Barli Brāhmī inscription of ca. 443 BCE signifies 84 mahāsiddha of Tantra tradition

December 8, 2018, 9:36 pm

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Barli fragmentary Brāhmī Inscription of ca. 443 BCE (possibly the earliest Brāhmī inscription)

The inscription was found in the temple of Bhilot Mata, about a mile from the village Barli, situated about 36 miles southeast of Ajmer. http://www.indovacations.net/Rajasthan-Tour-Package/SourcesofHistoryand CultureRajasthan.htm This town Barli (बडली) (Badli) was named as Majhimika.

This inscription is present on a piece of pillar of dimension 13x10 inches.

The first line: 'वीर' (T) 'य भागव(त) = भागवत mf(ई)n. (fr. भग-वत्) relating to or coming from भगवत् i.e. विष्णु or कृष्ण , holy , sacred , divine MBh. Hariv. Pur.

The second line 'चतुरासिति व (स)' = 84 वश authority , power , control , dominion (in AV. personified).

I suggest that the expression is a reference to 84 Mahasiddha-s revered in Tantra and Bauddham traditions.

variant readings

dva in line 1: Sircar reads against Jayaswal and Halder dvaṃ instead of vī . At the same time he interprets the sign as the second syllable of siddhaṃ; the reading of vī seems very unlikely.

ti in line 2: The i-mātrā seems to be extended downwards by a crack in the rock.

Scan Template : Sircar, Dines Chandra - "Barli Fragmentary Stone Inscription." JBORS 37.1951: 34-38.

Further reading: Jayaswal, KP - "An Important Brahmi Inscription." JBORS 16: 1930: 67-68.

Halder, RR - "A note on an inscription of the fourth century BC" IA 58.1929: 229.

The inscription was considered by Halder and Jayaswal to be "pre-Aśokan". It is relatively poorly preserved or reproduced.

http://www.indoskript.org/manuscripts/details/324

Alternative views:

''Veer Samvat' 84 years after Bhagvan Mahavir Nirvan mentioned in ancient Barli inscription of 443 years B.C. Barli inscription which had been discovered in year 1912, is oldest inscription in history which is showing Veer Samvat and no other inscription before Ashoka period has been discovered till date in the world."

https://www.facebook.com/AntiquityOfJainism/posts/जैन-वीर-निर्वाण-संवत-भारत-का-प्रमाणिक-संवत-है-और-इसकी-पुष्टि-सुप्रसिद्ध-पुरातत्व/1753394188035853/

According to historian G. H. Ojha, who discovered the inscription in 1912, the inscription contains the line Viraya Bhagavate chaturasiti vase, which can be interpreted as "dedicated to Lord Vira in his 84th year". Based on this reading, Ojha concluded that the record was inscribed in 443 BCE (year 84 of the Vira Nirvana Samvat), 84 years after the death of the Jain leader Mahavira. The existence of a Vira Nirvana Samvat is disputed by DC Sircar.

Barli (बडली) (Badli) is a Village in Bhinay Tehsil in District Ajmer, Rajasthan.

Dr Gauri Shankar Hirachandra Ojha obtained in 1912 a fragmentary Inscription of year 443 BC which along with Piprava Inscription of 487 BC are the most ancient Indian Inscriptions. It is in Brahmi script and preserved in Ajmer Museum. Piprawa is a village in the Basti district of Uttar Pradesh.

Dr Ozha writes that this small inscription is piece of pillar. In its first line , the words 'वीर' (T) 'य भागव(त)' and in the second line, the words 'चतुरासिति व (स)' are inscribed. https://www.jatland.com/home/Barli_Ajmer

váśa m. ʻ will, authority, power ʼ RV., vaśēna ʻ on account of, by means of ʼ ŚrS. [√vaś]Pa. vasa -- m.n. ʻ will, power ʼ (vasēna ʻ on account of ʼ), Pk. vasa -- n.; P. vāh, bāh m.f. ʻ power ʼ; N. bas ʻ authority, control ʼ, Or. baśa (obl. baśũ ʻ owing to ʼ), Mth. bas (basi rahab ʻ to be under the control of ʼ), Bhoj. Aw.lakh. H. bas m.; OMarw. basi loc. sg. m. ʻ in the power of ʼ, OG. vasi, vasū; OSi. vasin ʻ through, by means of ʼ, Si. visin, (SigGr) vaha ʻ control ʼ.(CDIAL 11430)

caturaśīti f. ʻ 84 ʼ.Pa. cūḷāsīti -- , cullā˚, Pk. culasī, cōrāsīi, S. corāsī, L. côrāsī, P. curāsī, N. caurāsi, A. saurāxi, B. curāśi, Or. caürāaśī, Aw. lakh. H. caurāsī, G. cɔrāsī, M. ċauryāśī, OSi. suvāsū.(CDIAL 4597)

Names of the 84 Mahasiddhas

In Vajrayana Buddhism there are eighty-four Mahasiddhas. The list below includes their name and their epithet. An asterisk after their name denotes a female Mahasiddha.

Acinta, the "Avaricious Hermit";
Ajogi, the "Rejected Wastrel";
Anangapa, the "Handsome Fool";
Aryadeva (Karnaripa), the "One-Eyed";
Babhaha, the "Free Lover";
Bhadrapa, the "Exclusive Brahmin";
Bhandepa, the "Envious God";
Bhiksanapa, "Siddha Two-Teeth";
Bhusuku (Shantideva), the "Idle Monk";
Camaripa, the "Divine Cobbler";
Champaka, the "Flower King";
Carbaripa (Carpati) "the Petrifyer";
Catrapa, the "Lucky Beggar";
Caurangipa, "the Dismembered Stepson";
Celukapa, the "Revitalized Drone";
Darikapa, the "Slave-King of the Temple Whore";
Dengipa, the "Courtesan's Brahmin Slave";
Dhahulipa, the "Blistered Rope-Maker";
Dharmapa, the "Eternal Student" (c.900 CE);
Dhilipa, the "Epicurean Merchant";
Dhobipa, the "Wise Washerman";
Dhokaripa, the "Bowl-Bearer";
Dombipa Heruka, the "Tiger Rider";
Dukhandi, the "Scavenger";
Ghantapa, the "Celibate Bell-Ringer";
Gharbari or Gharbaripa, the "Contrite Scholar" (Skt., pandita);
Godhuripa, the "Bird Catcher";
Goraksha, the "Immortal Cowherd";
Indrabhuti, the "Enlightened Siddha-King";
Jalandhara, the "Dakini's Chosen One";
Jayananda, the "Crow Master";
Jogipa, the "Siddha-Pilgrim";
Kalapa, the "Handsome Madman";
Kamparipa, the "Blacksmith";
Kambala (Lavapa), the "Black-Blanket-Clad Yogin";
Kanakhala*, the younger Severed-Headed Sister;
Kanhapa (Krishnacharya), the "Dark Siddha";
Kankana, the "Siddha-King";
Kankaripa, the "Lovelorn Widower";
Kantalipa, the "Ragman-Tailor";
Kapalapa, the "Skull Bearer";
Khadgapa, the "Fearless Thief";
Kilakilapa, the "Exiled Loud-Mouth";
Kirapalapa (Kilapa), the "Repentant Conqueror";
Kokilipa, the "Complacent Aesthete";
Kotalipa (or Tog tse pa, the "Peasant Guru";
Kucipa, the "Goitre-Necked Yogin";
Kukkuripa, (late 9th/10th Century), the "Dog Lover";
Kumbharipa, "the Potter";
Laksminkara*, "The Mad Princess";
Lilapa, the "Royal Hedonist";
Lucikapa, the "Escapist";
Luipa, the "Fish-Gut Eater";
Mahipa, the "Greatest";
Manibhadra*, the "Happy Housewife";
Medhini, the "Tired Farmer";
Mekhala*, the Elder Severed-Headed Sister;
Mekopa, the "Guru Dread-Stare";
Minapa, the "Fisherman";
Nagabodhi, the "Red-Horned Thief'";
Nagarjuna, "Philosopher and Alchemist";
Nalinapa, the "Self-Reliant Prince";
Nirgunapa, the "Enlightened Moron";
Naropa, the "Dauntless";
Pacaripa, the "Pastrycook";
Pankajapa, the "Lotus-Born Brahmin";
Putalipa, the "Mendicant Icon-Bearer";
Rahula, the "Rejuvenated Dotard";
Saraha, the "Great Brahmin";
Sakara or Saroruha;
Samudra, the "Pearl Diver";
Śāntipa (or Ratnākaraśānti), the "Complacent Missionary";
Sarvabhaksa, the "Glutton");
Savaripa, the "Hunter", held to have incarnated in Drukpa Künleg;
Syalipa, the "Jackal Yogin";
Tantepa, the "Gambler";
Tantipa, the "Senile Weaver";
Thaganapa, the "Compulsive Liar";
Tilopa, the "Great Renunciate"
Udhilipa, the "Bird-Man";
Upanaha, the "Bootmaker";
Vinapa, the "Musician";
Virupa, the "Dakini Master";
Vyalipa, the "Courtesan's Alchemist".

Mahāsiddha (Sanskrit: mahāsiddha "great adept; Tibetan: གྲུབ་ཐོབ་ཆེན་པོ, Wylie: grub thob chen po, THL: druptop chenpo) is a term for someone who embodies and cultivates the "siddhi of perfection". A siddha is an individual who, through the practice of sādhanā, attains the realization of siddhis, psychic and spiritual abilities and powers. Mahasiddhas were practicioners of yoga and tantra, or tantrikas. Their historical influence throughout the Indian subcontinent and the Himalayas was vast and they reached mythic proportions as codified in their songs of realizationand hagiographies, or namtars, many of which have been preserved in the Tibetan Buddhist canon. The Mahasiddhas are the founders of Vajrayana traditions and lineages such as Dzogchen and Mahamudra.

Robert Thurman explains the symbiotic relationship between Tantric Buddhist communities and the Buddhist universities such as Nalanda which flourished at the same time:

The Tantric communities of India in the latter half of the first Common Era millennium (and perhaps even earlier) were something like "Institutes of Advanced Studies" in relation to the great Buddhist monastic "Universities". They were research centers for highly cultivated, successfully graduated experts in various branches of Inner Science (adhyatmavidya), some of whom were still monastics and could move back and forth from university (vidyalaya) to "site" (patha), and many of whom had resigned vows of poverty, celibacy, and so forth, and were living in the classical Indian sannyāsin or sādhu style. I call them the "psychonauts" of the tradition, in parallel with our “astronauts”, the materialist scientist-adventurers whom we admire for their courageous explorations of the "outer space" which we consider the matrix of material reality. Inverse astronauts, the psychonauts voyaged deep into "inner space", encountering and conquering angels and demons in the depths of their subconscious minds.(
David B. Gray, ed. (2007). The Cakrasamvara Tantra: The Discourse of Śrī Heruka (Śrīherukābhidhāna). Thomas F. Yarnall. American Institute of Buddhist Studies at Columbia University. pp. ix–x.)

According to Ulrich von Schroeder, Tibet has different traditions relating to the mahasiddhas. Among these traditions, two were particularly popular, namely the Abhayadatta Sri list and the so-called Vajrasana list. The number of mahasiddhas varies between eighty-four and eighty-eight, and only about thirty-six of the names occur in both lists. It is therefore also wrong to state that in Buddhism are 84 Mahasiddhas. The correct title should therefore be Names of the 84 Mahasiddhas according to the Abhayadatta Sri Tradition. It should also be clearly stated that only Tibetan translations of this Sanskrit text Caturasiti-siddha-pravrtti(CSP) or The Lives of the Eighty-four Siddhas seem to have survived. This means that many Sanskrit names of the Abhayadatta Sri tradition had to be reconstructed and perhaps not always correctly. (von Schroeder, Ulrich (2006). Empowered Masters: Tibetan Wall Paintings of Mahasiddhas at Gyantse. Chicago: Serindia Publications.)
See:

The 84 Indian Adepts of Abhayadatta System https://www.himalayanart.org/pages/indian_adepts.pdf
Mahasiddha: Buddhist Tantric Teachers of India https://www.himalayanart.org/pages/mahaabhayadatta/index.html

https://en.wikipedia.org/wiki/Mahasiddha

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Sumerian balag.tigi is Meluhha tīga 'string of lute'& adoration of Viśvaksena mūrti in Āgama temple worship traditions, wealth-creating metalwork

December 9, 2018, 3:28 am

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https://tinyurl.com/y8o6k9g8

This monograph demonstrates that the Early Sumerian Lyre refers to tigi, a string instrument and that this Sumerian word tigi has cognates in Meluhha, Ancient Indian sprachbund, and derived from the words: Pe. tiga wire. Kuwi (F.) tīgē guitar string;(Ṭ.) trīga wire. (DEDR 3239) తీగ , తీగె or తీవ tīga. [Tel.] n. A creeping plant or vine; a tendril or spray. లత. A wire, the string of a lute, తంతి. A necklace of gold wire, a gold or silver belt. Renate Marian Van Dijk's narrative demonstrates that the Sumerian lyre was used in temple songs and festivities. Ancient Indian Āgama temple worship traditions demonstrates, in Viśvaksena mūrti the personification of Hari or Viṣṇu. In Viṣṇu's abode Vaikunṭha, Viśvaksena is worshipped before any ritual or function in Vaiṣṇava sampradāya. He occupies an important place in Vaikhānasa and Pancarātra temple traditions, where often temple festivals begin with his worship and procession.

This stunning parallel between the functions of Sumerian lyre and the Ancient Indian Āgama temple worship traditions shows that the Sumerian artifacts of lyres are originated by Ancient Indian artisans during their sojourns in Sumeria and other parts of Mesopotamia including Mari.

फड phaḍa is a place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room.

नाचण्याचा फड A nach house, गाण्याचा or ख्यालीखुशालीचा फड A singing shop or merriment shop.

Such a phaḍa working in metalwork to the accompaniment of dancers and singers is best exemplified by a sculptural frieze from Kailasanatha Temle,Kanchipuram.

Dancing Gaṇas (Dancers include karibha, ibha'elephant' rebus: karba, ib'iron'; baḍhi'boar' rebus: baḍhi 'worker in iron and wood'; vāḍī 'merchant'. These are Gaṇeśa, Varāha (baḍiga, 'artificer') metaphors of wealth-accounting ledgers, metalwork catalogues in Indus Script Cipher..

In a scintillating monograph, Renate Marian Van Dijk provides a succinct narrative of the Mesopotamian/Sumerian Early Dynastic Bull-lyres: "According to Black, Cunningham, Robson and Zóloymi (2006:xxiv), “about a fifth of knownSumerian literary compositions have native genre designations.” Some of these were named after the musical instruments to which they were recited or sung. One of these genres is the balag. The Sumerian word balag probably means “stringed instrument” and appears to

have been used to designate both “harp” and “lyre” (De Schauensee 2002:72), although balag may have been used for ‘harp” andzà-mí, which probably had the meaning “praise”, denoted “lyre”(Zettler & Horne 1998:55). It seems more likely that balag refers not to a drum, but to a stringed instrument, most likely a lyre. Similarly, the Sumerian word tigi, because it is made from the cuneiform signs balag.nar, should be translated as a stringed instrument, and not a drum as it often is (e.g. Black et al 2006:xxiv). It is possible that balag,tigi or zà-mí originally referred to the bull-lyre." (Renate Marian VAN DIJK, 2013, Mesopotamian Early Dynastic Bull-Lyres )

https://www.academia.edu/8717584/Mesopotamian_Early_Dynastic_Bull-Lyres

loc.cit.: Black, J., Cunningham, G., Robson, E. & Zólyomi, G. 2006.The Literature of Ancient Sumer. New York: Oxford University Press; De Schauensee, M. 2002. Two Lyres from Ur.Philadelphia: University of PennsylvaniaMuseum of Archaeology and Anthropology; Zettler, R.L. & Horne, L.Treasures from the Royal Tombs of Ur. Philadelphia: University Pennsylvania. London:

British Musuem

Viśvaksena is believed to symbolize the sacred Āgama scriptures.

Viśvaksena mūrti of the Venkaṭeśwara Temple has four hands and carries a conch (shankha) Sudarśana cakra (discus) in his upper hands and his lower hands are on thigh (Gada hasta) and in Avgana hasta. Viśvaksena or Viśwaksena, also known as Senai Mudalvar (Sena Mudaliar) and Senādhipathi (all literally "army-chief"), is the commander-in-chief of the army of Viṣṇu and the gate-keeper and "chamberlain" of Viṣṇu's abode Vaikunṭha. Viśvaksena is worshipped before any ritual or function in Vaiṣṇava sampradāya. He occupies an important place in Vaikhānasa and Pancarātra temple traditions, where often temple festivals begin with his worship and procession.

That illustrious and puissant Being is otherwise called by the name of Viśvaksena or Hari.(Mbh.12.347.23012)

https://en.wikipedia.org/wiki/Vishvaksena

https://en.wikipedia.org/wiki/Sudarshana_Chakra

Ta. tivavu bands of catgut for a yār̤; tīn-toṭai string of a lute, lute (for toṭai, see 3480). Ka. tīge a creeping plant, vine, tendril on spray, the string of a lute, wire. Te. tī˜ga, tī˜giya, tī˜ge wire, string of a musical instrument, a creeping or climbing plant, creeper, vine, a necklace of gold wire. Kol. (SR.) tīg
creeper. Pa. tiv thread. Ga. (P.) tīg creeper. Go. (Grigson) tiyā iron neckring (Voc. 1725); (LuS.) teegá wire. Konḍa tiva creeper of a plant or shrub. Pe. tiga wire. Kuwi (F.) tīgē guitar string;
(Ṭ.) trīga wire. (DEDR 3239)తీగ , తీగె or తీవ tīga. [Tel.] n. A creeping plant or vine; a tendril or spray. లత. A wire, the string of a lute, తంతి. A necklace of gold wire, a gold or silver belt, మొల నూలు. A gold ornament worn by women, బంగారుపట్టెడ. ప్రేముతీగలు the rattan lacing in a chair. మెరుపుతీగె a flash of lightning. పాచితీగె, బంగారుతీగె, &c., are various creepers. తీగెగరక tīge-garika. n. A creeping species of bent grass, called Agrostis stolonifera. తీగబచ్చలి a creeper, Convolvuḷus repens. See బచ్చలి. తీగయిల్లు an arbour పొదరిల్లు. తీగయెలుగు a low voice హీనస్వరము. తీగబోడి tīga-bōdi. n. A slight and graceful girl. తీగమల్లె the creeping Jasmine. తీగమెరుగు tīga-merugu. n. Lightning without thunder ఉరుములేని మెరుపు. A sort of grain. తీగమోడి tīga-mōḍi. n. Patterns of flourishes or carved work in carpentry. వ్రాతపని. ముత్తెములు తీగెమోడికుట్టే పనులు embroidery in the fashion of sprigs of pearl. తీగసాగు tīga-sāgu. v. n. To increase, to prosper వర్ధిల్లు. గార బాగా తీగెలు సాగేలాగున కలిపిరి they mixed the mortar till it was of a proper consistency. తీగలుపారు to spread వ్యాపించు. తీగవిలుకాడు an epithet of Manmadha. తీగసరులు a kind of rice ధ్యాన్యవిశేషము.

Standard of Ur- Both sides- Sumerian

Standard of Ur has a frame showing a Sumerian lyre.

La Théorie Sensorielle, 'sensory theory' elaborated (2014) by Philip Roi et al., suggests analogy between Urukean harp and the auditory system.
The fundamental process of 'hearing' as a phenomenon of brain functions is well-illustrated compared with the imagery of 'lyre-players or harpists' of Ancient Near East. See: Philippe Roi and Tristan Girard, 2014, Analogy between the Urukean Harp and the Auditory System in the theory posited.

Codage et Traitement de l'Information Sensorielle par le Cerveau Translation from French: The Sensory Theory, Coding and Treatment of Sensory Information by the Brain (2014)
https://www.theoriesensorielle.com/analogy-between-the-urukean-harp-and-the-auditory-system/

How is the auditory sensory information processed in the brain to realise 'meaning' of the coded & processed information? One theory is
स्फोट sphoṭa, 'm. bursting , opening , expansion , disclosure (cf. नर्म-स्फ्°) MBh. Ka1v. &c.; the eternal and imperceptible element of sounds and words and the real vehicle of the idea which bursts or flashes on the mind when a sound is uttered.'(पतञ्जलि)

Let us take an example of Urukean auditory information (heard from the lyre/harp shown on the cylinder seal impression. I suggest that the cylinder seal is a wealth-production accounting ledger in Meluhha Indus Script cipher.

Source: Fig. 3 of cylinder seal impression from Choga Mish. 4^th millennium BCE. Potters at work are accompanied by hardp players, and other musicians playing clappers?, trumpets and a drum.
The narrative includes a person playing a lyre. I suggest that this is an Indus Script hypertext. Hieroglyph: tanbūra 'lyre' Rebus: tam(b)ra 'copper'.

Indus Script hyper texts related to metalwork of the Tin-Bronze Revolutionary Age, from ca. 4th millennium BCE provide evidences of Bhāratīya sprachbund (speech union of Ancient India). Two vivid hieroglyph-multiplexes or hypertexts in Indus Script Corpora are: bull-men (ḍhangar, 'bull') and lyre-players (tambur, 'lyre, harp').

The rebus readings are: ḍhangar ‘blacksmith’ (Hindi), tāmbarā 'coppersmith' (Oriya).

Who invented the oxhide ingot shape? Meluhha artisans. An archaemetallurgical journey along the Maritime Tin Route. http://tinyurl.com/k3bhx57
m1429

A bronze four sided stand showing a man carrying a copper ox-hide ingot and tree. 12th Century BC, possibly from Kourion, British Museum. The same stand also portrays a lyre-player. "There is evidence to suggest that copper was initially smelted into rough products - bars and ox-hide ingots - close to the mines. This was then transported for further refinement and working to the coastal settlements.

Ceremonial bronze stand, possibly Kourion, Cyprus. Shows a man carrying an oxhide ingot towards a tree, and another playing a Lyre. "Bronze tools and weapons were cast in double moulds. The cire perdue process was evidently employed for the sockets of the fine decorated spear-heads of the Late Minoan period. Copper was available in some parts of Crete, notably in the Asterousi mountains which border the Mesara plain on the south, but it may have been imported from Cyprus as well. The standard type of ingot found throughout the East Mediterranean in the Late Bronze Age was about two or three feet long, with inward-curving sides and projections for a man to grasp as he carried it on his shoulder. Smaller bun-shaped ingots were also in use." (Sinclair Hood, 1971, The Minoans: Crete in the Bronze Age, Thames and Hudson, p. 106)

Oxhide ingot in Indus Script is signified by the word: ḍhālako 'a large metal ingot' (Gujarati) This shape of ingot is sshown on a Mohenjo-daro seal with a boat carrying a pair of such ingots. dula 'pair' rebus: dul 'metal casting'. Thus,metal casting ingots. The association of the lyre-player or harpist with the person carrying an ox-hide ingot is significant. This lyre-player signifies: tanbura 'harp' rebus: tambra 'copper'. Thus, the oxhide ingot is a large copper ingot. Tamar (Hebrew: תמר ) is a female name of Hebrew origin, meaning "date" (the fruit), "date palm" or just "palm tree" Renis" tambra 'copper' as signified by the two palm trees on the Mohenjo-daro boat tablet which carried a consignment of oxhide ingots. An alternative is that the palm tree hieroglyph: ताल् m. the palmyra tree or fan palm, Borassus flabelliformis. (Kashmiri) Rebus: ḍhālako 'a large metal ingot' (Gujarati) The pair of bird hieroglyphs flanking the pair of oxhide ingots on the boat: Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , °ḍaga -- , °ḍava -- m. ʻ a partic. kind of bird ʼ Rebus: karaDa 'hard alloy'.

