wood’(Santali) বরাহ barāha 'boar' Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman.
kamaḍha'archer' Rebus: kammaṭa'mint, coiner, coinage'
kola'tiger' rebus: kol 'working in iron'kolhe'smelter'kolle'blacksmith'

 baḍhia = a castrated boar, a hog; rebus: baḍhi 'a caste who work both in iron and wood'  వడ్రంగి, వడ్లంగి, వడ్లవాడు (p. 1126) vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్రంగిపిట్ట or వడ్లంగిపిట్ట vaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటము. వడ్లకంకణము vaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదము. వడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste. vardhaki m. ʻ carpenter ʼ MBh. [√vardh] Pa. vaḍḍhaki -- m. ʻ carpenter, building mason ʼ; Pk. vaḍḍhaï -- m. ʻ carpenter ʼ, °aïa -- m. ʻ shoemaker ʼ; WPah. jaun. bāḍhōī ʻ carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaïbaṛahi, A. bārai, B. bāṛaï°ṛui, Or. baṛhaï°ṛhāi, (Gaṛjād) bāṛhoi, Bi. baṛa, Bhoj. H. baṛhaī m., M. vāḍhāyā m., Si. vaḍu -- vā.(CDIAL 11375)





baḍaga is a takṣa, divine tvaṣṭr̥ of R̥gveda, he is a yajña puruṣa as evidenced in Khajuraho monumental varāha sculpture.. He is the very embodiment of the Veda, Veda puruṣa.  त्वष्टृ m. a carpenter , maker of carriages (= त्/अष्टृAV. xii , 3 , 33; " creator of living beings " , the heavenly builder , N. of a god (called सु-क्/ऋत् , -पाण्/इ , -ग्/अभस्ति , -ज्/अनिमन् , स्व्-/अपस् , अप्/असाम् अप्/अस्तम , विश्व्/अ-रूप &c RV. ; maker of divine implements , esp. of इन्द्र's thunderbolt and teacher of the ऋभुi , iv-vi , x Hariv. 12146 f. R. ii , 91 , 12 ; former of the bodies of men and animals , hence called " firstborn " and invoked for the sake of offspring , esp. in the आप्री hymns RV. AV. &c MBh. iv , 1178 Hariv. 587 ff. Ragh. vi , 32 ; associated with the similar deities धातृ , सवितृ , प्रजा-पति , पूषन् , and surrounded by divine females [ग्न्/आस् , जन्/अयस् , देव्/आनाम् प्/अत्नीस् ; cf. त्व्/अष्टा-व्/अरूत्री] recipients of his generative energy RV. S3Br. i Ka1tyS3r. iii ; supposed author of RV. x , 184 with the epithet गर्भ-पति RAnukr. ; father of सरण्यू [सु-रेणु Hariv.स्व-रेणु L. ] whose double twin-children by विवस्वत् [or वायु ? RV. viii , 26 , 21 f.] are यमयमी and the अश्विन्x , 17 , 1 f. Nir. xii , 10 Br2ih. Hariv.545 ff. VP. ; also father of त्रि-शिरस् or विश्वरूप ib. ; overpowered by इन्द्र who recovers the सोम [ RV. iii f. ] concealed by him because इन्द्र had killed his son विश्व-रूप TS. ii S3Br. i , v , xii ; regent of the नक्षत्र चित्रा TBr. S3a1n3khGr2. S3a1ntik. VarBr2S. iic , 4 ; of the 5th cycle of Jupiter viii , 23 ; of an eclipse iii , 6 ; त्वष्टुर् आतिथ्य N. of a सामन् A1rshBr. ).

Text of inscription: 
Sign 121       70 Read as a variant of Sign 112: Four count, three times: gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware' PLUS
||| Number three reads: kolom 'three' rebus: kolami 'smithy, forge'. Thus,the hypertext of Sign 104 reads: kolami khaṇḍa 'smithy/forge (for) implements.'

Duplicated 'bows', Variant of Sign 307Sign 307       69 Arrow PLUS bow: 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) Rebus: khaṇḍa, khāṇḍā ‘tools, pots and pans, metal-ware’. kanda 'fire-altar' PLUS  kamaṭha m. ʻ bamboo ʼ lex. 2. *kāmaṭha -- . 3. *kāmāṭṭha -- . 4. *kammaṭha -- . 5. *kammaṭṭha -- . 6. *kambāṭha -- . 7. *kambiṭṭha -- . [Cf. kambi -- ʻ shoot of bamboo ʼ, kārmuka -- 2 n. ʻ bow ʼ Mn., ʻ bamboo ʼ lex. which may therefore belong here rather than to kr̥múka -- . Certainly ← Austro -- as. PMWS 33 with lit. -- See kāca -- 31. Pk. kamaḍha -- , °aya -- m. ʻ bamboo ʼ; Bhoj. kōro ʻ bamboo poles ʼ.2. N. kāmro ʻ bamboo, lath, piece of wood ʼ, OAw. kāṁvari ʻ bamboo pole with slings at each end for carrying things ʼ, H. kã̄waṛ°arkāwaṛ°ar f., G. kāvaṛ f., M. kāvaḍ f.; -- deriv. Pk. kāvaḍia -- , kavvāḍia -- m. ʻ one who carries a yoke ʼ, H. kã̄waṛī°ṛiyā m., G. kāvaṛiyɔ m.3. S. kāvāṭhī f. ʻ carrying pole ʼ, kāvāṭhyo m. ʻ the man who carries it ʼ.4. Or. kāmaṛā°muṛā ʻ rafters of a thatched house ʼ;G. kāmṛũ n., °ṛī f. ʻ chip of bamboo ʼ, kāmaṛ -- koṭiyũ n. ʻ bamboo hut ʼ. 5. B. kāmṭhā ʻ bow ʼ, G. kāmṭhũ n., °ṭhī f. ʻ bow ʼ; M. kamṭhā°ṭā m. ʻ bow of bamboo or horn ʼ; -- deriv. G. kāmṭhiyɔ m. ʻ archer ʼ. 6. A. kabāri ʻ flat piece of bamboo used in smoothing an earthen image ʼ.7. M. kã̄bīṭ°baṭ°bṭīkāmīṭ°maṭ°mṭīkāmṭhīkāmāṭhī f. ʻ split piece of bamboo &c., lath ʼ.(CDIAL 2760)This evokes another word:  kamaḍha 'archer' Rebus: kammaṭa 'mint, coiner' . Thus, Sign 307 is read as bow and arrow rebus: khaṇḍa kammaṭa 'equipment mint' (See Sign 281)Thus, kã̄bīṭ 'bow' rebus: kammaṭa 'mint' PLUS dula 'two' rebus: dul 'metal casting',  i.e. dul kammaṭa 'metalcasting mint'

This is a hypertext composed of 'body' (of standing person) 
Sign 1 hieroglyph: me 'body' rebus: meḍ,med'iron, copper'
PLUS 'lid' hieroglyph: ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'.
PLUS Sign 402 'flag' hieroglyph. Sign 402 'flag' hieroglyph. Ciphertext koḍi ‘flag’ (Ta.)(DEDR 2049). In the context of metalwork guilds, the flag is the compound expression: dhvajapaṭa ʻflagʼ  PLUS dhvajapaṭa
 m. ʻ flag ʼ Kāv. [dhvajá -- , paṭa -- ]Pk. dhayavaḍa -- m. ʻ flag ʼ, OG. dhayavaḍa m. Rebus: 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 (CDIAL 6773)  
 The hypertext reads: kolami khaṇḍa dhakka meḍ dhā̆vaḍ ' smithy/forge equipment, smelter producing blazing, bright iron'.
Sign 211 kaṇḍa ‘arrow’; Rebus: kaṇḍ = a furnace, altar (Santali) khaṇḍa 'implements' (Santali)
The inscription reads: 

kol badhoe kammaṭa kolami khaṇḍa dhakka meḍ dhā̆vaḍ 
'working in iron, wood, mint, smithy.forge equipment, smelter producing blazing iron implements.'
Image result for ; boar and bull in procession; terminal: plant; heavily pittedLate Uruk and Jemdet Nasr seal; ca. 3200-3000 BCE; serpentine; cat.1; boar and bull in procession; terminal: plant; heavily pitted surface beyond plant.  Indus Script hieroglyphs read rebus: baḍhia = a castrated boar, a hog; rebus: baḍhi ‘a caste who work both in iron and wood’ Hieroglyph: dhangar 'bull' Rebus: dhangar 'blacksmith' baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali) বরাহ barāha 'boar'Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman (cargo boat).

Indus Script Hieroglyph: barāh, baḍhi ‘boar’ Rebus: vāḍhī, bari, barea ‘merchant’ 

baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’ Together with an anthropomorph of copper/bronze with the curved horns of a ‘ram’, the hypertext signifies: meḍh ‘ram’ rebus: meḍ ‘iron’ PLUS baḍhi ‘boar’ rebus: baḍhoria, ‘expert in working in wood’PLUS khondar‘young bull’ rebus: konda ‘furnace’ kundaṇa ‘fine gold’ Thus, the anthropomorph is a professional calling card of a worker with furnace, worker in iron, fine gold and wood. It is not mere coincidence that Varāha signifies an ancient gold coin. Another anthropomorph rplaces the young bull frieze on the chest of the ram with a ‘fish’ hieroglyph. ayo ‘fish’ rebus: aya ‘iron’ ayas ‘alloy metal’.

ஓடாவி ōṭāvin. prob. ஓடம்¹ + ஆள்வி. 1. Shipwright, boat builder; மரக்கலஞ் செய்வோன். (W.) 2. Carpenter; தச்சன்.ōṭam, n. < ஓடு-. cf. hōḍa. [T. K. Tu. oḍa, M. ōḍam.] 1. Boat, ferry-boat; தோணி. (திவா.) 2. Raft, float, vessel of any kind; மிதவை. (W.) 3. The tenth nakṣatra; மகநாள். (இராசவைத்) 4. Weavers' shuttle; நெசவுநாடா. (யாழ். அக.) 5. A song in the boatman's tune; ஓடப்பாட்டு.ōṭa-p-pāṭṭu , n. < ஓடம்¹ +. Boat song; கப்பற்பாட்டு. Ta. ōṭam boat, raft, float, vessel; ōṭāvi shipwright, boatbuilder. Ma. ōṭam boat; ōṭāyi shipbuilders; ōṭi a large seaboat (long and narrow, chiefly from the Laccadives). Ka. ōḍa boat. Tu. ōḍa id. Te. ōḍa ship, vessel. Pa. ōḍa boat, trough. Go. (M.) ōḍa, (Ko. S.) ōṛa boat (Voc. 437); (Pat.) oda (i.e. ōḍa) donga. / Cf. Skt. hoḍa- boat, raft; Turner, CDIAL, no. 14174. The IA words are probably < Dr.; Parpola 1977-78, pp. 243 ff. (DEDR 1039) hōḍa m. ʻ raft, boat ʼ lex. [← Drav., Kan. ōḍa., &c. DED 876]H. hoṛī f., holā m. ʻ canoe, raft ʼ; G. hoṛī f. ʻ boat ʼ; M. hoḍī f. ʻ canoe made of hollowed log ʼ. -- See uḍupa -- .Addenda: hōḍa -- : Md. oḍi ʻ large kind of boat ʼ ← Drav.(CDIAL 14174) ōḍra1 m. ʻ a tribe of Śūdras ʼ Mn., ʻ name of a people ʼ MBh., uḍra -- , auḍ°. 2. *auḍrika -- ʻ of that people ʼ. [S. Lévi JA 1923, 20 ff., EWA i 132]1. Pk. oḍḍa -- , uḍ° m. ʻ the land of Utkala ʼ, uḍḍa -- m. ʻ a caste of well -- diggers ʼ; S. oḍru m. ʻ a caste that make mud walls, blockhead ʼ, L. oḍ̠ m.; P. oḍ m. ʻ a tribe that clear out watercourses or build houses ʼ; Ku. oṛwoṛ ʻ mason ʼ, N. oṛ; Or. oṛa ʻ an aboriginal inhabitant of Orissa ʼ; G. oḍ m. ʻ a caste of Hindus who dig and carry earth and build mud houses ʼ.2. oḍḍia -- ʻ pertaining to Utkala ʼ; B. oṛiyāuṛ° ʻ an inhabitant of Orissa ʼ, Or. oṛiā, Bhoj. oṛiyā; EH. (Chattisgarh) oṛiyā m. ʻ navvy ʼ.ōḍradēśa -- .Addenda: ōḍra -- 1 ʻ a tribe of Śūdras ʼ Mn.: WPak.kṭg. ōḍ m. ʻ carpenter, name of a caste ʼ; Garh. oḍ ʻ mason ʼ.(CDIAL 2549) ōḍradēśa ʻ land of the Oḍras ʼ MW. [ōḍra -- 1, dēśá --] Or. oṛisā ʻ Orissa ʼ, H. uṛīsā m.(CDIAL 2551) [Note: the seafaring Bharatam Janam of ōḍradēśa are the seafarers who celebrate Baliyatra every year on Karthik Purnima day in memory of their contributions to Hinduised states of the Far East (pace George Coedes' wok in French Les états hindouisés d'Extrême-Orient. These are the ancient dharma-dhamma savants who spread Bauddham in Sri Lanka and in the Ancient Far East.]

Hieroglyph: dhangar 'bull' Rebus: dhangar 'blacksmith' 









m1540Act

m1540b
A line drawing rendering of the hieroglyph as Pict-89 pictorial motif on Mahadevan concordance.
kammaṭa 'coiner, mint' signified by hieroglyph: kamāṭhiyo 'archer' evolves as an iconic metaphor of the aniconic ekamukhalinga on Batesvar sculptural frieze shown atop a smelter together with a tree in the background: kuTi 'tree' rebus: kuThi 'smelter', thus reinforcing the association of Yupa Skambha as a fiery pillar of light as a metaphor for the smelting processes transmuting mere earth and stone into metal heralding the inexorable processes of creation, destruction and rebirth exemplified by the Supreme divine -- a transformation from Being tio Becoming exemplified by the Cosmic Dancer emerging out of the Sivalinga. The process is mentioned as gangga sudhi on Candi Sukuh inscription on a linga signifying sudhi, 'purification' by kanga 'brazier'.
kuṭa°ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ  Rebus: kuhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98. (CDIAL 3228). 

Boar
oḍ m. ʻ a caste of Hindus who dig and carry earth and build mud houses ʼ(Gujarati)(CDIAL 2549).This etymon is relatable to baḍhi,bāṛaï 'carpenter', baea 'worker in wood and iron; merchant' signified by the hieroglyph: baḍhia,বরাহ barāha 'boar', In Telugu, the pronunciation variant is వడ్రంగివడ్లంగివడ్లవాడు (p. 1133) [ vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu ] or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. Cf. vardhaki ‘carpenter’ (Samskrtam) The semantics of 'digging' indicate the possibility that baḍhi,bāṛaï was also a miner digging out minerals from the earth and hence the association in the metaphors related to Bhudevi and her rescue from the ocean.

 

Mirror: http://tinyurl.com/gvxn2un

A boar as an artistic signifier of professional titles of the Bronze Age occurs on a Jemdet Nasr seal impression ca. 3200-3000 BCE. On this seal, kuTi 'tree' rebus: kuThi 'smelter' is followed by badhi 'boar' rebus: badhi 'carpenter, worke in iron' and dhangar 'bull' rebus: dhangar 'blacksmith'. baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali) বরাহ barāha 'boar'Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman.


Late Uruk and Jemdet Nasr seal; ca. 3200-3000 BCE; serpentine; cat.1; boar and bull in procession; terminal: plant; heavily pitted surface beyond plant.  Indus Script hieroglyphs read rebus: baḍhia = a castrated boar, a hog; rebus: baḍhi ‘a caste who work both in iron and wood’ Hieroglyph: dhangar 'bull' Rebus: dhangar 'blacksmith' baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali) বরাহ barāha 'boar'Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman (cargo boat)

ஓடாவி ōṭāvin. prob. ஓடம்¹ + ஆள்வி. 1. Shipwright, boat builder; மரக்கலஞ் செய்வோன். (W.) 2. Carpenter; தச்சன்.ōṭam, n. < ஓடு-. cf. hōḍa. [T. K. Tu. oḍa, M. ōḍam.] 1. Boat, ferry-boat; தோணி. (திவா.) 2. Raft, float, vessel of any kind; மிதவை. (W.) 3. The tenth nakṣatra; மகநாள். (இராசவைத்) 4. Weavers' shuttle; நெசவுநாடா. (யாழ். அக.) 5. A song in the boatman's tune; ஓடப்பாட்டு.ōṭa-p-pāṭṭu , n. < ஓடம்¹ +. Boat song; கப்பற்பாட்டு. Ta. ōṭam boat, raft, float, vessel; ōṭāvi shipwright, boatbuilder. Ma. ōṭam boat; ōṭāyi shipbuilders; ōṭi a large seaboat (long and narrow, chiefly from the Laccadives). Ka. ōḍa boat. Tu. ōḍa id. Te. ōḍa ship, vessel. Pa. ōḍa boat, trough. Go. (M.) ōḍa, (Ko. S.) ōṛa boat (Voc. 437); (Pat.) oda (i.e. ōḍa) donga. / Cf. Skt. hoḍa- boat, raft; Turner, CDIAL, no. 14174. The IA words are probably < Dr.; Parpola 1977-78, pp. 243 ff. (DEDR 1039) hōḍa m. ʻ raft, boat ʼ lex. [← Drav., Kan. ōḍa., &c. DED 876]H. hoṛī f., holā m. ʻ canoe, raft ʼ; G. hoṛī f. ʻ boat ʼ; M. hoḍī f. ʻ canoe made of hollowed log ʼ. -- See uḍupa -- .Addenda: hōḍa -- : Md. oḍi ʻ large kind of boat ʼ ← Drav.(CDIAL 14174) ōḍra1 m. ʻ a tribe of Śūdras ʼ Mn., ʻ name of a people ʼ MBh., uḍra -- , auḍ°. 2. *auḍrika -- ʻ of that people ʼ. [S. Lévi JA 1923, 20 ff., EWA i 132]1. Pk. oḍḍa -- , uḍ° m. ʻ the land of Utkala ʼ, uḍḍa -- m. ʻ a caste of well -- diggers ʼ; S. oḍru m. ʻ a caste that make mud walls, blockhead ʼ, L. oḍ̠ m.; P. oḍ m. ʻ a tribe that clear out watercourses or build houses ʼ; Ku. oṛwoṛ ʻ mason ʼ, N. oṛ; Or. oṛa ʻ an aboriginal inhabitant of Orissa ʼ; G. oḍ m. ʻ a caste of Hindus who dig and carry earth and build mud houses ʼ.2. oḍḍia -- ʻ pertaining to Utkala ʼ; B. oṛiyāuṛ° ʻ an inhabitant of Orissa ʼ, Or. oṛiā, Bhoj. oṛiyā; EH. (Chattisgarh) oṛiyā m. ʻ navvy ʼ.ōḍradēśa -- .Addenda: ōḍra -- 1 ʻ a tribe of Śūdras ʼ Mn.: WPak.kṭg. ōḍ m. ʻ carpenter, name of a caste ʼ; Garh. oḍ ʻ mason ʼ.(CDIAL 2549) ōḍradēśa ʻ land of the Oḍras ʼ MW. [ōḍra -- 1, dēśá --] Or. oṛisā ʻ Orissa ʼ, H. uṛīsā m.(CDIAL 2551) [Note: the seafaring Bharatam Janam of ōḍradēśa are the seafarers who celebrate Baliyatra every year on Karthik Purnima day in memory of their contributions to Hinduised states of the Far East (pace George Coedes' wok in French Les états hindouisés d'Extrême-Orient. These are the ancient dharma-dhamma savants who spread Bauddham in Sri Lanka and in the Ancient Far East.]

Hieroglyph: dhangar 'bull' Rebus: dhangar 'blacksmith'


See: 
http://bharatkalyan97.blogspot.in/2016/04/varaha-in-indus-script-reinforces-vedic.html

http://bharatkalyan97.blogspot.in/2016/04/body-with-spread-legs-hypertexts-48-two.html

Gold sheet and silver, Late 3rd/early 2nd millennium B.C.E.

  L. 12.68 cm. Ceremonial Axe Bactria,Northern Afghanistan http://www.lessingimages.com/search.asp?a=L&lc=202020207EE6&ln=Collection+George+Ortiz%2C+Geneva%2C+Switzerland&p=1 "The whole cast by the lost wax process. The boar covered with a sheet of gold annealed and hammered on, some 3/10-6/10 mm in thickness, almost all the joins covered up with silver. At the base of the mane between the shoulders an oval motif with irregular indents. The lion and the boar hammered, elaborately chased and polished. A shaft opening - 22 holes around its edge laced with gold wire some 7/10-8/10 mm in diameter - centred under the lion's shoulder; between these a hole (diam: some 6.5 mm) front and back for insertion of a dowel to hold the shaft in place, both now missing.
08-02-14/21 Lessing, Erich, photographer. Ceremonial axe of ki...Ceremonial axe (inscribed with name) of king Untash-Napirisha, from his capital Tchoga Zambil. Back of the axe adorned with an electrum boar; the blade issues from a lion's mouth. Silver and electrum, H: 5,9 cm Sb 3973 Louvre, Departement des Antiquites Orientales, Paris, France



File:Bactrian axe BM 123628.jpg
Cast axe-head; tin bronze inlaid with silver; shows a boar attacking a tiger which is attacking an ibex.ca. 2500 -2000 BCE Bactria-Margiana Archaeological Complex. Length: 17.8 cm (7 in). Weight: 675.5 g (23.82 oz). British Museum.ME 123628 (1913,0314.11913,0314.1) R. Maxwell-Hyslop, 'British Museum “axe” no. 123628: a Bactrian bronze', Bulletin of the Asia Institute, NS I (1987), pp. 17-26
Curator's comments: See RL file 6616 (29/6/1995); also Research Lab file 4992 of 12/09/1983 where XRF analysis of surface indicates composition as tin bronze with approx 10% tin and traces of arsenic, nickel, silver and lead. Dalton's inclusion in the 'Catalogue of the Oxus Treasure' among a small group of comparative items has unfortunately led to recurrent confusion over the date and provenance of this piece. It was first believed to be Achaemenid in date (Dalton, 'Catalogue of the Oxus Treasure', p. 48), labelled as such in 1975 in the former Iranian Room and thus suggested to be an Achaemenid scabbard chape (P R S Moorey CORRES 1975, based on an example said to have been excavated by P. Bernard at Ai Khanoum or seen by him in Kabul Bazaar, cf. P. Bernard CORRES 1976). It has also been assigned a 4th-5th century AD Sasanian date (P. Amiet, 1967, in 'Revue du Louvre' 17, pp. 281-82). However, its considerably earlier - late 3rd mill. BC Bronze Age - date has now been clearly demonstrated following the discovery of large numbers of objects of related form in south-east Iran and Bactria, and it has since been recognised and/or cited as such, for instance by H. Pittmann (hence archaeometallurgical analysis in 1983; R. Maxwell-Hyslop, 1988a, "British Museum axe no. 123628: a Bactrian bronze", 'Bulletin of the Asia Institute' 1 (NS), pp. 17-26; F. Hiebert & C.C. Lamberg-Karlovsky 1992a, "Central Asia and the Indo-Iranian Borderlands",' Iran' 30, p. 5; B. Brentjes, 1991a, "Ein tierkampfszene in bronze", 'Archäologische Mitteilungen aus Iran' 24 (NS), p. 1, taf. 1). 
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=367862&partId=1


Decipherment: There are three hieroglyphs: ram (markhor), tiger, boar. The rebus renderings are: coppersmith (merchant's helper), smelter, worker in wood and iron.

Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍh ‘helper of merchant’ (Gujarati) mẽṛhẽt, meḍ 'iron' (Mu.Ho.) med 'copper' (Slavic) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) Thus, coppersmith, helper of merchant.

kola 'tiger' rebus: kolle 'blacksmith', kolhe 'smelter' kol 'working in iron'. Thus, a smelter.

badhi 'boar' rebus: badhi 'carpenter, worke in iron' and dhangar 'bull' rebus: dhangar 'blacksmith'. baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali) বরাহ barāha 'boar'Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman.


Eagle incised on a ceremonial axe made of chlorite. Tepe Yahya. (After Fig. 9.6 in Philip H. Kohl, 2001, opcit.)
Bactrian bronze axe headBactrian bronze axe-head

The narrow blade decorated with incised chevrons, cut-away socket with banded edges, the shaft decorated with two squatting figures each wearing short tunic, one wrestling a seated feline the other with arms around the feline and a standing quadruped (perhaps bull). Rebus readings: kola 'tiger' rebus: kolhe 'smelter' dhangar 'bull' rebus: dhangar 'blacksmith'.

2nd Millennium BCE

L. 6 3/4 in. (17.2 cm.)

Ex London art market, late 1990s.

Published: J. Eisenberg, Art of the Ancient World, 2012, no. 251.

http://www.royalathena.com/PAGES/NearEasternCatalog/Bronze/CLT168.html

Shaft-hole axe head double-headed eagle anthropomorph, boar, and winged tiger ca. late 3rd–early 2nd millennium B.C.E Silver, gold foil L. 15 cm. 

Anthropomorph (human body) is represented twice, once on each side of the axe, and consequently appears to have two heads. On one side, he grasps the boar by the belly and on the other, by the tusks. 

The composite animal (feline, tiger body) has folded and staggered wings, and the talons of a bird of prey in the place of his front paws. Its single horn has been broken off and lost.

http://www.metmuseum.org/art/collection/search/329076

Rebus readings are: eruvai 'kite' rebus: eruvai 'copper' PLUS kambha 'shoulder, wing' rebus: kammaTa 'mint'; thus, copper mint.

kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' PLUS kambha 'wing' rebus: kammaTa 'min'; thus, iron smelter's mint.

badhi 'boar' rebus: badhi 'carpenter, worke in iron' and dhangar 'bull' rebus: dhangar 'blacksmith'. baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali) বরাহ barāha 'boar'Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman.