Sign 311 Indus Script Sign List (Mahadevan) tantrīˊ f. ʻ string of a lute ʼ ŚāṅkhŚr. [tántra -- ]

तन्ति f. ( Pa1n2. 6-4 , 39 Ka1s3. on iii , 3 , 174 and vii , 2 , 9) a cord , line , string (esp. a long line to which a series of calves are fastened by smaller cords) RV. vi , 24 , 4 BhP. Sch. on S3Br. xiii and Ka1tyS3r. xx (ifc.) Rebus: a weaver.

Pa. tanti -- f. ʻ lute ʼ, Pk. taṁtī -- f.; OAw. tāṁti ʻ string of a musical instrument ʼ, H. tant f.; Si. täta ʻ string of a lute ʼ.(CDIAL 5667)

Ta. taṇṭu lute. Ma. taṇṭi a musical instrument. (DEDR 3057)

Hieroglyph: kora 'harp' rebus: koraga 'musician' (Tulu) khār 'blacksmith'

See: http://www.iranicaonline.org/articles/harp By Bo Lawergre, 2003, in: Encyclopaedia Iranica, Vol. XII, Fasc. 1, pp. 7-13. "HARP (čang, q.v.),a string instrument which flourished in Persia in many forms from its introduction, about 3000 B.C.E., until the 17th century. The original type was the arched harp as seen at Čoḡā Miš and on later third millennium seals (Figure 1a-c)...Third millennium B.C.E. This was the era of arched harps in Persia. It came to an end with the arrival of angular harps, ca. 1900 B.C.E. (Figure 5a). However, arched harps survived in India and diffused from there during the first millennium C.E. (Lawergren, 1995/6, pp. 244-45), including to Panjikent (Figure 1d)."

FIGURE 1. Arched harps on Persian seal impressions (second millennium B.C.E.). a. Čoḡa Miš, Persia, 3300-3100 B.C.E.; a celebrant on a cushion (far right) is faced by an ensemble (left) consisting of a singer, horn player (?), harper, and drummer (Delougaz and Kantor, 1996, Pls. 45N and 155A). b. Southeastern Persia, 2500 B.C.E.; a harp appears among participants in a ritual involving animal parts (shown between two vertical lines); snakes protrude from the shoulders of the central participant seated below the harp (Porada, 1965, fig. 16; Porada, 1988, Pl. IV; Amiet, 1986, fig. 132 [10]). c. Southeastern Persia, 2300-2100 B.C.E.; a cult scene involving the same participant as above (a snake-man); the harpist sits near a table that supports this participant (Amiet, 1986, fig. 132 (12), Musée du Louvre, Paris). d. Panjikent (Sogdiana, Greater Persia), 8th century (Lawergren, 1996, fig. 3i; Lawergren, 1995/96, fig. 3C).

FIGURE 2. Robust, vertical, angular harps (first millennia B.C.E. and C.E.). a. Extant Egyptian harp, 1000-500 B.C.E. (Musée du Louvre, Paris). b. Terracotta plaque, Persia, 250 B.C.E.-223 C.E. (Colledge, 1967, Pl. 20d). c. Mosaic, Bišāpur (Persia), 250-300 C.E. (Musée du Louvre, Paris). d. Silver vessel, Persia/Central Asia, 8-9th c. C.E. (Farmer, 1966, Pl. 7). e. Silver vessel, Persia/Central Asia, 8-9th c. C.E. (Gunter and Jett, 1992, p. 163).

FIGURE 3. Horizontal, angular harps. a. Terracotta plaque, Iščāli (Mesopotamia), 1900-1500 B.C.E. (Rashid, 1984, Pl. 71). b. Terracotta figurine, Susa, 1900-1500 B.C.E. (Spycket, 1992a, Pl. 95, no. 803). c. Silver plate, Persia, 8th-10th century C.E. (Farmer, 1966, Pl. 6).

FIGURE 4. Light, vertical, angular harps. a. Wall relief, Ṭāq-e Bostān (Persia), ca. 600 C.E. (Fukai et al., 1972, Pl. LIXb). b. Shōsōin Treasure Depository, Nara (Japan), extant specimen, eighth century C.E. (Hayashi et al., 1967, a composite of Pls. 93-99, 106-7).

FIGURE 5. Robust vertical harps (second millennium B.C.E.). a. Terracotta plaque, Babylon, 1900-1500 (Rashid, 1984, Pl. 62). b. Terracotta figurine, Babylon, 1900-1500 (Rashid, 1984, Pl. 70). c. Terracotta figurine, Susa, 1900-1500 (Spycket, 1992a, Pl. 96, no. 813).

The Figure 5c. dancing terracotta figure is cognate with the narrative of नाचण्याचा फड A nach house in the following Meluhha expressions related to phaḍā a metals manufactory.

phaḍā related Meluhha expressions: फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c. Ta. patam cobra's hood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45.(DEDR 47) Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

फडपूस (p. 313) phaḍapūsa f (फड & पुसणें) Public or open inquiry. फडफरमाश or स (p. 313) phaḍapharamāśa or sa f ( H & P) Fruit, vegetables &c. furnished on occasions to Rajas and public officers, on the authority of their order upon the villages; any petty article or trifling work exacted from the Ryots by Government or a public officer.

फडनिविशी or सी (p. 313) phaḍaniviśī or sī & फडनिवीस Commonly फड- निशी & 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.

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).

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.

फड (p. 313) phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nach house, गाण्याचा or ख्यालीखुशालीचा फड A singing shop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work, as a factory, manufactory, arsenal, dock-yard, printing-office &c. 4 A plantation or field (as of ऊस, वांग्या, मिरच्या, खरबुजे &c.): also a standing crop of such produce. 5 fig. Full and vigorous operation or proceeding, the going on with high animation and bustle (of business in general). v चाल, पड, घाल, मांड. 6 A company, a troop, a band or set (as of actors, showmen, dancers &c.) 7 The stand of a great gun. फड पडणें g. of s. To be in full and active operation. 2 To come under brisk discussion. फड मारणें- राखणें-संभाळणें To save appearances, फड मारणें or संपादणें To cut a dash; to make a display (upon an occasion). फडाच्या मापानें With full tale; in flowing measure. फडास येणें To come before the public; to come under general discussion.

FIGURE 6. Elamite (Persian) angular harps (first millennium B.C.E.). a. Rock reliefs at Kul-e Fara, near Iḏa/Malāmir (Lawergren, 1997a, fig. 26). Kul-e Fara I: end of 7th century (De Waele, 1989, p. 30) or 7th century (Calmeyer, 1973, pp. 149-151). Kul-e Fara III: 8-7th century (De Waele, 1989, p. 32) or 6th century (Calmeyer, 1973, pp. 149-51). Kul-e Fara IV: 9th century (De Waele, 1989, p. 33) or 6th century (Calmeyer, 1973, pp. 149-51). b. Wall relief of Madaktu ensemble, 650 B.C.E. shown in Aššurbanipal’s Palace, Nineveh.

FIGURE 7. Harps illustrated in Persian miniature manuscripts produced in various workshops during the Islamic period. Dates are given in C.E.

See: http://www.iranicaonline.org/articles/cang-harp ČANG “harp” (Pahl. čang, mentioned in Xusrō ī Kawādān ud rēdag, pars. 62-63), a musical instrument of the free-stringed family. By Ḥosayn-ʿAlī Mallāḥ, 1990. "The oldest known harps are arched like a bow with a sound box added to the lower end. The oldest record of an arched harp in Persia is an engraving on a seal datable to 3400 b.c. found at Čoḡā Mīš in Ḵūzestān during excavations by Helen J. Cantor and Pinhas P. Delugaz in 1961-66 (Figure 55)...The instrument mentioned as čangby Rīāḥī (p. 25) is a lyre (tanbūra), called čang by the Baluch. In Afghanistan and Tajikistan čang designates a type of santūr. In Georgia harps are called čangī and six types are in use, four rectangular and two acute-angled..."

https://www.penn.museum/sites/expedition/the-boat-shaped-lyre/
Sumerian Musicians on Relief

Sumerian bas relief depicting musicians playing various instruments. The steatite relief was excavated at ancient Adab, a city of ancient Sumer. The bas relief dates back to around 3000 BC. There are two harp players, a drummer, a trumpet player, and a conducter with a leaf baton.
http://www.bible-history.com/studybible/Genesis/4/8/

Image result for sumer cylinder seal harp

Image result for sumer cylinder seal harp

SCENE ON A GOLD CYLfNDER SEAL from a grave in the Ur cemetery (PG L054). In the bottom register are 2 “cymbalists” (figures playing clappers), a dancer, and a seated figure playing a bovine lyre. The top register shows festive banqueters. U. 11904. From Woolley 1934, pt. 1: fig. 23

https://www.penn.museum/sites/expedition/the-musical-instruments-from-ur-and-ancient-mesopotamian-music/

FEB

Indus Script Meluha hyper texts process meaning from sensory information of Urukean harp and ḍangur ‘bullock’

https://tinyurl.com/ybpcac89

Indus Script Meluha hyper texts process auditory, sensory information through sphoṭa, 'bursting' in semantic neural networks.

La Théorie Sensorielle, 'sensory theory' elaborated (2014) by Philip Roi et al., suggests analogy between Urukean harp and the auditory system.
The fundamental process of 'hearing' as a phenomenon of brain functions is well-illustrated compared with the imagery of 'lyre-players or harpists' of Ancient Near East. See: Philippe Roi and Tristan Girard, 2014, Analogy between the Urukean Harp and the Auditory System in the theory posited.

Codage et Traitement de l'Information Sensorielle par le Cerveau Translation from French: The Sensory Theory, Coding and Treatment of Sensory Information by the Brain (2014)
https://www.theoriesensorielle.com/analogy-between-the-urukean-harp-and-the-auditory-system/

How is the auditory sensory information processed in the brain to realise 'meaning' of the coded & processed information? One theory is
स्फोट sphoṭa, 'm. bursting , opening , expansion , disclosure (cf. नर्म-स्फ्°) MBh. Ka1v. &c.; the eternal and imperceptible element of sounds and words and the real vehicle of the idea which bursts or flashes on the mind when a sound is uttered.'(पतञ्जलि)

Source: Fig. 3 of cylinder seal impression from Choga Mish. 4^th millennium BCE. Potters at work are accompanied by hardp players, and other musicians playing clappers?, trumpets and a drum.
The narrative includes a person playing a lyre. I suggest that this is an Indus Script hypertext. Hieroglyph: tanbūra 'lyre' Rebus: tam(b)ra 'copper'.

Indus Script hyper texts related to metalwork of the Tin-Bronze Revolutionary Age, from ca. 4th millennium BCE provide evidences of Bhāratīya sprachbund (speech union of Ancient India). Two vivid hieroglyph-multiplexes or hypertexts in Indus Script Corpora are: bull-men (ḍhangar, 'bull') and lyre-players (tambur, 'lyre, harp').

Another example is a plaque from Lagash which shows a bull in front of a lyre player. I suggest that the Lagash plaque is a wealth-production accounting ledger in Meluhha Indus Script cipher.

Lyre-player, from one of the steles of king Gudea of Lagash. The lyre has eleven strings. Around 2150 BCE

Louvre, Departement des Antiquites Orientales, Paris, France Glyph: tambura ‘harp’; rebus: tambra ‘copper’ (Pkt.) ḍangar ‘bull’ (Hindi) Rebus: ḍhangar ‘blacksmith’ (Hindi).

ḍangur ‘bullock’ (Kashmiri) rebus: bull-men, ḍhangar ‘blacksmith’ (Hindi); tambura 'lyre'-players (harpists) rebus: tāmbarā 'coppersmith' (Oriya) Indus Script Meluhha hypertexts of Ancient Near East.

I suggest that the Urukean lyre/harp and the Lagash plaque are hypertexts to signify the profession of a coppersmith, in the context of metaslwork by artisans/potters. The presence of a lyre/harp in a narrative on Indus Script writing system, is not always to be interpreted as musical accompaniment of smithywork. A cylinder seal impression uses lyre/harp together with other hypertexts such as trumpet-players to signify artisanal life-activities specifying metalwork related to tambra 'copper' and tuttha, 'copper sulphate'.

I suggest that the auditory information processed through cochli are further processed in the deep brain, not only to record and record 'meanings' of the heard sounds, tunes and rhythms, but also to link the auditory data sets with pre-recorded visual data sets evoked by the 'meanings' of heard sounds, tunesand rhythms.

For example, the heard sound of a lyre evokes the image of a lyre. The image of a lyre links with the related semantics: tanbura 'lyre, harp' rebus: tambra 'copper'.

Thus, when a person receives an Indus Script hypertext object containing the hieroglyph the visual sensory neuronal sets related to tanbura 'lyre, harp', are spontaneously evoke (or trigger or activate) the data sets of auditory neuronal sets of networks which recollect or record the heard sounds and understand the 'meaning' of the sounds, in the context of Meluhhan life-activity of working with coppersmithy or copper metalwork.

The recipient of auditory and visual sensor information from the sound of a tanbura or the visual information or image of a tanbura (say, on a cylinder seal) are somehow linked. This linkage of auditory and visual data sets (in neuronal networks) results in an understanding of 'meaning' by the relational datasets of neuronal networks related to the recipient's life experience of heard tanbura sounds and seen images of tanbura lyre or harp.
Thus, when a recipient hears a tanbura or sees an image of a tambura (say, from a cylinder seal impression) or recollects the related image visual/auditory sensory networks from memory, the life-activity of cognate sound: tambra 'copper' is flashed as meaning of the sensory experience related to earlier life-experience working with copper metal.

This is a possible neuroscience process to explain the rebus principle in Indus Script cipher which links visual form and life-function related to a wealth-producing activity of metalwork.

The (bursting forth) of the sound sequence 'tambura' recollected from neuronal networks results in the instantaneous recognition of 'meaning' associated with 1. lyre/harp as a musical instrument and 2. rebus tambra as a copper smithy life-activity.

This is a falsifiable hypothesis suggesting a functional neuroscience model of brain activity, within the deep structures of the brain linking audotory, visual and memory data sets related to the wealth-giving meaning set: tambra 'copper'.

ḍangur ‘bullock’ (Kashmiri) rebus: bull-men, ḍhangar ‘blacksmith’ (Hindi); tambura 'lyre'-players (harpists) rebus: tāmbarā 'coppersmith' (Oriya) Indus Script Meluhha hypertexts of Ancient Near East.

It is suggested the lyre/harp is a hypertext to signify the profession of a coppersmith, in the context of metaslwork by artisans/potters. The presence of a lyre/harp in a narrative on Indus Script writing system, is not always to be interpreted as musical accompaniment of smithywork. A cylinder seal impression uses lyre/harp together with other hypertexts such as trumpet-players to signify artisanal life-activities specifying metalwork related to tambra 'copper' and tuttha, 'copper sulphate'.

Tanbur, a long-necked, string instrument originating in the Southern or Central Asia (Mesopotamia and Persia/Iran)

Iranian tanbur (Kurdish tanbur), used in Yarsan rituals

Turkish tambur, instrument played in Turkey

Yaylı tambur, also played in Turkey

Tanpura, a drone instrument played in India

Tambura (instrument), played in Balkan peninsula

Tamburica, any member of a family of long-necked lutes popular in Eastern and Central Europe

Tambouras, played in Greece

Tanbūra (lyre), played in East Africa and the Middle East

Dombra, instrument in Kazakhstan, Siberia, and Mongolia

Domra, Russian instrument

It is possible that the stupa mound of Mohenjo-daro may have a signified a ziggurat comparable to the Chogah Zanbil ziggurat.

Hieroglyph: tambura 'lyre, harp', rebus: tambra 'copper', tāmbarā

'coppersmith' (Oriya)

Hieroglyph: bugle-horn: Ta. tuttā̆ri a kind of bugle-horn. Ma. tuttāri horn, trumpet. Ka. tutūri, tuttāri, tuttūri a long trumpet. Tu. tuttāri, tuttūri trumpet, horn, pipe. Te. tutārā a kind of trumpet. / Cf. Mar. tutārī a wind instrument, a sort of horn. (DEDR3316) tūra m. ʻ a musical instrument ʼ Yaś., tūla -- 3 BHSk. 2. tūrya -- n. Pāṇ. Mn. 3. *tūriya -- .1. Pk. tūra -- , turu -- m.n.; P. turhī f. ʻ trumpet ʼ (+?), N. turahi, turai, B. turaṛi, Or. tura, H. turhī, turaī f., G. tūr n., turāī f.; Si. turu ʻ drum ʼ.2. Pk. tujja -- n. ʻ a musical instrument 3. Pa. tū˘riya -- n., Pk. tū˘ria -- n.; K. tūrī f. ʻ trumpet ʼ, S. turī f., Ku. turi, H. G. turī f.(CDIAL 5901) Rebus: tutthá n. (m. lex.), tutthaka -- n. ʻ blue vitriol (used as an eye ointment) ʼ Suśr., tūtaka -- lex. 2. *thōttha -- 4. 3. *tūtta -- . 4. *tōtta -- 2. [Prob. ← Drav. T. Burrow BSOAS xii 381; cf. dhūrta -- 2 n. ʻ iron filings ʼ lex.]1. N. tutho ʻ blue vitriol or sulphate of copper ʼ, B. tuth.2. K. thŏth, dat. °thas m., P. thothā m.3. S. tūtio m., A. tutiyā, B. tũte, Or. tutiā, H. tūtā, tūtiyā m., M. tutiyā m.4. M. totā m. (CDIAL 5855)

Drummer, musician,metalworker: ḍamaru m. ʻ drum ʼ Rājat., °uka -- m. lex. 2. *ḍam- baru -- . [Onom. and perh. ← Mu. EWA i 460, PMWS 86] 1. Pk. ḍamarua -- m.n.; L. awāṇ. P. ḍaurū m. ʻ tabor, small drum ʼ; Ku. ḍaũr, ḍaũru ʻ drum ʼ; M. ḍaur, ḍavrā m. ʻ hourglass -- tabor ʼ, ḍaurī m. ʻ itinerant musician ʼ.2. N. ḍambaru, ḍamaru ʻ small drum ʼ, A. ḍambaru, B. ḍamru, Or. ḍambaru, ḍamaru, H. ḍamrū m., G. M. ḍamru m.Other variants: K. ḍābürü f. ʻ large drum used for proclamations ʼ; -- Or. ḍempha ʻ shallow kettledrum ʼ; -- N. ḍamphu, °pho ʻ small drum or tambourine ʼ; B. ḍamphu ʻ drum ʼ; -- Ku. ḍãphṛī ʻ drum ʼ, ḍaphulo, °uwā ʻ small drum ʼ; N. ḍaph ʻ a partic. musical instrument played during Holi ʼ; G. ḍaph f.n. ʻ a kind of tabor ʼ; <-> G. ḍamkɔ m. ʻ drum ʼ.ḌAMB ʻ push ʼ: viḍambatē.*ḍamba -- ʻ belly ʼ see ḍimba -- 2.Addenda: ḍamaru -- . 1. WPah.J. ḍõru m. ʻ small drum ʼ, Garh. ḍɔ̃ru m., Brj. ḍaurū˘.2. *ḍambaru -- : WPah.kṭg. (kc.) ḍɔmru m. id.*ḍambaru -- ʻ drum ʼ see ḍamaru -- Add2.(CDIAL 5531)
Hieroglyp: drummer: dhārmiká ʻ righteous ʼ Mn., m. ʻ judge ʼ lex., ʻ juggler ʼ Ratnāv. [dharmin -- ]Ku. dhāmī m. ʻ drummer who excites people to dance under the inspiration of a deity ʼ; N. dhāmi ʻ wizard ʼ, dhamini ʻ his wife ʼ; H. dhāmiyã̄ m. pl. ʻ a Hindu sect who are followers of Prānnāth ʼ; M. dhāmyā, °mā, dhām -- gãḍ m. ʻ insulting term of address to a Mādhyandina or Yajurvedī ʼ (LM 354 < dharmya -- ). Addenda: dhārmiká -- : Garh. dhāmī ʻ a priest of folk -- religion ʼ.(CDIAL 6798)
ḍōmba m. ʻ man of low caste living by singing and music ʼ Kathās., ḍōma -- m. lex., ḍōmbinī -- f. [Connected with Mu. words for ʻ drum ʼ PMWS 87, EWA i 464 with lit.]Pk. ḍoṁba -- , ḍuṁba -- , ḍoṁbilaya -- m.; Gy. eur. rom m. ʻ man, husband ʼ, romni f. ʻ woman, wife ʼ, SEeur. i̦om ʻ a Gypsy ʼ, pal. dōm ʻ a Nuri Gypsy ʼ, arm. as. (Boša) lom ʻ a Gypsy ʼ, pers. damini ʻ woman ʼ; Ḍ. ḍōm (pl. °ma) ʻ a Ḍom ʼ; Paš. ḍōmb ʻ barber ʼ; Kho. (Lor.) ḍom ʻ musician, bandsman ʼ; Sh. ḍom ʻ a Ḍom ʼ, K. ḍūmb, ḍūmm., ḍūmbiñ f.; S. ḍ̠ūmu m., ḍūmṛī f. ʻ caste of wandering musicians ʼ, L. ḍūm m., ḍūmṇī f., (Ju.) ḍ̠om m., ḍ̠omṇī, ḍomṛī f., mult. ḍōm m., ḍōmṇī f., awāṇ. naṭ -- ḍūm ʻ menials ʼ; P. ḍūm, ḍomrā m., ḍūmṇī f. ʻ strolling musician ʼ, ḍūmṇā m. ʻ a caste of basket -- makers ʼ; WPah. ḍum ʻ a very low -- caste blackskinned fellow ʼ; Ku. ḍūm m., ḍūmaṇ f. ʻ an aboriginal hill tribe ʼ; N. ḍum ʻ a low caste ʼ; A. ḍom m. ʻ fisherman ʼ, ḍumini f.; B. ḍom, ḍam m. ʻ a Ḍom ʼ, ḍumni f. (OB. ḍombī); Or. ḍoma m., °aṇī f., ḍuma, °aṇī, ḍamba, ḍama, °aṇī ʻ a low caste who weave baskets and sound drums ʼ; Bhoj. ḍōm ʻ a low caste of musicians ʼ,H. ḍomb, ḍom, ḍomṛā, ḍumār m., ḍomnī f., OMarw. ḍūma m., ḍūmaṛī f., M. ḍõb, ḍom m. -- Deriv. Gy. wel. romanō adj. (f. °nī) ʻ Gypsy ʼ romanō rai m. ʻ Gypsy gentleman ʼ, °nī čib f. ʻ Gypsy language ʼ.(CDIAL 5570) *ḍōmbakuṭaka ʻ a Ḍom's hut ʼ. [ḍōmba -- , kuṭī -- ]Ku. ḍumauṛo ʻ habitation of the Ḍoms Rebus:*ḍōmbadhāna -- , or *ḍōmbādhāna -- , ʻ Ḍom settlement ʼ. [*ḍōmba -- , dhāˊna -- or ādhāˊna -- ]Ku. ḍumāṇo ʻ Ḍom settlement ʼ.*ḍōlla -- ʻ bucket ʼ see *dōla -- 2.Addenda: *ḍōmbadhna -- or †*ḍōmbādhāna -- .Garh. ḍumāṇu ʻ part of a village where Ḍoms live ʼ. (CDIAL 5571, 5572). Dombs are metalworkers.

Hieroglyh: ayo 'fish' rebus: aya 'iron' ayas 'alloy metal'

Indus Script hyper texts related to metalwork of the Tin-Bronze Revolutionary Age, from ca. 4th millennium BCE provide evidences of Bhāratīya sprachbund (speech union of Ancient India). Two vivid hieroglyph-multiplexes or hypertexts in Indus Script Corpora are: bull-men (ḍhangar, 'bull') and lyre-players (tambur, 'lyre, harp'). ḍaṅgara1 ʻ cattle ʼ. 2. daṅgara -- . [Same as ḍaṅ- gara -- 2 s.v. ḍagga -- 2 as a pejorative term for cattle]1. K. ḍangur* m. ʻ bullock ʼ, L. ḍaṅgur, (Ju.) ḍ̠ãgar m. ʻ horned cattle ʼ; P. ḍaṅgar m. ʻ cattle ʼ, Or. ḍaṅgara; Bi. ḍã̄gar ʻ old worn -- out beast, dead cattle ʼ, dhūr ḍã̄gar ʻ cattle in general ʼ; Bhoj. ḍāṅgar ʻ cattle ʼ; H. ḍã̄gar,ḍã̄grā m. ʻ horned cattle ʼ.

2. H. dã̄gar m. = prec.(CDIAL 5526)

The rebus readings are: ḍhangar ‘blacksmith’ (Hindi), tāmbarā 'coppersmith' (Oriya).

Who invented the oxhide ingot shape? Meluhha artisans. An archaemetallurgical journey along the Maritime Tin Route. http://tinyurl.com/k3bhx57
m1429

A bronze four sided stand showing a man carrying a copper ox-hide ingot and tree. 12th Century BC, possibly from Kourion, British Museum. The same stand also portrays a lyre-player. "There is evidence to suggest that copper was initially smelted into rough products - bars and ox-hide ingots - close to the mines. This was then transported for further refinement and working to the coastal settlements.

Ceremonial bronze stand, possibly Kourion, Cyprus. Shows a man carrying an oxhide ingot towards a tree, and another playing a Lyre. "Bronze tools and weapons were cast in double moulds. The cire perdue process was evidently employed for the sockets of the fine decorated spear-heads of the Late Minoan period. Copper was available in some parts of Crete, notably in the Asterousi mountains which border the Mesara plain on the south, but it may have been imported from Cyprus as well. The standard type of ingot found throughout the East Mediterranean in the Late Bronze Age was about two or three feet long, with inward-curving sides and projections for a man to grasp as he carried it on his shoulder. Smaller bun-shaped ingots were also in use." (Sinclair Hood, 1971, The Minoans: Crete in the Bronze Age, Thames and Hudson, p. 106)

Oxhide ingot in Indus Script is signified by the word: ḍhālako 'a large metal ingot' (Gujarati) This shape of ingot is sshown on a Mohenjo-daro seal with a boat carrying a pair of such ingots. dula 'pair' rebus: dul 'metal casting'. Thus,metal casting ingots. The association of the lyre-player or harpist with the person carrying an ox-hide ingot is significant. This lyre-player signifies: tanbura 'harp' rebus: tambra 'copper'. Thus, the oxhide ingot is a large copper ingot. Tamar (Hebrew: תמר ) is a female name of Hebrew origin, meaning "date" (the fruit), "date palm" or just "palm tree" Renis" tambra 'copper' as signified by the two palm trees on the Mohenjo-daro boat tablet which carried a consignment of oxhide ingots. An alternative is that the palm tree hieroglyph: ताल् m. the palmyra tree or fan palm, Borassus flabelliformis. (Kashmiri) Rebus: ḍhālako 'a large metal ingot' (Gujarati) The pair of bird hieroglyphs flanking the pair of oxhide ingots on the boat: Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , °ḍaga -- , °ḍava -- m. ʻ a partic. kind of bird ʼ Rebus: karaDa 'hard alloy'.

A characteristic representation of bull-man occurs on many Sumerian/Mesopotamian artifacts and cylinder seals. This hieroglyph-multiplex has its roots in the hieroglyphs used on Indus Script Corpora which display horned persons with the hindparts of a bovine and wearing headdress of a twig which in Indus Script cipher is kūdī 'bunch of twigs' (Sanskrit) Rebus: kuṭhi 'smelter furnace' (Santali)
"... head and torso of a human but the horns, lower body and legs of a bull...Baked clay plaques like this were mass-produced using moulds in southern Mesopotamia from the second millennium BCE. British Museum. WCO2652. Bull-manTerracotta plaque. Bull-man holding a post. Mesopotamia, ca. 2000-1600 BCE." Terracotta. This plaque depicts a creature with the head and torso of a human but the horns, lower body and legs of a bull. Though similar figures are depicted earlier in Iran, they are first seen in Mesopotamian art around 2500 BC, most commonly on cylinder seals, and are associated with the sun-god Shamash. The bull-man was usually shown in profile, with a single visible horn projecting forward. However, here he is depicted in a less common form; his whole body above the waist, shown in frontal view, shows that he was intended to be double-horned. He may be supporting a divine emblem and thus acting as a protective deity.

Harp, tantiburra, tambur, BAN.TUR (Sumerian) is an Indus Script hypertext. "Burra" is referred to tambura, a musical string instrument with a hollow shell. (Telugu). "burrakatha" means story narrated to the accompaniment of a lyre or harp Burra means a skull in Telugu. The shell resembles a human skull. It is made of baked clay or dried pumpkin, or of brass and copper. The instrument looks very similar to veena and the performer can pull and press strings to get music.

Hieroglyph: tantiburra, tambura 'lyre, harp, string musical instrument' rebus: tambra 'copper'. Tamba (nt.) [Sk. tāmra, orig. adj.=dark coloured, leaden; cp. Sk. adj. taŋsra id., to tama] copper ("the dark metal"); usually in combinations, signifying colour of or made of (cp. loha bronze), e. g. lākhātamba (adj.) Th 2, 440 (colour of an ox); ˚akkhin Vv 323 (timira˚) Sdhp 286; ˚nakhin J vi.290; ˚nettā (f.) ibid.; ˚bhājana DhA i.395; ˚mattika DhA iv.106; ˚vammika DhA iii.208; ˚loha PvA 95 (=loha).(Pali) 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, 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., G. trã̄bũ, tã̄bũ n.;M. tã̄bẽ n. ʻ copper ʼ, tã̄b f. ʻ rust, redness of sky ʼ; Ko. tāmbe n. ʻ copper ʼ; Si. tam̆ba adj. ʻ reddish ʼ, sb. ʻ copper ʼ, (SigGr) tam, tama. -- Ext. -- ira -- : Pk. taṁbira -- ʻ coppercoloured, red ʼ, L. tāmrā ʻ copper -- coloured (of pigeons) ʼ; -- with -- ḍa -- : S. ṭrāmiṛo m. ʻ a kind of cooking pot ʼ, ṭrāmiṛī ʻ sunburnt, red with anger ʼ, f. ʻ copper pot ʼ; Bhoj. tāmrā ʻ copper vessel ʼ; H. tã̄bṛā, tāmṛā ʻ coppercoloured, dark red ʼ, m. ʻ stone resembling a ruby ʼ; G. tã̄baṛ n., trã̄bṛī, tã̄bṛī f. ʻ copper pot ʼ; OM. tāṁbaḍā ʻ red ʼ. -- X trápu -- q.v. tāmrika -- ; tāmrakāra -- , tāmrakuṭṭa -- , tāmraghaṭa -- , tāmraghaṭaka -- , tāmracūḍa -- , tāmradhāka -- , tāmrapaṭṭa -- , tāmrapattra -- , tāmrapātra -- , tāmrabhāṇḍa -- , tāmravarṇa -- , tāmrākṣa -- .Addenda: tāmrá -- [< IE. **tomró* -- T. Burrow BSOAS xxxviii 65] S.kcch. trāmo, tām(b)o m. ʻ copper ʼ, trāmbhyo m. ʻ an old copper coin ʼ; WPah.kc. cambo m. ʻ copper ʼ, J. cāmbā m., kṭg. (kc.) tambɔ m. (← P. or H. Him.I 89), Garh. tāmu, tã̄bu.tāmrakāra m. ʻ coppersmith ʼ lex. [tāmrá -- , kāra -- 1]Or. tāmbarā ʻ id. ʼ.tāmrakuṭṭa m. ʻ coppersmith ʼ R. [tāmrá -- , kuṭṭa -- ] N. tamauṭe, tamoṭe ʻ id. ʼ.Addenda: tāmrakuṭṭa -- : Garh. ṭamoṭu ʻ coppersmith ʼ; Ko. tāmṭi.

tāraká -- 1 see tārā -- Add2.*tāmraghaṭa ʻ copper pot ʼ. [tāmrá -- , ghaṭa -- 1]

Bi. tamheṛī ʻ round copper vessel ʼ; -- tamheṛā ʻ brassfounder ʼ der. **tamheṛ* ʻ copper pot ʼ or < next?

tāmraghaṭaka ʻ copper -- worker ʼ. [tāmrá -- , ghaṭa -- 2]Bi. tamheṛā* ʻ brass -- founder ʼ or der. fr. **tamheṛ* see prec. tāmracūḍa ʻ red -- crested ʼ MBh., m. ʻ cock ʼ Suśr. [tāmrá -- , cūˊḍa -- 1]Pa. tambacūḷa -- m. ʻ cock ʼ, Pk. taṁbacūla -- m.; -- Si. tam̆basiluvā ʻ cock ʼ (EGS 61) either a later cmpd. (as in Pk.) or ← Pa. *tāmradhāka ʻ copper receptacle ʼ. [tāmrá -- , dhāká -- ]

Bi. tamahā ʻ drinking vessel made of a red alloy ʼ.

tāmrapaṭṭa m. ʻ copper plate (for inscribing) ʼ Yājñ. [Cf. tāmrapattra -- . -- tāmrá -- , paṭṭa -- 1]
M. tã̄boṭī f. ʻ piece of copper of shape and size of a brick ʼ.

tāmrapattra n. ʻ copper plate (for inscribing) ʼ lex. [Cf. tāmrapaṭṭa -- . -- tāmrá -- , páttra -- ]
Ku.gng. tamoti ʻ copper plate ʼ.

tāmrapātra n. ʻ copper vessel ʼ MBh. [tāmrá -- , pāˊtra -- ]
Ku.gng. tamoi ʻ copper vessel for water ʼ.

tāmrabhāṇḍa ʻ copper vessel ʼ. [tāmrá -- , bhāṇḍa -- 1]
Bhoj. tāmaṛā, tāmṛā* ʻ copper vessel ʼ; G. tarbhāṇũ n. ʻ copper dish used in religious ceremonies ʼ (< **taramhã̄ḍũ*).

tāmravarṇa ʻ copper -- coloured ʼ TĀr. [tāmrá -- , várṇa -- 1]
Si. tam̆bavan ʻ copper -- coloured, dark red ʼ (EGS 61) prob. a Si. cmpd.

tāmrākṣa ʻ red -- eyed ʼ MBh. [tāmrá -- , ákṣi -- ]
Pa. tambakkhin -- ; P. tamak f. ʻ anger ʼ; Bhoj. tamakhal ʻ to be angry ʼ; H. tamaknā ʻ to become red in the face, be angry ʼ.

tāmrika ʻ coppery ʼ Mn. [tāmrá -- ]
Pk. taṁbiya -- n. ʻ an article of an ascetic's equipment (a copper vessel?) ʼ; L. trāmī f. ʻ large open vessel for kneading bread ʼ, poṭh. trāmbī f. ʻ brass plate for kneading on ʼ; Ku.gng. tāmi ʻ copper plate ʼ; A. tāmi ʻ copper vessel used in worship ʼ; B. tāmī, tamiyā ʻ large brass vessel for cooking pulses at marriages and other ceremonies ʼ; H. tambiyā m. ʻ copper or brass vessel ʼ.(CDIAL 5779 to 5792)
ut -- stambha ʻ support ʼ. [Cf. údastambhīt* RV., Pk. uṭṭhaṁbhaï ʻ supports ʼ: √stambh]OG. uṭhaṁbha m.(CDIAL 1897) stambha m. ʻ pillar, post ʼ Kāṭh., °aka -- m. Mahāvy. [√stambh]
Pa. thambha -- m. ʻ pillar ʼ, Aś.rum. thabhe loc., top. thaṁbhe, ru. ṭha(ṁ)bhasi, Pk. thaṁbha -- , °aya -- , taṁbha -- , ṭhaṁbha -- m.; Wg. štɔ̈̄ma ʻ stem, tree ʼ, Kt. štom, Pr. üštyobu; Bshk. "ṭam"ʻ tree ʼ NTS xviii 124, Tor. thām; K. tham m. ʻ pillar, post ʼ, S. thambhu m.; L. thamm, thammā m. ʻ prop ʼ, (Ju.) tham, °mā, awāṇ. tham, khet. thambā; P. thamb(h), thamm(h) ʻ pillar, post ʼ, Ku. N. B. thām, Or. thamba; Bi. mar -- thamh ʻ upright post of oil -- mill ʼ; H. thã̄bh, thām, thambā ʻ prop, pillar, stem of plantain tree ʼ; OMarw. thāma m. ʻ pillar ʼ, Si. ṭäm̆ba; Md. tambu, tabu ʻ pillar, post ʼ; -- ext. -- ḍ -- : S. thambhiṛī f. ʻ inside peg of yoke ʼ; N. thāṅro ʻ prop ʼ; Aw.lakh. thãbharā ʻ post ʼ; H. thamṛā ʻ thick, corpulent ʼ; -- -- ll -- ; G. thã̄bhlɔ, thã̄blɔ m. ʻ post, pillar ʼ. -- X sthūˊṇā -- q.v.ut -- stambha -- , kāstambha -- ; kūpastambha -- . stambha -- : S.kcch. thambhlo* m. ʻ pillar ʼ, A. thām, Md. tan̆bu.(CDIAL 13682)
stambhana ʻ stopping ʼ MBh., n. ʻ stiffening ʼ Suśr., ʻ means of making stiff ʼ Hcat. [√stambh]Pa. thambhanā -- f. ʻ firmness ʼ; Pk. thaṁbhaṇa -- n., °ṇayā -- f. ʻ act of stopping ʼ; S. thambhaṇu m. ʻ glue ʼ, L. thambhaṇ m.(CDIAL 13683)

Hieroglyph: dewlap: stambá m. ʻ tuft or clump of grass, cluster, bunch ʼ AV. [Cf. stábaka -- . -- For ʻ cluster ʼ words see stu -- 3]
Pa. thambha* -- , °aka -- m. ʻ clump of grass ʼ; Pk. thaṁba -- m. ʻ bunch, tuft of grass &c. ʼ; Kal. istam ʻ first blossoms of spring ʼ; Si. tam̆ba ʻ dew -- lap of a bullock ʼ.(CDIAL 13681)
ḍangar ‘bull’ (Hindi) Rebus: ḍhangar ‘blacksmith’ (Hindi).

Harp, tantiburra, tambur, BAN.TUR (Sumerian) is an Indus Script hypertext.

Hieroglyph: tantiburra, tambura 'lyre, harp, string musical instrument' rebus: tambra 'copper'. Tamba (nt.) [Sk. tāmra, orig. adj.=dark coloured, leaden; cp. Sk. adj. taŋsra id., to tama] copper ("the dark metal"); usually in combinations, signifying colour of or made of (cp. loha bronze), e. g. lākhātamba (adj.) Th 2, 440 (colour of an ox); ˚akkhin Vv 323 (timira˚) Sdhp 286; ˚nakhin J vi.290; ˚nettā (f.) ibid.; ˚bhājana DhA i.395; ˚mattika
DhA iv.106; ˚vammika DhA iii.208; ˚loha PvA 95 (=loha).(Pali) 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, 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., G. trã̄bũ, tã̄bũ n.;M. tã̄bẽ n. ʻ copper ʼ, tã̄b f. ʻ rust, redness of sky ʼ; Ko. tāmbe n. ʻ copper ʼ; Si. tam̆ba adj. ʻ reddish ʼ, sb. ʻ copper ʼ, (SigGr) tam, tama. -- Ext. -- ira -- : Pk. taṁbira -- ʻ coppercoloured, red ʼ, L. tāmrā ʻ copper -- coloured (of pigeons) ʼ; -- with -- ḍa -- : S. ṭrāmiṛo m. ʻ a kind of cooking pot ʼ, ṭrāmiṛī ʻ sunburnt, red with anger ʼ, f. ʻ copper pot ʼ; Bhoj. tāmrā ʻ copper vessel ʼ; H. tã̄bṛā, tāmṛā ʻ coppercoloured, dark red ʼ, m. ʻ stone resembling a ruby ʼ; G. tã̄baṛ n., trã̄bṛī, tã̄bṛī f. ʻ copper pot ʼ; OM. tāṁbaḍā ʻ red ʼ. -- X trápu -- q.v.
tāmrika -- ; tāmrakāra -- , tāmrakuṭṭa -- , tāmraghaṭa -- , tāmraghaṭaka -- , tāmracūḍa -- , tāmradhāka -- , tāmrapaṭṭa -- , tāmrapattra -- , tāmrapātra -- , tāmrabhāṇḍa -- , tāmravarṇa -- , tāmrākṣa -- .Addenda: tāmrá -- [< IE. **tomró* -- T. Burrow BSOAS xxxviii 65] S.kcch. trāmo, tām(b)o m. ʻ copper ʼ, trāmbhyo m. ʻ an old copper coin ʼ; WPah.kc. cambo m. ʻ copper ʼ, J. cāmbā m., kṭg. (kc.) tambɔ m. (← P. or H. Him.I 89), Garh. tāmu, tã̄bu.

tāmrakāra m. ʻ coppersmith ʼ lex. [tāmrá -- , kāra -- 1]Or. tāmbarā ʻ id. ʼ.

tāmrakuṭṭa m. ʻ coppersmith ʼ R. [tāmrá -- , kuṭṭa -- ]
N. tamauṭe, tamoṭe ʻ id. ʼ.
Addenda: tāmrakuṭṭa -- : Garh. ṭamoṭu ʻ coppersmith ʼ; Ko. tāmṭi.
tāraká -- 1 see tārā -- Add2.

tāmraghaṭa ʻ copper pot ʼ. [tāmrá -- , ghaṭa -- 1]
Bi. tamheṛī* ʻ round copper vessel ʼ; -- tamheṛā ʻ brassfounder ʼ der. **tamheṛ* ʻ copper pot ʼ or < next?

tāmraghaṭaka ʻ copper -- worker ʼ. [tāmrá -- , ghaṭa -- 2]
Bi. tamheṛā* ʻ brass -- founder ʼ or der. fr. **tamheṛ* see prec.

tāmracūḍa ʻ red -- crested ʼ MBh., m. ʻ cock ʼ Suśr. [tāmrá -- , cūˊḍa -- 1]
Pa. tambacūḷa -- m. ʻ cock ʼ, Pk. taṁbacūla -- m.; -- Si. tam̆basiluvā ʻ cock ʼ (EGS 61) either a later cmpd. (as in Pk.) or ← Pa.

tāmradhāka ʻ copper receptacle ʼ. [tāmrá -- , dhāká -- ]
Bi. tamahā* ʻ drinking vessel made of a red alloy ʼ.

tāmrapaṭṭa m. ʻ copper plate (for inscribing) ʼ Yājñ. [Cf. tāmrapattra -- . -- tāmrá -- , paṭṭa -- 1]
M. tã̄boṭī f. ʻ piece of copper of shape and size of a brick ʼ.

tāmrapattra n. ʻ copper plate (for inscribing) ʼ lex. [Cf. tāmrapaṭṭa -- . -- tāmrá -- , páttra -- ]
Ku.gng. tamoti ʻ copper plate ʼ.

tāmrapātra n. ʻ copper vessel ʼ MBh. [tāmrá -- , pāˊtra -- ]
Ku.gng. tamoi ʻ copper vessel for water ʼ.

tāmrabhāṇḍa ʻ copper vessel ʼ. [tāmrá -- , bhāṇḍa -- 1]
Bhoj. tāmaṛā, tāmṛā* ʻ copper vessel ʼ; G. tarbhāṇũ n. ʻ copper dish used in religious ceremonies ʼ (< **taramhã̄ḍũ*).

tāmravarṇa ʻ copper -- coloured ʼ TĀr. [tāmrá -- , várṇa -- 1]
Si. tam̆bavan ʻ copper -- coloured, dark red ʼ (EGS 61) prob. a Si. cmpd.

tāmrākṣa ʻ red -- eyed ʼ MBh. [tāmrá -- , ákṣi -- ]
Pa. tambakkhin -- ; P. tamak f. ʻ anger ʼ; Bhoj. tamakhal ʻ to be angry ʼ; H. tamaknā ʻ to become red in the face, be angry ʼ.

tāmrika ʻ coppery ʼ Mn. [tāmrá -- ]
Pk. taṁbiya -- n. ʻ an article of an ascetic's equipment (a copper vessel?) ʼ; L. trāmī f. ʻ large open vessel for kneading bread ʼ, poṭh. trāmbī f. ʻ brass plate for kneading on ʼ; Ku.gng. tāmi ʻ copper plate ʼ; A. tāmi ʻ copper vessel used in worship ʼ; B. tāmī, tamiyā ʻ large brass vessel for cooking pulses at marriages and other ceremonies ʼ; H. tambiyā m. ʻ copper or brass vessel ʼ.(CDIAL 5779 to 5792).

Flag-staff (ḍhāla, thãbharā) carried as a Meluhha proclamation (ketu) of metalwork competence, rebus: ḍhālako 'ingot', tambra'copper', tāmbarā 'coppersmith' (Oriya)

Girsu (Tlloh) archaeological find. 11 ft. tall copper plated flagpost. This may relate to a period when

Girsu (ca. 2900-2335 BCE) was the capital of Lagash at the time of Gudea.

ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati)Allograph: ढाल [ ḍhāla ] f (S through H) The grand flag of an army directing its march and encampments: also the standard or banner of a chieftain: also a flag flying on forts &c. ढालकाठी [ ḍhālakāṭhī ] f ढालखांब m A flagstaff; esp.the pole for a grand flag or standard. 2 fig. The leading and sustaining member of a household or other commonwealth. 5583 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. WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f. (CDIAL 5583).

ut -- stambha ʻ support ʼ. [Cf. údastambhīt* RV., Pk. uṭṭhaṁbhaï ʻ supports ʼ: √stambh]OG. uṭhaṁbha m.(CDIAL 1897) stambha m. ʻ pillar, post ʼ Kāṭh., °aka -- m. Mahāvy. [√stambh]
Pa. thambha -- m. ʻ pillar ʼ, Aś.rum. thabhe loc., top. thaṁbhe, ru. ṭha(ṁ)bhasi, Pk. thaṁbha -- , °aya -- , taṁbha -- , ṭhaṁbha -- m.; Wg. štɔ̈̄ma ʻ stem, tree ʼ, Kt. štom, Pr. üštyobu; Bshk. "ṭam"ʻ tree ʼ NTS xviii 124, Tor. thām; K. tham m. ʻ pillar, post ʼ, S. thambhu m.; L. thamm, thammā m. ʻ prop ʼ, (Ju.) tham, °mā, awāṇ. tham, khet. thambā; P. thamb(h), thamm(h) ʻ pillar, post ʼ, Ku. N. B. thām, Or. thamba; Bi. mar -- thamh ʻ upright post of oil -- mill ʼ; H. thã̄bh, thām, thambā ʻ prop, pillar, stem of plantain tree ʼ; OMarw. thāma m. ʻ pillar ʼ, Si. ṭäm̆ba; Md. tambu, tabu ʻ pillar, post ʼ; -- ext. -- ḍ -- : S. thambhiṛī f. ʻ inside peg of yoke ʼ; N. thāṅro ʻ prop ʼ; Aw.lakh. thãbharā ʻ post ʼ; H. thamṛā ʻ thick, corpulent ʼ; -- -- ll -- ; G. thã̄bhlɔ, thã̄blɔ m. ʻ post, pillar ʼ. -- X sthūˊṇā -- q.v.ut -- stambha -- , kāstambha -- ; kūpastambha -- . stambha -- : S.kcch. thambhlo* m. ʻ pillar ʼ, A. thām, Md. tan̆bu.(CDIAL 13682)

stambhana ʻ stopping ʼ MBh., n. ʻ stiffening ʼ Suśr., ʻ means of making stiff ʼ Hcat. [√stambh]Pa. thambhanā -- f. ʻ firmness ʼ; Pk. thaṁbhaṇa -- n., °ṇayā -- f. ʻ act of stopping ʼ; S. thambhaṇu m. ʻ glue ʼ, L. thambhaṇ m.(CDIAL 13683)

Hieroglyph: dewlap: stambá m. ʻ tuft or clump of grass, cluster, bunch ʼ AV. [Cf. stábaka -- . -- For ʻ cluster ʼ words see stu -- 3]Pa. thambha* -- , °aka -- m. ʻ clump of grass ʼ; Pk. thaṁba -- m. ʻ bunch, tuft of grass &c. ʼ; Kal. istam ʻ first blossoms of spring ʼ; Si. tam̆ba ʻ dew -- lap of a bullock ʼ.(CDIAL 13681)

ḍangar ‘bull’ (Hindi) Rebus: ḍhangar ‘blacksmith’ (Hindi).
Rebus: ḍān:ro = a term of contempt for a blacksmith (N.)(CDIAL 5524). ṭhākur = blacksmith (Mth.) (CDIAL 5488).

Sign 311 Indus Script Sign List (Mahadevan) tantrīˊ f. ʻ string of a lute ʼ ŚāṅkhŚr. [tántra -- ]

Pa. tanti -- f. ʻ lute ʼ, Pk. taṁtī -- f.; OAw. tāṁti ʻ string of a musical instrument ʼ, H. tant f.; Si. täta ʻ string of a lute ʼ.(CDIAL 5667)

Ta. taṇṭu lute. Ma. taṇṭi a musical instrument. (DEDR 3057)

Hieroglyph: kora 'harp' rebus: koraga 'musician' (Tulu) khār 'blacksmith'

Pict-63

Pict-90

Pict-91

ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'. Ta. taṅkam pure gold, that which is precious, of great worth. Ma. taṅkam pure gold. / ? < Skt. ṭaṅka- a stamped (gold) coin.(DEDR 3013) ṭaṅka1 m.n. ʻ weight of 4 māṣas ʼ ŚārṅgS., ʻ a stamped coin ʼ Hit., °aka -- m. ʻ a silver coin ʼ lex. 2. ṭaṅga -- 1 m.n. ʻ weight of 4 māṣas ʼ lex. 3. *ṭakka -- 1. [Bloch IA 59 ← Tatar tanka (Khot. tanka = kārṣāpaṇa S. Konow Saka Studies 184)]

1. Pk. ṭaṁka -- m. ʻ a stamped coin ʼ; N. ṭã̄k ʻ button ʼ (lw. with k); Or. ṭaṅkā ʻ rupee ʼ; H. ṭã̄k m. ʻ a partic. weight ʼ; G. ṭã̄k f. ʻ a partic. weight equivalent to 1/72 ser ʼ; M. ṭã̄k m. ʻ a partic. weight ʼ. 2. H. ṭaṅgā m. ʻ a coin worth 2 paisā ʼ.3. Sh. ṭăk m. ʻ button ʼ; S. ṭako m. ʻ two paisā ʼ, pl. ʻ money in general ʼ, ṭrakaku ʻ worth two paisā ʼ, m. ʻ coin of that value ʼ; P. ṭakā m. ʻ a copper coin ʼ; Ku. ṭākā ʻ two paisā ʼ; N. ṭako ʻ money ʼ; A. ṭakā ʻ rupee ʼ, B. ṭākā; Mth. ṭakā, ṭakkā, ṭakwā ʻ money ʼ, Bhoj. ṭākā; H. ṭakā m. ʻ two paisā coin ʼ, G. ṭakɔ m., M. ṭakā m.*uṭṭaṅka -- , *ṣaṭṭaṅka -- , ṭaṅkaśālā -- .Addenda: ṭaṅka -- 1 [H. W. Bailey in letter of 6.11.66: Khot. tanka is not = kārṣāpaṇa -- but is older Khot. ttandäka ʻ so much ʼ < *tantika -- ] (CDIAL 5426)

Rebus: ṭaṅkaśālā -- , ṭaṅkakaś° f. ʻ mint ʼ lex. [ṭaṅka -- 1, śāˊlā -- ]

N. ṭaksāl, °ār, B. ṭāksāl, ṭã̄k°, ṭek°, Bhoj. ṭaksār, H. ṭaksāl, °ār f., G. ṭãksāḷ f., M. ṭã̄ksāl, ṭāk°, ṭãk°, ṭak°. -- Deriv. G. ṭaksāḷī m. ʻ mint -- master ʼ, M. ṭāksāḷyā m.Addenda: ṭaṅkaśālā -- : Brj. ṭaksāḷī, °sārī m. ʻ mint -- master ʼ.(CDIAL 5438)
ṭaṅka2 m.n. ʻ spade, hoe, chisel ʼ R. 2. ṭaṅga -- 2 m.n. ʻ sword, spade ʼ lex.
1. Pa. ṭaṅka -- m. ʻ stone mason's chisel ʼ; Pk. ṭaṁka -- m. ʻ stone -- chisel, sword ʼ; Woṭ. ṭhõ ʻ axe ʼ; Bshk. ṭhoṅ ʻ battleaxe ʼ, ṭheṅ ʻ small axe ʼ (< **ṭaṅkī); Tor. (Biddulph) "tunger" m. ʻ axe ʼ (ṭ? AO viii 310), Phal. ṭhō˘ṅgif.; K.ṭŏnguru m. ʻ a kind of hoe ʼ; N. (Tarai) ṭã̄gi* ʻ adze ʼ; H. ṭã̄kī f. ʻ chisel ʼ; G. ṭã̄k f. ʻ pen nib ʼ; M. ṭã̄k m. ʻ pen nib ʼ, ṭã̄kī f. ʻ chisel ʼ.
2. A. ṭāṅgi ʻ stone chisel ʼ; B. ṭāṅg, °gi ʻ spade, axe ʼ; Or. ṭāṅgi ʻ battle -- axe ʼ; Bi. ṭã̄gā, °gī ʻ adze ʼ; Bhoj. ṭāṅī ʻ axe ʼ; H. ṭã̄gī f. ʻ hatchet ʼ.(CDIAL 5427)m478B Part of pictorial motif: Rim of jar + lid (pot cover)

कर्णक kárṇaka, kannā 'rim of jar''rim of jar', 'pericarp of lotus' karaṇī 'scribe, supercargo', kañi-āra 'helmsman'.Ka. diṅku a jump, leap, skipping about in frolic, gambol. Go. (Mu.) ḍev-, (SR. G. Ma. Pat. S.) ḍey-, (Tr.) ḍai-, (Y.) ḍhay-, (W. Ph.) ḍahk-, (M.) ḍehk-, (L.) dehek- to jump (Voc. 1584). Kui dega (degi-) to run, jump, leap; n. running, jumping, jump, leap; detka (detki-) to jump; n. a jump. Kuwi (F.) devali to bound, jump; (S.) ḍēwinai to leap; (Su.) ḍēv- (-it-) to jump; (Isr.) ḍēv-/ḍēm- (-it-) id. Kur. ḍegnā to leap, jump. / Cf. Pkt. ḍev- to jump. There is some connection with items in Turner, CDIAL, no. 5534, ḍáyate; cf. esp. Or. ḍeĩbā to jump. (DEDR 2971)
ṭakk1 ʻ remain, stop ʼ. 2. ṭikk -- . 3. ṭēkk -- usu. tr. [Cf. ḍakk -- 3, ṭhēkk -- ]
1. Sh. (Lor.) ṭak boiki* ʻ to be hampered, be stuck ʼ; P. ṭakk m. ʻ settlement of price ʼ; N. ṭakka aṛinu ʻ to come to a dead stop ʼ; G. ṭakvũ ʻ to stop ʼ; M. ṭākṇẽ ʻ to leave ʼ.
2. Kho. (Lor.) tika ʻ support, cushion behind the back ʼ; S. ṭikaṇu ʻ to remain, be firm ʼ; L. ṭikkaṇ ʻ to stay ʼ; P. ṭikṇā ʻ to stay ʼ, ṭikkṇā ʻ to appoint ʼ; N. ṭiknu ʻ to remain, last ʼ; A. ṭikiba ʻ to last, be of service ʼ; B. ṭikā ʻ to remain ʼ; Or. ṭikibā ʻ to last, be effective ʼ; H. ṭiknā ʻ to stop, remain ʼ; M. ṭikṇẽ ʻ to stay ʼ.
3. P. ṭekṇā ʻ to prop ʼ, ṭekaṇ m. ʻ prop, bundle of wood ʼ; Ku. ṭekṇo ʻ to prop ʼ, ṭeko ʻ prop, obstacle ʼ; N. ṭeknu ʻ to set up ʼ, ṭek ʻ obstinacy ʼ, ṭekan ʻ prop ʼ; A. ṭek ʻ middle part of a dam ʼ; B. ṭẽkā ʻ to remain ʼ; Or. ṭekibā ʻ to lift up ʼ; OAw. ṭekaï ʻ puts, stops ʼ, ṭeka f. ʻ prop ʼ; H. ṭeknā ʻ to prop ʼ; G. ṭekvũ, ṭek m.f. ʻ support ʼ; M. ṭekṇẽ tr. and intr. ʻ to rest ʼ.
Addenda: ṭakk -- 1. 2. ṭikk -- : WPah.J. ṭikṇu ʻ to stop ʼ.
3. ṭēkk -- : WPah.kṭg. (kc.) ṭekṇõ* ʻ to stop, stay, stand, support, endure, place ʼ; J. ṭekṇu ʻ to support ʼ.(CDIAL 5420)Ta. takai (-v-, -nt-) to stop, resist, check, deter, obstruct or forbid by oath, seize, take hold of, overpower, subdue, shut in, enclose, include, bind, fasten, yoke; (-pp-, -tt-) to check, resist, stop, deter, bind, fasten; n.binding, fastening, garland, obstruction, check, hindrance, armour, coat of mail; takaippu surrounding wall, fortress, palatial building, section of house, apartment, battle array of an army. Ka. taga, tagave, tagahu, tagedelay, obstacle, hindrance, impediment; tage to stop, arrest, obstruct, impede, stun; tagar to be stopped or impeded, impede, etc.(DEDR 3006) Ta. taṅku (taṅki-) to stay, sojourn, abide, remain, be stable, firmly established, be retained in the mind, exist, halt, wait, delay, be obstructed, reserved, or kept back; n. staying, stopping; taṅkal stopping, halting, resting, delay, halting place, persistence, stability; takku (takki-) to come to stay, become permanent, lasting (as a possession or acquisition), be retained; takkam stability. Ma. taṅṅuka to stop, come into possession, be there, be arrested in the midst of progress; taṅṅal rest, shelter; taṅṅikka to delay, stop; takkuka to be obtained; tañcuka to stop, remain; tañcam being at rest, posture. Ko. taŋg- (taŋgy-) to spend time in a place away from home. To. tok- (toky-) to last long (money, situation), (child) lives long; to&ztail; other, different (i.e. the remaining one, the other one). Ka. taṅgu to stop, stay, tarry, sojourn, lodge; n. stoppage, halt, a day's journey; dakku to accrue to, be obtained, fall to one's share, come into and remain in one's possession, remain, be preserved; n. acquirement, attainment, possession, property; dakkisu to cause to be obtained, etc. Tu.dakkati possession, control, appropriation, digest; dakkāvoṇuni to retain or digest anything eaten, misappropriate successfully, take charge of; daksāvuni to bring into another's possession; daksuni to be retained or digested as food, medicine, etc., be misappropriated successfully. Te. takku to remain, be left, be excepted or omitted; n. remainder, other; takkina remaining, other; dakku, ḍakku to remain, be left as a balance or residue, be saved or spared. Kol. tak- (takt-) to live (in a place), remain, stay (e.g. silent). Nk. tak- to stay, remain. Go. (Tr.) taggānā to wear well (of clothes), remain in one's service (of servants); (A.) tagg- to stay, last (Voc. 1642).(DEDR 3014)

*ḍakk3 ʻ stop ʼ. [Cf. *ṭakk -- 1]L. ḍakkaṇ, (Ju.) ḍ̠a° ʻ to stop, obstruct ʼ; P. ḍakkṇā ʻ to block up, hinder ʼ, ḍakk m. ʻ hindrance ʼ, ḍakkā m. ʻ plug ʼ.(CDIAL 5518) *ḍhakk ʻ cover ʼ. 2. *ḍhaṅk -- . [Cf. ḍhakkana -- n. ʻ shutting ʼ Śīl.]1. Pk. ḍhakkaï ʻ shuts ʼ; S. ḍhakaṇu ʻ to cover ʼ; L. ḍhakkaṇ ʻ to imprison ʼ; P. ḍhakkṇā ʻ to cover ʼ, Ku. ḍhakṇo, N. ḍhāknu, A. ḍhākiba, B. ḍhākā, Bhoj. ḍhākal, OMarw. ḍhakaï; -- Pk. ḍhakkiṇī -- f. ʻ lid ʼ, S. ḍhakkaṇī f., P. ḍhakṇā m., °ṇī f., WPah. bhad. ḍhakkaṇ n., Ku. ḍhākaṇ, N. ḍhakni, A. ḍhākni, B. ḍhākan, ḍhāknā, °ni; Bi. ḍhaknā ʻ cover of grain -- pot ʼ, Mth. ḍhākni; Bhoj. ḍhaknī ʻ lid ʼ. -- Poss. K. ḍākürü f. ʻ wide shallow basket ʼ; N. ḍhāki ʻ basket ʼ, ḍhākar ʻ a kind of large basket ʼ; Bi. mag. ḍhākā ʻ large open basket ʼ; -- P. ḍhakkā m. ʻ pass between two hills ʼ.2. Pk. ḍhaṁkissaï ʻ will cover ʼ; Kho. (Lor.) ḍaṅgeik ʻ to cover, shut, bury ʼ; Phal. ḍhaṅg -- ʻ to bury ʼ; Or. ḍhaṅkibā ʻ to cover ʼ, H. ḍhã̄knā, Marw. ḍhã̄kṇo, G. ḍhã̄kvũ, M. ḍhã̄kṇẽ; -- Pk. ḍhaṁkaṇa -- n., °ṇī -- f. ʻ cover, lid ʼ, Or. ḍhāṅkuṇi, H. ḍhãknī f., G. ḍhã̄kṇũ n., °ṇī f., M. ḍhã̄kaṇ n., ḍhã̄kṇī f.*ḍhagga -- ʻ defective ʼ see *ḍagga -- 2.

*ḍhaṅk -- ʻ cover ʼ see *ḍhakk -- .*ḍhaṅkha -- ʻ defective ʼ see *ḍagga -- 2.Addenda: *ḍhakk -- 1: S.kcch. ḍhakṇū ʻ to cover, shut (a door) ʼ, WPah.kṭg. (kc.) ḍhàkṇõ, Garh. ḍhakṇu; A. ḍhākiba (phonet. dh -- ) ʻ to cover ʼ, G. ḍhākvũ, M. ḍhākṇẽ.(CDIAL 5574)

Rebus: धक्क (p. 245) dhakka a (Imit.) Steady, enduring, unshaken (as under misfortune): hale, hearty, stanch, unflinching--man or animal: stout, sound, firm, fit to render good service--cloth, an article gen. 2 Brightshining, brilliant, very lustrous--metal, a gem, a firework. Hence 3 Bright and good, altogether excellent--a rupee or other coin. *dhakṣati ʻ burns ʼ [Cf. fut. part. vidhakṣyánt -- , aor. part. dhákṣat RV. -- √dah] G. dhakhvũ ʻ to get into a passion ʼ, dhakhāvvũ ʻ to make hot ʼ, dhakh f. ʻ thirst ʼ.Addenda: dhákṣu -- : S.kcch. ḍakho m. ʻ quarrel ʼ; B. dhak ʻ sudden blaze ʼ, Or. dhaka ʻ blaze ʼ (rather than < *dhagg -- ).(CDIAL 6703)

Rebus: *tāmradhāka ʻ copper receptacle ʼ. [tāmrá -- , dhāká -- ]Bi. tamahā ʻ drinking vessel made of a red alloy ʼ. (CDIAL 5785)

^  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. In an alternative reading, the pot PLUS lid is read rebus as: dhakka karni 'bright metal supercargo'.Mahadevan concordance Field Symbol 83: Person wearing a diadem or tall head-dress standing within an ornamented arch; there are two stars on either side, at the bottom of the arch.मेढ (p. 662) [ mēḍha ] 'the polar star' (Marathi) Rebus: meḍ 'iron' (Ho.Mu.)
Hieroglyph: karã̄ n. pl. ʻwristlets, bangles ʼ (Gujarati); kara 'hand' (Rigveda) Rebus: khAr 'blacksmith' (Kashmiri)
The bunch of twigs = ku_di_, ku_t.i_ (Skt.lex.) ku_di_ (also written as ku_t.i_ in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kaus’ika Su_tra (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 Badari_, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).[Note the twig adoring the head-dress of a horned, standing person]
Horned person. Terracotta. Harappa.

mēd 'body' (Kur.)(DEDR 5099); meḍ 'iron' (Ho.)  Ta. mēṉi body, shape, colour, beauty; mēl body. Ma. mēni body, shape, beauty, excellence; mēl body. Koḍ. me·lï body. Te. mēnu id.; mēni brilliancy, lustre; belonging to the body, bodily, personal. Kol. me·n (pl.me·nḍl) body. Nk. mēn (pl. mēnuḷ) id. Nk. (Ch.) mēn id. Pa. mēn (pl. mēnul) id. Ga. (S.) mēnu (pl. mēngil), (P.) mēn id. Go. (Tr.) mēndur (obl. mēnduḍ-), (A. Y. W. M.) mēndul, (L.) meṇḍū˘l, (SR.) meṇḍol id. (Voc.2963). Konḍa mēndol human body. Kur. mē̃d, mēd body, womb, back. Malt. méth body (DEDR 5099)

Ta. kōṭu (in cpds. kōṭṭu-) horn, tusk, branch of tree, cluster, bunch, coil of hair, line, diagram, bank of stream or pool; kuvaṭu branch of a tree; kōṭṭāṉ, kōṭṭuvāṉ rock horned-owl (cf. 1657 Ta. kuṭiñai). Ko. ko·ṛ (obl.ko·ṭ-) horns (one horn is kob), half of hair on each side of parting, side in game, log, section of bamboo used as fuel, line marked out. To. kw&idieresisside;ṛ (obl. kw&idieresisside;ṭ-) horn, branch, path across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn. Ga. (Oll.) kōr (pl. kōrgul) id. Go. (Tr.) kōr (obl. kōt-, pl. kōhk) horn of cattle or wild animals, branch of a tree; (W. Ph. A. Ch.) kōr (pl. kōhk), (S.) kōr (pl. kōhku), (Ma.) kōr̥u (pl. kōẖku) horn; (M.) kohk branch (Voc. 980); (LuS.) kogoo a horn. Kui kōju (pl. kōska) horn, antler.
  (DEDR 2200) Rebus: koḍ artisan's workshop (Kuwi) Ta. koṭṭakai shed with sloping roofs, cow-stall; marriage pandal; koṭṭam cattle-shed; koṭṭil cow-stall, shed, hut; (STD) koṭambe feeding place for cattle. Ma. koṭṭil cowhouse, shed, workshop, house. Ka. koṭṭage, koṭige, koṭṭige stall or outhouse (esp. for cattle), barn, room. Koḍ. koṭṭï shed. Tu. koṭṭa hut or dwelling of Koragars; koṭya shed, stall. Te. koṭṭā̆mu stable for cattle or horses; koṭṭāyi thatched shed. Kol. (Kin.) koṛka, (SR.) korkā cowshed; (Pat., p. 59) konṭoḍi henhouse. Nk. khoṭa cowshed. Nk. (Ch.) koṛka id. Go. (Y.) koṭa, (Ko.) koṭam (pl. koṭak) id. (Voc. 880); (SR.) koṭka shed; (W. G. Mu. Ma.) koṛka, (Ph.) korka, kurkacowshed (Voc. 886); (Mu.) koṭorla, koṭorli shed for goats (Voc. 884). Malt. koṭa hamlet. / Influenced by Skt. goṣṭha-. (DEDR 2058)

Sign 418

Variants Sign 12

Sign 418

Variants Sign 50, Sign 51

Daimabad seal. Rimofjar Kalibangan pottery. Sign 342 See: http://www.iranicaonline.org/articles/harp By Bo Lawergre, 2003, in: Encyclopaedia Iranica, Vol. XII, Fasc. 1, pp. 7-13. "HARP (čang, q.v.),a string instrument which flourished in Persia in many forms from its introduction, about 3000 B.C.E., until the 17th century. The original type was the arched harp as seen at Čoḡā Miš and on later third millennium seals (Figure 1a-c)...Third millennium B.C.E. This was the era of arched harps in Persia. It came to an end with the arrival of angular harps, ca. 1900 B.C.E. (Figure 5a). However, arched harps survived in India and diffused from there during the first millennium C.E. (Lawergren, 1995/6, pp. 244-45), including to Panjikent (Figure 1d)."

https://www.penn.museum/sites/expedition/the-boat-shaped-lyre/
Sumerian Musicians on Relief

https://www.penn.museum/sites/expedition/the-musical-instruments-from-ur-and-ancient-mesopotamian-music/
Mosaic panel (the 'Royal Standard of Ur') from Ur, ca. 2450 BCE (Rashid 1984: 45 Abb.12; Woolley 1934: pl. 91)
Image result for harp cylinder seals ancient near east

Image result for harp cylinder seals ancient near east

The association of 'harp' with a one-horned young bull is seen on this frieze from Ur. kundār ‘young bull' rebus: kundār ‘turner’ kundaṇa 'fine gold'.
Related image

From the Standard of Ur.