The hieroglyph-multiplexes on Ancient Near East artifacts include hieroglyph components: tiger, rhinoceros, eagle, kid (goat), bull/ox. All are metalwork cipher texts. These are in addition to a boar: বরাহ barāha 'boar' Rebus: bāṛaï 
'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman. The dominant role played by the merchantman vessel steered by a helmsman explains the presence of a pair of boars on one of the frames of hieroglyph-multiplexes on the Gundestrup Cauldron:



See:
http://bharatkalyan97.blogspot.in/2016/04/karani-helmsman-scribe-supercargo-of.html

http://bharatkalyan97.blogspot.in/2015/09/indus-script-corpora-hieroglyphs-link.html

http://bharatkalyan97.blogspot.in/2015/09/farmana-indus-script-seal-deciphered.html

http://bharatkalyan97.blogspot.in/2015/01/celtic-meluhha-contacts-during-early.html

http://bharatkalyan97.blogspot.in/2016/01/did-indians-migrate-to-europe-as-early.html

kola 'tiger' Rebus: kol 'working in iron' kole.l 'smithy, temple' kolle 'blacksmith' kol 'pancaloha alloy'

eruvai 'a kite, eagle' Rebus: eruvai 'copper' எருவை eruvai A kind of kite, a kite whose head is white and whose body is brown; தலைவெளுத்து உடல்சிவந்திருக்கும் பருந்து. விசும்பா டெருவை பசுந்தடி தடுப்ப (புறநா. 64, 4). 4. Eagle; கழுகு. எருவை குருதி பிணங்க வருந் தோற்றம் (களவழி. 20). 5.


kANDa 'rhinoceros' Rebus: kANDa 'metal implements'

karaDU 'kid (goat)' Rebus: karaDa 'hard alloy'

dula 'pair' Rebus: dul 'cast metal'

dhangar 'bull' rebus: dhangar 'blacksmith' barad 'ox' Rebus: bharata 'alloy of copper, pewter, tin'
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.) Allograph: kōla = woman (Nahali) 

Rebus: kol , n. < கொல்-. Working in iron; கொற்றொழில். 4. Blacksmith; கொல்லன். கொல்லன் kollaṉ, n. < கொல்². [M. kollan.] Blacksmith; கருமான்மென்றோன் மிதியுலைக் கொல்லன் (பெரும்பாண். 207). கொற்றுறை koṟṟuṟai , n. < கொல்² + துறை. Blacksmith's workshop, smithyகொல்லன் பட் டடை.கொற்றுறைக் குற்றில (புறநா. 95). கொற்று¹ koṟṟu , n. prob. கொல்-. 1. Masonry, brickwork;கொற்றுவேலைகொற்றுள விவரில் (திரு வாலவா. 30, 23). 2. Mason, bricklayer; கொத் தன்Colloq. 3. The measure of work turned out by a mason; ஒரு கொத்தன் செய்யும் வேலை யளவு.இந்தச் சுவர் கட்ட எத்தனை கொற்றுச் செல்லும்?

 See: http://bharatkalyan97.blogspot.in/2016/04/varaha-in-indus-script-reinforces-vedic.html

Vessel in the form of a boar

Period:
Proto-Elamite
Date:
ca. 3100–2900 B.C.
Geography:
Southwestern Iran
Culture:
Proto-Elamite
Medium:
Ceramic, paint
Dimensions:
5.71 in. (14.5 cm)
Classification:
Ceramics-Vessels
Credit Line:
Purchase, Rogers Fund and Anonymous Gift, 1979
Accession Number:
1979.71
http://www.metmuseum.org/art/collection/search/326617



"Arjuna said, 'How did Agni and Shoma, in days of yore, attain to uniformity in respect of their original nature? This doubt has arisen in my mind. Do thou dispel it, O slayer of Madhu!'...

Krishna tells Arjuna: "Assuming, in days of old, the form of a boar with a single tusk, O enhancer of the joys of others, I raised the submerged Earth from the bottom of the ocean. From this reason am I called by the name of Ekasringa. While I assumed the form of mighty boar for this purpose, I had three humps on my back. Indeed, in consequence of this peculiarity of my form at that time that I have come to be called by the name of Trikakud (three-humped)." (Section CCCXLIII Mahabharata, Rajadharmanusasana Parva in Santi Parva Part I, Kisari Mohan Ganguli tr. http://www.sacred-texts.com/hin/m12/m12c042.htm))
Tepe fullol hoard:gold-lapislazuli inlays,. Riding a tiger.
Tepe Fullol hoard: boar vessel.redrawn by Eric Olijdam after Dupree et al 1971. Vessel 5.
“On the Fullol vessel at least two boars were depicted…since boars are very rarely depicted in late 2ndmillennium Mesopotamia but are characteristic of Bactrian iconography, the ‘boar vessel’ is probably a local Bactrian product inspired upon Middle Assyrian seals or more likely sealings….(Eric Olijdam, Additional Evidence of Late Second Millennium Lapis Lazuli Route: the Fulllol Hoard in: Maurizio Taddei and Giuseppe de Marco, ed., South Asian Archaeology, Vol. I, Rome, Istituto Italiano per L’afria e l’oriente, pp.403-404).


"This antique wooden axe head is a substantial item, it weighs 1.4 kg and measures 560mm [22'] across.

Originally, this would have been fitted to a short haft, or given the large size of it, it may well have been fitted to a long shaft to make a pole arm. A decorative piece, possibly used for feng shui in a building, possibly used as a prop in Chinese opera. Made of carved hardwood with a thick red-brown lacquer finish." http://tigers-den-swords.blogspot.in/2011/09/chinese-wooden-axe-head.html
Picture
A rare Bactrian ? bronze figure depicting an elephant and its helmeted warrior rider bowing and in a position of supplication.  The rider sits with his legs clasping the elephant's neck,  his body and head are bowed forward, and his arms point forward as if in prayer.  The figure measures approximately 5 cm long and 3.5 cm tall. 
Picture
BMAC bronze vessel with four ibexes.  The vessel is about 22.5 cm diameter. http://eclecticmuseum.com/
Tablet Sb04823: receipt of 5 workers(?) and their monthly(?) rations, with subscript and seal depicting animal in boat; excavated at Susa in the early 20th century; Louvre Museum, Paris (Image courtesy of Dr Jacob L. Dahl, University of Oxford) Cited in an article on Reflectance Transformation Imaging (RTI) System. The animal in boat may be a boar and may signify supercargo of wood and iron products. baḍhia = a castrated boar, a hog; rebus: baḍhi ‘a caste who work both in iron and wood’. 
baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali) বরাহ barāha 'boar'Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman.
Cuneiform tablet: administrative account of barley distribution with cylinder seal impression of a male figure, hunting dogs, and boars

Cuneiform tablet: administrative account of barley distribution with cylinder seal impression of a male figure, hunting dogs, and boars

Period: Jemdet Nasr
Date: ca. 3100–2900 B.C.
Geography: Mesopotamia, probably from Uruk (modern Warka)
Culture: Sumerian
Medium: Clay
Dimensions: 2.17 x 2.36 x 1.63 in. (5.5 x 6 x 4.15 cm)
Classification: Clay-Tablets-Inscribed-Seal Impressions
Credit Line: Purchase, Raymond and Beverly Sackler Gift, 1988
Accession Number: 1988.433.1

Description

In about 3300 B.C. writing was invented in Mesopotamia, perhaps in the city of Uruk, where the earliest inscribed clay tablets have been found in abundance. This was not an isolated development but occurred during a period of profound transformations in politics, economy, and representational art. During the Uruk period of the fourth millennium B.C., the first Mesopotamian cities were settled, the first kings were crowned, and a range of goods—from ceramic vessels to textiles—were mass-produced in state workshops. Early writing was used primarily as a means of recording and storing economic information, but from the beginnings a significant component of the written tradition consisted of lists of words and names that scribes needed to know in order to keep their accounts. Signs were drawn with a reed stylus on pillow-shaped tablets, most of which were only a few inches wide. The stylus left small marks in the clay which we call cuneiform, or wedge-shaped, writing.

This tablet most likely documents grain distributed by a large temple, although the absence of verbs in early texts makes them difficult to interpret with certainty. The seal impression depicts a male figure guiding two dogs on a leash and hunting or herding boars in a marsh environment.
The imagery of the cylinder seal records information. A male figure is guiding dogs (?Tigers) and herding boars in a reed marsh. Both tiger and boar are Indus writing hieroglyphs, together with the imagery of a grain stalk. All these hieroglyphs are read rebus in Meluhha (mleccha),of Indian sprachbund in the context of metalware catalogs of bronze age. kola 'tiger'; rebus: kol 'iron'; kāṇḍa 'rhino'; rebus: kāṇḍa 'metalware tools, pots and pans'. Ka. (Hav.) aḍaru twig; (Bark.) aḍïrï small and thin branch of a tree; (Gowda) aḍəri small branches. Tu. aḍaru twig.(DEDR 67) Rebus: aduru gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddhānti Subrahmaṇya’ Śastri’s new interpretation of the AmarakoŚa, Bangalore, Vicaradarpana Press, 1872, p.330) Alternative rebus: If the imagery of stalk connoted a palm-frond, the rebus readings could have been: 

Ku. N. tāmo (pl. ʻ young bamboo shoots ʼ), A. tām, B. tã̄bā, tāmā, Or. tambā, Bi tã̄bā, Mth. tām, tāmā, Bhoj. tāmā, H. tām in cmpds., tã̄bā, tāmā m. (CDIAL 5779) Rebus: tāmrá ʻ dark red, copper -- coloured ʼ VS., n. ʻ copper ʼ Kauś., tāmraka -- n. Yājñ. [Cf. tamrá -- . -- √tam?] Pa. tamba -- ʻ red ʼ, n. ʻ copper ʼ, Pk. taṁba -- adj. and n.; Dm. trāmba -- ʻ red ʼ (in trāmba -- lac̣uk ʻ raspberry ʼ NTS xii 192); Bshk. lām ʻ copper, piece of bad pine -- wood (< ʻ *red wood ʼ?); Phal. tāmba ʻ copper ʼ (→ Sh.koh. tāmbā), K. trām m. (→ Sh.gil. gur. trām m.), S. ṭrāmo m., L. trāmā, (Ju.) tarāmã̄ m., P. tāmbā m., WPah. bhad. ṭḷām n., kiũth. cāmbā, sod. cambo, jaun. tã̄bō (CDIAL 5779) tabāshīr तबाशीर् । त्वक््क्षीरी f. the sugar of the bamboo, bamboo-manna (a siliceous deposit on the joints of the bamboo) (Kashmiri)


Source:  Kim Benzel, Sarah B. Graff, Yelena Rakic and Edith W. Watts, 2010, Art of the Ancient Near East, a resource for educators, New York, Metropolitan Museum of Art 
http://www.metmuseum.org/~/media/Files/Learn/For%20Educators/Publications%20for%20Educators/Art%20of%20the%20Ancient%20Near%20East.pdf




The narrative is  set of hieroglyphs read rebus. Rebus readings connote that the cylinder seal impressions on the proto-cuneiform tablet relate to the smelting furnace for metalware: 
pasara 'quadrupeds' Rebus: pasra 'smithy' (Santali)

1. a tiger, a fox on leashes held by a man kol 'tiger' Rebus: kol 'working in iron, alloys' lo ‘fox’ (WPah.) Rebus: lōha ʻmetalʼ (Pali) 
2. a procession of boars (rhinoceros?) and tiger in two rows kāṇṭā 'rhinoceros. Rebus: āṇḍa ‘tools, pots and pans and metal-ware’ (Gujarati)

3. a stalk/twig, sprout (or tree branch) kūdī, kūṭī bunch of twigs (Sanskrit) Rebus: kuṭhi ‘smelting furnace‘ (Santali)

Thanks to Abdallah Kahil for the line drawing which clearly demonstrates that the narrative is NOT 'a hunting with dogs or herding boars in a marsh environment.' Traces of hieroglyphs are found on both sides of the tablet which also contains a proto-cuneiform inscription. It is noteworthy that cuneiform evolved TOGETHER WITH the use of Indus writing hieroglyphs on tablets, cylinder seals and other artifacts. I wish every success for efforts at decoding proto-elamite script using Reflectance Transformation Imaging (RTI) System (see below).
Fig. 24 Line drawing showing the seal impression on this tablet. Illustration by Abdallah Kahil. Proto-Cuneiform tablet with seal impressions. Jemdet Nasr period, ca. 3100-2900 BCE. Mesopotamia. Clay H. 5.5 cm; W.7 cm.  The blurb of Metropolitan Museum of Art says "The seal impression depicts a male figure guiding two dogs on a leash and hunting or herding boars in a marsh environment."
Wild boar? on Etruscan plate, c.700BC Museum of Fine Arts, Boston
Wild boar? on Etruscan plate, c.700BC Museum of Fine Arts, Boston
Votive shrine to Artemis Lagbene Roman Provincial, Late Imperial Period, probably A.D. 300–350. Artemis wears a cloak pinned on the right shoulder with two brooches and a short tunic, all bound with a belt. She holds an ill-defined torch in her left hand and a patera in her right. Her head seems to be veiled, an unusual feature for Artemis. The boar appears to have been the sacred animal of Artemis of Lagbe, on the northeast shore of Karalitis (Sogut Lake) in southwest Phrygia.:
Votive shrine to Artemis Lagbene Roman Provincial, Late Imperial Period, probably A.D. 300–350. Artemis wears a cloak pinned on the right shoulder with two brooches and a short tunic, all bound with a belt. She holds an ill-defined torch in her left hand and a patera in her right. Her head seems to be veiled, an unusual feature for Artemis. The boar appears to have been the sacred animal of Artemis of Lagbe, on the northeast shore of Karalitis (Sogut Lake) in southwest Phrygia
BM GR 1926.9-30.48  Terracotta figurine of a woman riding on a pig  Hellenistic, 1st century BC:
BM GR 1926.9-30.48 Terracotta figurine of a woman riding on a pig Hellenistic, 1st century BCE
British Museum, a terracotta pig, pigs were frequently sacrificed to Demeter. Made around 300 BC.:
British Museum, a terracotta pig, pigs were frequently sacrificed to Demeter. Made around 300 BCE.
Kiratarjuniya, Hunting Scene  Most panels illustrate legends from the Ramayana, Mahabharata and Siva Purana. This animated scene narrates the hunting episode from the Kirata story. The boar is charging through the forest. A sage is shown fleeing together with antelopes, rabbit, and birds (above). On the right are hunters with bows and arrows. Virabhadra Temple at Lepakshi was built in the mid-16th century, including the earliest preserved cycle of mural paintings in the Vijayanagara style.:
Kiratarjuniya, Hunting Scene Most panels illustrate legends from the Ramayana, Mahabharata and Siva Purana. This animated scene narrates the hunting episode from the Kirata story. The boar is charging through the forest. A sage is shown fleeing together with antelopes, rabbit, and birds (above). On the right are hunters with bows and arrows. Virabhadra Temple at Lepakshi was built in the mid-16th century, including the earliest preserved cycle of mural paintings in the Vijayanagara style.
Dish decorated with boars, Sassanian period, 225-650 CE.:
Dish decorated with boars, Sassanian period, 225-650 CE.
Wild boar, probably from Gaul, 1st-2nd century AD (bronze) Roman / Private Collection / Photo © Heini Schneebeli / The Bridgeman Art Library:
Wild boar, probably from Gaul, 1st-2nd century AD (bronze) Roman / Private Collection / Photo © Heini Schneebeli / The Bridgeman Art Library
Pendant in the Form of a Boar, 400s BC Italy, Etruscan, 5th Century BC  amber:
Pendant in the Form of a Boar, 400s BC Italy, Etruscan, 5th Century BC amber. Cleveland Museum of Art
Boar Figurine Celtic (France), 1st-2nd century AD Musée Condé:
Boar Figurine Celtic (France), 1st-2nd century AD Musée Condé
Archaeological Museum of Eleusis: A sarcophagus from the Roman period. It bears a depiction of the hunt of the Calydonian boar, a particularly favourite motif.:
Archaeological Museum of Eleusis: A sarcophagus from the Roman period. It bears a depiction of the hunt of the Calydonian boar, a particularly favourite motif.
A boar. Bronze fibula (400 BCE) Length 6 cm  Keltenmuseum, Hallein, Austria:
A boar. Bronze fibula (400 BCE) Length 6 cm Keltenmuseum, Hallein, Austria
Etruscan terracotta vessel in the shape of a wild boar. Villanovan period of Etruscans, circa 800BC  The Cleveland Museum of Art:
Etruscan terracotta vessel in the shape of a wild boar. Villanovan period of Etruscans, circa 800BC Cleveland Museum of Art
Terracotta volute-krater (vase for mixing wine and water). Attributed to Sophilos.  Archaic, early 6th century BCE. Greek, Attic. Sophilos is the first known artist from the Athenian Potters' quarter to have signed his name on his work—once as potter and three times as painter.:
Terracotta volute-krater (vase for mixing wine and water). Attributed to Sophilos. Archaic, early 6th century BCE. Greek, Attic. Sophilos is the first known artist from the Athenian Potters' quarter to have signed his name on his work—once as potter and three times as painter.
A Celtic figurine representing a boar, found at Luncani (centuries III - II B.C.), National Museum of Transylvanian History, Cluj - Napoca.:
A Celtic figurine representing a boar, found at Luncani (centuries III - II B.C.E), National Museum of Transylvanian History, Cluj - Napoca.
Enseigne militaire représentant Diane drapée portant un carquois, assise sur un sanglier. 1er siècle ; 3e siècle. PÉRIODE époque gallo-romaine (période). LIEU DE DÉCOUVERTE Jura (département français) (origine):
Enseigne militaire représentant Diane drapée portant un carquois, assise sur un sanglier. 1er siècle ; 3e siècle. PÉRIODE époque gallo-romaine (période). LIEU DE DÉCOUVERTE Jura (département français) (origine)
Cast copper alloy currency bar (aes signatum).(obverse) Elephant, right. (reverse) Sow, left. Roman Republican. Minted in Rome, Italy. c.280BC-250BC:
Cast copper alloy currency bar (aes signatum).(obverse) Elephant, right. (reverse) Sow, left. Roman Republican. Minted in Rome, Italy. c.280BC-250BCE British Museum
Celtic bronze boar, Hounslow, Middlesex, England, 1st century B.C.- 1st century A.D.  Celtic art  next  previous:
Celtic bronze boar, Hounslow, Middlesex, England, 1st century BCE.- 1st century CE. Celtic art
Celtic Archaeology:
Celtic Archaeology
Ancienne collection Borghèse. période incertaine: Renaissance (période), Rome antique (période). Paris, musée du Louvre:
Ancienne collection Borghèse. période incertaine: Renaissance (période), Rome antique (période). Paris, musée du Louvre
Vessel in the Shape of a Wild Boar  Etruscan, 700-500 BC:
Vessel in the Shape of a Wild Boar Etruscan, 700-500 BCE
Bronze statue of a boar in the La Tene style. In Celtic iconography the boar symbolised not only fertility and wealth but also masculine power, courage and strength in warriors. Country of Origin: Czech Republic. Culture: Celtic. Date/Period: 2nd-1st C AD.:
Bronze statue of a boar in the La Tene style. In Celtic iconography the boar symbolised not only fertility and wealth but also masculine power, courage and strength in warriors. Country of Origin: Czech Republic. Culture: Celtic. Date/Period: 2nd-1st C CE
1766 BC Shang Dynasty. Jade pig:
1766 BCE Shang Dynasty. Jade pig
Statuette représentant un sanglier passant, la tête légèrement tournée vers la droite, le pelage finement ciselé. Bronze. Art Hellénistique, IIe-Ier siècle av. J.-C.. L_10,6 cm Hellenistic roman bronze figure of a wild boar. 2nd - 1st century B.C. 4,17 in. long. Bibliographie comparative : A. P. Kozloff, Animals in Ancient Art from the L. Mildenberg Collection, catalogue d'exposition, Cleveland, 1981, pp. 163-164, n° 145.:
Statuette représentant un sanglier passant, la tête légèrement tournée vers la droite, le pelage finement ciselé. Bronze. Art Hellénistique, IIe-Ier siècle av. J.-C.. L_10,6 cm Hellenistic roman bronze figure of a wild boar. 2nd - 1st century B.C. 4,17 in. long. Bibliographie comparative : A. P. Kozloff, Animals in Ancient Art from the L. Mildenberg Collection, catalogue d'exposition, Cleveland, 1981, pp. 163-164, n° 145.
A Greek Bronze Plaque, circa 5th Century B.C., perhaps a shield ornament, repousse in relief with a charging boar, with carefully delineated hooves, strong foreleg muscles, crested mane, and open mouth with projecting tusk and flaring snout, the eyes inlaid in turquoise or glass with the iris hollowed out for further inlay, the ruff and a garland of inverted palmettes incised around the neck, attachment holes on the perimeter.:
A Greek Bronze Plaque, circa 5th Century B.C., perhaps a shield ornament, repousse in relief with a charging boar, with carefully delineated hooves, strong foreleg muscles, crested mane, and open mouth with projecting tusk and flaring snout, the eyes inlaid in turquoise or glass with the iris hollowed out for further inlay, the ruff and a garland of inverted palmettes incised around the neck, attachment holes on the perimeter.
1 BCE, Media bronze Size 15.75  in Location Museo Archeologico Nazionale, Napoli Region Campania Provenance Villa dei Papiri, Ercolano Genre sculpture Culture roman:
1 BCE, Media bronze Size 15.75 in Location Museo Archeologico Nazionale, Napoli Region Campania Provenance Villa dei Papiri, Ercolano Genre sculpture Culture roman
Wild Boar. 5th century BC (Archaic).:
Wild Boar. 5th century BC (Archaic). Walters Art Museum
A Hellenistic Terracotta "Magenta Ware" Hollow Lamp Filler in the Form of a Recumbent Boar | ca  120-70  BCE:
A Hellenistic Terracotta "Magenta Ware" Hollow Lamp Filler in the Form of a Recumbent Boar | ca 120-70 BCE
Terracotta statuette of Eros on a boar,Hellenistic period,3rd century BC  Greek,South Italian:
Terracotta statuette of Eros on a boar,Hellenistic period,3rd century BCE Greek,South Italian
PIG'S HEAD Rare Mycenaean zoomorphic rhyton (cult vessel) from Ayios Konstantinos in Methana. 14th-13th C. BC. Piraeus Archaeological Museum:
PIG'S HEAD Rare Mycenaean zoomorphic rhyton (cult vessel) from Ayios Konstantinos in Methana. 14th-13th C. BC. Piraeus Archaeological Museum
figure boar .marble. 350BC Sanctuary of Demeter, Knidos, Anatolia.:
figure boar .marble. 350BC Sanctuary of Demeter, Knidos, Anatolia. British Museum.
Ancient Celts of the Iberian Peninsula: Votive cart from Mérida with a boar hunt. Musée des Antiquités Nationale de St. Germain-en-Laye, Paris. (Photo: RMN nº 95CE595, R.G. Ojeda).:
Ancient Celts of the Iberian Peninsula: Votive cart from Mérida with a boar hunt. Musée des Antiquités Nationale de St. Germain-en-Laye, Paris. (Photo: RMN nº 95CE595, R.G. Ojeda).
A SCYTHIAN GOLD BOAR BRACTEATE CIRCA 5TH CENTURY B.C.:
A Scythian gold boar bracteate ca. 5th century BCE Christie's. https://www.pinterest.com/pin/404761085233226264/
South India, Chalukyas of Kalyana, anonymous (c.973-1068), AV Pagoda, 3.77g, caparisoned boar standing right, moon, sun and letter sri above, rev. triple-tiered parasol, pellet-in-annulet and swastika above to left and right,chauris (fly whisks) either side (cf. MSI. I. 269)


Yadavas of Devagiri, king Mahadeva (1261-1271), Silver Dramma coin, Obv: lion to left with fore leg raised; Rev: Nagari legend Mahadeva followed by a boar running to left

CUNEIFORM INSCRIPTION OF DEFEAT OF OMAN & INDUS VALLEY




 2814
MS2814
MS Short TitleROYAL INSCRIPTION OF DEFEAT OF OMAN & INDUS VALLEY
TextROYAL INSCRIPTION OF GUDEA OF LAGASH, COMMEMORATING DEFEAT OF MAGAN, MELUKHAM, ELAM, AND AMURRU, AND ESTABLISHMENT OF REGULAR OFFERINGS TO HIS STATUE
DescriptionMS in Neo Sumerian and Old Babylonian on clay, Sumer, 2100-1800 BC, 1 tablet, 14,8x14,0x3,3 cm (originally ca. 16x14x3 cm), 3+3 columns, 103 lines in cuneiform script.
Commentary
The text was copied from a Sargonic royal inscription on a statue in the Ur III or early Old Babylonian period. Magan was at Oman and at the Iranian side of the Gulf. Meluhha or Melukham was the Indus Valley civilisation (ca. 2500-1800 BC). This is one of fairly few references to the Indus civilisation on tablets.
The 3 best known references are: 1. Sargon of Akkad (2334-2279 BC) referring to ships from Meluhha, Magan and Dilmun; 2. Naram-Sin (2254-2218 BC) referring to rebels to his rule, listing the rebellious kings, including "(..)ibra, man of Melukha"; and 3. Gudea of Lagash (2144-2124 BC) referring to Meluhhans that came from their country and sold gold dust, carnelian, etc. There are further references in literary texts. After ca. 1760 BC Melukha is not mentioned any more.
PublishedAndrew George, ed.: Cuneiform Royal Inscriptions and Related Texts in the Schøyen Collection, Cornell University Studies in Assyriology and Sumerology, vol. 17, Manuscripts in the Schøyen Collection, Cuneiform texts VI. CDL Press, Bethesda, MD, 2011, text 22, pp. 29-47, pls. XXI-XXIV.
ExhibitedTigris 25th anniversary exhibition. The Kon-Tiki Museum, Oslo, 30.1. - 15.9.2003.
Place of originSumer
Dates2100 - 1800 BC
https://www.schoyencollection.com/history-collection-introduction/sumerian-history-collection/cuneiform-indus-valley-ms-2814

JEMDET NASR CYLINDER SEAL

MS3020/1
MS Short TitleJEMDET NASR CYLINDER SEAL
TextJEMDET NASR CYLINDER SEAL, WITH VEGETATION, FLAX AND REED STALKS
DescriptionCylinder seal on black chlorite, Sumer, ca. 31st c. BC, 1 seal, h. 2,8 cm, diam 2,0 cm, showing 2 types of vegetation flax and reed stalks. 
ContextFor a Jemdet Nasr cylinder seal impression, see MS 3019/2 (not on website display).
CommentaryA very unusual design. The 2 signs had contemporary parallels with the pictographic signs NAGA and GI4. 
Place of originSumer
Datesca 3000 BC
Indus Valley Seal | MS 4617

Indus Valley Seal | MS 4617

MS4617
MS Short TitleINDUS VALLEY SEAL
TextNAME OF OWNER OR SCRIBE
DescriptionMS in Indus Valley language on white steatite, Indus Civilization, ca. 2500-1800 BC, 1 square seal matrix, 4,3x4,3x1,9 cm, 6 Indus Valley signs in a formal script of high quality, unicorn standing left facing an altar, with loop handle.
Provenance1. Found in Mohenjo-Daro, India (ca. 1945-1947); 2. The Waria Collection, Dadu, Pakistan (-1965); 3. Private antiquity collection, England (1965-2001), acquired Sep. 2001.
CommentaryThis seal is among the largest extant. The execution is representing Indus art at its best. The Indus script is still undeciphered, as is the Linear A script from Crete and the Rongo-Rongo script from Easter Island, which has numerous signs in common with the Indus script, cf. MSS 2762/1-4. While the Indus Civilization was the most short-lived of the 3 great river civilizations, it was much larger than Egypt and Sumer in extent, stretching from the Indus Valley into Afghanistan in the West, Kashmir in the North and India in the East. Mohenjo-Daro was first excavated 1922-1927 by Sir John Marshall. Published: To be published by Asko Parpola in: Corpus of Indus Seals and Inscriptions, vol. 3.
PublishedTo be published by Asko Parpola in: Corpus of Indus Seals and Inscriptions, vol. 3.
ExhibitedTigris 25th anniversary exhibition. The Kon-Tiki Museum, Oslo, 30.1. - 15.9.2003.
Place of originIndus Valley
Datesca. 2500-1800 BC

https://www.schoyencollection.com/seals-collection/indus-valley/indus-valley-seal-ms-4617

Protohieroglyphs
Protohieroglyphs | MS 2787
MS2787
MS Short TitlePROTOHIEROGLYPHS
TextPROTOHIEROGLYPHS OF SHIP AND OAR (TRANSPORTATION)
DescriptionMS in archaic Egyptian on clay, Egypt, Nagada II period, 3500-3100 BC, 1 black top jar, diam. 13-6 cm, h. 28 cm, (7x18 cm), 1 line of 2 large protohieroglyphs incised in the clay.
ContextA related example incised with an ibis: Oxford, Ashmolean Museum, Predynastic Egyptian collection, fig. 25, no. 174.
Provenance1. Found at Kamoula, Egypt (1897); 2. Pitt-Rivers Museum, Farnham, Surrey; 3. Private collection, Switzerland; 4. Sotheby's New York 5.6.1999:337. 
Commentary
The present jar and the Ashmolean jar have, so far, the earliest "script" known in the Western world, preceding the earliest examples from Egypt and Sumer. Whether it actually is script is under discussion. It certainly is not continuos writing
A group of pottery and ivory tags was discovered in a predynastic Royal tomb in Abydos in 1998 with similar protohieroglyphs dated to 33rd - 32nd c. BC. A pottery shed was found in 1999 in Harappa in the Indus Valley with 6 signs, dated to ca 3500 BC, but without any connection to the later Indus Valley script, see MS 2645.
.
Exhibited1. Kon-Tiki Museet, Oslo, April 2002 - Jan. 2003; 2. Tigris 25th anniversary exhibition. The Kon-Tiki Museum, Oslo, 30.1. - 15.9.2003; 3. Kon-Tiki Museet, Oslo, September 2003 -.
Place of originEgypt
Dates3500 - 3100 BC



₹100 zero-fuel‘bulb’ shines bright

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₹100 zero-fuel‘bulb’ shines bright 
KOLKATA, MARCH 31, 2018 20:34 IST UPDATED: APRIL 01, 2018 09:10 IST 
Indrani Dutta 

Surya Jyoti, which uses sunlight, will be produced widely to help poor households Let there be light, the engineers thought. And they used not electricity, but just a dome, a pipe and sunlight. They named it ‘Surya Jyoti’, and it dispels the darkness in the homes of the poor.