This silver lyre from ancient Mesopotamia is over 4,500 years old. Music was an important aspect of many celebrations and rituals.

https://twitter.com/britishmuseum/status/931562221209047042

Eleven stringed instruments were recovered at Ur (two harps and nine lyres)

FIG. 3. TilE MEDIUM-SIZED SILVER BOVINE LYRE NOW IN THE BRITISH MUSEUM might have sounded like a cello. ©The British Museum. 121199, neg. E 2241. H. 97.5 em. L. 69 011

Bull-headed harp with inlaid sound box, from the tomb of Pu-abi (tomb 800), Royal Cemetery, Ur (modern Tell Muqayyar), Iraq, ca. 2600-2400 BCE. Wood, gold, lapis lazuli, red limestone, and shell, 3′ 8 1/8″ high. British Museum, London.

Sound box of the bull-headed harp from tomb 789 (“King’s Grave”), Royal Cemetery, Ur (modern Tell Muqayyar), Iraq,ca. 2600-2400 BCE. Wood, lapis lazuli, and shell, 1′ 7″ high. University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia.

"Great Lyre" from Ur: Ht 33 cm. 2550 - 2400 BCE, royal tomb at Ur (cf. pg. 106 of J. Aruz and R. Wallenfels (eds.) 2003 Art of the First Cities).

Great Lyre from the "King's Grave" (left)
and Detail of Front Panel of the Great Lyre from the "King's Grave" (right)
Ur, Iraq, ca. 2650–2550 B.C.
Gold, silver, lapis lazuli, shell, bitumen, and wood
Height: 35.6 cm (head), 33 cm (plaque)
PG 789; B17694 (U.10556)
University of Pennsylvania Museum of Archaeology and Anthropology
"The figures featured on the sound box of the harp are shell and red limestone and are seperated by registers. The bottom register features a scorpion-man in composite and a gazelle bearing goblets. Above them are an ass playing the harp, ajackal playing the zither and a bear steadying the harp or dancing. The second register from the top has a dog wearing a dagger and carrying a laden table with a lion bringing the beverage service. The uppermost register features the hero, also in composite, embracing two man-bulls in a heraldic composition. The meaning behind the sound box depictions is unclear but could be of funerary significance, suggesting that the creatures inhabit the land of the dead and the feast is what awaits in the afterlife. In any case, the sound box provides a very early specimen of the depiction of animals acting as people that will be found throughout history in art and literature."
https://klimtlover.wordpress.com/mesopotamia-and-persia/mesopotamia-and-persia-sumerian-art/
bull-head-lyre-panel

DETAIL FROM THE PANEL ON THE BULL-HEADED LYRE showing an 8-stringed bovine lyre being played. At the top of the lyre, braided material is wrapped around the crossbar under the tuning sticks. The small fox-like animal facing the front of the lyre holds a sistrum, or rattle. UPM 817694. Detail of neg. 735-110

Inlay panel from the soundbox of lyre.from Ur, c. 2600 B.C.E Gold, lapis lazuli, shell and bitumen

tambura 'lyre' Rebus: tam(b)ra 'copper' Alternative: khara 'onager', kora 'harp' rebus: khār 'blacksmith'

barad, barat 'bull' Rebus: bharata, baran 'alloy of copper, pewter, tin'

kola 'tiger, jackal' Rebus: kol 'working in iron'

bica 'scorpion' rebus: bica 'hematite, ferrite ore'.

"Great Lyre" from Ur: Ht 33 cm

. 2550 - 2400 BCE, royal tomb at Ur (cf. pg. 106 of J. Aruz and R. Wallenfels (eds.) 2003 Art of the First Cities).

Othmar Keel (2009) "Othmar Keel's scientific work exploring the links between the imagery of the Ancient Near East and the Bible and the religious history of Palestine / Israel...In his biblical studies, he has shown how the pictorial symbolism of ancient oriental cultures can serve as a key to the understanding of Old Testament texts (eg, High Song , Gospel in the Book of Job , YHWH Visions in the Books of Isaiah , Ezekiel and Zechariah )." An announcement on 24 Oct 2017 08:40 AM PDT referred to a newly added title to Orbis Biblicus et Orientalis Online

Images as Sources: Studies on ancient Near Eastern artefacts and the Bible inspired by the work of Othmar Keel. Edited by: Bickel, Susanne; Schroer, Silvia; Schurte, René; Uehlinger, Christoph (2007). Fribourg, Switzerland / Göttingen, Germany: Academic Press / Vandenhoeck & Ruprecht.

The following image sources from Plates XXXIII and XXXIV are cited by Brent A. Strawn & Joel M LeMon, following the iconographic analytical method given academic respectability by the work of Othmar Keel.

Plate XXXIII

Plate XXXIV. Fig. 1

Brent A. Strawn & Joel M LeMon, opcit. analyse the following pictorials for the symbolism signified.

On Figures 14, 15, and 16, onagers are signified as harp-players, performing in presence of a lion. The Indus Script hypertext readings: arye'lion' rebus: ara'brass'khar 'ass, onager' (Kashmiri) rebus: khār खार् 'blacksmith' A phonetic determinative: kora 'harp'.

On harp-playing onager on the lyre it is noted by Brent A. Strawn & Joel M. LeMon, that an onager as harp-player. On the hieroglyphs, deployed a one-horned young bull is also shown in the presence of a jackal. कोला (p. 105) kōlā m (Commonly कोल्हा) A jackal. For compounds see under कोल्हे. कोल्हा (p. 105) kōlhā m A jackal, Canis aureus. Linn. कोल्ही (p. 105) kōlhī A she-jackal.कोल्हें (p. 105) kōlhēṃ 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. कोल्हेभूंक (p. 105) kōlhēbhūṅka or -भोंक f (कोल्हा & भुंकणें To bark.) The yelling of jackals. 2 Early dawn; peep of day. rebus: kolhe 'smelter' kol 'working in iron' kolle 'blacksmith' kole.l 'smithy, forge' kole.l 'temple'.

In the bottom register, a scorpion-man is shown. bici 'scorpion' rebus: bica 'haematite, ferrite ore'.

Inlay panel from the soundbox of lyre.from Ur, c. 2600 B.C.E Gold, lapis lazuli, shell and bitumen

tambura 'lyre' Rebus: tam(b)ra 'copper' Alternative: khara 'onager', kora 'harp' rebus: khār 'blacksmith'

barad, barat 'bull' Rebus: bharata, baran 'alloy of copper, pewter, tin'

kola 'tiger, jackal' Rebus: kol 'working in iron'

bica 'scorpion' rebus: bica 'hematite, ferrite ore'.

A number of lute or harp string instruments are attested in Bronze Age. Typically, the categories are: kora, domra, yār̤.

Hence, a hypothesis is that the onager called khara 'onager' was read rebus -- by the artists who composed the Standard of Ur -- as kora 'harp' (iconography and khār 'blacksmith' (Indus Script hypertext).

Onager shown on Standard of Ur (2600 BCE) is also shown on Indus Script inscriptions. An example is the seal from Mohenjo-daro (m290)(ca. 2500 BCE) which is a documentation of metalwork wealth by smelters' guild.

Thus, the symbolic ensemble is a documentation of metalwork in Indus Script Cipher.

Image result for mohenjodaro seal onager

m290 Mohenjo-daro seal. Decipherment: kola 'tiger' Rebus; kolle 'blacksmith' kol 'working in iron' kole.l 'smithy, temple' kolimi 'smithy, forge' PLUS pattar 'trough' Rebus: pattar 'guild of goldsmiths'. panja 'feline paw' rebus: panja 'kiln, furnace'

ṭāṅka ʻleg, thighʼ (Oriya) rebus: ṭaṅka 'mint'

khar 'ass, onager' (Kashmiri) rebus: khār खार् 'blacksmith' khāra-- basta f. ʻ blacksmith's skin bellows ʼ (Kashmiri)(CDIAL 9424)

kharedo = a currycomb (Gujarati) rebus: kharādī ‘ turner’ (Gujarati)

khaṛ m. ʻ grass, weeds ʼ (Sindhi): khaṭa m., khaḍa -- m.n. ʻ thatching grass ʼ lex. [Cf. kaṭa -- 2, khēṭa -- 4 n. ʻ grass ʼ lex.: ← Drav. T. Burrow BSOAS xii 368] Pk. khaḍa -- n. ʻ grass ʼ; K. khoru m. ʻ a round -- leaved swamp plant used for fodder, Limnanthemum nymphoides ʼ; L. khaṛ ʻ a tall grass used for fodder ʼ; P. khaṛ m. ʻ straw ʼ; Ku. khaṛ ʻ thatching grass ʼ, N. khar; A.khari ʻ fuel ʼ, kharikā ʻ the stiff part of thatching grass ʼ; B. khaṛ ʻ straw, grass ʼ, khaṛuyā ʻ thatched with straw ʼ; Or. khaṛā ʻ a kind of spinach ʼ; Bi. khar ʻ thatching grass ʼ; Mth. khaṛ, khaṛh ʻ grass, esp. long thatching grass ʼ, khaṛahī ʻ long stiff grass for thatching ʼ; H. khaṛ m. ʻ ricestalk, rice straw ʼ, khaṛh, khar f. ʻ grass, straw, long grass for thatching ʼ; G. khaṛ n. ʻ grass, weeds ʼ; M. khaḍ f. ʻ short tender grass, fodder (grass, grain, oilcake, &c.) ʼ; -- poss. therefore also S. khaṛu m. f. ʻ dregs of mustard seed after the oil is pressed out, oilcake ʼ if not < khalī -- for which there is no other evidence of earlier -- ḍ -- .khaṭakkikā -- ? Addenda: khaṭa -- : S.kcch. khaṛ m. ʻ grass, weeds ʼ; WPah.kṭg. khɔ́̄ṛ m., poet. khɔṛu m. ʻ grass, straw, grass for fodder ʼ, J. khauṛ m.(CDIAL 3769)

cf. karba 'culm of millet' (Punjabi) rebus: karba 'iron'. When signified as a flagpost to hold aloft a one-horned young bull, the metallurgical association is expressed: kundār 'young bull' rebus; kundaṇa 'fine gold'

Alternative: कोल्ही (p. 105) kōlhī f A variety of जोंधळा. Its corn is hidden in the ear. जोंधळा (p. 187) jōndhaḷā m A cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz. उता- वळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा. There are however many others as केळी, अरगडी, डुकरी, बेंदरी, मडगूप &c. The 'culm of millet' orthography may also relate to a variety of holcus sorghum. Rebus: kolhe 'smelter'.

West African stringed instrument with 21 strings. The kora is a 21-string lute-bridge-harp used extensively in West Africa...Kora players have traditionally come from griot families (also from the Mandinka nationalities) who are traditional historians, genealogists and storytellers who pass their skills on to their descendants.https://en.wikipedia.org/wiki/Kora_(instrument)

Master kora-maker Alieu Suso of the Gambia

Ta. yāḷi, āḷi a lion; a mythological lion-faced animal with elephantine proboscis and tusks. Ma. yār̤i lion; panther; āḷi a fabulous animal.(DEDR 5158)

யா-த்தல் yā- To tell, utter; சொல்லுதல். சூத் திரத்தியல்பென யாத்தனர் புலவர் (தொல். பொ. 655).யாழ் yāḻ, n. perh. யா-. Stringed musical instruments, of which there are four kinds, viz., pēri-yāḻ, cakōṭa-yāḻ, makara- yāḻ, ceṅkōṭṭi-yāḻ; பேரியாழ், சகோடயாழ், மகர யாழ், செங்கோட்டியாழ் என்ற நால்வகை வீணைக் கருவி. (சிலப். 3, 26.) (பிங்.) (Mus.) Melody-type; பண். (இறை. 1, உரை.) யாழ்ப்பாணர் yāḻ-p-pāṇar

, n. < யாழ் +. An ancient caste of lute-players; யாழ்வாசினை யில் வல்ல

பாணர்வகையார். (பு. வெ. 9, 19, கொளு.)

Samudragupta, gold dinar, c. 335-375 CE
Weight: 7.85 gm, Diameter: 20 mm.
King seated left on a couch, playing the vina
circular Brāhmī legend around /
Lakshmi seated left on a stool, holding a cornucopia and diadem,
Brāhmī legend at right: Samudraguptah

The Lyrist type of Samudragupta is also a very beautiful and unique design. On this coin, the king is shown seated at ease on a high-backed couch, playing a string instrument like a simple lyre or lute. The fact that the king wanted to publicize an image of himself as a musician is remarkable and a window into the value system of the Gupta state. Samudragupta is known to have been a great patron of the arts and was indeed an accomplished musician and poet.

This variety has a tamgha in front of Lakshmi's face and no letter below the king's couch.

http://coinindia.com/galleries-samudragupta.html

yār̤ variants were described ranging from 14 to 17 strings, and the instrument used by wandering minstrels for accompaniment...(Kamil Zvelebil (1992). Companion Studies to the History of Tamil Literature. BRILL. p 145). Ta. yār̤, ñār̤ stringed musical instrument; er̤u (-v-, -nt-) to emit sound; er̤āl musical notes of the yār̤, the yār̤, human voice; er̤uppu (er̤uppi-) to call forth (as melody from an instrument), raise (as the voice in speaking or singing); er̤uvu (er̤uvi-) to produce or call forth sound; eṭu (-pp-, -tt-) to utter or sing in a loud voice; eṭuppu (eṭuppi-) to produce (as harmonious sounds from an instrument). Ma. ēr̤il music. Ko. et- (eyt-) to sing (song), play musical instrument. (TPM, p. 227, for Ta. yār̤ : er̤u.)

ḍomrā 'strolling musician' who plays a string instrument domra. Tanbur was called 'tunbur' or 'tunbureh/tunbura' in Al-Hirah, and in Greek it was named tambouras, then went to albania as tampura, in Russia it was named domra, in Siberia and Mongolia as dombra...

Tanburs have been present in Mesopotamia since the Akkadian era, or the third millennium BC.Three figurines have been found in Susa that belong to 1500 BCE, and in hands of one of them is a tanbur-like instrument...In the tenth century AD Al-Farabi described two types of tanburs found in Persia, a Baghdad tunbūr, distributed south and west of Baghdad, and a Khorasan tunbūr....The tanbūra (lyre) is a bowl lyre of the Middle East and East Africa. It takes its name from the Persian tanbur via the Arabic tunbur (طنبور), though this term refers to long-necked lutes...Kazakhstan's dombra (or dombyra

or dombira or dombora) looks quite similar to the dutar (i.e., two strings) although it is made of staves...Afghan tanbur (or tambur) is played mainly in the North of Afghanistan, in Mazar Sharif and Kabul. Afghan tanbur used to have a wide, hollow neck and gourd-like body.... It has 3 courses (either single or double) of metal strings...The music can be accompanying singing and dancing, or (more rarely) playing classical ghazals.The Afghan tanbur has sympathetic strings.

https://en.wikipedia.org/wiki/Tanbur

ḍōmba m. ʻ man of low caste living by singing and music ʼ Kathās., ḍōma -- m. lex., ḍōmbinī -- f. [Connected with Mu. words for ʻ drum ʼ PMWS 87, EWA i 464 with lit.] Pk. ḍoṁba -- , ḍuṁba -- , ḍoṁbilaya -- m.; Gy. eur. rom m. ʻ man, husband ʼ, romni f. ʻ woman, wife ʼ, SEeur. i̦om ʻ aGypsy ʼ, pal. dōm ʻ a Nuri Gypsy ʼ, arm. as. (Boša) lom ʻ a Gypsy ʼ, pers. damini ʻ woman ʼ; Ḍ. ḍōm (pl. °ma) ʻ a Ḍom ʼ; Paš. ḍōmb ʻ barber ʼ; Kho. (Lor.) ḍom ʻ musician, bandsman ʼ; Sh. ḍom ʻ a Ḍom ʼ, K. ḍūmb, ḍūmm., ḍūmbiñ f.; S. ḍ̠ūmu m., ḍūmṛī f. ʻ caste of wandering musicians ʼ, L. ḍūm m., ḍūmṇī f., (Ju.) ḍ̠om m., ḍ̠omṇī, ḍomṛī f., mult. ḍōm m., ḍōmṇī f., awāṇ. naṭ -- ḍūm ʻ menials ʼ; P. ḍūm, ḍomrā m., ḍūmṇī f. ʻ strolling musician ʼ, ḍūmṇā m. ʻ a caste of basket -- makers ʼ; WPah. ḍum ʻ a very low -- caste blackskinned fellow ʼ; Ku. ḍūm m., ḍūmaṇ f. ʻ an aboriginal hill tribe ʼ; N. ḍum ʻ a low caste ʼ; A. ḍom m. ʻ fisherman ʼ, ḍumini f.; B. ḍom, ḍam m. ʻ a Ḍom ʼ, ḍumni f. (OB. ḍombī); Or. ḍoma m., °aṇī f., ḍuma, °aṇī, ḍamba, ḍama, °aṇī ʻ a low caste who weave baskets and sound drums ʼ; Bhoj. ḍōm ʻ a low caste of musicians ʼ, H. ḍomb, ḍom, ḍomṛā, ḍumār m., ḍomnī f., OMarw. ḍūma m., ḍūmaṛī f., M. ḍõb, ḍom m. -- Deriv. Gy. wel. romanō adj. (f. °nī) ʻ Gypsy ʼ romanō rai m. ʻ Gypsy gentleman ʼ, °nī čib f. ʻ Gypsy language ʼ.*ḍōmbakuṭaka -- , *ḍōmbadhāna -- .Addenda: ḍōmba -- : Gy.eur. rom m., romni f. esp. ʻ Gypsy man or woman ʼ; WPah.kṭg. ḍōm m. ʻ member of a low caste of musicians ʼ, ḍv̄m m.; Garh. ḍom ʻ an untouchable ʼ. †*ḍōmbādhāna -- .*ḍōmbakuṭaka ʻ a Ḍom's hut ʼ. [ḍōmba -- , kuṭī -- ]Ku. ḍumauṛo ʻ habitation of the Ḍoms ʼ.5572 *ḍōmbadhāna -- , or *ḍōmbādhāna -- , ʻ Ḍom settlement ʼ. [*ḍōmba -- , dhāˊna -- or ādhāˊna -- ]Ku. ḍumāṇo ʻ Ḍom settlement ʼ.ḍōra -- see davara -- .*ḍōlla -- ʻ bucket ʼ see *dōla -- 2.Addenda: *ḍōmbadhāna -- or †*ḍōmbādhāna .Garh. ḍumāṇu ʻ part of a village where Ḍoms live ʼ.(CDIAL 5570, 5571, 5572)

Music stele: tambura 'lyre' Rebus: tambra 'copper' (Santali) ḍangar ‘bull’; rebus: ḍangar‘blacksmith’ (Hindi)

Bull head, probably affixed to the sound-chest of a lyre. Copper, mother-of-pearl and lapis lazuli, found in Telloh, ancient Girsu. Louvre Museum, Accession number AO 2676, Excavated by Ernest de Sarzec; gift of Sultan Abdul Hamid, 1896

Second dynasty of Lagash, reign of Gudea, c. 2120 BC
Tello (ancient Girsu)
Limestone
H. 1.20 m; W. 0.63 m; D. 0.25 m
E. de Sarzec excavations, 1881
AO 52

http://www.louvre.fr/en/oeuvre-notices/stele-music

[quote]The stele of music shows the foundation rites - performed to the sound of the lyre - of the temple built by Prince Gudea (c. 2100 BC) at his capital of Telloh (ancient Girsu), for Ningirsu, god of the state of Lagash in the Land of Sumer. The stele thus accords with the tradition of Neo-Sumerian art, which unlike that of the preceding period that focused on the warlike exploits of the rulers of Akkad, tends to show the king engaged in pious activities.

The building of Ningirsu's temple

In the Neo-Sumerian Period (c. 2100 BC), the rulers Gudea and Ur-Nammu had themselves depicted taking part in the foundation rites of temples, notably on steles, as statues, and as figurines. On the stele of music, Gudea, carrying a peg and cord and followed by figures probably representing his princely heir and two priests, prepares to lay out the plan of Ningirsu's sanctuary. The ceremony is punctuated by music, which accompanies the chanting or singing of liturgical poems. Behind the cantor, a musician plays on a lyre whose sound box is decorated with a bull. The deep tones of the instrument evoked the bellowing of a bull, and by poetic identification, within the temple of Ningirsu "the room of the lyre was a noisily breathing bull." The making of the god's lyre gave its name to the third year of Gudea's reign, called "the year in which was made the lyre [called] Ushumgalkalamma [the dragon of the land of Sumer]."

Music in temple foundation ceremonies

The spirit embodied by the lyre played a part in the events leading to the building of the temple, for it appears in the dream in which the god reveals to Gudea the task he is to accomplish (Gudea Cylinders, Louvre, MNB 1512 and MNB 1511): "When, together with Ushumgalkalamma, his well-beloved lyre, that renowned instrument, his counselor, you bring him gifts [...] the heart of Ningirsu will be appeased, he will reveal the plans of his temple."
When the work was complete, Ushumgalkalamma went before Gudea, leading all the musical instruments, to mark the arrival of the god in his new abode. Ushumgalkalamma is the god's counselor because its song calms the emotions that disturb the spirit, allowing the return of the reason indispensable to good judgement. Among the divine servants of Ningirsu, it is the lyre's duty to charm his master, a god of changeable mood. It is assisted by the spirit of another lyre that brings consolation in times of darkness: "So that the sweet-toned tigi-drum should play, so that the instruments algar and miritum should resound for Ningirsu, [...] his beloved musician Ushumgalkalamma accomplished his duties to the lord Ningirsu. To soothe the heart and calm the liver [the seat of thought], to dry the tears of weeping eyes, to banish grief from the grieving heart, to cast away the sadness in the heart of the god that rises like the waves of the sea, spreads wide like the Euphrates, and drowns like the flood of the storm, his lyre Lugaligihush accomplished his duties to his lord Ningirsu."

Representations of musicians in Mesopotamia

Representations of musicians are not uncommon in Near-Eastern iconography. They are found from the early 3rd millennium BC in the banquet scenes that appear on perforated plaques and cylinder seals. Early in the next millennium, they would appear on molded terracotta plaques, such as the example with the harpist in the Louvre (AO 12454). Very few examples of musical instruments have survived until today (among them the lyres from the royal tombs of Ur, c. 2550 BC); these representations are therefore particularly valuable.

Bibliography

André-Salvini Béatrice, "Stèle de la musique", in Musiques au Louvre, Paris, Éditions de la Réunion des musées nationaux, 1994, pp. 10-11.
Parrot André, Tello, vingt campagnes de fouilles, 1877-1933, Paris, Albin Michel, 1948, pp. 174-176, pl. 20a.
Rutten Marguerite-Maggie, "Scènes de musique et de danse", in Revue des arts asiatiques, Paris, École française d'Extrême-Orient, 1935, p. 220, fig. 8.
Sarzec Édouard de, Découvertes en Chaldée, Paris, Leroux, 1884-1912, pp. 36 et 219-221, pl. 23.
Sillamy Jean-Claude, La Musique dans l'ancien Orient ou la théorie musicale suméro-babylonienne, Villeneuve d'Ascq, Presses universitaires du Septentrion, 1998, p. 160. [unquote]

http://www.louvre.fr/en/oeuvre-notices/stele-music

Music stele: tanbūra, tambura 'lyre' Rebus: tambra 'copper' (Santali) ḍangar ‘bull’; rebus: ḍangar‘blacksmith’ (Hindi)

OIM A12417, stone plaque, Mesopotamia, Iraq

Banquet plaque. The top register of this plaque shows a seated man and woman celebrating an unidentified event or ritual by participating in a banquet. Two servants attend them while others bring a jar (probably filled with beer), an animal to be slaughtered, and other edibles carried in bundles on their heads. Musicians and dancers in the bottom register add to the festivities.

Plaques such as this were part of a door-locking system for important buildings. The plaque was embedded in the doorjamb and a peg, inserted into the central perforation, was used to hold a hook or cord that secured the door and was covered with clay impressed by one or more seals. https://oi.uchicago.edu/collections/highlights/highlights-collection-mesopotamia

Assyrian / Babylonian musicians playing harp, lyre, chelys, double aulos Babylon. Assyria. Stock Photo

Assyrian / Babylonian musicians playing harp, lyre, chelys, double aulos Babylon. Assyria. https://tinyurl.com/yb78owv6

http://realhistoryww.com/world_history/ancient/Sumer_Iraq_1.htm

Image result for ancient near east cylinder seal harp

A reconstruction of the lyre in Philadelphia Museum had the hieroglyph of a stag.

https://www.penn.museum/documents/publications/expedition/PDFs/40-2/Schauensee.pdf

The ‘Boat-Shaped’ Lyre Restudy of a Unique Musical Instrument from Ur By: Maude de Schauensee Expedition, Volume 40, Issue 2

Composition of two horned animals, sitting human playing a four-string musical instrument, a star and a moon.

Hieroglyph: A. damrā ʻ young bull ʼ, dāmuri ʻ calf ʼ; B. dāmṛā ʻ castrated bullock ʼ; Or. dāmaṛī ʻ heifer ʼ, dāmaṛiā ʻ bullcalf, young castrated bullock ʼ, dāmuṛ, °ṛi ʻ young bullock ʼ.Addenda: damya -- : WPah.kṭg. dām m. ʻ young ungelt ox ʼ.damya ʻ tameable ʼ, m. ʻ young bullock to be tamed ʼ Mn. [~ *dāmiya -- . -- √dam] Pa. damma -- ʻ to be tamed (esp. of a young bullock) ʼ; Pk. damma -- ʻ to be tamed ʼ; S. ḍ̠amu ʻ tamed ʼ; -- ext. -- ḍa -- : (CDIAL 6184) Semantic Echo: బుర్రి burri burri. [Tel.] n. A heifer or young cow. (Telugu)

tagara 'antelope'. Rebus 1: tagara 'tin' (ore) tagromi 'tin, metal alloy' (Kuwi) dhangar 'bull' Rebus 2: damgar 'merchant'. dhangar 'blacksmith'
*dab ʻ a noise ʼ. [Onom.]P. dabaṛ -- dabaṛ ʻ with the sound of heavy and noisy steps ʼ; N. dabdab ʻ mud ʼ; H. dabdabā m. ʻ noise ʼ; M. dabdab ʻ noise of a slack drum ʼ.(CDIAL 6170)

Hieroglyph: harp: tambur

The rebus reading of hieroglyphs are: తంబుర [tambura] or తంబురా tambura. [Tel. తంతి+బుర్ర.] n. A kind of stringed instrument like the guitar. A tambourine. Rebus: tam(b)ra 'copper' tambabica, copper-ore stones; samṛobica, stones containing gold (Mundari.lex.)

Thus the seal connotes a merchant of copper.

SHAHDAD, SHAHR-I SOKHTA, TEPE YAHYA……. MANY SITES FOR A SINGLE HISTORY ?

SHAHDAD, SHAHR-I SOKHTA, TEPE YAHYA……. MANY SITES FOR A SINGLE HISTORY ?

"These exchanges would have led to lengthy arguments carried out in various dialects. At best, the deals ended in banquets and at worst, in blood feuds. History abounds with trade arguments leading to wars. A bloody massacre such as that at Tell Brak would have led to the antagonists finding ways to appease tension during negotiations. Urukeans developed one of the most subtle and ancient arts as a possible solution. This is substantiated by the emergence of harps fitted with three or four strings, as depicted on a fourth millennium seal impression from Choga Mish, east of Uruk in Elam, in modern south-west Iran (Fig. 3). The seal depicts a four-string arched harp played by a seated person, while two others beat a drum, a bowl-drum and clappers. (Dubé, L.; Chebat, J.-C.; Morin, S., ‘The effects of background music on consumers desire to affiliate in buyer-seller interactions.’ Psychology and Marketing. Vol. 12/4. Published by Wiley-Blackwell (1995) pp. 305-319.)As early as the fourth millennium, Urukeans would have discovered that harp music could unite people, allowing them to share feelings and emotions that they could otherwise only have experienced individually. This was the primary function of the harp: the music it produced would have facilitated the exchange of goods. From the beginning it promoted equal understanding; in other words, ‘all were in tune’. From then on, owing to the fact that the harp was a remarkable mediator, music would have been included in communication procedures between different communities, changing people’s mindset and developing empathy between them. Being the first to understand that music could have a significantly smoothing effect on those that listened to it, Urukeans found that it could also affect protagonists during negotiations. If music cannot change the product itself, it can unconsciously act favourably on the customer’s mood. The smoothing effect of the harp on bad tempers, and its contribution to emotional reactions, would have meant that the instrument had high status, from dawn to dusk. The harp was found in potters’ and weavers’ workshops, on goods barges, in banquets (Fig. 6) and even during sexual intercourse (Fig. 4-B). The Urukeans’ pride in their invention was so great that they engraved it on cylinder seals; in its silent manifestation, it sounded to the inner ears of those looking at its impression on seals and tablets. On tablets it was denoted by the Sumerian words BAN.TUR, BAN meaning ‘bow’ and TUR meaning ‘small’, hence harp, and the Sumerogram BALAG, voiced as the onomatopoeic ‘dubdub’, a word echoing the sound of the object it depicts. Around 3,300 to 3,000 BCE, the pictogram with which it is associated clearly depicted a harp with three or four strings (Fig. 4) (Dumbrill, R. (1998). Période au cours de laquelle les cités-États sont en guerre.)." https://www.theoriesensorielle.com/analogy-between-the-urukean-harp-and-the-auditory-system/

See:
Dumbrill, R., ‘Appendix.’ A Queen’s Orchestra at the Court of Mari: New Perspectives on the Archaic Instrumentarium in the Third Millenium. M. Marcetteau. ICONEA Proceedings 2008 (2008) pp. 73-75.
Dumbrill, R., ‘Harps.’ The Archaeomusicology of the Ancient Near East. Trafford Publishing (2005) pp. 179-226.
Dumbrill, R., Götterzahlen and Scale Structure (1997).
Dumbrill, R., ‘Music Theorism in Ancient World.’ ICONEA Proceeding 2009-2010 (2010) pp. 107-132.

[quote]Harps from Uruk and Djemdet Nasr were generally monoxyle or monostructural, meaning that there was no distinction between the soundbox and the part which would become the yoke, or the neck. They would have been made from gourds or calabashes, the natural shape of which were appropriate for this. It is possible that they were domesticated through simple cultivation techniques which made them grow in the shape of musical instruments.⁶The dried fruit was hollowed out from an oval opening, which was then covered with a soundboard made from damp sheep, pig or calf raw hide. It was stretched at the back with wet hide strands. The strings were made from fresh twisted gut or vegetal fibres. A sliver of wood was tied at the end of each string, to prevent it slipping out of the soundboard during tuning. The upper ends of the strings were tied to a strip of woven material rolled around the neck, to ensure tuning by friction (Fig. 5-left). At that time, and especially towards the end of the fourth millennium, the size of soundboxes progressively increased while necks became thinner. Gourds and calabashes would still have been used for soundboxes, but necks would now be made of wood into which the Urukeans would later have plugged tuning pegs to ensure the tension of the strings (Fig. 5-right). Fourth millennium harps would have been small, with probably no more than three strings, stretched over a plan of around 110 degrees determined by the angle of the soundbox in relation to the neck. This suggests an anhemitonic disposition with a span of no more than a musical fifth, possibly including a third. These harps were always depicted in rural scenes, surrounded by animals, but with no reference to religious rituals; practical usage was thus implied, as is clearly shown on cylinder seals. However, from the third millennium onwards, harps were always shown in scenes depicting Inanna, the guardian Goddess of Uruk; they even symbolised her. Some texts record Inanna’s animals and her attributes, which included the reed, the palm, the aster Venus, and the harp itself.

Having described the harp in its original context, it is very clear that its design rests on the fundamental principle of hearing. Mankind’s perception of sound is an outstanding phenomenon. Sounds are simple periodical variations in air pressure which travel as a wavefront, at a speed of three hundred metres per second. When the waves reach our ear they are channelled into its canal and reach a thin membrane, the eardrum, which separates the middle ear from the outer ear. The vibrations of the eardrum, which result from variations in acoustic pressure, are transmitted to a chain of four small bones located in the stony part of the temporal bone: the hammer, the anvil, the lenticular bone and the stirrup. These ossicles articulate with each other. They are connected by ligaments, and transmit vibrations from the air environment of the middle ear to the aqueous medium of the inner ear, without any loss of energy. The inner ear is a complex structure in the temporal bones, consisting of a labyrinth and several liquid-filled cavities. This system is made up of canals, cavities and a spiralling structure called the cochlea. It is home to two very distinct sensory organs: the vestibular system, which detects and adapts to spatial body position, and the cochlea, which is the auditory receptor organ.

The cochlea, from the Latin meaning ‘snail’, is a small spiralling structure measuring 1.2 mm in diameter by 35 mm in length. It begins at the anterior part of the vestibule and rotates two and three quarter times around a bony pillar, the modiolus. At its lower end are the oval and round windows, which separate the middle ear from the inner ear. The cochlea is divided lengthwise into three chambers. On each side are the scala tympani and the vestibuli, both of which are filled with a liquid called perilymph. A cochlear duct is located between the two scalae; its lower part ends in the basiliar membrane, its upper part in Reissner’s membrane. The cochlear canal contains the organ of Corti, which is a complex system lying on the basilar membrane and extending right along the cochlea. This organ transforms vibrational energy into electric signals which the brain can interpret (Fig. 8). There are up to 15,000 outer hair cells spread over three or four rows, and 3,500 inner hair cells in one row (Fig. 9). The cellular bodies of the hair cells float in perilymph liquid, while hair bundles stand in the endolymph-filled cochlear canal. The ionic sealing of the cochlear canal is ensured both at its base by the reticular lamina, resulting from the tightly joined apical surfaces of hair cells and the supporting cells of the organ of Corti, and at its apex by Reissner’s membrane, which forms the ‘roof’ of the cochlear canal. When the stirrup moves under eardrum vibration pressure, it initiates motion of the incompressible scala vestibuli liquid. This motion reaches the top of the cochlea, reverses at the helicotrema, and finally runs down the scala tympani where it activates the round window placed at the other end of the system. The liquid movements initiate undulation of the basilar membrane, each part of which vibrates to a given frequency (Fig. 8-D). In turn these vibrations initiate displacements of the outer hair cells, which are rooted between the basilar membrane (by their basal pole, via Deiters cells), and the tectorial membrane (via their hair bundle) (Fig. 10). A relative alternating movement of the outer hair cells facing the tectorial membrane follows, provoking stereocilia deflection. Thus, the mechanical opening of the ionic channels results from a cellular depolarisation which leads to a rapid contraction of the outer hair cells, or electromotility, which then increases the amplitude of the basilar membrane vibrations. Consequently, this non-linear amplification phenomenon increases the weaker stimuli, which might not otherwise be perceived without interfering with high-intensity stimuli which would damage the inner hair cells, as a result of amplification. Because of this amplification, the stereocilia of the inner hair cells – which are the genuine sensory receptors of the auditory organ – are dragged in by the tectorial membrane and are also deflected. It follows that inner hair cell depolarisation releases neurotransmitter glutamate at its basal pole. This generates a spike train, sent to the brain by the auditory nerve.[unquote] https://www.theoriesensorielle.com/analogy-between-the-urukean-harp-and-the-auditory-system/

"An initial comparison can now be made between the neck of the harp and the basilar membrane (BM). The tuning pegs, around which the strings are wound and then driven into the neck, are comparable to the basilar membrane where Deiters cells are attached, and to which one of the ends of the outer hair cells (OHCs) is affixed. The neck is an essential part, because all the components of a harp rest on it, directly or indirectly. The functional importance of the basilar membrane is equally critical, because the various elements constituting the organ of Corti, again directly or indirectly, are attached to it. The harpist plucks the strings with greater or lesser intensity, his fingers complementing the work of the neck which the musician holds against his chest with his palm. Similarly, the sound vibrations transmitted by the perilymph generate upward and downward movements of the basilar membrane, at a precise location, resulting in the outer hair cells vibrating more or less intensely. As with the neck, the basilar membrane remains motionless right along the organ of Corti (Fig. 11-left)." https://www.theoriesensorielle.com/analogy-between-the-urukean-harp-and-the-auditory-system/

The Sensory Theory Coding and Treatment of Sensory Information by the Brain

About the book (blurb translated from French) AN ARCHEOLOGY OF SENSORY PERCEPTION

Six thousand years ago, in southern Mesopotamia, the Urukeans invent seven remarkable instruments: the plow, the standard brick mold, the writing, the accounting, the harp, the vertical loom and the image of cones. Now, it turns out that all these inventions reproduce biological mechanisms that allow sensory organs to perceive the external environment and to transmit information to the brain. How was man able to develop such instruments at a time when the functioning of the sense organs was inaccessible to his perception and understanding? To answer this question, the authors of the Sensory Theory establish a logical link between these seven inventions and sensory organs by linking knowledge previously fragmented and compartmentalized into various disciplines.

Chapitre 1
Origines: Levant, Mésopotamie

Chapitre 2

Sept Inventions Urukéennes

Chapitre 3 Les Analogies Sensorielles

Travaux Connexes

L'Horloge Vestibulaire

ANALOGY BETWEEN THE URUKEAN HARP AND THE AUDITORY SYSTEM

le 8 janvier 2014 | par Philippe Roi et Tristan Girard

By Philippe Roi⁽¹⁾, Tristan Girard⁽²⁾, Richard Dumbrill⁽³⁾, Michel Leibovici⁽⁴⁾
With the participation of Paul Avan⁽⁵⁾

^{Abstract: During the fourth millennium BCE, in southern Mesopotamia, the Urukeans invented seven remarkable tools –the ard, the normalised brick mould, writing, accounting, the harp, the vertical weaving loom and the cone image– which the foundations of our civilisation still rely upon today. These inventions, among which was the primitive harp, have been found to mirror biological mechanisms which enable our sensory organs to perceive the world in which we live, and to codify it in order to transmit its representation to the brain. With regard to the primitive harp, its inspiration came from the organ of Corti, the sensory-nervous structure of the cochlea. A question remains as to how man could have created such an instrument at a time when the anatomy and physiology of the inner ear was impossible to perceive and comprehend. In order to answer this question, Philippe Roi and Tristan Girard have combined knowledge that was fragmented and separated into various fields, such as archaeomusicology, cell biology and neuroscience. This is how they discovered that there was a logical link between the Urukean harp and the organ of Corti.}
Anahata Nada Brahman Unstruck sound as Brahman, this OM = Praṇava, which is also the Setu which joins svarga and pr̥thivī

अन्-ाहत mfn. unbeaten , unwounded , intact; produced otherwise than by beating; n. the fourth of the mystical चक्रस् , or circles of the body.

सेतु m. The sacred syllable om; मन्त्राणां प्रणवः सेतुस्तत्सेतुः प्रणवः स्मृतः । स्रवत्यनोङ्कृतं पूर्वं परस्ताच्च विदीर्यते ॥

कालिका-पुराण औ the सेतु or sacred syllable of the शूद्रs , Ka1lika1P. ?? ([ T. ]) औम् ind. the sacred syllable of the शूद्रs (» 3. औ) in RV. ix , 20 , 12, the शूद्र is said to have been born from the feet of पुरुष q.v. ; in Mn. i , 87 he is fabled to have sprung from the same part of the body of ब्रह्मा , and he is regarded as of higher rank than the present low and mixed castes so numerous throughout India ; केवल-श्° , a pure शूद्र) RV. &c kēvala केवल -आत्मन् a. one whose essence is absolute unity; नमस्त्रिमूर्तये तुभ्यं प्राक्सृष्टेः केवलात्मने Ku.2.4.केवला* त्मन् mfn. one whose nature is absolute unity Kum. ii , 4.

Atharva Veda ( X - 7,8) --- Skambha Suktam provides some hints while the origins of the worship of the Shiva-Linga as a Fiery Pillar of Light and Flames, are unknown.

Shiva-Linga has one complete purana which is dedicated to its form and origin. It may be a symbolic representation of self (Atma Linga) or of everything. Some associate it with the physical form of Pranava (Om). Oval form represents even the shape of the Universe including the existing space. The beginning of the oval form is A in OM and prolonged part is U in OM and M is the ending part of the linga. It is single shape of Trimurti. Praying Shiva Linga is considered as praying the Thrimurti in absolute form. Linga represents absolute and Single power of this universe. Some associate them with the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn a description is found of the beginningless and endless Stambha or Skambha and it is shown that the said Skambha is put in place of the eternal Brahman. As afterwards the Yajna (sacrificial) fire, its smoke, ashes and flames, the Soma plant and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted-hair, his blue throat and the riding on the bull of the Shiva. The Yupa-Skambha gave place in time to the Shiva-Linga. In the Linga Purâna the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Mahâdeva.

In the context of Hindu mythology, stambha, also spelt as Skambha, is believed to a cosmic column. It is believed that the stambha functions as a bond, which joins the heaven (Svarga) and the earth (prithvi). A number of Hindu scriptures, including the Atharva Veda, have references to stambha. In the Atharva Veda, a celestial stambha has been mentioned, and that has been described as a scaffold, which supports the cosmos and material creation. http://bharatkalyan97.blogspot.in/2014/12/skambha-sukta-atharva-veda-x-7-pair-of.html

औम mf(ई)n. (fr. उमा) , made of flax , flaxen Pa1n2. 4-3 , 158.; mfn. relating to the goddess उमा , Para1s3.(Monier-Williams).

ओं--कार m. (ओं-क्°) the sacred and mystical syllable ओम् , the exclamation ओम् , pronouncing the syllable ओम् Mn. ii , 75 ; 81 Katha1s. Bhag. &c , (cf.विजयोंकार , कृतोंकार); a beginning , prosperous or auspicious beginning of (e.g. a science) Ba1lar.

ओम् ind. ( √अव् Un2. i , 141 ; originally ओं = आं , which may be derived from आ BRD. ), a word of solemn affirmation and respectful assent , sometimes translated by " yes , verily , so be it " (and in this sense compared with Amen ; it is placed at the commencement of most Hindu works , and as a sacred exclamation may be uttered [but not so as to be heard by ears profane] at the beginning and end of a reading of the वेदs or previously to any prayer ; it is also regarded as a particle of auspicious salutation [Hail!] ; ओम् appears first in the उपनिषद्s as a mystic monosyllable , and is there set forth as the object of profound religious meditation , the highest spiritual efficacy being attributed not only to the whole word but also to the three sounds अ , उ , म् , of which it consists ; in later times ओम् is the mystic name for the Hindu triad , and represents the union of the three gods , viz. a (विष्णु) , उ (शिव) , म् (ब्रह्मा) ; it may also be typical of the three वेदs ; ओम् is usually called प्रणव , more rarely अक्षर , or एकाक्षर , and only in later times ओंकार) VS. S3Br. ChUp. &c

Carved stone tablets with the inscription Om syllables from Om Mani Padme Hum mantra - Everest region, Nepal, Himalayas

https://www.shutterstock.com/image-photo/carved-stone-tablets-inscription-om-syllables-128881828?src=W-hB2jrQv_BFIF4xT-P98g-2-19

OM is a direct path: Remembering the sound vibration of AUM (or OM), along with a deep feeling for the meaning of what it represents (1.28), brings both the realization of the individual Self and the removal of obstacles that normally block that realization (1.29). In a sense, this practice is like a short cut, in that it goes directly to the heart of the process. Systematically piercing the levels: This practice takes one on a direct route inward, systematically piercing the levels of consciousness. It is done with sincerity and dedication (1.23) towards the untainted creative source or pure consciousness (1.24), which AUM represents (1.27). That consciousness contains the seed of omniscience (1.25), which is the source of the teachings of all the ancient sages (1.26).Remember the meaning: For it to have its effect, the sound of AUM is remembered with deep feeling for the meaning of what it represents. (1.28)

Yoga Sutras 1.23-1.29:
Contemplation on AUM (or OM)

1.23 From a special process of devotion and letting go into the creative source from which we emerged (ishvara pranidhana), the coming of samadhi is imminent.
1.23 (ishvara pranidhana va)

ishvara = creative source, pure consciousness, purusha, God, supreme Guru or teacher
pranidhana = practicing the presence, sincerity, dedication, devotion, surrender of fruits of practice
va = or

Through the sincere, dedicated, and devoted practice towards the pure consciousness known by words such as purusha, God, or Guru, which is symbolized by AUM, the results of samadhi come more quickly. In other words, the practice of following AUM through the levels of reality and consciousness is a short cut of sorts, meaning direct route to the center of consciousness. This can be better understood by a close reading of these articles:
OM and the 7 Levels of Consciousness
OM and 7 Methods of Practice

Meaning of Ishvara: In the Upanishads, the word Īśvara is used to denote a state of collective consciousness. Thus, God is not a being that sits on a high pedestal beyond the sun, moon, and stars; God is actually the state of Ultimate Reality. But due to the lack of direct experience, God has been personified and given various names and forms by religions throughout the ages. When one expands one's individual consciousness to the Universal Consciousness, it is called Self-realization, for the individual self has realized the unity of diversity, the very underlying principle, or Universal Self, beneath all forms and names. The great sages of the Upanishads avoid the confusions related to conceptions of God and encourage students to be honest and sincere in their quests for Self-realization. Upanishadic philosophy provides various methods for unfolding higher levels of truth and helps students to be able to unravel the mysteries of the individual and the universe. (from Swami Rama in the section What God Is from Enlightenment Without God)

1.24 That creative source (ishvara) is a particular consciousness (purusha) that is unaffected by colorings (kleshas), actions (karmas), or results of those actions that happen when latent impressions stir and cause those actions.
1.24 (klesha karma vipaka ashayaih aparamristah purusha-vishesha ishvara

klesha = colored, painful, afflicted, impure; the root klish means to cause trouble
karma = actions,
vipaka = fruits of, maturing, ripening
ashayaih = by the vehicles, resting place, storage of traces, propensities, accumulations
aparamristah = untouched, unsmeared
purusha-vishesha = a consciousness, a special or distinct purusha (purusha = a consciousness; vishesha = special, distinct)
ishvara = creative source, God, supreme Guru or teacher1.26 From that consciousness (ishvara) the ancient-most teachers were taught, since it is not limited by the constraint of time.
(purvesham api guruh kalena anavachchhedat)

purvesham = of the first, former, earlier, ancient
api = too, also
guruh = teacher
kalena = by time
anavachchhedat = not limited by (time), no break or division, continuous

This pure consciousness, being eternal in nature, is the direct teacher of all of the ancient, earlier, or even the first of the teachers within humanity. In other words, some of the original teachers of humanity have learned directly from this pure consciousness, not from a human lineage of teacher-student, etc., whereby there is just a passing of information. This direct learning from the source continues to be available at all times and places, though the help of human teachers is surely a useful, if not essential aid.