The micro-solar dome started as a pilot project to stream diffused sunlight into poorly-lit rooms through the roof in thatched, tiled ortin-roofed houses in the Sundarbans in West Bengal and in Tripura. Now, it has been commercialised. “It works on the principle of capturing sunlight using a micro-solar dome. The light is filtered through a PVC pipe with a highly reflective lining. 

Bright light emerges at the other end (within the room) through a glass shade,” said S.P. Gon Chaudhuri, former director of  the West Bengal Renewable Energy Development Agency and now the chairman of the Helsinki-based International SolarInnovation Council. Easy to install A roof-tile can be removed to install this, and it works equally well in a tin-roofed building too. The device has been developed by N.B. Institute for Rural Technology and adopted by the Centre’s Department of Science and Technology underits Technological Advancement for Rural Areas programme. 

The device, priced between ₹100-300, comes in three models. Around 5,000 solar domes are in use in the slums of Delhi and in West Bengal, Tripura, Assam, Madhya Pradesh, Karnataka and Uttarakhand. The Science and Technology Ministry estimates that ‘Surya Jyoti’ can help some 10 million households. These are off-grid, in urban and rural areas, withoutreliable access to electricity. The domes provide light equivalent to a 60W bulb. Anupam Baral, who owns Geetanjali Enterprises, a solar equipment firm, said his company was making the domes. 

Besides a basic model, two others come fitted with solar photovoltaic panels and a lithium-ion battery to store energy when sunlight is scarce, also enabling mobile device charging. Recently, Central Electronics, a PSU, was asked to make the domes, Mr. Gon Chaudhuri said. 

http://www.thehindu.com/news/national/other-states/100-zero-fuel-bulb-shinesbright/article23402550.ece 

NaMo, create National Water Grid, distribute 9 cr. acres new land to 18 cr. landless families, i.e. 90 crore people

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NaMo, create National Water Grid, distribute 9 cr. acres new land to 18 cr. landless families, i.e. 90 crore people. This distribution can be achieved equitable distribution to the villagers organized within each Panchayat, within each of 6.2 lakh villages, as cooperatives to share the new land as commonwealth of the Rāṣṭram while retaining individual ownership.

Himalayas can ensure 24x7 water to every farm, every home in 6.2 lakh villages of Bharat


Let each village Panchayat control the new networ
ks of canals and tanks to irrigate the land.

This will be abhyudayam of the nation to increase agricultural production at least two-fold with provision of 3 crops per year using the rich,alluvial soil of Bharatam. Bharat can feed the world.

Flood waters of Brahmaputra are equal to the annual water flows of all rivers south of Vindhyas. Moving these flood waters ALONE will make every nadi a jeevanadi, a tirthasthanam.

National Water Grid Mission is to ensure 24x7 water to every farm, every home. 

NaMo, be a Bhagiratha, जीवेम शरदः शतम् 



Kalyanaraman

PM Modi bats for inter-linking of rivers

12:57 PM, 31 Mar 2018
File photo of Prime Minister Narendra Modi. PTI
Prime Minister Narendra Modi has batted for inter-linking of rivers in the country, saying it can help address the issue of imbalance between areas having excess water and those facing scarcity of the resource.
Responding to the question by a student during the ‘smart India hackathon’, Modi said while 17 per cent of the world population is  in India, the country has only four per cent of water.
“Water is limited for our population…there are areas which face floods. Then there are rivers which are dry. If there is inter-linking, the problem can be solved,” he said, adding river inter-linking is  the vision of the government and will come true one day.
Earlier, addressing the over one lakh participants through video-conference on Friday, who had gathered at multiple locations, Modi said nobody is blessed with all the knowledge of the world.
“This applies to governments too…the biggest mistake governments make is to think they alone can bring about change. What brings about change is a participatory governance,” he said.
He said it was essential to know the root of every problem and think out-of-the-box ways to solve them. He was of the view that innovation is not merely a word. “Innovation is a continuous process. Questioning is an important aspect of innovation,” he said.
The prime minister said IPPP — innovate, patent, produce, and prosper — will drive innovation in coming days.
“We should innovate more, patent them, make their production easier and take it to the people. This is what brings prosperity,” he said.
He said students should strive to come up with innovations which help in development of the nation. He said getting papers published in reputed journals is good, but most important thing was to use innovations for the betterment of people.
The hackthon was organised to crowd-source solutions to governance-related problems.
(With inputs from PTI)
"The integration of the Himalayan and the peninsular components will generate 3 million hectares of irrigated area." (p.27)
http://rstv.nic.in/pm-modi-bats-inter-linking-rivers.html Economic Impact of Interlinking of Rivers Programme
3 million hectares = 9 crore acres of additional wet land with assured irrigation.

Wealth accounting & guild organization classifiers in Indus Script Cipher based on pictorial clusters of the Corpora

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https://tinyurl.com/ybtusupa


The following monographs demonstrate that some pictorial motifs are classifiers of wealth in the context of guilds or types market organization, for e.g.,

kaṇṭho, kaṭrā market town; 2. pattar paṭṭi 'goldsmith guild market, goldsmith guild hamlet' పట్ర  para, patta 'village, hamlet, town' pāṭan 'market, maritime port town'; paṭṭī 'inventory'


1. Indus Script thorny bush and striped feeding trough hypertexts signify artisan guild hamlet, market town of Sarasvati Civilization https://tinyurl.com/ybg2djbf

2. Indus Script hieroglyph pāṭroṛo, pattar 'feeding trough' rebus paṭṭī 'inventory'; పట్ర paṭra, patta 'village, hamlet, maritime town' pāṭan 'market' https://tinyurl.com/y6vd6bmu


3. pāṭroṛo 'feeding trough' (Sindhi) on Indus Script Corpora rebus బత్తుడు battuḍu 'artificer' pattar 'goldsmith guild' https://tinyurl.com/y6vhrwsa


The following clusters of pictorial motifs constitute distinct accounting classifications related to wealth-creation metallurgical activities involving minerals, metals, alloys:

1. Buffalo cluster rango 'buffalo' rebus: rango 'pewter'
2. Zebu, bos indicus cluster pola 'zebu' rebus: pola 'magnetite, ferrite ore'
3. Bos aurochs cluster barad 'bull' rebus: bharat 'alloy of copper, pewter, tin'
4. Elephant cluster karibha, ibha 'elephant' rebus: karba, ib 'iron'
5. Tiger cluster kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith'
6. Rhinoceros cluster kāṇḍa 'rhinoceros' rebus: khaṇḍa 'equipment'
7. Antelope cluster ranku 'antelope' rebus: ranku 'tin'
8. Ox-antelope cluster dhangar 'bull' rebus: dhangar 'blacksmith'
9. Composite animal hypertext सांगड sāṅgaḍa 'joined parts' rebus 1:sãgaṛh 'fortification'; rebus 2: saṁgaha 'catalogue'. The key classifier is the cobrahood as tail:phaḍā- 'cobra hood' rebus: phaḍa फड 'manufactory, company, guild, accounts register.' 
10. Crocodile cluster  karā 'crocodile' rebus: khār 'blacksmith'
11. Fish cluster aya .'fish' rebus: aya 'iron' (Gujarati) ayas'metal,alloy metal, iron' (R̥gveda). अयस् n. iron , metal RV. &c; an iron weapon (as an axe , &c ) RV. vi , 3 ,5 and 47 , 10;  gold (नैघण्टुक , commented on by यास्क); steel L. ; ([cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa ; Old Germ. e7r , iron ; Goth. eisarn ; Mod. Germ. Eisen.]).
12. Tree cluster kuṭhi. 'tree' rebus: kuṭhi. 'iron smelter furnace', 'factory'
13. Double-axe cluster  ṭāṅg 'battle-axe' rebus: ṭanka 'mint'.
14. Dotted circle cluster dhã̄i 'strand' PLUS vaṭa 'string' rebus:dhāvaḍ 'smelter'
15. Bos aurochs indicus (one--horned) खोंड (p. 216) [khōṇḍam A young bull, a bullcalf; खोंडा [khōṇḍā] 
m A कांबळा of which one end is formed into a cowl or hood. खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl (Marathi. Molesworth); kōḍe dūḍa bull calf (Telugu); kōṛe 'young bullock' (Konda) kod. 'one horn'; kot.iyum [kot., kot.i_ neck] a wooden circle put round the neck of an animal (G.) kunda1 m. ʻ a turner's lathe ʼ lex. [Cf. *cunda -- 1N. kũdnu ʻ to shape smoothly, smoothe, carve, hew ʼ, kũduwā ʻ smoothly shaped ʼ; A. kund ʻ lathe ʼ, kundiba ʻ to turn and smooth in a lathe ʼ, kundowā ʻ smoothed and rounded ʼ; B. kũd ʻ lathe ʼ, kũdākõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibākū̃d° ʻ to turn ʼ (→ Drav. Kur. kū̃d ʻ lathe ʼ); Bi.kund ʻ brassfounder's lathe ʼ; H. kunnā ʻ to shape on a lathe ʼ, kuniyā m. ʻ turner ʼ, kunwā m. (CDIAL 3295). kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 1A. kundār, B. kũdār°ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, °rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297). 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).Rebus: kõdā ‘to turn in a lathe’ (Bengali)kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln.
16. Bos aurochs indicus (two-horned) Same as Cluster 15. One-horn is only an orthographic profiling device.
buffalo FS 6 (FS Figs. 15, 16, 17) 

Hieroglyhph: buffalo: Ku. N. rã̄go ʻ buffalo bull ʼ (or < raṅku -- ?).(CDIAL 10538, 10559) Rebus: raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅrāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562) B. rāṅ(g) ʻ tinsel, copper -- foil ʼ.(CDIAL 10567).
Subset:  bica 'scorpion' rebus: bica 'haematite, ferrite ore'; mẽḍhā ʻcrook, hook' rebus: meḍ 'iron' (Mu.Ho.); dāṭu cross (Te.); dhatu = mineral (Santali) Hindi. dhāṭnā 'to send out, pour out, cast (metal)' (CDIAL 6771).

2. Zebu, bos indicus cluster
FS 3 FS Fig. 10
पोळ pōḷa, 'Zebu, bos indicus' PLUS pōlaḍu, 'Black drongo' rebus pōlaḍ 'steel'పసులపోలిగాడు pasula-pōli-gāḍu perched on pōḷa 'zebu, bos indicus' Rebus: pōḷa 'magnetite ore'.  is rebus:pōlāda 'steel', pwlad (Russian), fuladh (Persian) folādī (Pashto).
Subset  Sign 293 kanac kuṭila 'pewter'; kuṭhi. 'iron smelter furnace', 'factory';

Sign 123 kuṭi 'a slice, a bit, a small piece'(Santali) Rebus: kuṭhi. 'iron smelter furnace' (Santali) kuṭhī factory (A.)(CDIAL 3546) PLUS 'notch' hieroglyph:  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'. Thus, kuṭhi khāṇḍā smelter metalware.

Sign 343 kanda kanka 'rim of jar' कार्णिक 'relating to the ear' rebus: kanda kanka 'fire-trench account, karika 'scribe, account' karṇī 'supercargo',कर्णिक helmsman' PLUS 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'. Thus, khāṇḍā karṇī 'metalware supercargo'.

3. Bos aurochs cluster

FS 4 FS Fig. 11 to 13
barad, 'bullock': balivárda (balīv° ŚBr.) m. ʻ ox, bull ʼ TBr., balivanda- m. Kāṭh., barivarda -- m. lex. [Poss. a cmpd. of balín -- (cf. *balilla -- ) and a non -- Aryan word for ʻ ox ʼ (cf. esp. Nahālī baddī and poss. IA. forms like Sik. pāḍō ʻ bull < *pāḍḍa -- : EWA ii 419 with lit.)]
Pa. balivadda -- m. ʻ ox ʼ, Pk. balĭ̄vadda -- , balidda -- , baladda -- m. (cf. balaya -- m. < *balaka -- ?); L. baledā, mult. baled m. ʻ herd of bullocks ʼ (→ S. ḇaledo m.); P. bald,baldhbalhd m. ʻ ox ʼ, baledbaledā m. ʻ herd of oxen ʼ, ludh. bahldbalēd m. ʻ ox ʼ; Ku. balad m. ʻ ox ʼ, gng. bald, N. (Tarai) barad, A. balad(h), B. balad, Or. baḷada, Bi.barad(h), Mth. barad (hyper -- hindiism baṛad), Bhoj. baradh, Aw.lakh. bardhu, H. baladbarad(h), bardhā m. (whence baladnā ʻ to bull a cow ʼ), G. baḷad m. balivardin -- .Addenda: balivárda -- [Cf. Ap. valivaṇḍa -- ʻ mighty ʼ, OP. balavaṇḍā]: WPah.kc. bɔḷəd m., kṭg. bɔḷd m. (LNH 30 bŏḷd), J. bald m., Garh. baḷda ʻ bullock ʼ.(CDIAL 9176) Rebus: भरत (p. 353bharata n A factitious metal compounded of copper, pewter, tin &c.;  भरती (p. 353bharatī a Composed of the metal भरत.; भरताचें भांडें (p. 353bharatācē mbhāṇḍēṃ n A vessel made of the metal भरत. (Marathi) baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi) 
Sub-set aḍar 'harrow' Rebus: aduru = gaṇiyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Kannada); bhaṭa 'warrior' rebus:bhaṭa 'furnace'l karṇaka, kanka 'rim of jar' rebs: karṇī  'scribe, supercargo'.

4. Elephant cluster
FS 7 FS Fig.20 karibhaibha 'elephant' rebus; karba, ib 'iron' PLUS pattar 'trough' rebus: pattar 'goldsmith guild'.
Sub-sets  Hypertext of Sign 267 is composed of rhombus/oval/bun-ingot shape and signifier of 'corner' hieroglyph. The hypertext reads: mũhã̄ 'bun ingot' PLUS kanac 'corner' rebus: kañcu 'bell-metal'. Sign 267 is oval=shape variant, rhombus-shape of a bun ingot. Like Sign 373, this sign also signifies mũhã̄ 'bun ingot' PLUS kanac 'corner' rebus: kancu 'bell-metal'.kaṁsá1 m. ʻ metal cup ʼ AV., m.n. ʻ bell -- metal ʼ Pat. as in S., but would in Pa. Pk. and most NIA. lggs. collide with kāˊṁsya -- to which L. P. testify and under which the remaining forms for the metal are listed. 2. *kaṁsikā -- .1. Pa. kaṁsa -- m. ʻ bronze dish ʼ; S. kañjho m. ʻ bellmetal ʼ; A. kã̄h ʻ gong ʼ; Or. kãsā ʻ big pot of bell -- metal ʼ; OMarw. kāso (= kã̄ -- ?) m. ʻ bell -- metal tray for food, food ʼ; G. kã̄sā m. pl. ʻ cymbals ʼ; -- perh. Woṭ. kasṓṭ m. ʻ metal pot ʼ Buddruss Woṭ 109.2. Pk. kaṁsiā -- f. ʻ a kind of musical instrument ʼ;  A. kã̄hi ʻ bell -- metal dish ʼ; G. kã̄śī f. ʻ bell -- metal cymbal ʼ, kã̄śiyɔ m. ʻ open bellmetal pan ʼ. (CDIAL 2756)

sal 'splinter' rebus: sal 'workshop' 

kolom 'three' rebus: kolami 'smithy, forge'.
gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. PLUS 'split parenthesis' is a split of oval hieroglyph read rebus: Sign 373 mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' (oval-/rhombus-shaped like a bun-ingot).

Sub-set Triplet frequency  12. 

Sign 103 is hypertext composed of Sign 87  sal 'splinter' rebus: sal 'workshop' Vikalpa:dula 'two' rebus: dul 'metalcasting' PLUS 'notch' hieroglyph:  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'. Thus, the pair Sign 103 and Sign 403 signify ingots and metalware.
Sign 403 is a duplication of  dula 'pair, duplicated' rebus: dul 'metalcasting' PLUS  Sign'oval/lozenge/rhombus' hieoglyph Sign 373. Sign 373 has the shape of oval or lozenge is the shape of a bun ingotmũhã̄ = the quantity of iron produced atone time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed likea four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes andformed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt komūhā akata = the Kolhes have to-day produced pig iron (Santali). Thus, Sign 373 signifies word, mũhã̄ 'bun ingot'. Thus, hypertext Sign 403 reads: dul mũhã̄ 'metalcast ingot'.
Sign 342 karṇaka, kanka 'rim of jar' rebs: karṇī  'scribe, supercargo'.


5. Tiger cluster

FS 9 FS Figs. 22, 23 kola 'tiger' rebus: kol 'working in iron'. kolhe 'smelter' kolle 'blacksmith'
Sub-set kanac 'corner' rebus: kancu 'bell-metal'.kaṁsá 1 m. ʻmetal cup ʼ AV., m.n. ʻ bell -- metalʼ PLUS mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' (oval-/rhombus-shaped like a bun-ingot)
sal 'splinter' rebus: sal 'workshop'
Sign 67 khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭamcoinage, mintKa. kammaṭa id.; kammaṭi a coiner.(DEDR 1236) PLUS ayo, aya 'fish' rebus: aya 'iron' ayas 'alloy metal' अयस् n. iron , metal RV. &c; an iron weapon (as an axe , &c ) RV. vi , 3 ,5 and 47 , 10;  gold (नैघण्टुक , commented on by यास्क); steel L. ; ([cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa ; Old Germ. e7r , iron ; Goth. eisarn ; Mod. Germ. Eisen.]). Thus, ayo kammaṭa 'alloy metalmint'.

6. Rhinoceros cluster

FS 11 FS Fig. 26 to 28 gaṇḍa 'rhinoceros'; rebus: khaṇḍ 'tools, metalware'
Sub-sets 
Hypertext reads: mē̃ḍ koḍ dul kāṇḍā 'cast iron workshop';  'metalcast equipment'.

 Variants of Sign 245 Hieroglyph: khaṇḍa'divisions' Rebus: kāṇḍā 'metalware' Duplicated Sign 245: dula 'duplicated' rebus: dul 'metal casting'.
Sign 25 ciphertext is composed of Sign 1 and Sign 86. mē̃ḍ 'body' rebus: mē̃ḍ ‘iron’ (Mu.)Hypertext reads in a constructed Meluhha expression: mē̃ḍ koḍ 'iron workshop'.

kolom 'three' rebus: kolami 'smithy, forge'.
gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. 
 koḍa 'sluice'; Rebus: koḍ 'artisan's workshop (Kuwi) Vikalpa: सांड [ sāṇḍa ] f (षद S) An outlet for superfluous water (as through a dam or mound); a sluice, a floodvent. सांडशी [ sāṇḍaśī ] f (Dim. of सांडस, or from H) A small kind of tongs or pincers.
Sign 342 karṇaka, kanka 'rim of jar' rebs: karṇī  'scribe, supercargo'

7. Antelope cluster




FS 13 FS Fig. 30 to 38 ranku 'antelope' rebus: ranku 'tin' miṇḍāl 'markhor' rebus: mẽṛhet , 'iron' (Santali) me,med 'iron,copper' (Mu.Ho.Slavic languages)

Sub-set Sign 48 is a 'backbone, spine' hieroglyph: barao = spine; backbone (Tulu) Rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi) Tir. mar -- kaṇḍḗ ʻ back (of the body) ʼ; S. kaṇḍm. ʻ back ʼ, L. kaṇḍ f., kaṇḍā m. ʻ backbone ʼ, awākaṇḍ, °ī ʻ back ʼH. ̄ā m. ʻ spine ʼ, G. ̄ɔ m., M. ̄ā m.; Pk. kaṁḍa -- m. ʻ backbone ʼ.(CDIAL 2670) Rebus: kaṇḍ ‘fire-altar’ (Santali) bharatiyo = a caster of metals; a brazier; bharatar, bharatal, bharata = moulded; an article made in a mould; bharata = casting metals in moulds; bharavum = to fill in; to put in; to pour into (Gujarati) bhart = a mixed metal of copper and lead; bhartīyā = a brazier, worker in metal; bha, bhrāṣṭra = oven, furnace (Sanskrit. )baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi) 

käti ʻwarrior' (Sinhalese)(CDIAL 3649). rebus:  khātī m. ʻ 'member of a caste of wheelwrights'ʼVikalpa: bhaa 'warrior' rebus: bhaa 'furnace'.
Sign 342 karṇaka, kanka 'rim of jar' rebs: karṇī  'scribe, supercargo'

8. Ox-antelope cluster

FS 14 FS Fig. 39 to 41 dhangar 'bull' rebus: dhangar 'blacksmith'.dhmakara 'blacksmith blowing the forge'
Sub-set dhanga 'mountain range' Rebus: dhangar 'blacksmith' Vikalpa: meṭṭu 'hill' Rebus:me 'iron'  (Mu.Ho.)


 मुष्टिक 'fist' rebus: मुष्टिक goldsmith

Sign 245 Hieroglyph: khaṇḍa'divisions' Rebus: kāṇḍā 'metalware' 

Sign 358 मुष्टिक 'fist' rebus: मुष्टिक goldsmith. The rebus reading of upraised arm: eraka 'upraised arm' rebus: eraka 'moltencast, copper' araka 'gold'. Since, the fists are ligatured to the rim of jar, the rebus reading includes the two rebus expressions:1. kanka 'rim of jar' rebus: कर्णिक m. a steersman (Monier-Williams) karaṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.' (Marathi). 2. dula'two' rebus: dul 'metal casting'  PLUS muka 'fist' rebus: mũhe 'ingot'. Thus, together dul mũhe 'ingot, metalcasting'.

9. Composite animal hypertext

FS 25 FS Fig.51The underlying script (sign, pictorial motif) design principle सांगड sāṅgaḍa 'joined parts' is HTTP hypertext transfer protocol. A hypertext on an Indus Script inscription is composed of hieroglyphs joined together which are classified as both composite 'signs' and composite 'field symbols', for e.g.,: 1. on field symbols with composite animals such as hieroglyphs of a bovine body with bos indicus (zebu horns), ram (hoofs), cobrahood (tail), elephant trunk, human face, scarfs on neck. Each animal part is read rebus to identify the 'metal' signified in the hyper-cluster of animals called 'composite animal'. rebus 1:sãgaṛh 'fortification'; rebus 2: saṁgaha 'catalogue'. 

The key classifier is the cobrahood as tail: paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. Rebus: phaḍa फड 'manufactory, company, guild, accounts register.' Cognate:  Ta. paṭṭaṭai, paṭṭaṟai anvil, smithy, forge. Ka. paṭṭaḍe, paṭṭaḍi anvil, workshop. Te. paṭṭika, paṭṭeḍa anvil; paṭṭaḍa workshop. (DEDR 3865)

Sub-set 

Sign 89 kolom 'three' rebus: kolami 'smithy, forge'.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). Rebus:  ḍhālako a large metal ingot PLUS Sign 403 is a duplication of  dula 'pair, duplicated' rebus: dul 'metalcasting' PLUS  Sign'oval/lozenge/rhombus' hieoglyph Sign 373. Sign 373 has the shape of oval or lozenge is the shape of a bun ingotmũhã̄ = the quantity of iron produced atone time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed likea four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes andformed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt komūhā akata = the Kolhes have to-day produced pig iron (Santali). Thus, Sign 373 signifies word, mũhã̄ 'bun ingot'. Thus, hypertext Sign 403 reads: dul mũhã̄ 'metalcast ingot' and  ḍhālako a large metal ingot.
kūdī ‘bunch of twigs’ (Sanskrit) rebus: kuṭhi ‘smelter furnace’ (Santali) Vikalpa: pajhaṛ = to sprout from a root (Santali); Rebus: pasra ‘smithy, forge’ (Santali)

Sub-setTriplet freq.  41.Triplet freq. 12 

10. Crocodile Cluster
 FS 36 FS Figs. 63 to 67 Crocodile  karā 'crocodile' rebus: khār 'blacksmith'


11. Fish cluster
FS 37 FS Fig. 68 aya .'fish' rebus: aya 'iron' (Gujarati) ayas'metal,alloy metal, iron' (R̥gveda). अयस् n. iron , metal RV. &c; an iron weapon (as an axe , &c ) RV. vi , 3 ,5 and 47 , 10;  gold (नैघण्टुक , commented on by यास्क); steel L. ; ([cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa ; Old Germ. e7r , iron ; Goth. eisarn ; Mod. Germ. Eisen.]).


12. Tree cluster
FS 44 tree (FS Fig. 75) kuṭhi. 'tree' rebus: kuṭhi. 'iron smelter furnace', 'factory'
Sub-set Sign 178 is a ligature of  'three short strokes' and 'crook' hieroglyph shown infixed with a circumscript of duplicated four short strokes as in Sign 179
Sign 178 is: kolmo ‘three’ (Mu.); rebus: kolami ‘smithy’ (Telugu.) मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock. मेढा [ mēḍhā ] m A stake, esp. as forked. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.(Marathi)(CDIAL 10317) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Together: kolami meḍ 'iron smithy'.

Sign 389 is a composite hypertext composed of Sign 169 infixed in 'oval/lozenge/rhombus' hieoglyph Sign 373. Sign 373 has the shape of oval or lozenge is the shape of a bun ingotmũhã̄ = the quantity of iron produced atone time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed likea four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes andformed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt komūhā akata = the Kolhes have to-day produced pig iron (Santali). Thus, Sign 373 signifies word, mũhã̄ 'bun ingot'. 

Sign 169 kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) pajhaṛ = to sprout from a root (Santali); Rebus: pasra''smithy'. This semantic combination of smithy and smelter makes Sign 169 distinct from   Sign 162. Sign kolmo 'rice plant' rebus:kolami 'smithy, forge'. Thus, the composite hypertext of Sign 389 reads: mũhã̄ kolami 'ingot smithy/forge'.

13. Double-axe cluster

FS  91, FS 95 Fig. 129. Fig. 133 double-axe  ṭāṅg 'battle-axe' rebus: ṭanka 'mint'.
Sub-set Sign 160 is a variant of Sign 137Variants of Sign 137 dāṭu 'cross' rebus: dhatu 'mineral' (Santali) PLUS Sign 134 ayo 'fish' rebus: ayas 'alloy metal' ays 'iron' PLUS dhakka 'lid of pot' rebus: dhakka 'bright'. Thus, together, 

Sign 138 reads: dhakka dhatu 'bright mineral ore'.

14. Dotted circle cluster

 Dotted circle:preferred dot-in-circle environ, miniature tablets. dhã̄i 'strand' PLUS vaṭa 'string' rebus:dhāvaḍ 'smelter'

15.Bos aurochs indicus (One-horned)
FS 1 FS Figs. 1 to 7 खोंड (p. 216) [khōṇḍam A young bull, a bullcalf; खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl (Marathi. Molesworth); kōḍe dūḍa bull calf (Telugu); kōṛe 'young bullock' (Konda) kod. 'one horn'; kot.iyum [kot., kot.i_ neck] a wooden circle put round the neck of an animal (G.) kunda1 m. ʻ a turner's lathe ʼ lex. [Cf. *cunda -- 1N. kũdnu ʻ to shape smoothly, smoothe, carve, hew ʼ, kũduwā ʻ smoothly shaped ʼ; A. kund ʻ lathe ʼ, kundiba ʻ to turn and smooth in a lathe ʼ, kundowā ʻ smoothed and rounded ʼ; B. kũd ʻ lathe ʼ, kũdākõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibākū̃d° ʻ to turn ʼ (→ Drav. Kur. kū̃d ʻ lathe ʼ); Bi.kund ʻ brassfounder's lathe ʼ; H. kunnā ʻ to shape on a lathe ʼ, kuniyā m. ʻ turner ʼ, kunwā m. (CDIAL 3295). kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 1A. kundār, B. kũdār°ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, °rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297). 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).Rebus: kõdā ‘to turn in a lathe’ (Bengali)kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln.


16. Bos aurochs indicus (two-horned)
 FS 2 FS Figs. 8 and 9 Same as Cluster 15.

On Perceiving Aryan Migrations in Vedic Ritual Texts -- Vishal Agarwal (2006)

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Note: The reference to Videha occurs in Baudhayana Srauta Sutra (BSS).See the detailed article by Vishal Agarwal. Puratattva (Bulletin of the Indian Archaeolgical Society), New Delhi,No. 36, 2005-06, pp. 155-165 On Perceiving Aryan Migrations in Vedic Ritual Texts. Kāśi-Videha is the region into which some from Kurukshetra migrated. When did this migration occur? Pururava-Uruvasi dialog, finds mention in Rgveda X.95. BSS 18.45 notes that the descendants of Amavasu, i.e., Arattas, Parsus and Gandharis migrated westwards from the Kurushetra region. Caland: "To the East went Ayus; from him descend the Kurus, Pancalas, Kasis and Videhas. These are the peoples which originated as a consequence of Ayus's going forth. To the West went Amavasu; from him descend the Gandharis, the Sparsus and the Arattas. These are the peoples which originated as a consequence of Amavasu's going forth." So when did the Ayus migrate to Kāśi-Videha? Since RV mentions the ākhyāna, the date of migration eastwards may relate to a period earlier than the RV text (X.95). This means that the iron age at Videha on Ganga Basin is coterminus with the Bronze Age of Sarasvati Civilization. What is Sadānīra? Karatoya? Gaṇḍakī? https://en.wikipedia.org/wiki/Pundranagar
BD Map Rivers of North Bengal2.jpg
Rivers of Bangladesh, August 1997 edition, produced by Graphosman, 55/1 Purana Paltan, Dhaka – 1000, map of Bengal in History of Ancient Bengal, by Dr. R.C. Majumdar,First published 1971, Reprint 2005, p. 4

Comment on: http://indiafacts.org/the-memory-of-a-lost-civilization/

Kalyanaraman

On Perceiving Aryan Migrations in Vedic Ritual Texts
By Vishal Agarwal
Puratattva (Bulletin of the Indian Archaeolgical Society), New Delhi,No. 36, 2005-06, pp. 155-165
1. Background:
Vedicists have generally agreed in the last 150 years that the vast corpus of extant Vedic literature, comprising of several hundred texts, is completely silent on Aryan immigrations from Central Asia into India. But, in a lecture delivered on 11 October 1999 at the Jawaharlal Nehru University (New Delhi), historian Romila Thapar (1999) made a revisionist claim:
" ...and later on, the Srauta Sutra of Baudhayana refers to the Parasus and the arattas who stayed behind and others who moved eastwards to the middle Ganges valley and the places equivalent such as the Kasi, the Videhas and the Kuru Pancalas, and so on. In fact, when one looks for them, there are evidence for migration."
Another historian of ancient India, Ram Sharan Sharma considers this passage as an important piece of evidence in favor of the Aryan Migration Theory (AMT). He writes (Sharma 1999: 87-89):
"More importantly, Witzel produces a passage from the Baudhayana Srautasutra which contains 'the most explicit statement of immigration into the Subcontinent'. This passage contains a dialogue between Pururava and Urvasi which refers to horses, chariot parts, 100 houses and 100 jars of ghee.
Towards the end, it speaks of the birth of their sons Ayu and Amavasu, who were asked by their parents, to go out. 'Ayu went eastward. His people are the Kuru-Pancalas and the Kasi-Videhas. This is the Ayava kin group. Amavasu stayed in the west. His people are the Gandharas, the Parsavas and the Arattas. This is the Amavasava kin group.'"
Sharma is so confident of the 'evidence' of the AMT produced by Witzel that he even goes to the extent of co-relating these two groups with various pottery types attested in the archaeological record (ibid, p. 89). It is quite apparent that all these claims of alleged Vedic literary evidence for an Indo-Aryan immigration into
the Indian subcontinent are informed by the following passage written by a Harvard philologist (Witzel 1995: 320-321):
"Taking a look at the data relating to the immigration of the Indo-Aryans into South Asia, one is stuck by the number of vague reminiscences of foreign localities and tribes in the Rgveda, inspite repeated assertions to the contrary in the secondary literature. Then, there is the following direct statement contained in (the admittedly much later) BSS (=Baudhayana Shrauta Sutra) 18.44:397.9 sqq which has once again been overlooked, not having been translated yet: "Ayu went eastwards. His (people) are the Kuru Panchala and the Kasi-Videha. This is the Ayava (migration). (His other people) stayed at home. His people are the Gandhari, Parsu and Aratta. This is the Amavasava (group)" (Witzel 1989a: 235)."
That the above passage of the Baudhayana Srautasutra (henceforth 'BSS') is the only 'direct' evidence for an Indo-Aryan immigration into India is clarified by Witzel in the same article later (p. 321). The reference (Witzel 1989a: 235) at the end of the above citation pertains to an earlier article by Witzel, where he has elaborated it
further (Witzel 1989: 235):
"In the case of ancient N. India, we do not know anything about the immigration of various tribes and clans, except for a few elusive remarks in the RV (= Rigveda), SB (= Shatapatha Brahmana) or BSS ( =Baudhayana Shrauta Sutra). This text retains at 18.44 : 397.9 sqq. the most pregnant memory, perhaps, of an immigration of the Indo- Aryans into Northern India and of their split into two groups: pran Ayuh pravavraja. Tasyaite Kuru-Pancalah Kasi-Videha ity. Etad Ayavam pravrajam. Pratyan amavasus. Tasyaite Gandharvarayas Parsavo 'ratta
ity. Etad Amavasavam. "Ayu went eastwards. His (people) are the Kuru- Pancala and the Kasi Videha. This is the Ayava migration. (His other people) stayed at home in the West. His people are the Gandhari, Parsu and Aratta. This is the Amavasava (group)".
Finally, this mistranslation is found in an even older publication of Witzel (1987: 202) as well. This article intends to show how this Sutra passage actually says the reverse of what Witzel intends to prove, because Witzel's translation is flawed. As an aside, a Czech scholar Vaclav Blazek (2002: 216) relies on the mistranslation of the
passage in Witzel (1995: 320-321) to reinforce his conclusion that the Arattas were localized in the Helmand basin. Interestingly, in the 'Acknowledgements' section (p. 235) of the paper, Blazek mentions Witzel. Therefore, we can discount his interpretation as one that has no independent value due to it being dependent upon Witzel's
erroneous arguments.
2. Grammatical Flaws in Witzel's Mis-translation of Baudhayana Srautasutra 18.44-
In a review of Erdosy's volume where Witzel's article appeared, Koenraad Elst took issue with Witzel on the precise translation of the Sanskrit passage. He stated (Elst 1999: 164-165):
"This passage consists of two halves in parallel, and it is unlikely that in such a construction, the subject of the second half would remain unexpressed, and that terms containing contrastive information (like "migration" as opposed to the alleged non-migration of the other group) would remain unexpressed, all left for future scholars
to fill in. It is more likely that a non-contrastive term representing a subject indicated in both statements, is left
unexpressed in the second: that exactly is the case with the verb pravavrāja "he went", meaning "Ayu went" and "Amavasu went". Amavasu is the subject of the second statement, but Witzel spirits the subject away, leaving the statement subject-less, and turns it into a verb, "amā vasu", "stayed at home". In fact, the meaning of the sentence is really quite straightforward, and doesn't require supposing a lot of unexpressed subjects: "Ayu went east, his is the Yamuna-Ganga region", while "Amavasu went west, his is Afghanistan, Parshu and West Panjab". Though the then location of "Parshu" (Persia?) is hard to decide, it is definitely a western country,
along with the two others named, western from the viewpoint of a people settled near the Saraswati river in what is now Haryana. Far from attesting an eastward movement into India, this text actually speaks of a westward movement towards Central Asia, coupled with a symmetrical eastward movement from India's demographic centre around the Saraswati basin towards the Ganga basin."
Elst further commented (ibid):"The fact that a world-class specialist has to content himself with a late text like the BSS, and that he has to twist its meaning this much in order to get an invasionist story out of it, suggests that harvesting invasionist information in the oldest literature is very difficult indeed. Witzel claims (op. cit., p.320) that: 'Taking a look at the data relating to the immigration of Indo-Aryans into South Asia, one is struck by a number of vague reminiscences of foreign localities and tribes in the Rgveda, in spite [of] repeated assertions to the contrary in the secondary literature.' But after this promising start, he fails to quote even a single one of those 'vague reminiscences'."
If Elst's critique is correct, the solitary direct literary evidence cited by Witzel for the AMT gets annulled. Elst's revelation generated a very bitter controversy involving accusations of a personal nature. We need not detail these here as the controversy is documented in my earlier online article (Agarwal 2001). Dr. S.
Kalyanaraman, referred the matter to Dr. George Cardona, an international authority in Sanskrit language and author of numerous definitive publications on Panini's grammar. Cardona clearly rejected Witzel's translation, and upheld the objections of Elst on the basis of rules of Sanskrit grammar. In a message posted on an internet
discussion forum, he stated (Cardona 2000):
"The passage (from Baudha_yana S'rautasu_tra), part of a version of the Puruuravas and Urva'sii legend concerns two children that Urva'sii bore and which were to attain their full life span, in contrast with the previous ones she had put away. On p. 397, line 8, the text says: saayu.m caamaavasu.m ca janayaa.m cakaara 'she bore
Saayu and Amaavasu.' Clearly, the following text concerns these two sons, and not one of them along with some vague people. Grammatical points also speak against Witzel's interpretation. First, if amaavasus is taken as amaa 'at home' followed by a form of vas, this causes problems: the imperfect third plural of vas (present vasati
vasata.h vasanti etc.) would be avasan; the third plural aorist would be avaatsu.h. I have not had the chance to check Witzel's article again directly, so I cannot say what he says about a purported verb form (a)vasu.h. It is possible, however, that Elst has misunderstood Witzel and that the latter did not mean vasu as a verb form per se.
Instead, he may have taken amaa-vasu.h as the nominative singular of a compound amaa-vasu- meaning literally 'stay-at-home', with -vas-u- being a derivate in -u- from -vas. In this case, there is still what Elst points out: an abrupt elliptic syntax that is a mismatch with the earlier mention of Amaavasu along with Aayu. Further, tasya can
only be genitive singular and, in accordance with usual Vedic (and later) syntax, should have as antecedent the closest earlier nominal: if we take the text as referring to Amaavasu, all is in order: tasya (sc. Amaavaso.h). Finally, the taddhitaanta derivates aayava and aamaavasava then are correctly parallels to the terms aayu and
amaavasu. In sum, everything fits grammatically and thematically if we straightforwardly view the text as concerning the wanderings of two sons of Urva'sii and the people associated with them. There is
certainly no good way of having this refer to a people that remained in the west."
The noted archaeologist B. B. Lal (Lal 2005: 85-88) has also stated clearly that Witzel's translation is untenable and is a willful distortion of Vedic texts to prove the non-proven Aryan migration theory (AMT). Lal's criticism is along the same lines as that of Elst.
3. Translations of BSS 18:44 by other Scholars in English, German and Dutch: Let us consider the few publications where the relevant Baudhayana Srautasutra (BSS) passage has actually been studied, or has beentranslated by other scholars.
3.1 Willem Caland's Dutch translation: It is Caland who first published the Baudhayana Srautrasutra from manuscripts (Caland 1903-1913). In an obscure study of the Urvashi legend written in Dutch, he focuses on the version found in Baudhayana Srautasutra 18.44-45 and translates the relevant sentences of text (Caland 1903: 58). Translated into English, the relevant sentences in the Dutch original read:
"To the East went Ayus; from him descend the Kurus, Pancalas, Kasis and Videhas. These are the peoples which originated as a consequence of Ayus's going forth. To the West went Amavasu; from him descend the Gandharis, the Sparsus and the Arattas. These are the peoples which originated as a consequence of Amavasu's going forth."
The text, as reconstituted by Caland (and also accepted by Kashikar - - see below) reads 'Sparsus', which apparently stands for the peoples who are known as 'Parshus' elsewhere in the Vedic literature, and are often identified as the ancestors of Persians (or even of Pashtuns). Clearly, Caland interpreted this sutra passage to mean that from a central region, the Arattas, Gandharis and Parsus migrated west, while the Kasi-Videhas and Kuru-Pancalas migrated east. Combined with the testimony of the Satapatha Brahmana (see below), the implication of this version in the Baudhayana Srautasutra, narrated in the context of the agnyadheya rite, is that that the two outward migrations took place from the central region watered by the Sarasvati. Interestingly, the volume of Caland's Kleine Schriften have been edited as by none other than Michael Witzel (1990).
Therefore it is all the more surprising that in this entire controversy, Witzel did not allude to Caland's translation of the passage at all!
3.2 C. G. Kashikar's English translation: Very recently, Kashikar (2003: 1235) has translated the relevant sentences of the text as follows:
"Ayu moved towards the east. Kuru-Pancala and Kasi-Videha were his regions. This is the realm of Ayu. Amavasu proceeded towards the west. The Gandharis, Sparsus and Arattas were his regions. This is the realm of Amavasu."
3.3 D. S. Triveda's English translation: In an article (Triveda 1938- 39) dealing specifically with the homeland of Aryans, he titles the concluding section as "Aryans went abroad from India". He commences this section with the following words (ibid, p. 68): 
"The Kalpasutra asserts that Pururavas had two sons by Urvasi -- Ayus and Amavasu. Ayu went eastwards and founded Kuru -- Pancala and Kasi -- Videha nations, while Amavasu went westwards and founded Gandhara,
Sprsava and Aratta."
In a footnote, the author gives the source as 'Baudhayana Srautasutra XVIII. 35-51'. The address is wrong, but it is clear that Baudhayana Srautasutra 18.44 is meant. Therefore, Triveda also takes the passage to mean that Amavasu migrated westwards, rather than staying where he was as Witzel would translate it.
3.4 Toshifumi Goto's German Translation: In his recent study (Goto 2000) of some parallel Vedic passages dealing with the agnyadheya rite, Toshifumi Goto translates the relevant Sutra passage into German (p. 101 sqq.). Loosely translated into English, this reads: "From there, Ayu wandered Eastwards. To him belong (the groups
called) 'Kurus and Panchalas, Kashis and Videhas' (note 87). They are the branches/leading away (note 88) originating from Ayu. From there, Amavasu turned westwards (wandered forth). To him belong (the groups
called) 'Gandharis, Parsus (note 89) Arattas'. They are the branches/leading away originating from Amavasu. (note 90)."
{90}: It appears that the notion of 'Ayu' as an normal adjectival sense 'living', 'agile' underlies this name. Correspondingly, Krick 214 interprets Amavasu as -- "Westwards [travelled] A. (or: he stayed back in the west in his home, because his name says -- 'one who has his goods at home')".
Notes 87-89 in the German original are irrelevant to this present discussion and are therefore left untranslated here. We will discuss the views of Hertha Krick referred to by Goto in greater detail later. What is important here is that four scholars have translated the disputed passage in the same manner as Elst, and differently from
Witzel.
4. Pururava-Uruvasi (or Urvasi) Narratives  in Vedic Texts, a Conspectus:
The Pururava-Urvasi legend is found in numerous Vedic and non-Vedic texts. In the former, the couple and their son Ayu are related to the agnyadheya rite. Some passages in Vedic texts that allude to this rite/tale are -- Rigveda 10.95; Kathaka Samhita 26.7 etc.; Agnyadheya Brahmana (in the surviving portions of the Brahmana of Katha Sakha) etc.; Maitrayani Samhita 1.2.7; 3.9.5; Vajasneyi (Madhyandina) Samhita 5.2; Satapatha Brahmana (Madhyandina) 11.5.1.1; Baudhayana Srautasutra 18.44-45; Vadhula Anvakhyana 1.1-2 etc. Note that the Kathaka Brahmana exists only in short fragments, most of which have been collected together by Suryakanta (1981), Rosenfield (2004) and also by some other earlier scholars. The agnyadheya brahmanam portion of the Kathaka Brahmana survives (and is included in Suryakanta's collection), but it does not shed any light on the question at hand. Many of the above textual references, as well as those in Srautasutras (not listed above), do not throw much light on the historical aspects of the legend. Several passages cursorily mention Urvasi as mother, Pururava as father, Ayu (equated to Agni) as their son and ghee as (Pururava's) seed in a symbolic manner in connection with various rites (Taittiriya Samhita 1.3.7.1; 6.3.5.3; Kathaka Samhita 3.4; Kapisthala Samhita 2.11; 41.5; Kanva Samhita 5.2; Maitrayani Samhita 2.8.10). Elsewhere, Urvasi is enumerated as an apsara and prayers are directed towards her for protection (Kathaka Samhita 17.9; Kapisthala Samhita 26.8, Taittiriya Samhita 4.4.3.2; Maitrayani Samhita 2.8.10). At least in one ritual context, Urvasi is taken to represent all Devis (Taittiriya Samhita 1.2.5.2).  Kathaka Samhita 8.10 narrates the tale in brief and may be paraphrased as:
"Urvasi was the wife of Pururava. She left Pururava and returned to devas. Pururava prayed to devas for Urvasi. Then, devas gave him a son named Ayu. At their bidding, Pururava fabricated aranis (fire stick and base used for the fire sacrifice) from the branches of a tree and rubbed them together. This generated fire, and Pururava's desire was fulfilled. He who establishes sacrificial fires this attains progeny, animals etc.".
Thus, this passage also equates Ayu with Agni. In addition, some passages of Srautasutras mention them in the context of caturmasya rites (E.g., Katyayana Srautasutra 5.1.24-25).
The texts that are of most use for the present purpose are Rigveda 10.95, Satapatha Brahmana 11.5.1; Baudhayana Srautasutra 18.44-45 and Vadhula Anvakhyana 1.1-2. Dozens of published secondary studies
examine the legend from the data scattered in Vedic, Puranic and Kavya texts. We need not dwell upon the versions available in Brhaddevata, Sarvanukramani, Puranas etc., here because they are either too late or do not shed any additional light on our problem. A survey of a few of these is given in Shridhar (2001: 311-345). Most
of these studies do take into account the information contained in Rigveda and Satapatha Brahmana. Very few however analyze the information in the Baudhayana Srautasutra. Even Volume I.1 of the Srautakosa (Dandekar 1958), which studies the agnyadheya rite in  detail with a special emphasis on the Baudhayana Srautasutra, ignores these sections. To my knowledge, only Willem Caland (1903), Hertha Krick (1982) and Yasuke Ikari (1998) have studied the relevant sections of the Baudhayana Srautasutra in detail.
5. Kuruksetra in Baudhayana Srautasutra 18:45:
A very strong piece of evidence for deciding the correct translation of Baudhayana Srautrasutra 18.44 is the passage that occurs right after it, i.e., Baudhayana Srautasutra 18.45. I am reproducing the translation of Kashikar (2003: 1235) with minor modifications that do not affect the issue at hand:
"[....]After having returned from the Avabhrta (the king) saw her (Urvasi). The sons approached her and said, "Do thou take us there where thou are going. We are strong. Thou hast put our father, one of you two, to grief."[2]
She said, "O sons, I have given birth to you together. (Therefore) I stay here for three nights. Let not the word of the brahmana be untrue." The king wearing the inner garment lived with her for three nights. He shed semen virile unto her. 
She said, "What is to be done?""What to do?", the king responded. She said, "Do thou fetch a new pitcher?" She disposed it into it. In Kurukshetra, there were ponds called Bisavati. The northern-most among then created gold. She put it (the semen) into it (the pond). From it (the banks of the pond) came out the Asvattha tree surrounded
by Sami. It was Asvattha because of the virile semen, it was Sami by reason of the womb. Such is the creation of (Asvattha tree) born over Sami. This is its source.
It is indeed said, "Gods attained heaven through the entire sacrifice."[3]
When the sacrifice came down to man from the gods, it came down upon the Asvattha (tree). They prepared the churning woods out of it; it is the sacrifice. Indeed, whichever may the Asvattha be, it should be deemed, as growing on the Sami (tree). [....]
[2] Doubtful word and meaning.
[3] Taittiriya Samhita I.7.1.3"
From this text, it is clear that Urvasi, Pururava and their two sons were present in Kurukshetra in their very lifetimes. There is no evidence that Ayu's descendants traveled all the way from Afghanistan to Haryana (where Kurukshetra is located) subsequently, nor is there any evidence that she took her sons from Kurukshetra to Afghanistan after disposing off the pitcher. Therefore, the disputed passage BSS 18.45 would imply that the descendants of Amavasu, i.e., Arattas, Parsus and Gandharis migrated westwards from the Kurushetra region.
Note that in Taittiriya Aranyaka 5.1.1, the Kurukshetra region is said to be bounded by Turghna (=Srughna or the modern village of Sugh in the Sirhind district of Punjab) in the north, by Khandava in the south (corresponding roughly to Delhi and Mewat regions), Maru (= desert) in the west, and 'Parin' (?) in the east. This roughly
corresponds to the modern state of Haryana in India.
6. Satapatha Brahmana IX.5.1 and Pururava-Urvasi Narrative 
The Satapatha Brahmana XI.5.1 is very clear that the wanderings of Pururava, the re-union with Uravashi (and from context, their initial cohabitation) were all in the Kurukshetra region (and not in W Punjab or anywhere further west). Another point to note is that Pururava is said to be the son of Ila, a deity again closely linked to the
Kurukshetra region and Sarasvati. Let me reproduce the relevant passages from the Satapatha Brahmana XI.5.1, as translated by Julius Eggeling [1900(1963): 68-74]:
"Then, indeed, she vanished: 'Here I am back,' he said, and lo! She had vanished. Wailing with sorrow he wandered all over Kurukshetra. Now there is a lotus-lake there, called Anyatahplaksha: He walked along its bank; and there nymphs were swimming about in the shape of swans. XI.5.1.4
At this stage, the text reproduces some verses from Rgveda X.95, which contain the Pururava-Uruvasi dialog, ending with Rgveda X.95.16. The narrative continues:
"This discourse in fifteen verses has been handed down by the Bahvrikas. Then her heart took pity on him. XI.5.1.10
She said, 'Come here the last night of the year from now; then shalt thou lie with me for one night, and then this son of thine will have been born.' He came there on the last night of the year, and lo, there stood a golden palace! They then said to him only this (word), 'Enter!' and then they bade her go to him. XI.5.1.11
She then said, 'Tomorrow morning the Gandharvas will grant thee a boon, and thou must make thy choice.' He said, 'Choose thou for me!' -- She replied, 'Say, Let me be one of yourselves!' In the morning the Gandharvas granted him a boon; and he said, 'Let me be one of yourselves!' XI.5.1.12
They said, 'Surely, there is not among men that holy form of fire by sacrificing wherewith one would become one of ourselves.' They put fire into a pan, and gave it to him saying, 'By sacrificing therewith thou shalt become one of ourselves.' He took it (the fire) and his boy, and went on his way home. He then deposited the fire in the
forest and went to the village with the boy alone. [He came back and thought] 'Here I am back;' and lo! It had disappeared: what had been the fire was an Asvattha tree (ficus religiosa), and what had been the pan was the Sami tree (mimosa suma). He then returned to the Gandharvas. XI.5.1.13[....]"
The mention of a lotus pond at Kurukshetra in the Satapatha Brahmana needs to be noted by the reader because it is consistent with the information provided by Baudhayana Srautasutra 18.45, which also refers to the presence of Pururava and Urvasi by a lotus pond surrounded by Peepul (Asvattha) trees in Kuruksetra, and performance
of rituals at the site. It is clear then, that Urvasi and Pururava themselves were present in Kuruksetra for the birth of Ayu according to the author of both the Satapatha Brahmana and Baudhayana Srautasutra 18.44-45. In conclusion therefore, Ayu or his descendants did not migrate to India from Afghanistan according to these texts.
7. Vadhula Anvakhyana Version of the Narrative
The relevant portion of the text has been published only recently, first by Y Ikari (1998:19-23), and more recently by Braj Bihari Chaubey (2001). Based on Ikari's text, Toshifumi Goto (2000) has studied the legend in detail, comparing it with parallel passages in Vedic texts, in particular Baudhayana Srautasutra 18.44-45. The
Vadhula Anvakhyana Brahmana 1.1-2 (Chaubey 2001: pp. 34-35, 1-3 of devanagari text) does not add any additional geographical information except stating that Pururava and Urvasi traveled to Urvasi's father's
home for the birth of their son Ayu. This might again be interpreted by Aryan invasionists as proof that Ayu was born in Afghanistan. They would argue that Urvasi was an apsara, and therefore, she belonged to the gandharvas who are sometimes placed in Afghanistan by scholars still believing in the Aryan Invasion Theory (AIT). For instance, Malati Shengde (1977: 111) suggests that the gandharvas were the priests of people who resided in the Kabul valley. Such speculations however are very tentative and tenuous, and do not constitute
evidence of any type. They certainly cannot over-ride rules of Sanskrit grammar in interpreting Sanskrit texts such as Baudhayana Srautasutra 18.44. Moreover, the Vadhula text does not mention the separation of Pururava and Urvasi. It does not mention Amavasu or his birth at all, and states instead that Pururava left the home of his
in laws with his son Ayu, and with the knowledge of yajna. The section 1.1.2 of this text explicitly equates Ayu with Agni, that eats food for both humans and the Devas ("....aayurasi iti jaatam abhimantrayate sa vaa esha aayuh pauruuvasa ubhayeshaan devamanushyanaam annaado agnibhagavaan ubhayeshaam..."). It also
states explicitly that Urvasi was actually a human who had been given over to the gandharvas. So much for the Afghani provenance of Urvasi and Pururava!
8. Hertha Krick's study (Krick 1982) on the agnyadheya Rite:
Hertha Krick presents her translation, or rather an interpretation of Baudhayana Srautrasutra 18.44 (p. 214) in her PhD thesis that was published posthumously (Krich 1982). She first suggests that the descendants of Amavasu migrated westwards, but them proposes an alternate interpretation that Amavasu stayed west in his home, and
only Ayu migrated eastwards. Later on too, she refers (page 218-219) to her second interpretation that the descendants of Ayu migrated to Kurukshetra region and thence to other parts of Madhyadesha where Vedic orthodoxy/orthopraxy was established eventually by Brahmins, whereas the Amavasus stayed back in western regions of Gandhara etc. She also links Ayu and his descendants with symbolism related to Moon and Soma, and reproduces passages from later Sanskrit texts on the progeny of Pururava and Urvashi. None of this really sheds light on our problem at hand. It should be noted that the entire work of Krick is written under the Aryan invasionist (AIT) paradigms. Her major argument for situating Urvasi in the Gandhara region is that Urvasi
resided with sheep and goats and rearing of these animals was especially important for residents of Afghanistan and its adjoining areas! Parpola (1980: 8) translates the relevant sentences from German,
"Urvasi calls them (pair of sheep) her children, and becomes desperate when they are robbed, while Pururavas boasts of having 'ascended the sky' through the recapture of the ram. This shows that the generative and fertility power of the royal family and thereby the whole kingdom was dependent upon these sheep. This component of
the tale should be based upon the actual old customs and cultic conceptions of a country subsisting in sheep raising, such as Gandhara....(p. 160)".
But such an argument is not conclusive because sheep and goat herding have been important occupations not just in Afghanistan and North Western Frontier Province region of Pakistan, but also in much of Rajasthan, Punjab and parts of Haryana down to present times. Not surprisingly, scholars who still adhere to AIT and its euphemistic interpretations (such as Aryan migration theory) continue to torture Vedic texts and see 'evidence' for Indo-Aryan migrations into India. Therefore, Krick's interpretations have also found support in her obituary written by Asko Parpola, another scholar who till this day believes not just in one, but in multiple Aryan invasions of India.
Parpola (1980:10) remarks sympathetically:
"Such feasts dedicated to gandharvas and apsarases have been celebrated at quite specific lotus ponds surrounded by holy fig trees in the Kuruksetra. The analysis cited above suggests, however, that the original location of the legend was a country like Gandhara, where sheep-raising was the predominant form of economy. This eastward shift, which is in agreement with the model of the Aryan penetration into India, starting from the mountains of the northwest, is corroborated. Hertha Krick points out, also by the geneology of the peoples as given in the Baudhayana-Srautasutra (18,44-45): while Amavasu stayed in the west (Gandhara), Ayu went to the east (Kuruksetra)."
Likewise, in a later publication, Witzel (2001a) too draws solace from the fact that Krick interprets 'Amavasu' as one who 'keeps his goods at home', and 'Ayu', as 'active/agile/alive'. According to Witzel, Krick and Parpola, BSS 18.44 designates the homeland of Gandharis, Parsus and Arattas as 'here' ('ama' in 'amavasu'). Prima facie, this suggestion is illogical, because the territory inhabited by these three groups of people is a vast swathe of land comprising a major portion of modern-day NWFP/Baluchistan provinces of Pakistan, and much of Afghanistan. To denote such a vast swathe of territory by the word 'here', while contrasting it with supposed migrations of Kurus and other Indian peoples from 'here' to 'there' (= northern India) is somewhat of a stretch. Muni Baudhayana (or whoever wrote BSS 18.44) was definitely a resident of northern India, and for him, Afghanistan and northwestern Pakistan would be 'there', and not 'here' or 'home' (which would be his region of northern India).
Now, in an online paper, Witzel (Witzel 2001: 16, fn. 45) tries to minimize the importance he had placed earlier on BSS 18.44 as the only important 'direct evidence' for an Indo-Aryan immigration.  In this paper, Witzel refers to his earlier publication 'Witzel (1980)' as proof that Arattas were 'Arachosians' (= residents of Helmand valley in S W Afghanistan). But when the present author checked this publication (Witzel 1980: fn. 3), it was found to place the Arattas in the Badakhshan area in extreme N E Afghanistan! In other words, Witzel now misquotes his own earlier publication incorrectly while defending his mistranslation!
9. Conclusion- Imposing Colonial Paradigms on Ancient Ritual Passages:
Rather than insisting on seeing evidence for 'movement' or 'migration' in the word 'Ayu', and correspondingly 'remaining in their home' in the word Amavasu, it is perhaps less tortuous to interpret this passage figuratively in a manner that is more consistent with the Indian tradition. How then do we interpret the Vedic narratives about the birth of Ayu and Amavasu? Tradition holds that the Kuru-Panchalas, and later the Kashi-Videhas conformed to Vedic orthoproxy (i.e., they performed fire sacrifices to the Devas) and were therefore 'alive'. On the other hand, the progeny of Amavasu did not sacrifice to the Devas and hoarded their wealth in their homes.
An over-arching theme in the versions of the Pururava-Urvasi legend in the Vedic texts is the semi-divine origin of the Vedic ritual. The yajna is said to have reached mankind through Pururava, who got it from semi-divine beings, the gandharvas, via the intervention of Urvasi, who herself was an apsaraa and belonged to the gandharvas. Coupled with the Baudhayana Srautasutra 18.44-45 passage, we may interpret the names of Ayu and Amavasu to mean that the former represents the mythical ancestor of peoples (Kuru-Panchalas and Kasi-Videhas) who are 'alive and bright', and 'vibrant' or 'moving'because they sacrificed to the Devas. Vadhula Anvakhyana 1.1.1
explicitly declares that before the birth of Ayu, humans did not perform Yajna properly due to which they had developed only the trunk part of their body and not their limbs- "...naanyaani kaani chanaangaani...". In contrast, the Gandharis, Parsus and Arattas did not perform Vedic sacrifices for Devas and hoarded their 'possessions in their homes', due to which they were 'stationary' or 'dead' and 'devoid of light', like the 'amavasya' or moonless night. This interpretation would be completely consistent with later traditions concerning the conformity to Vedic orthopraxy by the Kurus, Panchalas, Kashis and Videhas; and the lack of the same in the case of Arattas, Gandharis and Parshus. In 'modern idiom', the former group are progeny of 'fire' or 'light', and the latter are progeny of 'darkness' and 'death' from the perspective of Vedic orthopraxy.
Whatever be the ritual interpretation of this passage, there is no convincing way to uphold Witzel's mistranslation or over- interpretation of Baudhayana Srautasutra 18.44. One must be extremely wary of using at least the Vedic versions of this legend to construct real history of human migrations, otherwise we would have to deduce
an outward from India towards Central Asia. There is absolutely no need to read modern and colonial Aryan invasion and migration theories into ancient ritual texts. Therefore, we may conclude there still exists no Vedic evidence for an Aryan immigration into India. All such attempts by Witzel (and following him R Thapar, and R S
Sharma) must be considered as over-zealous misinterpretations eventually derived from colonial theories such as the Aryan invasion theory. Eminent historians must not fall into the trap of seeing 'evidence' for Aryan migrations or invasions in texts that are chronologically removed by a 1000 years from the period of these supposed demographic movements. Doing so is bad historiography and not just a case of "when one looks for them, there are evidence for migration" (Thapar 1999). The Vedic texts, comprising of several thousand pages of printed texts, indeed do not have a single statement may serve as literary evidence for AIT or AMT unless one wants to imagine evidence that does not exist.
Acknowledgements: At my request, Koenraad Elst translated the Dutch passage in Caland (1903:58), while Nitin Agrawal (my younger brother) consulted Kashikar (2003: 1235) promptly. Professor Shiva Bajpai provided several useful suggestions, although all errors are mine. The paper was presented at the World Association For Vedic Studies' conference at Houston (USA) held on 8-10 July 2006.
Bibliography
Agarwal, Vishal. 2001. The Aryan Migration Theory, Fabricating Literary Evidence, available at
Blazek, Vaclav. 2002. 'Elamo-Arica'. In The Journal of Indo-European Studies, Vol. XXX, Nos. 3-4 (Fall/Winter 2002): 215-242
Caland, Willem. 1903-1913. The Baudhayana srauta sutra belonging to the Taittiriya samhita (3 vols.). Calcutta: Bibliotheca Indica
_____. 1903. "Eene Nieuwe Versie van de Urvasi-Mythe". In Album-Kern, Opstellen Geschreven Ter Eere van Dr. H. Kern. Leiden: E. J. Brill (pp. 57-60)
Cardona, George. 2000. Message no. 3 (dated April 11, 2000) in the public archives of the Sarasvati Discussion list. (The website of the discussion list was http://sarasvati.listbot.com/. The list is now defunct and messages are no longer available).
Chaubey, Braj Bihari. 2001. Vadhula-Anvakhyanam, Critically edited with detailed Introduction and Indices. Hoshiarpur: Katyayan Vaidik Sahitya Prakashan
Dandekar, R. N. (ed). 1958. Srautakosa, Volume I, Part I, English Section. Poona: Vaidik Samsodhana Mandala
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Goto, Toshifumi. 2000. 'Pururavas und Urvasi" aus dem neuntdecktem Vadhula-Anvakhyana (Ed. Y. Ikari)'. In Tichy, Eva and Hintze, Almut (eds.), Anusantatyai, Germany: J. H. Roll (pp. 79-110)
Ikari, Yasuke. 1998. "A Survey of the New Manuscripts of the Vadhula School -- MSS. of K1 and K4-" In ZINBUN, no. 33: 1-30
Kashikar, Chintamani Ganesh. 2003. Baudhayana Srautasutra...