1.25 In that pure consciousness (ishvara) the seed of omniscience has reached its highest development and cannot be exceeded.
1.25 (tatra niratishayam sarvajna bijam)

tatra = there, in that (in that special purusha)
niratishayam = unsurpassed, not exceeded by any others, limitless
sarvajna = all knowing (sarva = all; jna = knowing)
bijam = seed

The pure consciousness identified by AUM is also the seed of pure knowledge or omniscience. That level of knowing is sought in the practice of OM.

1.26 From that consciousness (ishvara) the ancient-most teachers were taught, since it is not limited by the constraint of time.
1.26 (purvesham api guruh kalena anavachchhedat)

purvesham = of the first, former, earlier, ancient
api = too, also
guruh = teacher
kalena = by time
anavachchhedat = not limited by (time), no break or division, continuous

1.27 The sacred word designating this creative source is the sound OM, called pranava.
1.27 (tasya vachakah pranavah)

tasya = of that
vachakah = designator, signifier, indicator, term
pranavah = the mantra AUM or OM

AUM has a vibrational quality along with other meanings, one of which is as a designator or term to denote the pure consciousness referred to in the sutras above. The word pranavah literally translates as "humming."

1.28 This sound is remembered with deep feeling for the meaning of what it represents.
1.28 (tat japah tat artha bhavanam)

tat = its
japah = repeated remembrance
tat = its
artha = meaning
bhavanam = understanding with feeling, absorbing, dwelling upon

It is important to remember not only the vibration (japa), but also the deep meaning of the mantra, rather than to perform merely parrot-like repetition in the mind.

1.29 From that remembering comes the realization of the individual Self and the removal of obstacles.
1.29 (tatah pratyak chetana adhigamah api antaraya abhavash cha)

tatah = thence
pratyak = individual
chetana = consciousness
adhigamah = understanding, realization, attainment
api = also
antaraya = of obstacles or impediments
abhavash = absence, disappearance, removal
cha = and, also

Two direct benefits come from the proper practice of the OM mantra:

1. Obstacles will be removed (1.30-1.32).

2. It is a direct route to Self-realization.

If one is able to sincerely, devotedly, intensely practice the AUM mantra in the depth of its meaning, it is a complete practice unto itself.

http://www.swamij.com/yoga-sutras-12329.htm

See:

Indus Script Meluha hyper texts process meaning from sensory information of Urukean harp and ḍangur ‘bullock’

https://tinyurl.com/ybpcac89

http://bharatkalyan97.blogspot.com/2018/02/indus-script-meluha-hyper-texts-process.html

↧

Politics of the past : row in Tamil Nadu and Kerala -- B.S.Harishankar

December 9, 2018, 6:06 am

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Politics of the past : row in Tamil Nadu and Kerala

B.S.Harishankar 9 December 2018

Martin Sabrow, Professor of History at the University of Potsdam, Germany, warned in 2009 that, if the cooperation between politicians and historians is too close, it might be harmful since the relationship between history and politics can develop into a fatal friendship offering the reward of public attention and moral esteem whilst destroying the radical independence of historical research and its disposition to rethink history.

Sabrow’s views have relevance currently, when there is an orchestrated campaign to establish a hoax identity of the past to raise divisive political and religious claims in Kerala and Tamil Nadu .The ongoing manoeuvres to associate the disputed Pattanam site in Kerala with Kodumanal, Keezhadi, Porunthal and other unearthed spots in Tamilnadu, has already sparked controversies. But few are aware of the fact that, the very integrity of Kerala Council for Historical Research ( KCHR) which unearthed Pattanam, was seriously questioned by the Kerala state government and historians much before the current excavations.

Following serious complaints on KCHR about "procedural and financial irregularities" and its "approach to the writing of history", the former Congress government led by chief minister A.K. Antony decided to dissolve it on September 22, 2001. Vindicating the government decision, Prof M.G.S. Narayanan, former Chairman of the ICHR, charged that, the formation of the KCHR was "a Marxist party conspiracy to hijack history for its destructive, sectarian purpose of party propaganda" and welcomed the government's move to dissolve it. (Frontline, Oct. 13 - 26, 2001).

Left lobbies protested against the Congress government decision to dismiss the KCHR. On 25^th September 2001, the Safdar Hashmi Memorial Trust (SAHMAT) a left cultural forum, called upon the Kerala Government to immediately reinstate the KCHR. It was signed by left historians such as R.S. Sharma Irfan Habib, K.M. Shrimali, D.N. Jha, and Sumit Sarkar.

Upholding the state government’s decision, the Kerala high court dismissed a writ petition challenging the dissolution of KCHR. Justice G Sivarajan held that the petition filed by P. J. Cherian, director of KCHR and its three members was without merits. (The Times of India , Dec. 20, 2001).

But following immense pressure jointly launched by church and left lobbies, the Congress high command directed Chief Minister A.K.Antony who was ultimately forced to reinstate the KCHR.

The leading patrons of Pattanam which was claimed as the ancient trading port of Muziris, were Euro American scholars. Istvan Perczel from Hungary, one of the patrons of Pattanam, and also a scholar in Early Christianity and Byzantine history, solicited that it provides much potential for research as the site where, Apostle Thomas landed in India and established Indian Christianity (Muziris Heritage Project-- Pattanam excavations, KCHR, 2008 ) . He also delivered a lecture at KCHR, on history of Kerala christianity, along with Bishop Gabriel Mar Gregorios, and theologian Ninan Koshy (The Hindu, Feb.12, 2008).

The Pontifical Commission for Sacred Archaeology and The Pontifical Academy of Archaeology both at Vatican, functions for the purpose of promoting and directing excavations in the Catacombs of Rome and on other sites of Christian antiquarian interest, and for safeguarding the objects found during such excavations. Consequently, the Liturgical Research Centre of the Syro Malabar Church invited the KCHR, for its national seminars in 2005 at Kochi, and in 2011 at Kalyan in Mumbai, to present papers corroborating Pattanam, and Christianity.The United Board for Christian Higher Education in Asia based in New York supported Pattanam excavator P.J.Cherian in his historical studies (The New Indian Express, Feb.17, 2011). Eleven students from University of Georgia visited Pattanam to learn the historical, theological and sociological aspects of the ancient trading port of Muziris and Christianity in the state. (The Hindu, Dec. 25, 2011).It was a global campaign that an ancient biblical site has been finally unearthed in India.

Orthodox churches also took a genuine interest in Pattanam. Keynote Address by Fr. Dr . K.M. George at the Public meeting of Malankara Orthodox Church at the reception for Bishop Catholicos Marthoma Paulose II, on March 13, 2011, in Tyaga Raja Stadium New Delhi, lauded Pattanam for finally establishing the two millennium old history of Apostle Thomas in India.

Following escalating controversies on KCHR and Pattanam, archaeologists from major Indian institutes and universities kept away from the project. But despite serious charges of fake documentation, financial irregularities and transforming myth into history, it was Dr. K.Rajan of Pondicherry University who is one of the foremost patrons of Pattanam. He associates Pattanam with various sites in Tamil Nadu, thus not only collaborating to establish a biblical myth as history, but also constructing a larger communal space for the church to raise political claims in south India . Rajan observed that, the cultural transformation from the Iron Age to the Early Historic Period discernible at Pattanam was unique to Peninsular India (The Hindu, May, 12, 2009).

The Pattanam team acknowledges Rajan’s guidance in May, 2012, for assistance to the Kongu Region, including Kodumanal, Kangayam, Arachallur and Arasampalayam. Seminars on Indian Ocean trade of Pattanam conducted by KCHR and British Museum in August 2013, was hosted by department of history, University of Pondicherry and chaired by Rajan. British Museum which collaborates with Pattanam is associated with biblical scholars such as Michael Jursa and Irvin Finkel. Pattanam Museum in Ernakulam was inaugurated by Finkel . Oxford which also collaborates with Pattanam, has a long history in biblical archaeology with scholars such as Dame Kathleen Kenyon, Roger Moorey, Andrew Sherratt, and Levantine Archaeology Laboratory as well as Ashmolean Museum.

Mario Seiglie a missionary and columnist wrote that, archaeology makes a believer, and abundance of archaeological evidence in support of the Bible can strengthen faith, and in some cases it has greatly contributed in giving birth to belief, where none existed before. This observation has much relevance in Pattanam and its linked sites in Tamil Nadu, in the Apostle Thomas context.

K.Rajan and P.J. Cherian jointly propagates presentations linking the Tamil Nadu - Kerala region – in the backdrop of excavations at kodumanal, Thandikudi, Porunthal and Pattanam (Pattanam Fifth Season –Field Report, 2011, KCHR).Currently, Rajan is member of the KCHR administration. There are serious allegations that field reports on sites such as kodumanal, Thandikudi and Porunthal are prepared for promoting Pattanam which has much political and religious connotations.

In this context, we are reminded of what the Bavarian Minister for Education and Cultural affairs, Hans Schemm, declared in 1933, to lecturers at the University of Munich that, it is no longer their task to find out if something is true, but if it accords with the beliefs of the national socialist government. In the present context it is the beliefs of the left government in Kerala and church denominations in India that matters.

It is not that Prof. Rajan is ignorant of serious financial corruption and academic forgery accused on Pattanam . The Ministry of Home Affairs (MHA) identified the unbridled foreign funds received by KCHR and cancelled its license along with Kerala Muslim Educational Association and Kerala United Theological Seminary under the Foreign Contribution Regulation Act 2010. (The New Indian Express, Dec. 8, 2016).

Earlier, the Accountant-General detected the irregularities, in the KCHR audit report of 2010-11 (The New Indian Express, July 22, 2012).Later in 2016, the KCHR was accused in creation of fake government documents, illegal appointments and financial irregularities worth crores. It is also alleged that the KCHR obtained the licence for the Pattanam excavation after submitting fake documents to the Archaeological Survey of India.

Following serious charges on Pattanam excavations, and unscientific approaches adopted by the KCHR, a probe was conducted on the basis of complaints to the Union Minister of State for Culture, Mahesh Sharma. Based on the complaints, a meeting of the central advisory panel of the ASI asked the KCHR to temporarily stop the excavation( Business Standard Jan. 5, 2016).

Even, late Iravatham Mahadevan, who earlier applauded Pattanam as potentially important (The Hindu, Mar. 14, 2011), later declined to make any comments or observation on the site following widespread controversies.

The Pattanam site has been questioned not by activists, but by eminent south Asian archaeologists and historians such as Profs. Dilip Chakrabarti, A.Sundara, Vasant Shinde, MGS Narayanan, R.Nagaswamy and T.Satyamurti. When Rajan ignores serious allegations on Pattanam by eminent scholarship, it also raises serious doubts on sites in Tamil Nadu with which he constantly associates Pattanam. Already the Keezhadi site has generated enough controversies.

The recent controversy on Pattanam erupted after R. Sivanantham, deputy director, Tamil Nadu state department of archaeology, officially facilitated a lecture on Pattanam by P.J. Cherian on Oct. 30, 2018. The programme was chaired by T. Udhayachandran, Commissioner, department of archaeology, Tamil Nadu.

Archaeological Survey of India’s probe into alleged unscientific approaches adopted by the KCHR at Pattanam, was taken up by Amarnath Ramakrishna, the then superintendent archaeologist of the ASI, Bengaluru centre (Business Standard, Jan. 5, 2016). His findings are kept in dark, but later Amarnath Ramakrishna also took up the Keezhadi excavation. The CPI(M) which launched Pattanam has openly supported Amarnath Ramakrishna who supervised Keezhadi (The Hindu, Oct. 6, 2018), which shows how the left functions in manufacturing cultural data for church lobbies.

ASI director General, Rakesh Tewari said Amarnath Ramakrishna should publish a report on the Keezhadi excavation. Then only the ASI shall give him the license for the third year because, he has got more than 4,000 artefacts(More excavation only after report, Frontline , Jan.2, 2017).

Dating of all these interlinked sites including Pattanam, have been done at the same institution at USA. The carbon dating conducted on Keezhadi, has been done by Beta Analytic Inc., Florida, USA, (The Hindu, Sept. 30, 2017). The carbon dating at Pattanam was also conducted at Beta Analytic Inc., despite the fact that India has premier dating laboratories. Accelerator mass spectrometry dating of the paddy from Palani site excavated by Prof.Rajan was also done by Beta Analysis Inc. which assigned the paddy to 490 BCE (Palani excavation triggers fresh debate, The Hindu, Aug.29, 2011). It has also much relevance since, research by Cornell University archaeologists, Sturt Manning and colleagues shows that, commonly accepted radiocarbon dating standards can miss the mark, thus calling historical timelines into question.

The 21st Annual Tamil Convention of Federation of the Tamil Sangams of North America (FeTNA) was also held at the Florida .The theme of the three day convention was “Preserve the Tamil Race by protecting the language”. Florida is a major stronghold of FeTNA and the carbon dating of both Keezhadi and Pattanam in Florida raises serious suspicion.

FeTNA in April 2018, invited Amarnath Ramakrishna to deliver a lecture on the Keezhadi excavations. The ASI denied him permission to participate as guest of honor at this event, possibly because FeTNA publicly supported the cause of ethnic Sri Lankan Tamils in the Sri Lankan civil war. Time and again, the Sri Lanka Guardian has warned that the Catholic Church is heavily involved with the LTTE from the 1970s (Catholic Church, an ally of Tamil Tiger terrorists in Sri Lanka, Guardian, April 4, 2009). The FeTNA has been a major campaigner and fund raiser for the Tamil Chair at the University of California, Berkeley. Prof. George L. Hart, known for his Dravidian politics, was hired for the chair. FeTNA also honoured Jagat Gasper, Catholic propagandist for Christianizing Tamil culture.

Thillai Kumaran, the former President of FetNA represented it in the vicious 2006 California textbook campaign launched by FOIL, FOSA and many members of the CAG against Hindu groups who were advocating for an equitable treatment of Hinduism vis-a-vis other leading global religions in sixth grade textbooks. FeTNA’s testimony at the California Curriculum Commission made the dubious claim that the early Tamil texts clearly distinguish between Tamils and Aryans. The co-founders of FOIL are two Indian leftists, Biju Mathew and Vijay Prashad.

Harvard scholar Michael Witzel has admitted that he and his associates were in contact with FeTNA in the California textbook campaign. Thillai Kumaran representing FeTNA, in their letter dated Feb. 19, 2006, wrote to Glee Johnson of California State Board of Education, thanking Witzel for the efforts in proposing edits in pursuance of the Colorado evangelical church agenda. Witzel's supporters in the California textbook battle include two evangelical groups -- Dalit Freedom Network and Dalit Solidarity Forum in the USA . DFN president Joseph D'Souza also patronizes the All-India Christian Council.

The left –church syndicate at Pattanam, and its current association with Tamil Nadu archaeological sites has to be understood in a global context. The fervor shown for propaganda and for dating them in one institution in America, has also generated questions regarding politics of the past in Tamil Nadu and Kerala.

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Massive controversy breaks out as Social Science text book in Karnataka includes chapters on “How to Islamize country, how to spread Christianity” and force kids to visit Mosques and Churches!

December 9, 2018, 6:38 am

≫ Next: Itihāsa. Gudea of Lagash refers to Goa as Gubi (Gubio). Cuneiform texts also attest Nintinugga Baba divinity, Sumer-Meluhha Indus Script links

≪ Previous: Politics of the past : row in Tamil Nadu and Kerala -- B.S.Harishankar

Massive controversy breaks out as Social Science text book in Karnataka includes chapters on “How to Islamize country, how to spread Christianity” and force kids to visit Mosques and Churches!

excsadmin6i@6i June 4, 2018

When some of the scholars in the country suggested the government to include chapters on ancient traditional values, scientific methods of Yoga and Ayurveda, the so called intellects called it saffronization of education system. They said they will never allow children study Ayurveda, Yoga in school as it was linked to Hinduism. They prevented inclusion of chapters on Vedic Mathematics, Vedic science calling it forcible implementation of Hinduism. But the main intention of these pseudo intellects with colonial minds was to mislead people and make them disgusted about their own culture.

But these same intellects have now gotten into the art of spreading Christianity and Islam in India through their sinister plan of brain washing young children. Yes, the Congress government which was in power in Karnataka for 5 years, has made sure their appeasement politics is achieved in the education system too. The Congress government has silently included shocking chapters in Social Science text books with an ill intention to help propagate Christianity and Islam in India. The Social Science text book of class 9 in Karnataka has very weird chapters on Islam and Christianity. The chapter shockingly preaches students to propagate Islam and Christianity and has also given tasks to visit Churches and Mosques to learn Christianity and Islam.

These activities are not even optional but a forcible way to make students visit Churches and Mosques. While the book says it gives importance to introduce children to every religion, there is not one line about any other religion except Islam and Christianity. The major religions of India, Hindusism, Jainism and Buddhism have been completely omitted from the book and only Islam and Christianity have been showcased with all pride.

One of the most important period of India, the Vijayanagar empire has been merged with Bahamani sultans and the information is not more than 20 pages. The reason being that Vijayanagar Kings were staunch Hindu supporters and fought against foreign invaders of Islam and British. The Vijayanagar Empire treasure was looted by Mughals who destroyed thousands of ancient temples and looted the wealth of India. This is exactly what the pseudo seculars do not want to tell the kids. Instead they want to project Mughals, British as flag bearers of development and peace while they project Hindu Kings as incapable.

This is what is called twisting of facts and History. This is what the Congress and Leftists have done for the past 70 years brain washing generations to disown their own culture and history.

The text books chapters were framed by Leftist writer Barguru Ramchandrappa who is well known Congress supporter. He was caught in many controversies when he spoke against Hindus. Given his leftist attitude, he was made the Chairman for the Text Book Revision Committee where he included chapters insulting Indian Army and soldiers. Shamelessly, the Karnataka government included that in many text books where he described WAR as Money Minting Business and said that Indian soldier’s patriotism cannot save the Nation. At worst, he went on to say that soldiers are involved in rapes and molesting women and are brainwashed in army camps to kill people.

This is the same man who has included chapters on Christianity and Islam in the Social Science text books on orders of Congress high command which is nothing but a mouth piece of ROME and VATICAN! Their boss Sonia Gandhi is spear heading a camapign to turn the country into Christian dominated Nation by helping missionaries and Churches in mass conversions. On the other hand she is helping Islamization to keep her vote banks safe in the country.

When a Kannada Newspaper inquired with the Primary Education Board of Karnataka about the biased-forcible inclusion of Islamic and Christian chapters, the Chief Secretary Shalini Rajneesh said she that all religions have been given importance and not just Islam and Christianity. But in reality the text book is made with an ill intention to propagate Islam and Christianity.

Why does a student have to learn how to spread Islam, why does a student have to know how to spread Christianity? Why are students being forced to learn about these religion? If this is not a way of brainwashing kids, then what is this?

These crooks of Left and Congress have destroyed the education system by forcibly making people learn about Islam and Christianity. If they want to really preach about Islam, then why haven’t they included real facts about Mughal rulers butchering lakhs of Hindus, why haven’t they told the truth that Islam never respects those who follow other religion and preaches them to keep them away. Why haven’t they told that the brutal acts of Islamic rulers destroying Indian Universities like Nalanda, Taxilla, Vikramshila, Pushpagiri, Sompapur which once stood with pride. Why didn’t they say how Mughals tortured, raped and killed women, children, Sikhs for refusing to convert to Islam?

This is the real face of secularism in India, this is what the so called intellects do in India. It is purely pre-planned attempt by political parties who want to erase our culture for ever. Surely there is a role of missionaries and Islamic bodies with the help of Congress who are indirectly brainwashing kids in young age by forcibly making them disown their original religion and lean towards Islam and Christianity.

The issue needs to be taken seriously and parents will have to raise their voice against the sinister plots of pseudo-seculars if they want to save their kids from forcibly getting converted to Christianity and Islam. It is the duty of the parents to question the authority for including such biased view on religions. These chapters need to be taken out of the syllabus immediately by the Karnataka government and made sure the children are never forced into any religion at this young age.

Power Punch

https://postcard.news/massive-controversy-breaks-out-as-social-science-text-book-in-karnataka-includes-chapters-on-how-to-islamize-country-how-to-spread-christianity-and-force-kids-to-visit-mosques-and-churches/

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Itihāsa. Gudea of Lagash refers to Goa as Gubi (Gubio). Cuneiform texts also attest Nintinugga Baba divinity, Sumer-Meluhha Indus Script links

December 9, 2018, 8:22 pm

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≪ Previous: Massive controversy breaks out as Social Science text book in Karnataka includes chapters on “How to Islamize country, how to spread Christianity” and force kids to visit Mosques and Churches!

https://tinyurl.com/yapxe6x4

This is an addendum to:

Sumerian balag.tigi is Meluhha tīga 'string of lute'& adoration of Viśvaksena mūrti in Āgama temple worship traditions, wealth-creating metalwork https://tinyurl.com/y8o6k9g8

http://bharatkalyan97.blogspot.com/2018/12/sumerian-balagtigi-is-meluhha-tiga.html

Gomat is a reference to the region of present-day Goa, Konkan coast.