Sadānīra is Karatoya river which joined Ganga (ca.4th millennium BCE)

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I suggest ironworkers of Sarasvati Civilization actively engaged in using iron resources of Sadānīra river basin.
Austro-asiatic speakers.Pinnow

Bronze Age sites, India.Northeast
This is an addendum to: 

 http://bharatkalyan97.blogspot.in/2018/04/on-perceiving-aryan-migrations-in-vedic.html

Sadānīra is the name of the river mentioned in Śatapatha Brāhmaṇa signifying migrations to Kāś
i-Videha by Ayu people from Kurukshetra.
This is the region close to iron ore resources.

Mâthava, the Videgha, was at that time on the (river) Sarasvatî. 
He (Agni) thence went burning along this earth towards the east; and Gotama Râhûgana and the Videgha Mâthava followed after him as he was burning along. He burnt over (dried up) all these rivers.
 
 Now that (river), which is called ‘Sadânîrâ,’ flows from the northern (Himâlaya) mountain: that one he did not burn over. That one the Brâhmans did not cross in former times, thinking, ‘it has not been burnt over by Agni Vaisvânara.’
 
Now-a-days, however, there are many Brâhmans to the east of it. At that time it (the land east of the Sadânîrâ) was very uncultivated, very marshy, because it had not been tasted by Agni Vaisvânara.
 
 Now-a-days, however, it is very cultivated, for the Brâhmans have caused (Agni) to taste it through sacrifices. Even in late summer that (river), as it were, rages along: so cold is it, not having been burnt over by Agni Vaisvânara.
 
 Mâthava, the Videgha, then said (to Agni), ‘Where am I to abide?’ ‘To the east of this (river) be thy abode!’ said he. Even now this (river) forms the boundary of the Kosalas and Videhas; for these are the Mâthavas (or descendants of Mâthava). (Śatapatha Brāhmaṇa 1.4)


I suggest that Sadānīra is Karatoya river. This is the Videha region.See map.Rivers of Bangladesh, August 1997 edition, produced by Graphosman, 55/1 Purana Paltan, Dhaka – 1000, map of Bengal in History of Ancient Bengal, by Dr. R.C. Majumdar,First published 1971, Reprint 2005, p. 4
I excerpt from Wikipedia:
Karatoya River (also spelt Korotoa River) (Bengaliকরতোয়া নদী), a small stream in Rajshahi Division of Bangladesh, was once a large and sacred river. A channel of it presently flows by the ancient ruins of Mahasthangarh (or Pundranagara, ancient capital of Pundravardhana) in Bogra District. The Karatoya mahatmya bears testimony to its past greatness.[1] In the Mahabharata it is mentioned that a visit to the Karatoya after three days’ fast produces the same merit as an aswamedha (horse killing) sacrifice.[2] Another ancient city, Sravasti, may have been located on the banks of the Karatoya, north of Mahasthangarh. However, there is a controversy about the possible location of Sravasti.[3]
The Karatoya, known as Phuljhur rises in the Baikunthapur jungles in the extreme north-west of Jalpaiguri district (West Bengal, India) and forms for some distance the boundary between Dinajpur and Rangpur districts. It, then, meanders through Rangpur and Bogra. In the south of Bogra district, it receives the Halhalia and the united stream is then known as Phuljhur. It leaves Bogra at Chanda kona and flowing in a southerly direction past Raiganj and Shujapur is joined by the Ichhamati at Nalka. The Phuljhur then flows south past the important village of Ullapara, a few miles below which it joins the Hurasagar at Narnia after a course of about 64 kilometres (40 mi) in this district. After this junction, it takes the name of Hurasagar and passing close by Shazadpur and Hera joins the Jamuna near Bera.

The Karatoya is mentioned in the Puranas and had a high repute for sanctity. It was the eastern boundary of the old kingdom of Paundravardhana, the country of the Paundras which it separated from Kamrupa. It is shown in Van Den Brouk's map of Bengal (C, 1660) as flowing into the Ganges and in fact. before the destructive floods of 1787 it brought down to the Atrai and to the Ganges a great volume of Teesta water. Since the main stream of the Teesta was dirverted to the east in 1787, the Karatoya and the Phuljhur have gradually silted up. and they are at the present day rivers of minor importance. One channel, which joins the Baral, 48 kilometres (30 mi) east of Pabna. is still called indifferently the Buri Teesta or old Teesta and the Karto or Karatoya. Traces of an old channel, for which the name of the Karatoya is claimed, are also pointed out in the Chatmohar thana, where it appears to have been obliterated by the Baral.
The name of the river is formed of two Bengali words kar (hand) and toa (water), signifying, in Hindu mythology, that the river was formed by the water which was poured on the hands of Shiva, when he married Parvati.[4]
Great changes have taken place in the course of some of the rivers in Bengal and the adjoining areas, during the period since 1500 AD. Although positive evidence is lacking, similar changes can be assumed in the remoter past. The Karatoya is one of the rivers that has changed over the years.[1]
The map (right) shows the main rivers in North Bengal and adjoining areas. Not shown are numerous tributaries and distributaries, which connect the main rivers, and allow the main rivers to change course. Therefore, the river-system pattern undergoes continuous changes. Such changes have not been reflected in the map. Moreover, many of the rivers have local names for sections of the course, adding to the complexity of the river system.
Tectonic disturbances have broken up the Karatoya into four distinct parts. The northern part, called the Dinajpur-Karatoya, is the main source of the Atrai. It rises in a marsh in Baikanthapur in Jalpaiguri district, but also receives water from underground streams. In Khansama upazila its name changes to Atrai. Near Birpur Upazila, Bangaladesh (25°54'02.0"N 88°43'32.6"E) its divided into Dhepa River and Atrai River. In a second section, the Dinajpur-Karatoya was connected with the Rangpur-Karatoya north of Khansama, but very little water now passes down that channel. The upper part of Rangpur-Karatoya originates in the Jalpaiguri district and is known as the Deonai-Jamuneshwari up to Gobindaganj upazila. In a third section, the Jamuneshwari-Karatoya flows south-southeast to Gobindaganj upazila, where the main stream turns east through the Katakhali and falls into the Bangali River. The portion of the former river passing through Shibganj upazila is dry most of the year. It effectively separates the Rangpur-Karatoya from the Bogra-Karatoya, which flows south past Bogra town till it joins the Bangali to make Phuljhor river, which falls into the Hoorasagar. The fourth part, the Pabna-Karatoya, is a moribund river bed near Handial. Various other channels are also pointed out as parts of the Old Karatoya.[4]

Teesta[edit]


Van den Brouck’s map

Rennel’s map
The Teesta earlier ran due south from Jalpaiguri in three channels, namely, the Karatoya to the east, the Punarbhaba in the west and the Atrai in the centre. The three channels possibly gave the name to the river as Trisrota (possessed of three streams) which has been shortened and corrupted to Teesta. Of these three the Punarbhaba joined the Mahananda. The Atrai passing through a vast marshy area known as Chalan Beel joined the Karatoya and the united stream joined the Padma near Jafarganj. In the destructive floods of 1787, the Teesta forsook its old channel and rushing south-east it joined the Brahmaputra.[1]
In the Siyar-al-Mutakhkhirin it is recorded that the Karatoya was three times the size of the Ganges when Bakhtiyar Khilji invaded the northern parts of Bengal in 1115. In Ven den Brouck's map of Bengal, prepared in 1660, the Karatoya is shown as a large channel.[4]Rennel made a survey between 1764 and 1777 and his maps are one of the earliest authentic maps of Bengal in existence. In these maps Teesta is shown as flowing through North Bengal in several branches—Punarbhaba, Atrai, Karatoya etc. All these streams combined lower down with the Mahananda, now the westernmost river in North Bengal, and taking the name of Hoorsagar finally discharged into the Ganges at Jafarganj, near modern Goalundo. The Hoorsagar river is still in existence being the combined outfall of the Baral, a spill channel of the Ganges, the Atrai, the Jamuna or Jamuneswari (not the main Jamuna through which the Brahmaputra now flows), and the Karatoya, but instead of falling into the Ganges, it falls into the main Jamuna, a few miles above its confluence with the Padma at Goalundo.[5]
The Kosi (Kausiki), which now flows through the north-eastern Bihar and joins the Ganges at a point much higher up than Rajmahal, originally ran eastward and fell into the Brahmaputra. The channel of the Kosi, therefore, must have been steadily shifting towards the west, right across the whole breadth of North Bengal. There was a time when the Kosi and the Mahananda joined the Karatoya and formed a sort of ethnic boundary between people living south of it and the Kochs and Kiratas living north of the river.[1]
  1.  Majumdar, Dr. R.C., History of Ancient Bengal, First published 1971, Reprint 2005, p. 4, Tulshi Prakashani, Kolkata, ISBN 81-89118-01-3.
  2. Jump up^ Majumdar, Dr. R.C., p. 24
  3. Jump up^ Majumdar, Dr. R.C., p. 429
  4. Jump up to:a b c Chowdhury, Masud Hasan (2012). "Karatoya River". In Islam, Sirajul; Jamal, Ahmed A. Banglapedia: National Encyclopedia of Bangladesh (Second ed.). Asiatic Society of Bangladesh.
  5. Jump up^ Majumdar, S.C., Chief Engineer, Bengal, Rivers of the Bengal Delta, Government of Bengal, 1941, reproduced in Rivers of Bengal, Vol I, 2001, p. 45, published by Education department, Government of West Bengal.

Videgha Māthava, Gotama Rahugaṇa (ŚBr) করতোয়া নদী Karatoya river is Sadānīra (Amara) and close to the tinbelt of the globe to unleash Tin-Bronze revolution (ca.4th m.BCE)

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https://tinyurl.com/y8d4yen4

করতোয়া নদী

Amara Kośa asserts Sadānīra to be synonym of Karatoya River. See: सदानीरा स्त्री सदा नीरं पेयमस्याः । करतोयानद्याम् अमरः । “अथादौ कर्कटे देवी त्र्यहं गङ्गा रजस्वला । सर्वा रक्तवहा नद्यः करतोयाम्बुवाहिनी” स्मृत्युक्तेः
तन्नदीजलस्य सदापेयत्वात् तस्यास्तथात्वम् । Source: https://sa.wikisource.org/wiki/वाचस्पत्यम्

Karatoya Mahatmya refers to the sacredness of this river. Rivers Kosi and Mahananda joined the Karatoya and "formed a sort of ethnic boundary between people living south of it and the Kochs and Kiratas living north of the river." (Majumdar, Dr. R.C., History of Ancient Bengal, First published 1971, Reprint 2005, p. 4, Tulshi Prakashani, Kolkata.) 

Śatapatha Brāhmaprovides a detailed account of the movement of people (Videgha Māthava, Gotama Rahugaṇa) from River Sarasvati to River  Sadānīra. The location of this river is central to the history of Pre-Mauryan era Bhāratam Janam (RV 3.53.12). The region of these people has been identified in this monograph and relates to the ironwork of the Bronze Age Sarasvati Civilization. It is possible that both Brahmautra and Ganga river systems were waterways which provided for maritime transport of tin ore from the Himalayan riverbasins (Irrawaddy, Salween, Mekong) which contain the richest and largest tin belt of the globe (as the rivers ground down graniterocks to create the cassiterite -- tin ore -- deposit accumulations as placer deposits). Sources of tin were critical to unleash the Tin-Bronze Industrial Revolution of ca. 4th millennium BCE.



"Mâthava, the Videgha, was at that time on the (river) Sarasvatî. 

 
He (Agni) thence went burning along this earth towards the east; and Gotama Râhûgana and the Videgha Mâthava followed after him as he was burning along. He burnt over (dried up) all these rivers.
  
  Now that (river), which is called ‘Sadânîrâ,’ flows from the northern (Himâlaya) mountain: that one he did not burn over. That one the Brâhmans did not cross in former times, thinking, ‘it has not been burnt over by Agni Vaisvânara.’
  
 Now-a-days, however, there are many Brâhmans to the east of it. At that time it (the land east of the Sadânîrâ) was very uncultivated, very marshy, because it had not been tasted by Agni Vaisvânara.
  
  Now-a-days, however, it is very cultivated, for the Brâhmans have caused (Agni) to taste it through sacrifices. Even in late summer that (river), as it were, rages along: so cold is it, not having been burnt over by Agni Vaisvânara.
  
  Mâthava, the Videgha, then said (to Agni), ‘Where am I to abide?’ ‘To the east of this (river) be thy abode!’ said he. Even now this (river) forms the boundary of the Kosalas and Videhas; for these are the Mâthavas (or descendants of Mâthava). (Śatapatha Brāhmaṇa 1.4)

"Rennel made a survey between 1764 and 1777 and his maps are one of the earliest authentic maps of Bengal in existence. In these maps Teesta is shown as flowing through North Bengal in several branches—Punarbhaba, Atrai, Karatoya etc. All these streams combined lower down with the Mahananda, now the westernmost river in North Bengal, and taking the name of Hoorsagar finally discharged into the Ganges at Jafarganj, near modern Goalundo.https://en.wikipedia.org/wiki/Karatoya_River

Rennel's map (Bangalir Itihas by Niharranjan Roy . The map was published in 1764-66.)

Aitereya Aryanaka of 8th-7th century BC, the Pundra group of people who lived east of the Sadānīra river. puṇḍra2 m. ʻ name of a people ʼ AitBr., °aka -- m. Mn. [Orig. ʻ light -- skinned ʼ and same as puṇḍra -- 1? Cf. pāṇḍú -- , pāṇḍa -- ~ Pāṇḍu -- , Pāṇḍa -- (J. C.W.)]B. pũṛi ʻ name of a caste ʼ. (CDIAL 8260)
BD Korotoa River.JPG
Karatoya River near Mahasthangarh
BD Mahasthangarh1.JPG
Ramparts of the Mahasthangarh citadel

Mahasthangarh Museum, Bogra, Bangladesh
wikipedia.org/wiki/Mahasthangarh

পুন্ড্রবর্ধন with capital city: মহাস্থানগড় Môhasthangôṛ
See Bogra on the banks of Karatoya (spelled Korotoa on the map) river.  
মহাস্থানগড় Môhasthangôṛ is close to Bogra.
"

Out of India Theory is now dead and cremated -- Manasataramgini (April 1, 2018)

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A brief note on some new developments regarding the genomics of Indians

When we wrote a previous article on this matter we had stated that new data will alter the details of our understanding of picture discussed therein. Indeed, two new manuscripts which were deposited in the past month by McColl et al and Narasimhan et al have done so. These are still deposited manuscripts and have not been formally published. Further other data might also come in the near future. Hence, we are not launching into any detailed presentation of the revised scenarios in this note. What we intend here is to simply provide a few illustrations of the authors’ results without much critical investigation.
EastAsians
A screen shot of McColl et al Figure 4
First, the study of McColl et al focuses on the far east bringing in new ancient DNA data. The main point of interest to the Indian scenario is that the Andaman Onge are part of a major push of hunter-gatherers into the far east and Pacific, which spawned several branches that in turn mixed among themselves in various combinations giving rise among others to the Austronesian groups and East Asians. Further, in deep Pacific there were admixtures of the basal branches of this radiation with the Denisovans, the signal of which is very clearly seen in Papuans and Australian aborigines. The basal-most branch of this group analyzed by McColl et al is the 40000 YBP Tianyuan man, suggesting that these populations were in the east by then. A basal branch of this radiation group also seems to have contributed to the ancestry of only a subset of native Americans (independently of the East Asian branch that also originated from this group). This suggests that they might have reached the New World independently in an earlier wave or mixed with one strand of the main East Asian line of Native American ancestry as they entered the New World. A deep sister group of the Onge and probably a basal member of this Eastern radiation was an ancient hunter-gatherer group that settled India, where they might have undergone admixtures with one or more preexisting non-sapiens species of Homo. This population is now defined as Ancient Ancestral South Indian (AASI) by Narasimhan et al, refining the earlier definition of “Ancestral South Indian” by Reich et al. We may term the Indian hunter-gatherers.
The key point which Narasimhan et al make is that Neolithicization of the North-Western Indian Subcontinent proceeded via the entry of Iranian farmers from the west. Thus, this clarifies a previously uncertain situation based on archaeology alone. The entry of these Iranian farmers could have happened as early as the Mehrgarh Neolithic or in more than one wave of closely related western populations. In any case the authors posit that it had happened by 6700-5000 YBP. This Iranian farmer group mixed with the AASI in the NW of the Indian subcontinent and this admixture was likely the form of the population of the Harappan civilization that arose in this region. They term this population Indus periphery. Narasimhan et al also show that the Bactria-Margiana complex (BMAC) received some admixture from this population, likely of Harappan provenance, but did not contribute notably to the ancestry of the Indian subcontinent. Starting around 4100 YPB they start seeing Sintashta Steppe contributions appear for the first time in BMAC. This ancestry appears to have filtered south and reached the core Indian subcontinent thereafter. By 3700-3500 YBP they start seeing East Asian admixture on the Central Asian steppes, which continues down to the Scythian Iron Age. However, this East Asian ancestry is not visible in Indian populations. Hence, it appears that we are left with a window of 4100-3500 YBP when the Aryan invasion of the subcontinent happened. This is at the upper end of the mainstream invasion scenarios. Further, it is not inconsistent with the possibility that the invasion triggered the collapse of the Harappan urbanization around 3900 YBP. But it is also possible that the Aryans entered and occupied a landscape where the Harappan urban civilization had already collapsed or was in its last throes. It also provides support for the young age of the Veda, especially if one chose to place the Ṛgveda in the Panjab. Further, it lends some support to the scenario that the Soma cult was acquired by the Indo-Iranians and integrated with the older fire-cult as they reached the BMAC sites. It is notable in this context that one of the main proponents of the Soma cult in the Vaidika system, the Kaśyapa clan, was the default gotra for a brāhmaṇa who did not know his. There are issues with each of these points and interesting complications but we desist from discussing any of these now.
Interestingly, there was another recent publication by Vishnupriya et al applying the Bayesian phylogenetic methods to Dravidian languages. The results suggested a possible expansion of Dravidian happening around 4500 YBP. Narasimhan et al seem to mildly favor a Harappan origin of Dravidian. However, both the linguistic estimate and several other linguistic arguments are against the Harappan civilization being that of Dravidian speakers. Rather, we suspect the Dravidians arose in the South as part of the Southern Neolithicization – this might have had genetic and memetic contributions from the Indus periphery but the Dravidian languages themselves were likely of Southern provenance, probably in the upper Godavari valley. In the aftermath of the Indo-Aryan reconfiguration of the north, it is likely that the Dravidians had their own expansions both South and North adopting various Indo-Aryan technologies and ideologies. This led to the Dravidianization of many AASI hunter-gathers, who might have earlier spoken other languages.
Narasimhan et al model extant Indian populations as a three-way mixture of the Indus-periphery, the Indian Hunter-gather (AASI) and the Steppe population related to the Sintashta complex. Below are some figures based on their model to illustrate the situation.
Indians_St_I_OFigure 1. A box plot showing the three modeled components of Indian Ancestry for the 140 populations studied by the authors. The gray line indicates the position of the genuine brāhmaṇa population with the lowest steppe ancestry (i.e. leaving out some groups which are not conventional brāhmaṇa, e.g. viśvakarman). It is clear that the brāhmaṇa-s show above average steppe ancestry and below average Indian hunter-gatherer ancestry.
Indians_st_I_O_histFigure 2. The same data is represented as a histogram. It is clear that whereas the Indus-periphery and Indian Hunter-gatherer ancestry is unimodal, the steppe ancestry is not with groups showing low and high steppe ancestry. This explains the authors’ earlier model of ASI and ANI.
We then sorted the populations into five categories: 1) braḥmaṇa-s (here we retained the viśvakarman); 2) Warrior caste (traditional kṣatriya-s) and their equivalents; 3) Middle castes: vaiśya-s, cattle-breeders and agriculturalists; 4) service castes: traditional service jati-s often included as other backward, backward and scheduled castes; 5) tribes. For this we had drop generic groups like Gujarati, Punjabi, Muslim and the like. This left us with 124 populations. These are plotted in ternary diagram.
Indian_TernaryFigure 3. Ternary diagram of the 3 strands of Indian ancestry. The 5 caste-tribal groups defined above are colored: 1-red, 2-orange, 3-aquamarine; 4-blue; 5-violet. One can see the effect of the two admixtures with the steppe ancestry’s effect being predominant in the varṇa populations.
A closer examination of this is seen the next three figures:
Indian_steppeFigure 4. A box plot of the inferred steppe ancestry in the above-defined five groups. The steppe ancestry is arrayed in accordance with the caste ladder and tribals have the least of it on an average.
Indian_Indus_peripheryFigure 5. A box plot of the inferred Indus-periphery ancestry in the above-defined five groups. It is interesting to note that unlike the steppe ancestry’s the Indus-periphery ancestry is greater in the warrior and middle caste groups than in braḥmaṇa-s, who have a lower median value of this component. However, this difference is only mildly significant in the current data (p=.033) and sampling bias cannot be ruled out.
Indians_HGFigure 6. A box plot of the inferred Indian hunter-gatherer ancestry in the above-defined five groups. Here for the four groups from the warrior castes to the tribes we see a reverse of the scenario seen for the steppe ancestry. However, the braḥmaṇa-s show a slightly higher median value of this component. While again we should be clear that this could be due to sampling bias, taken together with the above plot, it might reflect some sociological reality. The braḥmaṇa-s probably to start with did not mix much with the preexisting populations of the subcontinent but as they expanded, especially while moving south, they mixed with directly with populations with lower Indus-periphery and higher hunter-gatherer components.
Together, these plots suggest a picture, which was long suspected from the physical appearance of Indians. The Indo-Aryans established themselves in the subcontinent entering via the NW, where they mixed with the older Indus-periphery populations that were likely part of or survivors of the old Harappan civilization. The groups with a wide-range of older Indian hunter-gatherer-Iranian farmer mixture were incorporated across the upper caste ladder but especially in warrior and middle castes where we see considerable dispersion (e.g. southern agnikula-kṣatriya with low steppe ancestry). The movement of braḥmaṇa-s into the south possibly also involved admixture with these groups.
Finally, a brief political note. The pro-Hindu pakṣa had acquired an aberration mainly in the past 3 decades known as OIT or the out of India theory for the origin of the Indo-Europeans. This never had a leg to stand on but is now dead and cremated. Unfortunately, the pro-Hindu side and mainstream H nationalism has invested so much in making Indo-Aryan autochthonism a centerpiece of their thought that it mostly ceded the writing of data-based Hindu prehistory to parties who are never going to be favorable to them. Even more tragically they do not even seem to recognize how wrong they were – there is a finite probability that most of the OIT proponents are going to continue that way. Further, there is an unsubstantiated rumor making rounds that the Indian side might have prevented the use of Indian aDNA in the current analysis fearing the inevitable end to OIT. If this were true then it would add to the scandal and only provide more fuel for the usual enemies of the Hindus. This intellectual failure of mainstream Hindu nationalism in frame its foundations is quite worrisome as it might reflect a deeper systematic failure in thought.
References:
The Genomic Formation of South and Central Asia, Narasimhan et al. https://www.biorxiv.org/content/early/2018/03/31/292581
Ancient Genomics Reveals Four Prehistoric Migration Waves into Southeast Asia, McColl et al. https://www.biorxiv.org/content/early/2018/03/08/278374
A Bayesian phylogenetic study of the Dravidian language family http://rsos.royalsocietypublishing.org/content/5/3/171504

Inscription Indus Script pictorial cluster on Kalibangan terracotta cake is wealth accounting ledger of mint smelter work

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https://tinyurl.com/y975pmzdKalibangan. Pl. XXII B. Terracotta cake with incised figures on obverse and reverse, Harappan. On one side is a human figure wearing a head-dress having two horns and a plant in the centre; on the other side is an animal-headed human figure with another animal figure, the latter being dragged by the former. 

Decipherment of hieroglyphs on the Kalibangan terracotta cake:

Obverse pictorial cluster:
bhaa'warrior' rebus: bhaa'furnace' kamaḍha'archer' Rebus: kammaṭa'mint, coiner, coinage';
kolmo 'rice plant' rebus: kolami 'smithy, forge'; kuhī  'twig' rebus: kuhi 'smelter'.
ko  'horn' rebus: koḍ  'workshop'

Reverse pictorial cluster:
kola'tiger' rebus: kolle'blacksmith', kolhe'smelter'kol'working in iron'
The animal on the head of the person dragging the tiger is perhaps of a bovine: dhangar'bull' rebus: dhmakara 'blacksmith blowing the forge'; dhangar 'blacksmith'.

Pictorial cluster: Animal tied to a post: mēthí
 m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., °thī -- f. KātyŚr.com., mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP. 1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), mihomiyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽhmẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. mehmehā ʻ the post ʼ, (SBhagalpur) mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīrmīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2); L. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛ f., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛhamehra ʻ a circular construction, mound ʼ; Or. meṛhīmeri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.(CDIAL 10317) Rebus: meḍ 'iron' (Mu.Ho) med 'copper' (
Slavic languages)

Thus, together,both sides of the terra cotta cake with pictorial clusters signifies:

Obverse: kammaṭa bhaa kolami ko 'mint furnace, smithy workshop'
Reverse: dhangar meḍ kolhe 'blacksmith smelter, working in iron'

Thus, the terracotta cake inscription signifies a iron workshop smelter/furnace and smithy.


It is significant that the terracotta cotta was discovered close to a fire-alter with a quadrangular yupa.
Image result for kalibangan yupaKalibangan: four-angled caturaśri  viṣṇu bhāga of yupa.


The recording of an inscription on a terracotta cake used in a fire-altar continues as a tradition with inscriptions recorded on Yupa, 'pillars' of Rajasthan indicating the type of yajna's performed using those Yupa. 

At the Vājapeya, the yūpa is eight-angled (as in Binjor), corresponding to the eight quarers (Sat.Br. V.2.1.5 aṣṭāśrir yūpo bhavati) or, is four-angled (as in Kalibangan) as prescribed in Taitt. Sam. I.7.9.1.
See:

पोळ pōḷa, 'zebu' rebus pōḷa, 'magnetite, ferrite ore' kola 'tiger', kolhe 'smelter', pã̄jā ʻkilnʼ, pāñji 'account register' of Sarasvati Civilization; dhā̆vaḍ 'iron smelters'

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https://tinyurl.com/yd92yoyh

This monograph demonstrates that tiger and bos indicus (zebu) signify Indus Script hypertexts of dhā̆vaḍ 'iron smelter' with associated hieroglyphs signifying metalwork: catalogues: sāṅgaḍa 'joined parts' rebus: saṅgraha संग्रह 'cataloguesã̄gah 'building materials'. 

I suggest that the pāñji 'account register' is signified by paũjā 'feline paw' shown on Indus Script Corpora.


The orthographic focus of Seam m0295 is on 1. tiger's paws; 2. body of tiger; 3. three tigers joined together PLUS five 'signs' of the script. panzĕ पन्ज़्य m. the wound made by an animal's claw (cf. panja) (K. 678).  L. pôcā m. ʻ paw ʼ, (Shahpur) paucā m. ʻ paw, claw ʼ; P. pahũcā m. ʻ wrist, paw ʼ; N. paũjā ʻ paw ʼ;(CDIAL 8018)

Rebus: *pañjāpāka ʻ kiln for a heap ʼ. [*pañja -- , āpāka -- ]P. pañjāvāpãj° m. ʻ brick kiln ʼ; B. pã̄jā ʻ kiln ʼ, G. pajāvɔ m. (CDIAL 7686). A. pāw ʻ foot, leg ʼ(CDIAL 8056)

This focus on feline paw is also seen on the Lady Spinner plaque (Louvre). See the feline paws shown as legs of stools on the plaque. The plaque signifies both spinning cotton and smelting in a furnace.

Cotton thread spun: pañji, °jī°jikā -- f. ʻ ball of cotton from which thread is spun ʼ lex. [← Drav. T. Burrow BSOAS xii 382 and DED 3173. Cf. piñjā -- and *pañja -- (s.v. puñja -- ) with which it collides in NIA.] A. pã̄zi ʻ wisp of cotton, roll of cotton or thread ʼ; B. pã̄ij ʻ wisp, roll (esp. of cotton) ʼ.(CDIAL 7688)பஞ்சு¹ pañcu, n. cf. pañji. 1. Cotton; பருத்தி. பஞ்சொக்குமடிகள் (கம்பரா. மாரீச. 70). 2. Cloth; சீலை. பஞ்சா ரகலல்குற் பாவையார் (சூளா. மந்திர. 54). 3. See பஞ்சி, 5. பஞ்சணி விரலினார் (கம்பரா. உலாவியல். 10). 4. Wick; விளக்குத்திரி. பஞ்சின்றி யமுதநெய் மாட்டிய விளக்கே (கம்பரா. சித் திர. 15). 5. Indian cotton-plant; பருத்திச்செடி. 6. Down of pūḷai; பூளைப்பஞ்சு. 7. A technical term, used in dice-play; கவறாட்டத்து வழங்கும் குழூஉக்குறி. பஞ்சென வுரைசெய்வர் (கந்தபு. கயமுக னுற். 167).

Accounts written: pañjī -- , °jikā -- f. ʻ register, almanac ʼ lex. [Same as pañji -- EWA ii 188]A. pã̄zi ʻ almanac ʼ, B. pã̄ji; Or. pāñji ʻ almanac, accounts written on a palm -- leaf ʼ; Mth. pã̄jī ʻ genealogical register of Sotī Brahmans ʼ.(CDIAL 7690)
Image result for lady spinner louvre
Bas-relief fragment, called "The Spinner" Bitumen J. de Morgan excavations Sb 2834 Display case 6 b: Susiana in the Neo-Elamite period (8th century–middle 6th century BC). Goldwork, sculpture, and glyptics  "The material used to sculpt this relief is highly characteristic of Susa: a bituminous stone, a matte, black sedimentary rock. Deposits of bitumen, a thick hydrocarbon, are relatively numerous in Mesopotamia and in western Iran, an area of abundant oil resources, but the bituminous stone deposit in the Susa region seems to have been unique and the Susians were the only ones to use it from the 4th millennium. The fine grain of the stone permitted a high level of precision in the details. If heated slightly, the stone could be coated with gold or silver leaf or receive incrustatations of various materials, for the making of luxury objects typical of Susa."


 https://www.louvre.fr/en/oeuvre-notices/spinner

Related imageRelated imagem0295m1395
Field Symbol Code 33 (Mahadevan Corpus 1977) Fig.No.-61: Composite motif of three tigers
m0295
Location: Mohenjo Daro, Larkana Dt., Sind, Pakistan
Site: Mohenjo Daro
Monument/Object: carved seal
Current Location: National Museum, New Delhi, India
Subject: interlinked tigers
Period: Harappa/Indus Civilization (Pakistan) (3300-1700 BCE)
Date: ca. 2100 - 1750 BCE
Material: stone
Scan Number: 27412
Copyright: Huntington, John C. and Susan L.
Image Source: Huntington Archive
Text1386 Note how the hieroglyph components of the text are displayed in the space available on the seal after the pictorial motif hieroglyphs have been put together as part of the hypertext. The broken corner of the seal may have included other 'text hieroglyphs called signs'. The text messageis: bronze workshop, scribe/account iron supercargo, helmsman, smithy/forge/temple.

m0295 Text message: bronze workshop, scribe/account iron supercargo, helmsman, smithy/forge/temple.

cāli 'interlocked' rebus śālikā 'village of artisans, shop' kola 'tiger' sāṅgaḍa 'joined parts' rebus, kol'blacksmith, working in iron', saṁgaha, 'manager arranger'.



kolmo 'three' Rebus: kolimi 'smithy, forge'

kola 'tiger' Rebus: kol 'working in iron'; kolle 'blacksmith'; kolimi 'smithy, forge'; kole.l 'smithy, temple'

कर्णक kárṇaka कर्णक kárṇaka, kannā m. du. the two legs spread out AV. xx , 133 'spread legs'; 

(semantic determinant) rebus: kárṇaka, kannā कर्णक 'helmsman'.PLUS 

me ‘body’ Rebus: me ‘iron’ (Mu.) 


kaṇḍ kanka ‘rim of jar’; Rebus: karnI 'supercargo', karṇika ‘scribe’; 

kaṇḍ ‘furnace, fire-altar’. Thus the ligatured Glyph is decoded: 

kaṇḍkarṇaka ‘furnace scribe'



kole.l smithy, temple in Kota village (Ko.)


kōna corner (Nk.); tu. u angle, corner (Tu.); rebus: kõdā ‘to turn in a lathe’ (Bengali) Alternative reading; kanac 'corner' rebus: kañcu 'bronze'

sal 'splinter' Rebus: sal 'workshop'

Thus, the message on the seal reads: me ‘iron’; kāḍ  ‘stone’;  karṇaka karṇika ‘helmsman, supercargo, furnace scribe'; kolimi 'smithy, forge' kole.l 'smithy, temple'; sal ‘workshop’ PLUS kõdā sal 'turner workshop' (Alternative: kañcu sal 'bronze workshop')



The entire hypertexts of pictorial and text hieroglyph components can thus be read using rebus-metonymy-layered-meluhha cipher as: 'iron stone furnace scribe smithy-forge, temple, bronze turner's workshop'.


Hieroglyph of ‘looking back’ is read rebus as kamar 'artisan': క్రమ్మరు 
[krammaru] krammaru. [Tel.] v. n. To turn, return, go  back. మరలు.  క్రమ్మరించు or  క్రమ్మరుచు  krammarinsu. V. a. To turn, send back, recall. To revoke, annul, rescind.క్రమ్మరజేయు.  క్రమ్మర krammara. Adv. Again. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరుkrəm backʼ(Kho.)(CDIAL 3145) Kho. Krəm ʻ back ʼ NTS ii 262 with (?) (CDIAL 3145)[Cf. Ir. *kamaka – or *kamraka -- ʻ back ʼ in Shgh. Čůmč ʻ back ʼ, Sar. Čomǰ EVSh 26] (CDIAL 2776) cf. Sang. kamak ʻ back ʼ, Shgh. Čomǰ (< *kamak G.M.) ʻ back of an animal ʼ, Yghn. Kama ʻ neck ʼ (CDIAL 14356). Kár, kãr  ‘neck’ (Kashmiri) Kal. Gřä ʻ neck ʼ; Kho. Go ʻ front of neck, throat ʼ. Gala m. ʻ throat, neck ʼ MBh. (CDIAL 4070)  Rebus: karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali)


kul ‘tiger’ (Santali); kōlu id. (Telugu) kōlupuli = Bengal tiger (Te.) कोल्हा [ kōlhā ] कोल्हें [kōlhēṃ] A jackal (Marathi) Rebus: kol, kolhe, ‘the koles, iron smelters speaking a language akin to that of Santals’ (Santali) kol ‘working in iron’ (Tamil) kōla1 m. ʻ name of a degraded tribe ʼ Hariv. Pk. kōla -- m.; B. kol ʻ name of a Muṇḍā tribe ʼ.(CDIAL 3532) 



కరుకోల (p. 252) karukōla karu-kōla. [Tel.] n. A firing iron, for cautery. கொல்லுலை kol-l-ulai 
 , n. < id. +. Black-smith's forge; கொல்லனுலை. கொல்லுலைக் கூடத் தினால் (குமர. பிர. நீதிநெறி. 14).கொல்² kol Working in iron; கொற்றொழில். Blacksmith; கொல்லன். 5. Lock; பூட்டு. (பிங்.)  Brass or iron bar nailed across a door or gate; கதவு முதலியவற்றில் தைக்கும் இரும்பு முதலிய வற்றாலாகிய பட்டை. Loc.


Ta. kol working in iron, blacksmith; kollaṉ blacksmith. 
Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith(Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.)kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge.(DEDR 2133)


सांगड (p. 495) sāṅgaḍa f A body formed of two or more (fruits, animals, men) linked or joined together. Rebus: सं-ग्रह [p=1129,2] a guardian , ruler , manager , arranger R. BhP. keeping , guarding , protection Mn. MBh. &c; completeenumeration or collection , sum , amount , totality (एण , " completely " , " entirely ")Ya1jn5. MBh. &c (Monier-Williams) Pa. saṅgaha -- m. ʻ collection ʼ, Pk. saṁgaha -- m.; Bi. sã̄gah ʻ building materials ʼ; Mth. sã̄gah ʻ the plough and all its appurtenances ʼ, Bhoj. har -- sã̄ga; H. sãgahā ʻ collection of materials (e.g. for building) ʼ; <-> Si. san̆gaha ʻ compilation ʼ ← Pa.(CDIAL 12852) Rebus: सांगड (p. 495) sāṅgaḍa 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.  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.
Image result for three tigers indus
Samarra bowl. Bowl, from Samarra, Mesopotamia. Ernst Herzfeld, Die Vorgeschichtlichen Toepfereien von Samarra, Berlin 1930.
Herzfeld, Ernst. Der Wandschmuck der Bauten von Samarra und seine Ornamentik. Berlin: D. Reimer, 1923.
Herzfeld, Ernst. Die Malereien von Samarra. Berlin: D. Reimer, 1927.
Herzfeld, Ernst. Die vorgeschichtlichen Töpfereien von Samara. Berlin: D. Reimer, 1930.
Herzfeld, Ernst. Geschichte der Stadt Samara. Hamburg: Eckardt & Messtorff, 1948.
Decipherment:

dula 'pair' rebus: dul 'cast metal'

kola 'tiger' rebus: kolhe 'smelter' kol 'working in iron' kolle 'blacksmith'. http://www.harappa.com/figurines/index.html kola 'tiger' kola 'woman' Rebus: kol 'working in iron'. Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka.kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.;.P.U.) konimi blacksmith
(Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go.(SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge(DEDR 2133).

मेढ (p. 662) [ mēḍha ] the polar star (Phonetic determinant); meḍ(h), meḍhī f.,  meḍhā m. ʻpost, forked stakeʼ rebus: meD'iron' (Ho.); med 'copper'

kāṇḍa 'water' rebus: kāṇḍa 'tools, pots and pans and metal-ware'.

Thus, the inscription on the Kulli plate signifies iron smelting, cast iron (metal) implements.

Bronze tripod. Begram 26, Kabul Museum. From Hackin, MDAFA XI, 1954, fig. 340. Legs of the tripod are tiger paws. kola 'tiger' Rebus: kol 'working in iron' kolhe 'smelters'.  Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ 'fire-altar' (Santali) kāṇḍa 'tools, pots and pans and metal-ware' (Marathi) 

A Gold Rhyton with two tigers;  svastika incised on thigh of tiger; found in historical site of Gilanhttp://www.fouman.com/Y/Image/History/Gilan_Gold_Rhyton_Lion.jpg

sattu (Tamil), satta, sattva (Kannada) jasth जसथ् ।रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath  ज़स््थ् or zasuth ज़सुथ ्। रप m. (sg. dat. zastas  ज़्तस), zinc, spelter, pewter (cf. Hindī jast). jastuvu;  रपू्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter). *ṭhaṭṭha1 ʻbrassʼ. [Onom. from noise of hammering brass?]N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 1.Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār°rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H.ṭhaṭherā m.(CDIAL 5491, 5493).
Kalibangan. Pl. XXII B. Terracotta cake with incised figures on obverse and reverse, Harappan. On one side is a human figure wearing a head-dress having two horns and a plant in the centre; on the other side is an animal-headed human figure with another animal figure, the latter being dragged by the former. Image result for joined tigers indus


Decipherment of hieroglyphs on the Kalibangan terracotta cake:

Obverse pictorial cluster:
bhaa 'warrior' rebus: bhaa 'furnace' kamaḍha 'archer' Rebus: kammaṭa 'mint, coiner, coinage';
kolmo 'rice plant' rebus: kolami 'smithy, forge'; kuhī  'twig' rebus: kuhi 'smelter'.
ko  'horn' rebus: koḍ  'workshop'

Reverse pictorial cluster:
kola 'tiger' rebus: kolle 'blacksmith', kolhe 'smelter' kol 'working in iron'
The animal on the head of the person dragging the tiger is perhaps of a bovine: dhangar 'bull' rebus: dhmakara 'blacksmith blowing the forge'; dhangar 'blacksmith'.

Thus, together,both sides of the terra cotta cake with pictorial clusters signifies:


Obverse: kammaṭa bhaa kolami ko 'mint furnace, smithy workshop'
Reverse: dhangar meḍ kolhe 'blacksmith smelter, working in iron'

Thus, the terracotta cake inscription signifies a iron workshop smelter/furnace and smithy.



It is significant that the terracotta cotta was discovered close to a fire-alter with a quadrangular yupa.
Image result for kalibangan yupaKalibangan: four-angled caturaśri  viṣṇu bhāga of yupa.



The recording of an inscription on a terracotta cake used in a fire-altar continues as a tradition with inscriptions recorded on Yupa, 'pillars' of Rajasthan indicating the type of yajna's performed using those Yupa. 

At the Vājapeya, the yūpa is eight-angled (as in Binjor), corresponding to the eight quarers (Sat.Br. V.2.1.5 aṣṭāśrir yūpo bhavati) or, is four-angled (as in Kalibangan) as prescribed in Taitt. Sam. I.7.9.1.
See:

 http://tinyurl.com/og6ksat

The tiger is being pulled to be tied to a post, pillar.
Hieroglyph: Ka. kunda a pillar of bricks, etc. Tu. kunda pillar, post. Te. kunda id. Malt. kunda block, log. ? Cf. Ta. kantu pillar, post. (DEDR 1723) Rebus: (agni)kuNDA 'fire-altar, vedi'. kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). -- khasüñü -- । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 133, where the causal form of the verb is used.(Kashmiri)
tāvaṇi, dāmanī 'long rope' rebus: dhāvḍī ʻ composed of or relating to iron ʼ
Hieriglyph: meṛh rope tying to post, pillar: mēthí m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., °thī -- f. KātyŚr.com., mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP.1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), mihomiyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽhmẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. mehmehā ʻ the post ʼ, (SBhagalpur)mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīrmīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2); L. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛ f., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛhamehra ʻ a circular construction, mound ʼ; Or. meṛhī,meri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.mēthika -- ; mēthiṣṭhá -- . mēthika m. ʻ 17th or lowest cubit from top of sacrificial post ʼ lex. [mēthí -- ]Bi. mẽhiyā ʻ the bullock next the post on threshing floor ʼ.mēthiṣṭhá ʻ standing at the post ʼ TS. [mēthí -- , stha -- ] Bi. (Patna) mĕhṭhā ʻ post on threshing floor ʼ, (Gaya) mehṭāmẽhṭā ʻ the bullock next the post ʼ.(CDIAL 10317 to, 10319) Rebus: meD 'iron' (Ho.); med 'copper' (Slavic)
Signifiers of aquatic bird, zebu and tiger on Harappa Script inscriptions: aquatic bird is tied to a rope, zebu is tied to a rope, tiger is tied to a rope
Image result for zebu tied to a rope indus On this Susa pot which contained metal implements as cargo from Meluhha, an aquatic bird is shown tied to a rope. This is a hieroglyph: karaDa 'aquatic bird' rebus: karaDa 'hard alloy' meṛh rope tying to post, pillar; मेढ [ mēḍha ] 'rope PLUS stake' rebus: meD 'iron' medha 'yajña, dhanam'.
Vivid hieroglyph hypertexts on Indus Script Corpora include animals tied to a long rope. Such signifiers occur, for example on a Kalibangan terracotta cake which signifies a tiger tied to a rope and dragged; and on Nausharo storage pots which signify a zebu tied with a rope to a pillar/port/tree trunk.

In one hypertext (as on the Kulli plate), three distinct ropes are signified: tri-dhAu ‘three strands’ rebus: tri-dhAtu ‘three minerals’.


These hypertexts signify: 

1. पोळ [pōḷatāvaṇi, dāmanī मेढ [ mēḍha ] 'zebu PLUS rope PLUS stake'
2. kola, tāvaṇi, dāmanī मेढ [ mēḍha ] 'tiger PLUS rope PLUS stake'

Rebus signifiers are: 1. पोळ [pōḷa]  'magnetite, ferrite ore' and 2. kol 'working in iron' PLUS meD 'iron' PLUS 

dhāvḍī ʻ composed of or relating to iron ʼ  dhā̆vaḍ m. ʻa caste of iron-- smeltersʼ. Thus, the message is: smelter of iron, magnetite.

The Prakritam gloss पोळ [pōḷa], 'zebu' as hieroglyph is read rebus: pōḷa, 'magnetite, ferrous-ferric oxide'; poliya 'citizen, gatekeeper of town quarter'.

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

tāvaṇi, dāmanī 'long rope' rebus: dhāvḍī ʻ composed of or relating to iron ʼ

The stake to which the animal is tied with rope is a semantic determinant reinforcing that the smelted metal is 'iron'.

मेढ [ mēḍha ] f A forked stake rebus: meD 'iron' (Ho.); med 'copper' 

मेढ [ mēḍha ] f A forked stake. Used as a post. Hence a short post generally whether forked or not. Pr. हातीं लागली चेड आणि धर मांडवाची मेढ.Hieriglyph: meṛh rope tying to post, pillar: mēthí m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., °thī -- f. KātyŚr.com., mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP.1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), mihomiyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽhmẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. mehmehā ʻ the post ʼ, (SBhagalpur)mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīrmīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2); L. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛ f., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛhamehra ʻ a circular construction, mound ʼ; Or. meṛhī,meri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.mēthika -- ; mēthiṣṭhá -- . mēthika m. ʻ 17th or lowest cubit from top of sacrificial post ʼ lex. [mēthí -- ]Bi. mẽhiyā ʻ the bullock next the post on threshing floor ʼ.mēthiṣṭhá ʻ standing at the post ʼ TS. [mēthí -- , stha -- ] Bi. (Patna) mĕhṭhā ʻ post on threshing floor ʼ, (Gaya) mehṭāmẽhṭā ʻ the bullock next the post ʼ.(CDIAL 10317 to, 10319) Rebus: meD 'iron' (Ho.); med 'copper' (Slavic)
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. 


Hieroglyph: loa ‘ficus religiosa’ Rebus: lo, no ‘copper’ (Bengali) Phonetic determinant of the count of nine leaves.




Hieroglyph: no, lo ‘nine’ náva2 ʻ nine ʼ RV. Pa. nava, Pk. ṇava, Ḍ. nau, Ash. no, , Wg. nū̃, Pr. , Dm. nō̃, Tir. nāb, Paš.lauṛ. nāˊwa, ar. nāu, dar. , Shum. , Niṅg. nū̃, Woṭ. nau, Gaw. nū̃, Kal.rumb. , Kho. nyoh (whence y? -- h from Pers.? BelvalkarVol 94), Bshk. nab, num, Tor. nom, Kand. nāũ, Mai. naũ, Sv. nōu, Phal. nau, , nū̃, Sh.gil. náŭ, pales. nāũ, K. nav, nau, nam, pog. nāu, rām. kash. ḍoḍ. nau, S. nãvã, L. nõ˅, khet.naũ, awāṇ. naɔ̃, P. naũ, bhaṭ. nau, WPah.bhal. paṅ. cur. nao, Ku. nau, gng. , N. nau, A. B. na, Or. na, naa, Bi. Mth. Aw.lakh. nau, H. nau, nam, OMarw. nova, G. nav, M. nav, naū, Ko. nav, OSi.nava, Si. namaya, Md. nuva. navaka -- 2, navatí -- , navamá -- ; *navaguṇa -- , návadaśa, navanavati -- , navarātra -- , navāśīti -- .navaka -- 1 ʻ new ʼ see náva -- 1. Addenda: náva2: S.kcch.  ʻ 9 ʼ, WPah.kṭg. (kc.) nɔ̈̄, nɔu, J. nau, Garh. , Md. nuva. (CDIAL 6984) Rebus:lo, no ‘iron’ (Bengali) lōhá ʻ red, copper -- coloured ʼ ŚrS., ʻ made of copper ʼ ŚBr., m.n. ʻ copper ʼ VS., ʻ iron ʼ MBh. [*rudh -- ]Pa. lōha -- m. ʻ metal, esp. copper or bronze ʼ; Pk. lōha -- m. ʻ iron ʼ, Gy. pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻ steel ʼ; Kho. loh ʻ copper ʼ; S. lohu m. ʻ iron ʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃u n., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā, Ku. luwā, N. lohu, °hā, A. lo, B. lo, no, Or. lohā, luhā, Mth.loh, Bhoj. lohā, Aw.lakh. lōh, H. loh, lohā m., G. M. loh n.; Si. loho,  ʻ metal, ore, iron ʼ; Md. ratu -- lō ʻ copper ʼ.
*lōhala -- , *lōhila -- , *lōhiṣṭha -- , lōhī -- , laúha -- ; lōhakāra -- , *lōhaghaṭa -- , *lōhaśālā -- , *lōhahaṭṭika -- , *lōhōpaskara -- ; vartalōha -- .Addenda: lōhá -- : WPah.kṭg. (kc.) lóɔ ʻ iron ʼ, J. lohā m., Garh. loho; Md.  ʻ metal ʼ.†*lōhaphāla -- or †*lōhahala -- .(CDIAL 11158)

 While we do not know where this piece was found, the zebu bull motif ("the essence of civilization" according to the Italian exhibitors) is similar to a pot found at Nausharo in Balochistan and dated to roughly 2600-2500 BCE. The archaeologist Ute-Franke-Vogt writes about the Kulli culture from which it may stem "This late Kulli occupation to which the largest number of sites in southern Balochistan belong, co-existed with the Indus Civilization (Kanri Buthi).  http://balochhistory11.blogspot.in/2014/12/brilliantly-painted-pottery-vessels.html

Compartmented stamp seal with a zebu. Copper alloy. L 4.3 cm (1 3/4 in.); W. 3.8 cm (1 1/2 in.); Thickness 0.5 cm (3/16 in.). Baluchistan, Nausharo, Sector G, phase IB. Nausharo, ca. 2400 BCE. Exploration Branch, Karachi EXB 539. Dept. of Archaeology and Museums, Govt. of Pakistan.) "The glyptic evidence, though limited to a few examples, is varied in form and geographic distribution. Perhaps the most widespread type of Oxus seal is the copper-alloy compartmented version, which has been found at sites in Syria, Iran and Baluchistan, as well as Mohenjo-daro. The depiction of the typically Harappan zebu on such seals from both Mohenjo-daro and Nausharo, and their impressions on pottery from Shahr-i-Sokhta, in southeastern Iran, may indicate some special significance for this image in the context of interregional exchange. The Nausharo seal found in a phase at the site that appears to predate a mature Harappan presence, depicts the animal striding, with characteristic inward-curving horns, a circular eye, and geometric patterns to divide and define areas of the body, such as the forequarters, legs, belly, hindquarters, and tail. It recalls a compartmented seal from Altyn-depe, where the pattern is simpler. Both Nausharo and Mohenjo-daro have produced two Central Asian compartmented seals."(Joan Aruz, Ronald Wallenfels, 2003, Art of the first cities: the third millennium BCE from the Mediterranean to the Indus, Metropolitan Museum of Art, New York, pp.412-413)

http://www.iranicaonline.org/articles/jiroft-iv-iconography-of-chlorite-artifacts




Figure 11: a. mountains landscape and waers; (upper part) a man under an arch with sun and crescent moon symbols; (lower part) man seated on his heels holding zebus; b. man holding a snake; c. two men (drinking) and zebus, on a small cylindrical vessel; d. Head of woman protruding from  jar, and snakes; 3. man falling from a tree to the trunk of which a zebu is tied; f. man with clas and bull-man playing with cheetahs, and a scorpion in the center (on a cylindrical vessel). http://www.iranicaonline.org/articles/jiroft-iv-iconography-of-chlorite-artifacts.
Dark grey steatite bowl carved in relief. Zebu or brahmani bull is shown with its hump back; a male figure with long hair and wearing akilt grasps two sinuous objects, representing running water, which flows in a continuous stream. Around the bowl, another similar male figure stands between two lionesses with their head turned back towards him; he grasps a serpent in each hand. A further scene (not shown) represents a prostrate bull which is being attacked by a vulture and a lion. 


The zebu is reminiscent of Sarasvati Sindhu seals. The stone used, steatite, is familiar in Baluchistan and a number of vessels at the Royal Cemetery at Ur were made out of this material. 


The bowl dates from c. 2700-2500 B.C.E and the motif shown on it resembles that on a fragment of a green stone vase from one of the Sin Temples at Tell Asmar of almost the same date. 


Khafajeh bowl; a man sitting, with his legs bent underneath, upon two zebu bulls. This evokes the proto-Elamite bull-man; the man holds in his hands streams of water and issurrounded by ears of corn. He has a crescent beside his head. On the other side of the bowl, a man is standing upon two lionesses and grasping two serpents.
Slippainted cylindrical jar. Kulli. 
Nausharo pot.
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.  
Nausharo: céramique de la période I (c. 2500 BCE) cf. Catherine Jarrige http://www.guimet.fr/La-mission-archeologique-de-l,636
Hieroglyph: dāuṇi  'rope': தாவணி² tāvaṇi n. < dāmanī1. Long rope to tie cattle in a row; பலமாடுகளைக் கட்டும் தும்புகள்பிணைத்த கயிறு. (W.) 2. Cattle-fair; மாட்டுச்சந்தை. Loc. 3. Cattle-shed; மாட்டைக் கூட்டமாகக் கட்டுமிடம். (சங். அக.) தாவழக்கட்டு tāvaḻa-k-kaṭṭu n. < தாவடம்¹ +. Rope for tying the neck of cattle to the foreleg; கால்நடைகளின் கழுத்தையும் முன்காலையும் பிணிக்குங் கயிறு. (J.) தாவணி³ tāvaṇi n. < U. dāmanī. 1. A piece of cloth worn generally by girls over their petticoats; சிறுபெண்கள் சட்டைமேல் அணியும் மேலாடை. 2. Pieces from the shroud kept as relic of the deceased; பிரேதத்தின்மேல் இடுந் துணியிலிருந்து சுற்றத்தார் ஞாபகார்த்தமாகக் கொள் ளும் சிறுதுண்டு. Chr. 3. Saddle cloth; குதிரை யின் மேலாடை. Loc.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)
Note the Isapur yupa which show ropes in the middle and on the top to tie an animal as shown on the Kaibangan terracotta cake. In the case of the Kalibangan terracotta cake, the hieroglyph shows a kola, 'tiger' tied to the rope. The rebus reading is kol 'working in iron'. The work in iron is signified by the post, yupa: meḍ(h), 'post, stake' rebus: me 'iron', med 'copper' (Slavic). 
Image result for joined tigers indus

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’.




  

Mohenjo-daro Seals m1118 and Kalibangan 032, glyphs used are: Zebu (bos taurus indicus), fish, four-strokes (allograph: arrow).ayo ‘fish’ (Mu.) + kaṇḍa ‘arrow’ (Skt.) ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ) aya = iron (G.); ayah, ayas = metal (Skt.) gaṆḌa, ‘four’ (Santali); Rebus: kaṇḍ ‘fire-altar’, ‘furnace’), arrow read rebus in mleccha (Meluhhan) as a reference to a guild of artisans working with ayaskāṇḍa ‘excellent quantity of iron’ (Pāṇini) is consistent with the primacy of economic activities which resulted in the invention of a writing system, now referred to as Indus Writing.
काण्डः kāṇḍḥ ण्डम् ṇḍam The portion of a plant from one knot to another. काण्डात्काण्ड- त्प्ररोहन्ती Mahānār.4.3. A stem, stock, branch; लीलोत्खातमृणाल काण्डकवलच्छेदे U.3.16; Amaru.95; Ms. 1.46,48, Māl.3.34. కాండము [ kāṇḍamu ] kānamu. [Skt.] n. Water. నీళ్లు (Telugu) kaṇṭhá -- : (b) ʻ water -- channel ʼ: Paš. kaṭāˊ ʻ irrigation channel ʼ, Shum. xãṭṭä. (CDIAL 14349).

A Munda gloss for fish is 'aya'. Read rebus: aya 'iron' (Gujarati) ayas 'metal' (Vedic). 
The script inscriptions indicate a set of modifiers or ligatures to the hieroglyph indicating that the metal, aya, was worked on during the early Bronze Age metallurgical processes -- to produce aya ingots, aya metalware,aya hard alloys.



Shahdad plates signifying zebu and tiger as catalogues of metalwork:
Shahdad.Plates 5 & 6. Chlorite incised vessel Grave No. 001.
Object No. 0004 (p.26)  Hakemi, Ali, 1997, Shahdad, archaeological excavations of a bronze age center in Iran, Reports and Memoirs, Vol. XXVII, IsMEO, Rome. 766 pp.

Pre-cuneiform tablet with seal impressions
Image result for joined tigers indus
The imagery of the cylinder seal records information. A male figure is guiding dogs (?Tigers) and herding boars in a reed marsh. Both tiger and boar are Indus writing hieroglyphs, together with the imagery of a grain stalk. All these hieroglyphs are read rebus in Meluhha (mleccha),of Indian sprachbund in the context of metalware catalogs of bronze age. kola 'tiger'; rebus: kol 'iron'; kāṇḍa 'rhino'; rebus: kāṇḍa 'metalware tools, pots and pans'. Ka. (Hav.) aḍaru twig; (Bark.) aḍïrï small and thin branch of a tree; (Gowda) aḍəri small branches. Tu. aḍaru twig.(DEDR 67) Rebus: aduru gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddhānti Subrahmaṇya’ Śastri’s new interpretation of the AmarakoŚa, Bangalore, Vicaradarpana Press, 1872, p.330) Alternative rebus: If the imagery of stalk connoted a palm-frond, the rebus readings could have been: 

कारंडा [ kāraṇḍā ]करंडा [ karaṇḍā ]  m A chump or block. the stock or fixed portion of the staff of the large leaf-covered summerhead or umbrella. A clump, chump, or block of wood. 

Rebus: karaḍa ‘hard alloy’ (Marathi)

काण्डी kANDI 'little stalk or stem' Rebus: kANDa 'implements'.


Ku. N. tāmo (pl. ʻ young bamboo shoots ʼ), A. tām, B. tã̄bā, tāmā, Or. tambā, Bi tã̄bā, Mth. tām, tāmā, Bhoj. tāmā, H. tām in cmpds., tã̄bā, tāmā m. (CDIAL 5779) Rebus: tāmrá ʻ dark red, copper -- coloured ʼ VS., n. ʻ copper ʼ Kauś., tāmraka -- n. Yājñ. [Cf. tamrá -- . -- √tam?] Pa. tamba -- ʻ red ʼ, n. ʻ copper ʼ, Pk. taṁba -- adj. and n.; Dm. trāmba -- ʻ red ʼ (in trāmba -- lac̣uk ʻ raspberry ʼ NTS xii 192); Bshk. lām ʻ copper, piece of bad pine -- wood (< ʻ *red wood ʼ?); Phal. tāmba ʻ copper ʼ (→ Sh.koh. tāmbā), K. trām m. (→ Sh.gil. gur. trām m.), S. ṭrāmo m., L. trāmā, (Ju.) tarāmã̄ m., P. tāmbā m., WPah. bhad. ṭḷām n., kiũth. cāmbā, sod. cambo, jaun. tã̄bō (CDIAL 5779) tabāshīr तबाशीर् । त्वक््क्षीरी f. the sugar of the bamboo, bamboo-manna (a siliceous deposit on the joints of the bamboo) (Kashmiri)


Fig. 24 Line drawing showing the seal impression on this tablet. Illustration by Abdallah Kahil.
Proto-Cuneiform tablet with seal impressions. Jemdet Nasr period, ca. 3100-2900 BCE. Mesopotamia. Clay H. 5.5 cm; W.7 cm.

Source:  Kim Benzel, Sarah B. Graff, Yelena Rakic and Edith W. Watts, 2010, Art of the Ancient Near East, a resource for educators, New York, Metropolitan Museum of Art
http://www.metmuseum.org/~/media/Files/Learn/For%20Educators/Publications%20for%20Educators/Art%20of%20the%20Ancient%20Near%20East.pdf
Click to view original image.
Indus Valley Pot - LK.040
Origin: Pakistan/Western India
Circa: 3500 BC to 2000 BC Dimensions: 5.1" (13.0cm) high x 5.5" (14.0cm) wide 
Collection: Asia
Style: Indus Valley
Medium: Terracota
Click to view original image.
Indus Valley Terracotta Vessel - FF.102
Origin: Central Asia
Circa: 3000 BC to 2000 BC Dimensions: 12.7" (32.3cm) high x 11" (27.9cm) wide 
Collection: Asian Art
Medium: Terracotta

Terracotta. Tiger, bovine, elephant, Nausharo NS 2.02.70.04 h. 6.76 cm; w. 4.42; l. 6.97 cm. Centre for Archaeological Research Indus Balochistan, Musée Guimet, Paris.



The orthographic style of creating 'composite animals' is also evident from the following examples of artifacts:

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
https://www.harappa.com/slide/tiger-figurine
Image result for entwined tigers indus
harappa.com "Slide 88. Three objects (harappa.com) Three terra cotta objects that combine human and animal features. These objects may have been used to tell stories in puppet shows or in ritual performances. On the left is a seated animal figurine with female head. The manner of sitting suggests that this may be a feline, and a hole in the base indicates that it would have been raised on a stick as a standard or puppet. The head is identical to those seen on female figurines with a fan shaped headdress and two cup shaped side pieces. The choker with pendant beads is also common on female figurines. Material: terra cotta Dimensions: 7.1 cm height, 4.8 cm length, 3.5 cm width Harappa, 2384 Harappa Museum, HM 2082 Vats 1940: 300, pl. LXXVII, 67 In the center is miniature mask of horned deity with human face and bared teeth of a tiger. A large mustache or divided upper lip frames the canines, and a flaring beard adds to the effect of rage. The eyes are defined as raised lumps that may have originally been painted. Short feline ears contrast with two short horns similar to a bull rather than the curving water buffalo horns. Two holes on either side allow the mask to be attached to a puppet or worn as an amulet. 


Material: terra cotta Dimensions: 5.24 height, 4.86 width Harappa Harappa Museum, H93-2093 Meadow and Kenoyer, 1994 On the right is feline figurine with male human face. The ears, eyes and mouth are filled with black pigment and traces of black are visible on the flaring beard that is now broken. The accentuated almond shaped eyes and wide mouth are characteristic of the bearded horned deity figurines found at Harappa and Mohenjo-daro (no. 122, 123). This figurine was found in a sump pit filled with discarded goblets, animal and female figurines and garbage. It dates to the final phase of the Harappan occupation, around 2000 B. C.

Harappa, Lot 5063-1 Harappa Museum, H94-2311 Material: terra cotta Dimensions: 5.5 cm height, 12.4 cm length, 4.3 cm width 

Tiger casting made of copper, inlaid with carnelian and sapphire from Kodumanal (After Fig. 30, R.Mohanty) This signifies a tiger in the round in the hieroglyhic tradition of Indus Script. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith'. The infixing of gems (carnelian and sapphire) indicates the artisanal work of kundar  'turner'.

Hieroglyph: sāṅgaḍa 'joined, Joined animal parts (tigers): sangaḍi = joined animals (M.) 

Rebus 1: sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ (Lahnda)(CDIAL 12845) 

Rebus 2: sang संग् m. a stone  (Kashmiri) sanghāḍo (G.) = cutting stone, gilding; sangatarāśū = stone cutter; sangatarāśi = stone-cutting; sangsāru karan.u = to stone (S.), cankatam = to scrape (Ta.), sankaḍa (Tu.), sankaṭam = to scrape (Skt.) 

kol 'tiger' Rebus: kol 'working in iron'. Thus, the multi-headed tiger yields one reading: rebus: kol sangaḍi 'fortified place for metal (& ore stone) workers'.

Rebus 3: saMghAta 'caravan'

Thus, the three tigers together with wings reads: eraka kol saMghAta 'moltencast metal, iron worker caravan'.

सं-घात b [p= 1130,1] a company of fellow-travellers , caravan VP. close union or combination , collection , cluster , heap , mass , multitude TS. MBh. &c (Monier-Williams)

Three entwined winged tigers (Sanchi)  kola ‘tiger, jackal’ (Konkani.) kul ‘tiger’ (Santali); kōlu id. (Telugu) kōlupuli = Bengal tiger (Te.) कोल्हा [ kōlhā ] कोल्हें [kōlhēṃ] A jackal (Marathi) Rebus: kol, kolhe, ‘the koles, iron smelters speaking a language akin to that of Santals’ (Santali) kol ‘working in iron’ (Tamil)

 Phonetic determinant glyph: kola, kōlu ‘jackal, jackal’ (Kon.Telugu) kul ‘the tiger, felis tigris’ (Santali) कोला [ kōlā ] m (Commonly कोल्हा) A jackal. कोल्हें [ kōlhē ] n A jackal. Without reference to sex. Pr. अडलें कोल्हें मंगळ गाय Even the yelling jackal can sing pleasantly when he is in distress. कोल्हें लागलें Applied to a practical joke. केल्हेटेकणें orकोल्हेटेकण [ kēlhēēkaē or kōlhēēkaa ] n Gen. in obl. cases with बस or ये, asकोल्हेटेकण्यास बसणें To sit cowering; to sit as a jackal.कोल्हेटेकण्यास येणें To be arrived at or to be approaching the infirmities of age. 2 To be approaching to setting;--used of the sun or the day, when the sun is conceived to be about that distance from the horizon as a jackal, when he rests on his hinder legs, is from the ground. कोल्हेभूंक [ kōlhēbhūka ] or -भोंक f (कोल्हा & भुंकणें To bark.) The yelling of jackals. 2 Early dawn; peep of day. कोल्हेहूक [ kōlhēhūka ] f The yelling of jackals. 2 fig. Assailing or setting upon with vehement vociferations. (Marathi) 

kul tiger; kul dander den of tiger; an.d.kul to become tiger; hudur. to growl as tiger; maran. d.at.kap kul a big-headed tiger (Santali.lex.) kolo, kolea_ jackal (Kon.lex.) ko_lhuya-, kulha- jackal (Pkt.)[cf. kul.l.a-nari jackal (Ta.)(DEDR 1839)]; kolha_, ko_ jackal; adj. crafty (H.); kohlu~, kolu~ jackal (G.); kolha_, kola_ (M.)(CDIAL 3615). karaj a jackal (Santali.lex.) kudke fox (Kor.); kudike jackal (Tu.); kudka id. (Ka.); kor-o naka jackal (small in size, opposed to peri naka)(Kond.a)(DEDR 1851). kulaippu barking, snarling (Ta.)(DEDR 1811). ko_lupuli = big tiger (Te.)


Allograph: kola ‘woman’ (Nahali); kolami ‘forge’ (Te.).kolhe ‘iron smelter’ (Santali) kol, kolhe ‘the koles, an aboriginal tribe of iron smelters akin to that of the Santals’ (Santali) 

Furnace: kola_ burning charcoal (L.P.); ko_ila_ burning charcoal (L.P.N.); id. (Or.H.Mth.), kolla burning charcoal (Pkt.); koilo dead coal (S.); kwelo charcoal (Ku.); kayala_ charcoal (B.); koela_ id. (Bi.); koilo (Marw.); koyalo (G.)(CDIAL 3484). < Proto-Munda. ko(y)ila = kuila black (Santali): all NIA forms may rest on ko_illa.] koela, kuila charcoal; khaura to become charcoal; ker.e to prepare charcoal (Santali.lex.) kolime, mulime, kolume a fire-pit or furnace (Ka.); kolimi (Te.); pit (Te.); kolame a very deep pit (Tu.); kulume kanda_ya a tax on blacksmiths (Ka.); kol, kolla a furnace (Ta.); kolla a blacksmith (Ma.); kol metal (Ta.)(Ka.lex.) kol iron smelters (Santali.lex.) cf. kol working in iron, blacksmith (Ta.)(DEDR 2133). Temple; smithy: kol-l-ulai blacksmith's forge (kollulaik ku_t.attin-a_l : Kumara. Pira. Ni_tiner-i. 14)(Ta.lex.) kollu- to neutralize metallic properties by oxidation (Ta.lex.) kole.l smithy, temple in Kota village (Ko.); kwala.l Kota smithy (To.); kolmi smithy (Go.)(DEDR 2133). kollan--kamma_lai < + karmas'a_la_, kollan--pat.t.arai, kollan-ulai-k-ku_t.am blacksmith's workshop, smithy (Ta.lex.) lohsa_ri_ smithy (Bi.)(CDIAL 11162). cf. ulai smith's forge or furnace (Na_lat.i, 298); ulai-k-kal.am smith's forge; ulai-k-kur-at.u smith's tongs; ulai-t-turutti smith's bellows; ulai-y-a_n.i-k-ko_l smith's poker, beak-iron (Ta.lex.) Self-willed man: lo_hala made of iron (Skt.); lohar, lohariyo self-willed and unyielding man (G.)(CDIAL 11161). cf. goul.i, goul.ia_ herdsman (Kon.lex.) goil cowhouse, hut, pasture ground (P.); gol drove of cattle sent to another village (P.); go_uliya herdsman (Pkt.); goili_ (P.)(CDIAL 4259). kol brass or iron bar nailed across a door or gate; kollu-t-tat.i-y-a_n.i large nail for studding doors or gates to add to their strength (Ta.lex.) Tool-bag: lokhar bag in which a barber keeps his tools (N.); iron tools, pots and pans (H.); lokhar. iron tools (Ku.); lokhan.d. iron tools, pots and pans (H.); lokha~d. tools, iron, ironware (G.); iron (M.)(CDIAL 11171). lod.hu~ pl. carpenter's tools (G.)(CDIAL 11173). karuvi-p-pai instrument-case; barber's bag (Ta.lex.) cf. karuvu-kalam treasury, treasure-house (Ta.lex.) Cobbler's iron pounder: lohaga~ga_, lahau~ga_ cobbler's iron pounder (Bi.); leha~ga_ (Mth.); luha~_gi_ staff set with iron rings (P.); loha~_gi_ (H.M.); lavha~_gi_ (M.); laha~_gi_, loha~gi_ (M.)(CDIAL 11174). Image: frying pan: lohra_, lohri_ small iron pan (Bi.)(CDIAL 11160). lo_hi_ any object made of iron (Skt.); pot (Skt.); iron pot (Pkt.); lo_hika_ large shallow wooden bowl bound with iron (Skt.); lauha_ iron pot (Skt.); loh large baking iron (P.); luhiya_ iron pan (A.); lohiya_ iron or brass shallow pan with handles (Bi.); lohiyu~ frying pan (G.)(CDIAL 11170). lauhabha_n.d.a iron pot, iron mortar (Skt.); lo_habhan.d.a copper or brass ware (Pali); luha~_d.ir.i_ iron pot (S.); luha~_d.a_ (L.); frying pan (P.); lohn.d.a_, lo~_hd.a_ (P.); luhu~r.e iron cooking pot (N.); lohora_ iron pan (A.); loha~r.a_ iron vessel for drawing water for irrigation (Bi.); lohan.d.a_, luhan.d.a_ iron pot (H.); lod.hu~ iron, razor (G.)[cf. xolla_ razor (Kur.); qole id. (Malt.); hola'd razor (Santali)(DEDR 2141)]; lod.hi_ iron pan (G.)(CDIAL 11173).
Image result for tigers wings sanchi

Rebus: kolimi 'smithy-forge'; kola 'tiger' Rebus: kol 'working in iron' kolhe 'smelters' kole.l 'smithy, temple'; eraka 'wing' Rebus: eraka 'copper'.

The artistic entwining of three tigers is seen on a seal with Indus Script from Mohenjo-daro. 

This can be seen as a precursor model for the three tigers/lions shown on a Sanchi torana (gateway). Out of the seven friezes showing a hieroglyph-multiplex of three winged tigers, one frieze adds hieroglyphs 'leafless stalks' as horns of two tigers; two riders are also added to signify the artisans at work:
Thus, tigers with wings joined reads: eraka kol saMghAta 'moltencast metal, iron worker caravan'. With  karaṇḍā 'stalks' as koD 'horns' and artisans (carrying goads or weapons or काण्डी kANDI 'little stalk or stem') hieroglyph components added: karaḍā eraka kol saMghAta 'hard alloy moltencast copper working in iron caravan' PLUS kuThAru 'armourer', or kamar 'artisan' PLUS koD 'workshop'. [In Udipi and coastal Dakshina Kannada districts of Karnataka, there is a practice of ‘Pili Kola’ worshiping Tiger. The festival is conducted once in every two years in Muggerkala Temple in Kaup.  http://www.bellevision.com/belle/index.php?action=topnews&type=3842
http://www.mangalorean.com/specials/specialnews.php?newsid=481755&newstype=local] Rebus: खांड (p. 202) [ khāṇḍa as in lokhaṇḍa  'metal tools, pots and pans, metalware' (Marathi). Thus the two riders of the hieroglyph-multiplex of stalk-as-horn PLUS winged tigers can be read as: armourers working in a smithy-forge, kolimi and with hard alloy, karaDa; moltencast metal, eraka. The riders seem to be arrying: कुठार (p. 167) [ kuṭhāra ] m S An ax or a hatchet. Hence, they are kuThAru 'armourers'.

mAtri is a knower, one who has true knowledge; hence, mahAmAtra is an elephant trainer. A mahout is a person who rides an elephant. The word mahout comes from the Hindi words mahaut (महौत) and mahavat (महावत), which eventually goes back to Sanskrit mahamatra (महामात्र). Another term for mahout is cornac (as in French, from the Portuguese; kornak in Polish, also a rather current last name). This word comes form Sanskrit term karināyaka, the compound of Sanskrit words karin (elephant) and nayaka (leader). In Tamil, the word used is "pahan", which means elephant keeper, and in Sinhalese kurawanayaka ('stable master'). In Malayalam the word used is paappaan.In Burma, the profession is called oozie; in Thailand kwan-chang; and in Vietnam quản tượng. https://en.wikipedia.org/wiki/Mahout

The 'horns' are 'stalks', hieroglyphs: कारंडा [ kāraṇḍā ]करंडा [ karaṇḍā ]  m A chump or block. the stock or fixed portion of the staff of the large leaf-covered summerhead or umbrella. A clump, chump, or block of wood. करांडा [ karāṇḍā ] m C A cylindrical piece as sawn or chopped off the trunk or a bough of a tree; a clump, chump, or block. करोळा [ karōḷā ] m The half-burnt grass of a Potter's kiln: also a single stalk of it. Kalanda [cp. Sk. karaṇḍa piece of wood?] heap, stack (like a heap of wood? cp. kalingara) Miln 292 (sīsa˚) (Pali) करण्ड [L=44277] n. a piece of wood , block Bhpr.

Rebus: fire-god: @B27990.  #16671. Remo <karandi>E155  {N} ``^fire-^god''.(Munda)


Allograph: करडी [ karaḍī ] f (See करडई) Safflower: also its seed.


Rebus: karaḍa ‘hard alloy’ (Marathi) See: http://tinyurl.com/qcjhwl2

It is notable that the 'stalks' as 'horns' of tigers on Sanchi South stupa architrave pillar are comparable to the three leafless stalks displayed on Sit Shamshi Bronze:

Why three? kolmo 'three' rebus: kolimi 'smithy, forge'; kole.l 'smithy, temple'.

Image result for three tigers mohenjodaro sealA JEMDET NASR RED STONE CYLINDER SEAL CIRCA 3000 B.C. With a procession of four animals, including a lion, a bull, a human-headed winged animal, and a goat, a crescent, circle, plant, and two animal heads in the field.












Sanchi Stupa. West gateway

Bharhut. Capital of Gateway post (After Cunningham)

Left pillar:




 

Right pillar:
Image result for three tigers mohenjodaro sealBanawari. Seal 17. Text 9201. Hornd tiger PLUS lathe + portable furnace. Banawali 17, Text 9201 Find spot:  “The plan of ‘palatial building’ rectangular in shape (52 X 46 m) with eleven units of rooms…The discovery of a tiger seal from the sitting room and a few others from the house and its vicinity, weights ofchert, and lapis lazuli beads and deluxe Harappan pottery indicate that the house belonged to a prominent merchant.” (loc.cit. VK Agnihotri, 2005, Indian History, Delhi, Allied Publishers, p. A-60)
Message on metalwork: kol ‘tiger’ (Santali); kollan ‘blacksmith’ (Ta.) kod. ‘horn’; kod. ‘artisan’s workshop’ PLUS śagaḍī  = lathe (Gujarati) san:gaḍa, ‘lathe, portable furnace’; rebus: sangath संगथ् । संयोगः f. (sg. dat. sangüʦü association, living together, partnership (e.g. of beggars, rakes, members of a caravan, and so on); (of a man or woman) copulation, sexual union. 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. (L.V. 17).(Kashmiri) 





m0295 Mohenjo-daro seal
    This is a good example of hypertext with two categories of hypertext components: 1. pictorial motif hieroglyphs; 2. text hieroglyphs called signs in Indus Script Concordances such as those of Parpola and Mahadevan.

cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali) Did the Bharhut architect who designed the Western Torana (Gateway) with hieroglyph multiplex of 3 tigers (winged) intend to send the message that the precincts are: Hieroglyph: cAli 'interlocking bodies' Rebus: sal 'workshop'?


śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar.šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xālxāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed, stable ʼ; Bi. sār f. ʻ cowshed ʼ; H. sāl f. ʻ hall, house, school ʼ, sār f. ʻ cowshed ʼ; M.sāḷ f. ʻ workshop, school ʼ; Si. sal -- aha° ʻ hall, market -- hall ʼ.(CDIAL 12414) *kōlhuśālā ʻ pressing house for sugarcane or oilseeds ʼ. [*kōlhu -- , śāˊlā -- ]Bi. kolsār ʻ sugarcane mill and boiling house ʼ.(CDIAL 3538) *kōlhu ʻ machine for pressing sugarcane or oilseeds ʼ.
Pk. kolluga -- , kolhua -- m. ʻ sugarcane press ʼ, S. kolū m., P. kolhū, kuhulū m. ʻ oilpress, sugarcane press ʼ; WPah. bhal. kōˋlū m. ʻ oilpress ʼ, N. kol; Or. kohliā, kolihā, °liā ʻ sugarcane press ʼ; Bi. kolh, °hū, (Gaya) kelhū ʻ oilpress ʼ, Mth. kōlh, Bhoj. kōlhu; H. kolhū, kolū m. ʻ sugarcane press, oilpress ʼ; G.kohlu m. ʻ sugarcane press ʼ. -- Deriv.: B. Or. kalu ʻ oil -- man (by caste) ʼ, H. kolū m. WPah.kṭg. kóllhu m. ʻ sugar -- cane or oil press ʼ.(CDIAL 3536)

Hieroglyph: kul 'tiger' (Santaliकोल्हें [ kōlhēṃ ] A jackal (Marathi) kol 'tiger, jackal' (Konkani.) kOlupuli 'tiger' (Telugu) కోలు [ kōlu ] kōlu. [Tel.] adj. Big, great, huge పెద్ద. కోలుపులి or కోల్పులి a royal tiger. Rebus: kolimi 'smithy, temple'; kol 'working in iron'. Thus kol(m) could have connoted a tiger. 

*ut-- śāla ʻ leaping up ʼ. (CDIAL 1846) śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex. Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xālxāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed, stable ʼ; Bi. sār f. ʻ cowshed ʼ; H. sāl f. ʻ hall, house, school ʼ, sār f. ʻ cowshed ʼ; M. sāḷ f. ʻ workshop, school ʼ; Si. sal -- aha° ʻ hall, market -- hall ʼ.(CDIAL 12414) *kōlhuśālā ʻ pressing house for sugarcane or oilseeds ʼ. [*kōlhu -- , śāˊlā -- ] Bi. kolsār ʻ sugarcane mill and boiling house ʼ.(CDIAL 3538)  karmaśālā f. ʻ workshop ʼ MBh. [kárman -- 1, śāˊlā -- ]Pk. kammasālā -- f.; L. kamhāl f. ʻ hole in the ground for a weaver's feet ʼ; Si. kamhala ʻ workshop ʼ, kammala ʻ smithy ʼ.(CDIAL 2896) 2898 karmāˊra m. ʻ blacksmith ʼ RV. [EWA i 176 < stem *karmar -- ~ karman -- , but perh. with ODBL 668 ← Drav. cf. Tam. karumā ʻ smith, smelter ʼ whence meaning ʻ smith ʼ was transferred also to karmakāra -- ] Pa. kammāra -- m. ʻ worker in metal ʼ; Pk. kammāra -- , °aya -- m. ʻ blacksmith ʼ, A. kamār, B. kāmār; Or. kamāra ʻ blacksmith, caste of non -- Aryans, caste of fishermen ʼ; Mth. kamār ʻ blacksmith ʼ, Si. kam̆burā. Md. kan̆buru ʻ blacksmith ʼ.(CDIAL 2898) *karmāraśālā ʻ smithy ʼ. [karmāˊra -- , śāˊlā -- ] Mth. kamarsārī; -- Bi. kamarsāyar?(CDIAL 2899)

I suggest that the three tigers with interlocked bodies DOES connote cāli 'interlocked bodies' Rebus-metonymy layered cipher yields the plain text message : kola 'tiger'> kolom 'three' PLUS cāli 'interlocked bodies' :kammasālā 'workshop' (Prakritam) < kol(m) PLUS śāˊlā, i.e. smithy workshop.
Obverse of m1395 and m0441 had the following images of a multi-headed tiger.

m1395B, m0441B


Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script. 

Hieroglyphs. Centrepiece is a scorpion, surrounded by a pair of oxen (bulls), rhinoceros, monkey, elephant, a tiger looking back, a standing person with spread legs. This hieroglyph cluster is duplicated on six tablets.

Hieroglyphs. Centrepiece is a scorpion, surrounded by a pair of oxen (bulls), rhinoceros, monkey, elephant, a tiger looking back, a standing person with spread legs. This hieroglyph cluster is duplicated on a six tablets.

m02015 A,B, m2016, m1393, m1394, m1395, m0295, m0439, m440, m0441 A,B On some tablets, such a glyphic composition (hypertext) is also accompanied (on obverse side, for example, cf. m2015A and m0295) with a glyphic of two or more joined tiger heads to a single body. In one inscription (m0295), the text inscriptions are also read. bica ‘scorpion’ rebus: bica ‘haematite, ferrite ore’ kola ‘tiger’ rebus: kol ‘furnace, forge’ kol‘metal’ PLUS krammara ‘look back’ rebus: kamar ‘smith’ karabha ‘trunk of elephant’ ibha‘elephant’ rebus: karba ‘iron’ ib ‘iron’ ibbo ‘merchant’ kaṇḍa ‘rhinoceros’ rebus; kaṇḍa‘implements’ kuThAru ‘monkey’ rebus: kuThAru ‘armourer’ dula ‘two’ rebus: dul ‘metal castingdhangar ‘bull’ rebus; dhangar ‘blacksmith’. 

.barada, balad 'ox' rebus: bharata,baran 'factitious alloy of copper, pewter, tin'.

m2015, m0295


kola ‘tiger’ rebus: kol ‘furnace, forge’ cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali) Hieroglyph of joined, interlocked bodies: cāli (IL 3872); rebus: śālika (IL) village of artisans. cf. sala_yisu = joining of metal (Ka.)


Terracotta. 

Tiger, bovine, elephant, Nausharo NS 92.02.70.04 h. 6.76 cm; w. 4.42; l. 6.97cm. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' barada, balada 'bull' rebus: bharata 'alloy of pewter, copper, tin'; karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'

Centre for Archaeological Research Indus Balochistan, Musée Guimet, Paris.




The orthographic style of creating 'composite animals' is also evident from the following examples of artifacts:






Three-headed: elephant, buffalo, bottom jaw of a feline. NS 91.02.32.01.LXXXII. Dept. of Archaeology, Karachi. EBK 7712

Hieroglyph: karibha 'trunk of elephant' (Pali) ibha 'elephant' (Samskritam) Rebus: karba 'iron' ib 'iron'; rango 'buffalo bull' Rebus: ranga 'pewter, solder' kola 'tiger' Rebus: kol 'working in iron'

Image result for jarrige elephant buffalo tiger sculpture
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

The elephant head ligatured with a buffalo at Nausharo is a curtain-raiser for the practice of ligaturing in Indian tradition for utsava bera 'idols carried on processions'. The phrase utsava bera denotes that processions of the type shown on Mesopotamian cylinder seals or Mohenjo-daro tablets are trade processions for bera 'bargaining, trade'. Thus, the processions with hieroglyphs may be part of trade-exchange fairs of ancient times. It is significant that the utsava bera of Ganesa is shown together with a rat or mouse -- as vāhanaibha 'elephant' Rebus: ib 'iron'. mūṣa 'rat, mouse' Rebus: mūṣa 'crucible'.  Thus both rat/mouse and elephant face ligatured to a body, are Meluhha hieroglyphs related to metallurgical processes.

Utsava bera pōḷā (zebu, bos indicus) may be seen in the processions during festival days of Utsava Nandi and veneration in temples on days of pradosham.

బేరము [ bēramu ] bēramu. [Skt.] n. An image. ప్రతిమ. "పంకములోని హైమబేరము." పర. v.

బేరము [ bēramu ] bēramu. [Tel.] n. Trade, dealing, a bargain, బేరముసారము or బేరసారము trade, &c. (సారము being a mere expletive.)బేరకాడు bēra-kāḍu. n. One who makes a bargain, a purchaser, buyer. కొనువాడు, బేరమాడువాడుబేరకత్తె bēra-katte. n. A woman who bargains or purchases. బేరమాడు or బేరముచేయు bēram-āḍu. v. n. To bargain. బేరముపోవు to go on a trading journey. బేరి bēri. n. A man of the Beri or merchant caste.

उत्-सव b [p= 182,2] m. enterprise , beginning RV. i , 100 , 8 ; 102 , 1
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. 
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
Two composite anthropomorphic / animal figurines from Harappa kola 'woman' kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith'.
Image result for jarrige elephant buffalo tiger sculpture

harappa.com "Slide 88. Three objects (harappa.com) Three terra cotta objects that combine human and animal features. These objects may have been used to tell stories in puppet shows or in ritual performances. 

On the left is a seated animal figurine with female head. The manner of sitting suggests that this may be a feline, and a hole in the base indicates that it would have been raised on a stick as a standard or puppet. The head is identical to those seen on female figurines with a fan shaped headdress and two cup shaped side pieces. The choker with pendant beads is also common on female figurines. Material: terra cotta Dimensions: 7.1 cm height, 4.8 cm length, 3.5 cm width Harappa, 2384 Harappa Museum, HM 2082 Vats 1940: 300, pl. LXXVII, 67 


In the center is miniature mask of horned deity with human face and bared teeth of a tiger. A large mustache or divided upper lip frames the canines, and a flaring beard adds to the effect of rage. The eyes are defined as raised lumps that may have originally been painted. Short feline ears contrast with two short horns similar to a bull rather than the curving water buffalo horns. Two holes on either side allow the mask to be attached to a puppet or worn as an amulet. 

Material: terra cotta

Dimensions: 7.1 cm height, 4.8 cm length, 3.5 cm width
Harappa, 2384 Harappa Museum, HM 2082 Vats 1940: 300, pl. LXXVII, 67
In the center is miniature mask of horned deity with human face and bared teeth of a tiger. A large mustache or divided upper lip frames the canines, and a flaring beard adds to the effect of rage. The eyes are defined as raised lumps that may have originally been painted. Short feline ears contrast with two short horns similar to a bull rather than the curving water buffalo horns. Two holes on either side allow the mask to be attached to a puppet or worn as an amulet. 
Material: terra cotta
Dimensions: 5.24 height, 4.86 width
Harappa
Harappa Museum, H93-2093
Meadow and Kenoyer, 1994
On the right is feline figurine with male human face. The ears, eyes and mouth are filled with black pigment and traces of black are visible on the flaring beard that is now broken. The accentuated almond shaped eyes and wide mouth are characteristic of the bearded horned deity figurines found at Harappa and Mohenjo-daro (no. 122, 123). This figurine was found in a sump pit filled with discarded goblets, animal and female figurines and garbage. It dates to the final phase of the Harappan occupation, around 2000 B. C.
Harappa, Lot 5063-1 Harappa Museum, H94-2311
Material: terra cotta Dimensions: 5.5 cm height, 12.4 cm length, 4.3 cm width 









































Image result for jarrige elephant buffalo tiger sculptureSlide72. Two composite anthropomorphic / animal figurines from Harappa.Whether or not the attachable water buffalo horns were used in magic or other rituals, unusual and composite animals and anthropomorphic/animal beings were clearly a part of Indus ideology. The ubiquitous "unicorn" (most commonly found on seals, but also represented in figurines), composite animals and animals with multiple heads, and composite anthropomorphic/animal figurines such as the seated quadruped figurines with female faces, headdresses and tails offer tantalizing glimpses into a rich ideology, one that may have been steeped in mythology, magic, and/or ritual transformation. Approximate dimensions (W x H(L) x D) of the larger figurine: 3.5 x 7.1 x 4.8 cm. (Photograph by Richard H. Meadow)

Nahali (kol ‘woman’) and Santali (kul ‘tiger’; kol ‘smelter’)

त्रि--धातु [p= 458,3] mfn. consisting of 3 parts , triple , threefold (used like Lat. triplex to denote excessive) RV. S3Br. v , 5 , 5 , 6 (Monier-Williams).

Related image
  • Frise des griffons
    Epoque achéménideRègne de Darius Ier, vers 510 avant J.-C.
    Suse, Palais de Darius Ier
  • Briques siliceuses à glaçure
    W. 4.22 m; H. 1.65 m
  • Fouilles R. de Mecquenem, 1908 - 1913
    Sb 3322, Sb 3323


The griffins frieze in the palace of Darius is a hypertext: tiger PLUS wings PLUS mouth open.PLUS markhor horns.

Rebus readings in Meluhha suggest this hypertext to men: iron, copper mint, iron smelter's trader's shop.

kambha'wing' rebus: kammaṭa'mint, coiner, coinage'. 
miṇḍāl 'markhor' rebus: mẽṛhet  'iron' (Santali) meD 'iron' (Mu.Ho.) med 'copper' (Slavic languages).
प्र-सार opening (the mouth)(वोपदेव) rebus: a trader's shop (नलचम्पू or दमयन्तीकथा)
kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kol pasar iron smelter trader's shop'.


व्यो-कार m. (prob.) " making the sound व्यो " , a blacksmith Hcar.

Riverine waterways of Sarasvati Civilization. Bogra-মহাস্থানগড় Môhasthangôṛ on Karatoya (Sadānīra) is bogāṟa 'engraving chisel of blacksmith' metal śilpi अयस्कार of Bronze Age.

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https://tinyurl.com/yanw3qpc

Riverine waterways of Sarasvati Civilization. Bogra-মহাস্থানগড় Môhasthangôṛ on Karatoya (Sadānīra) is bogāṟa 'engraving chisel of blacksmith' metal śilpi of Vedic times अयस्कार m. id. Pāṇini2-4 , 10 Sch. and viii , 3 , 46 Sch.

I suggest that the reference to movement of Videgha Māthava, Gotama Rahugaṇa mentioned in RV and  Śatapatha Brāhmaṇa is a reference to their movement to and settlement in Bogra.


The national waterways go through almost all major rivers of the India. The map at Figure 1 gives all the 111 waterways at a glance

Bogra-মহাস্থানগড় Môhasthangôṛ on Karatoya (Sadānīra) river bank, as a maritime port town, is bogāṟa'engraving chisel of blacksmith' of Vedic times. Since Bogra is semantically cognate with 'blacksmith's engraving chisel', I suggest that these people who moved from Sarasvati Civilization in Vedic times were the scribes, engravers in the tradition of Indus Script scribes and engravers.

This leads to a hypothesis that the major contact area of Sarasvati Civilization was the region on the banks of Karatoya (Sadānīra) River which is in the Bronze Age cluster of sites of Ancient Far East. There is a possibility that Bogra is the transit point in the Ancient Maritime Tin Route which linked Hanoi (Vietnam) and Haifa (Israel) to supply tin resource from the largest tin belt of the globe to sustain and provide maritime trade impetus to the Tin-Bronze Revolution of 4th millennium BCE. I suggest that further archaeometallurgical investigative work in the Karatoya River basin sites is justified since the Brahmaputra and Ganga were navigable waterways linking up with the ancient maritime trade routes of the Indian Ocean Rim. The proposed National Waterway 38 on Gangadhara river stretch will rejuvenate the Karatoya waterway of Vedic times. Links with Irrawaddy, Salween and Mekong will require international coordination for designing intl, waterways recreating the Ancient Waterway linking Mekong with Sarasvati Civilization as the major source of tin, the key alloying mineral to produce tin-bronzes.

Amara Kośa asserts Sadānīra to be synonym of Karatoya River. See: सदानीरा स्त्री सदा नीरं पेयमस्याः । करतोयानद्याम् अमरः । “अथादौ कर्कटे देवी त्र्यहं गङ्गा रजस्वला । सर्वा रक्तवहा नद्यः करतोयाम्बुवाहिनी” स्मृत्युक्तेःतन्नदीजलस्य सदापेयत्वात् तस्यास्तथात्वम् । Source: https://sa.wikisource.org/wiki/वाचस्पत्यम्

On the banks of Karatoya river is the Bronze Age archaeological site of Mahasthangarh (lit. 'great, sacred site'). This river basin is renowned in Veda texts. 

Śatapatha Brāhmaprovides a detailed account of the movement of people (Videgha Māthava, Gotama Rahugaṇa) from River Sarasvati to River  Sadānīra. The location of this river is central to the history of Pre-Mauryan era Bhāratam Janam (RV 3.53.12). 

See: 
1. पोळ pōḷa, 'zebu' rebus pōḷa, 'magnetite, ferrite ore' kola 'tiger', kolhe 'smelter', pã̄jā ʻkilnʼ, pāñji 'account register' of Sarasvati Civilization; dhā̆vaḍ 'iron smelters' https://tinyurl.com/yd92yoyh
2. 

Videgha Māthava, Gotama Rahugaṇa (ŚBr) করতোয়া নদী Karatoya river is Sadānīra (Amara) and close to the tinbelt of the globe to unleash Tin-Bronze revolution (ca.4th m.BCE)  https://tinyurl.com/y8d4yen4


This মহাস্থানগড় Môhasthangôṛ is close to Bogra. What does Bogra mean?

Bogra means a 'blacksmith', 'engraving chisel'. Cognate words are: व्यो-कार, व्योकरः bogāṟa 'blacksmith' (Kannada)  గుబ్బోగర gubbōgara gub-bōgara. [Tel. గుబ్బ+పోగర.] n. An engraving chisel.  పోగర  pōgara pōgara. [Tel.] n. A graver, or small chisel used by goldsmiths. శలాక, కంసలవాని పనిముట్టు. పోగరపని carved work. గుండుపోగర a rod for making rings. గుబ్బోగర a tapping chisel. 

The word bogra has metallurgical connotation as evidenced by the following etyma:.

व्योकरः vyōkarḥ व्योकरः A blacksmith; व्योकाराः शौल्विकास्तथा (Śiva Bhārata by Paramānanda.31.17.)

व्यो-कार m. (prob.) " making the sound व्यो " , a blacksmith Hcar. (Monier-Williams)






Rennel's map (Bangalir Itihas by Niharranjan Roy . The map was published in 1764-66.)

Aitereya Aryanaka of 8th-7th century BC, the Pundra group of people who lived east of the Sadānīra river. puṇḍra2 m. ʻ name of a people ʼ AitBr., °aka -- m. Mn. [Orig. ʻ light -- skinned ʼ and same as puṇḍra -- 1? Cf. pāṇḍú -- , pāṇḍa -- ~ Pāṇḍu -- , Pāṇḍa -- (J. C.W.)]B. pũṛi ʻ name of a caste ʼ.(CDIAL 8260)
BD Korotoa River.JPG

Karatoya River near Mahasthangarh
BD Mahasthangarh1.JPG
Ramparts of the Mahasthangarh citadel

Mahasthangarh Museum, Bogra, Bangladesh
wikipedia.org/wiki/Mahasthangarh

পুন্ড্রবর্ধন with capital city: মহাস্থানগড় Môhasthangôṛ
See Bogra on the banks of Karatoya (spelled Korotoa on the map) river.  
মহাস্থানগড় Môhasthangôṛ is close to Bogra.

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