Goa. An aerial view.

Gomanta was a kingdom mentioned in the epic Mahabharata. It was an extension of the kingdom of Yadavas at Dwaraka. It is identified to be the Goa state of India, situated in the western coast. It was the southern most extend of the region, occupied by the Yadava clans, finding explicit mention in Mahabharata...In the Krauncha island, there is a mountain called Maha-krauncha that is a mine of all kinds of gems. There is another mountain called Gomanta that is huge and consists of all kinds of metals. (Mahābhārata, 9,12) https://en.wikipedia.org/wiki/Gomanta_Kingdom

See: SOME SUMERO-MARĀTHĪ CORRESPONDENCES R. G. Harshe Bulletin of the Deccan College Research Institute Vol. 14, No.

1 (June 1952), pp. 16-32 Published by: Vice Chancellor, Deccan College Post-Graduate and Research Institute (Deemed University), Pune https://www.jstor.org/stable/42929487

The monograph posits that Sumerians were Meluhha people from Konkan coastline. This explains the presence of the expression

balag.tigi to signify a Sumerian lyre. This also explains RG Harshe's demonstration of some

Sumero-Marathi correspondences in vocabulary.

The northern part of the region of present Konkana was known as Aparanta. (p.20)

http://shodhganga.inflibnet.ac.in/bitstream/10603/111626/7/07%20chapter%202.pdf

"Strabo the Greek geographer has made the first reference to Konkana (another name for this region) with the name of Konkvi. The historians believe that the some groups of Phoenicians settled here around 1775 B.C. Around 1000 B.C., 96 families of Gauda Saraswat Brahmins settled here with the Kundbis, a race migrated from the southern part of India. This settlement is considered to be one of the milestones in the history of Goa."

https://historicalindia.wordpress.com/2009/01/15/brief-history-of-goa-gomantaka/

Romila Thapar conjectures that the place name called Meluhha may be a rendering into Sumerian of a Proto-Dravidian name. (Thapar, 1975:6-7). cited in: Stephan Hillyer Levitt, THE ANCIENT MESOPOTAMIAN PLACE NAME “meluḫḫa” (Stephan Hillyer Levitt, 2009, The ancient Mesopotamian place name 'Meluhha', in: Journal Studia Orientalia Electronica, Vol. 107, pp.135 to 173)

https://journal.fi/store/article/view/51787/16150

https://www.scribd.com/document/395320884/Ancient-Mesopotamian-Place-Name-Meluhha-Stephan-Hillyer-Levitt

See: A Possible Identification of Meluḫḫa, Dilmun and Makan Romila Thapar Journal of the Economic and Social History of the Orient Vol. 18, No. 1 (Jan., 1975), pp. 1-42 https://www.jstor.org/stable/3632219

Gudea (Sumerian 𒅗𒌣𒀀 Gu₃-de₂-a) was a ruler (ensi) of the state of Lagash in Southern Mesopotamia who ruled c. 2144–2124 BC. He probably did not come from the city, but had married Ninalla, daughter of the ruler Ur-Baba (2164–2144 BC) of Lagash, thus gaining entrance to the royal house of Lagash. He was succeeded by his son Ur-Ningirsu.

https://en.wikipedia.org/wiki/Gudea

I started looking for historical validation of this narrative related to early Goa history.

"The first known reference to Goa in India appears in Cuneiform dating to King Gudea's time. Goa is there named Gubio. At the time, Sumerians had established trade contacts with Goa. Many Sumerians settled in Goa and along the Konkan coast. Sumerians are thought to have designed the fields of Goa because as these follow their measure till date. Unlike 0.46 m unit generally prevalent elsewhere in India, it is pointed out that the positioning in Goa agrees with Sumerian 12 cubits to a pole, and 0.495 of a metre to a cubit."

Gubio is cognate with Gomantaka. गो--मन्त m. pl. N. of a people MBh. vi , 351 (v.l. गोघ्नत).m. N. of a mountain MBh. ii , 618 ; vi , 449 (v.l. °न्द) Hariv. VarBr2S. &c; a multitude of cattle-owners (Monier-Williams)

She was known as a patron deity of Lagash, where Gudea built her a temple.
—Nintinugga "

Bust of a goddess, perhaps Bau, wearing horned cap. Limestone, Neo-Sumerian period (2150-2100 BC). From Telloh, ancient Girsu, Louvre

"Nintinugga was a Babylonian goddess of healing, the consort of Ninurta. She is identical with the goddess of Akkadian mythology, known as Bau (cuneiform: 𒀭𒁀𒌑 ^Dba-u₂), Baba though it would seem that the two were originally independent. Later as Gula and in medical incantations, Bēlet or Balāti, also as the Azugallatu the "great healer",same as her son Damu. Other names borne by this goddess are Nin-Karrak, Nin Ezen, Ga-tum-dug and Nm-din-dug. Her epithets are "great healer of the land" and "great healer of the black-headed ones", a "herb grower", "the lady who makes the broken up whole again", and "creates life in the land", making her a vegetation/fertility goddess endowed with regenerative power.^[1] She was the daughter of An and a wife of Ninurta. She had seven daughters, including Hegir-Nuna (Gangir)." https://en.wikipedia.org/wiki/Nintinugga

Baba (goddess)

Patron goddess of Girsu and the city-state of Lagaš. Beginning in the second millennium BCE she became known as a healing goddess.

Functions

Baba's functions are unclear. Her most prominent role is that of Ningirsu's wife. She is called the "good" or "beautiful woman" and she is often invoked as a protective or guarding spirit (^dlama sa₆-ga "beautiful guardian"). After her syncretism TT (see below), she became a healing goddess and continued to be worshipped as such.

Divine Genealogy and Syncretisms

During the late third millennium Baba was considered to be a daughter of the god An, but her divine genealogy before then is unclear. She was married to Ningirsu, the main god of the pantheon of the city-state of Lagaš. At the city of Kiš, Baba was considered to be the wife of the god Zababa.

Baba's and Ningirsu's children were the gods Šulšagana and Igalima (Bauer 1998: 505). According to inscriptions of king Gudea of Lagaš, the "septuplets" of Baba and Ningirsu were also her children, but only three of their names are known thus far (Bauer 1998: 505).

In the Old Babylonian period Baba was syncretized with various healing goddesses such as Ninisinna, Gula, and Nintinugga.

Cult Place

Baba's main cult place was her temple é-sila-sír-sír in the city of Girsu (Selz 1995: 26; the temple is also referred to as é-tar-sír-sír, see George 1993: 148-149). She is also known to have had a shrine in Nanna's temple at Ur, the Ekišnugal.

Time Periods Attested

Baba is first attested in the Early Dynastic period IIIa and IIIb in the city-state of Lagaš, whose capital was Girsu. Her early cult seems to have had some connections to funerary rites (Selz 1995: 32). Some offerings to her were named "bridal gifts," which has led some scholars to infer a connection to a sacred marriage between her and her husband Ningirsu (Sallaberger 1993: 289).

In the Ur III period, Baba's cult is attested primarily in the city of Girsu, but she is also frequently invoked in personal names. In the Old Babylonian period her cult is attested at the cities of Nippur, Isin, Larsa, and Ur (Richter 2004).

Only one fragmentary Sumerian hymn in praise of Baba has survived in the record (ETCSL 4.02.1), but several royal hymns were dedicated to her (ETCSL 2.3.1, an adab-song for Baba with prayers for king Lumma; ETCSL 2.3.2, a tigi-song for Baba with prayers for Gudea; ETCSL 2.4.4.1, a bal-bal-e song for Baba mentioning king Šu-Sin; ETCSL 2.5.4.02, an adab-song for Baba mentioning king Išme-Dagan).

In the first millennium BCE, Baba is mentioned in an Akkadian hymn (Foster 2005: 583-591), in which her aspect as a healing goddess survives. Baba survived into the Neo-Assyrian, Achaemenid, and Seleucid periods, when she is only rarely mentioned in scholarly, religious, and historical texts.

Iconography

No images of Baba are attested thus far.

Name and Spellings

The reading of Baba's name has been subject to some controversy (Marchesi 2002). Her name is spelled ^dba-Ú, which can be read ^dba-ú or ^dba-ba₆. It has been suggested that the pronunciation behind this writing was something like Bawu, but this argument has recently been refuted on the basis of phonological evidence (Rubio 2010) as well as comparative evidence from other divine names (e.g., ^dab-ba₆, see Richter 2004: 118-9 n.526).

Written forms:: ^dba-Ú, ^dba-ú, ^dba-ba₆, ^dba-ba (?), ^dba-bu (?)
Normalized forms:: Baba, Bawu, Bau.

Baba in Online Corpora

Inscription on Statues A-H, Etc. of the Louvre (Gudea) Records of the Past, 2nd series, Vol. II, ed. by A. H. Sayce, [1888], at sacred-texts.com

Gudea Statue D Colum IV refers to Magan, Gubi and reads (Records of the Past, 2nd series, Vol. II, ed. by A. H. Sayce, [1888], at sacred-texts.com) http://www.sacred-texts.com/ane/rp/rp202/rp20221.htm:

1. he has constructed.
2. By the power of the goddess Ninâ,
3. by the power of the god Nin-girsu,
4. to Gudea
5. who has endowed with the sceptre
6. the god Nin-girsu,
7. the country of Mâgan, 1
8. the country of Melughgha,
9. the country of Gubi, 2
10. and the country of Nituk, 3
11. which possess every kind of tree,
12. vessels laden with trees of all sorts
13. into Shirpurla
14. have sent.
15. From the mountains of the land of Mâgan
16. a rare stone he has caused to come;
17. for his statue

2. http://www.sacred-texts.com/ane/rp/rp202/rp20221.htm#fr_228

The inscriptions on the many (22) statues of Gudea and on two large cylinders, are a remarkable source of information on commodities exchanged across the interaction area. Here are some examples related to transactions with Meluhha involving gold, diorite (obtained also from Magan), Magan, Meluhha, Gubin and the Land Tilmun – supplying him with wood, describing himself as a sea-farer dealing with materials of the bronze-age including, gold, silver, bronze, copper, tin and stones such as diorite (carnelian from Meluhha) and varieties of wood. It is thus, not unreasonable to read rebus the hieroglyph of the overflowing vase and fishes on Statue N. As related to ayo ‘metal (alloy), lo ‘copper’ and tools, pots and pans made of metal (kāṇḍā): He (Gudea) brought alabaster blocks from Tidanum, the mountain range of the Martu, using them to make... (for Ningirsu), and he mounted them in the Houseas 'skull-crashers.' In Abulāt, on the mountain range of Kimaṣ, he mined copper, and he (used it to) make for him the ‘Mace-unbearable-for-the-regions.’ From the land of Meluhha he brought down diorite, used it to build <…> (for Ningirsu), he brought down blocks of hulālu stone, and he (used them to) make for him the ‘Mace-with-a-three-headed-lion.’ He brought down gold in its fore from the land of Meluhha, ad he (used it to) make a quiver for (Ningirsu). He brought down…; be brought down halub wood from Gubin, the halub mountain, and he (used it to) make for him the bird(?) ‘Mow-down-a-myriad’. He brought down a myriad(?) of talents of bitumen from Madga, the mountain range of the Ordeal river(?), and he (used it for) building the retaining wall of the Eninnu...He defeated the cities of Anṣ an and Elam and brought the booty therefrom to Ningirsu in his Eninnu...For this statue nobody was supposed to use silver or lapis lazuli, neither should copper or tin or bronze be a working (material). It is (exclusively) of diorite; let it stand at the libation place. Nobody will forcibly damage (the stone). O statue, your eye is that of Ningirsu; He who removes from the Eninnu the statue of Gudea, the ruler of Lagaṣ, who had build Ningirsu’s Eninnu; who rubs off the inscription thereon; who destroys (the statue); who disregards my judgment after – at the beginning of a prosperous New Year – his god Ningirsu, my master, had (directly) addressed him within the crowd, as my god (addressed me);…He brought down diorite from the mountain of Magan and fashioned it into a statue of himself…He constructed for (Ningirsu) his beloved boat (named) ‘Having set sail from the Lofty Quay’, and he moored it for him at the ‘Lapis Lazuli Quay’ of Kasurra. He enrolled for (Ningirsu) the sailors and their captain, donating them for the House of his master…Magan, Meluhha, Gubin and the Land Tilmun – supplying him with wood---let their imber cargoes (sail) to Lagaṣ. He brought down diorite from the mountain range of Magan, and he fashioned it into a statue of his…The fierce halo (of the House) reaches upto heaven, great fear of my House hovers over all the lands, and all (these) lands will gather on its behalf from as far as where heaven ends – (even) Magan and Meluhha will descend from their mountains…The Elamites came to him from Elam, the Susians from Susa. Magan and Meluhha, (coming down) from their mountain, loaded wood on their shoulders for him, and in order to build Ningirsu’s House they all joined Gudea (on their way) to his city Girsu. (Ningirsu) ordered Nin-zaga, and he brought to Gudea, the builder of the House, his copper as (much as) if it were huge quantities of grain. (Ningirsu) ordered Ninsikila, and she brought to the ruler who build the Eninnu great halub logs, ebony wood along with ‘wood of the sea’. The lord Ningirsu cleared the way for Gudea to the impenetrable cedar mountain…Silver from its mountain is being brought down to Gudea, light carnelian from Meluhha spreads before him, alabaster from the alabaster mountain they are bringing down to him. When building the House with silver, the shepherd sat with the silversmith, when building the Eninnu with precious stones, he sat with the jeweler, and when building it with copper and tin, then Nintu-kalama directed before him the chief of the smiths. (pp.34-36, p.39, p.41, p.42, p.75, p.78, p.79)

The Electronic Text Corpus of Sumerian Literature

See:

The Topography of the Gudea Inscriptions Ira Maurice Price Journal of the American Oriental Society Vol. 43 (1923), pp. 41-48 Published by: American Oriental Society DOI: 10.2307/593296 https://www.jstor.org/stable/593296: The mountain Gubi, mountain of hulupu-wood

'Gudea of Lagash': The Inscription

The inscription extends over part of the right shoulder and onto the left side of the robe. The upper part, the cartouche, gives the name of the ruler, while the lower, main text speaks of the reasons for the creation of this particular statue. The cartouche translates as follows:

Gudea, city ruler of Lagash, the man who built the temple of Ningishzida and the temple of Geshtinanna.

The text reads:

Gudea, city ruler of Lagash, built to Geshtinanna, the queen a-azi-mu-a, the beloved wife of Ningishzida, his queen, her temple in Girsu. He created for her [this] statue. "She granted the prayer," he gave it a name for her and brought it into her temple. http://faculty.txwes.edu/csmeller/human-experience/ExpData09/01AncMed/AncMedPICs/MesPICs/Gudea/mesP_GudeaInscription.htm

http://books.google.co.in/books?id=0guVA19YUVoC&lpg=PA68&pg=PA55#v=onepage&q&f=false

Gudea and His Dynasty By Dietz Otto Edzard University of Toronto Press, 1997

Statues built to Geshtinanna: Statue M and Statue N. The inscriptions (pp.55-57)

Statue N (pp. 56-57)

The Electronic Text Corpus of Sumerian Literature

http://etcsl.orinst.ox.ac.uk/section2/b217.htm

http://etcsl.orinst.ox.ac.uk/section2/tr217.htm The building of Ningirsu´s temple: translation of Cylinders A and B.

http://www.louvre.fr/en/oeuvre-notices/cylinders-gudea Cylinders of Gudea, Louvre Museum.

Music stele: tambura 'lyre' Rebus: tambra 'copper' (Santali) ḍangar ‘bull’; rebus: ḍangar‘blacksmith’ (Hindi)

Second dynasty of Lagash, reign of Gudea, c. 2120 BC
Tello (ancient Girsu)
Limestone
H. 1.20 m; W. 0.63 m; D. 0.25 m
E. de Sarzec excavations, 1881
AO 52

http://www.louvre.fr/en/oeuvre-notices/stele-music

The stele of music shows the foundation rites - performed to the sound of the lyre - of the temple built by Prince Gudea (c. 2100 BC) at his capital of Telloh (ancient Girsu), for Ningirsu, god of the state of Lagash in the Land of Sumer. The stele thus accords with the tradition of Neo-Sumerian art, which unlike that of the preceding period that focused on the warlike exploits of the rulers of Akkad, tends to show the king engaged in pious activities.

The building of Ningirsu's temple

Music in temple foundation ceremonies

Representations of musicians in Mesopotamia

Bibliography

"Goa - Early Recorded History

Goan history dates back to antiquity. Rock carvings and rock engravings founds at various places in Goa, indicate that Stone Age people had settled in this ancient land around 10000 - 8000 BC. These people were hunters and gatherers.

In modern recorded history, the first written mention of the land of Goa is on the cuneiform writings of the Sumerian era around 2200 BC. Goa is referred to as Gubio, by the King Gudea, the ruler of the kingdom of Lagash. In support of this theory, interestingly, the agricultural fields in Goa follow the Sumerian measure of 12 cubits to a pole or 0.495 of a metre to a cubit. This is different from the 0.46 unit found in most areas of India.

There is also some evidence to suggest that around 1775 BC, the Phoenicians, who were expert seafarers settled in the areas around Goa.

The Vedic Period

Goa is then referred to as Gomantak (in Sanskrit meaning the fertile land with plentiful water) around the period 1000 - 500 BC. This is considered to be the time when the epics of Mahabharat were written.

In this epic of Hindu mythology, the migration of Saraswat Brahmins from the north to the present day area of Goa is woven around the legend of Parashuram, the sixth incarnation of Lord Vishnu. Goa finds its first mention as Gomantak in the Harivamsha part of the epic Mahabharat.

In this southward migration, the Saraswat Brahmins who first went to Bengal, are supposed to have settled in the Konkan area around the year 1000 BC. The indigenous locals of the area, the Kunbi tribals, worked together with the Brahmin families to create a fertile stretch of land between the Arabian Sea and the Western Ghats.

The Aryan Conquest

The oldest archaeological evidence of Goa's ancient history date back from this period. Excavations have unearthed copper plates, stone inscriptions, coins, manuscripts and temple inscriptions which throw some light on the history of this period. The Girnar rock-edict of the Mauryan King Ashok mentions the people of Goa as Peitinikas, Rashtrikas and Bhojas.

The history of the mighty Mauryan dynasty finds the next instance of a historical reference to Goa. At this time during the period between 321 to 184 BC, Goa was under an administrative region by the name Kuntala. However with the death of the legendary Ashoka the Great in 232 BC, the Maurya empire fell into a rapid decline and Goa soon changed hands.

Incidentally, Buddhism is thought to have reached Goa around this period under the Mauryas, as did Jainism as evidenced by the ruins of Jain temples which have been discovered at Kudnem.

The Marathas from the neighbouring areas took control of Goa from the Mauryas, only to be shortly ousted by the strong Anand Chuttus who ruled for a short while themselves. Then came the rule of the Satavahanas, who already controlled a large area on the western coast of India.

They administered the Konkan areas directly and appointed the Bhojas, related to them matrimonially, as their feudatories in the Goa. Goa flourished during the Satavahana period, becoming an international business trading centre having relations with Africa, the Middle East and even the Roman empire.

An important book entitled Geography, from the era of Roman Emperor Augustus (27 BC -14 AD), written by Strabo the Greek geographer, makes a reference to Konkan with the name of Komkvi describing it as a unique province of India."

http://www.goatourism.gov.in/history/early-history

Gudea portrait on statue. http://sumerianshakespeare.com/44701.html

King Judea of Lagash calls Goa, Gubio

"In 2200 B.C., the first written reference to Goa appears to have been in Cuneiform, in Sumerian times when the King Judea of Lagash called it Gubio. Sumerians had established trade contacts with Goa and many Sumerians settled in Goa and along the Konkan coast. Sumerians are believed to have modified many local customs and introduce their own systems such as their style of temple architecture, the Devadasi system; the Sumerians also influenced the language, caste system, and the kinship practices to some extent. Sumerian influence in Goa can also be seen in the entertainment and games of the region. Even before any king ruled the territory, oligarchic democracy in the form of Gavkari existed in Goa. Gavkari System’s main idea was that village land must belong to the village god or goddess. It consisted of definite boundaries of land from village to village with its topographic detail, its management and social, religious and cultural interaction." https://magicpin.in/blog/history-goa/

"Indus Valley Civilization may have been as Old as 7380 BC

November 5, 2012

A new discovery has thrown new light on the age of Indus Valley Civilization making it older by another 2,000 years. This makes the Indian civilization older than that of Egypt and Babylon. The current findings revealed at the “International Conference on Harappan Archaeology”, organised by the Archaeological Survey of India (ASI) in Chandigarh place the date of the origin of the Indus Valley Civilisation at 6,000 years before Christ. The discovery puts at dispute the ongoing theory that settlements came up at an approximate of 3750 BC.

In connection with the current research, BR Mani, ASI joint Director General, and KN Dikshit, former ASI Joint Director General said,”The preliminary results of the data from early sites of the Indo-Pak subcontinent suggest that the Indian civilisation emerged in the 8th millennium BC in the Ghaggar-Hakra and Baluchistan area. On the basis of radio-metric dates from Bhirrana (Haryana), the cultural remains of the pre-early Harappan horizon go back to 7380 BC to 6201 BC.”

The current excavations have been carried out at two sites in Pakistan and Bhirrana, Kunal, Rakhigarhi and Baror in India. The previous set of excavations done in 1920 at Harappa and Mohenjo-daro showed Indus Valley Civilisation to be almost as old as those of Egypt and Mesopotamia."

http://transmissionsmedia.com/indus-valley-civilization-may-have-been-as-old-as-7380-bc/

Ancient Mesopotamian Place Name Meluhha (Stephan Hillyer Levitt) by Anonymous

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Itihāsa. Ancient Hindu is a wanderer

December 9, 2018, 9:04 pm

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14088 *hiṇḍa ʻ moving about ʼ. [√hiṇḍ] Ko. hī˜ḍu, ĩḍ ʻ flock ʼ FOK 168.14089 híṇḍatē ʻ moves, wanders ʼ Dhātup. [√hiṇḍ]Pa. hiṇḍati ʻ roams ʼ; Pk. hiṁḍaï ʻ goes, wanders, strolls ʼ; WPah. (Joshi) hĩḍṇē, hinṇē m.pl. ʻ legs of a quadruped ʼ; N. hĩṛnu ʻ to walk ʼ; Or. hiṇḍibā ʻ to move about, wander ʼ; H. hĩḍnā ʻ to move, walk ʼ, OG. hīṁḍaï, G. hĩḍvũ, M. hĩḍṇẽ. 14090 *hiṇḍāla ʻ wandering ʼ. [√hiṇḍ]Dm. iṇḍṓl ʻ bachelor ʼ; Kal. hiṇḍāˊu (st. ˚ḍāl -- ) ʻ bachelor ʼ, hiṇḍau ʻ barren woman ʼ; Kho. hiṇḍāl ʻ bachelor, spinster, widow ʼ, adj. ʻ childless, barren (of women and animals) ʼ; -- N. hĩṛālnu ʻ to make move ʼ.ʼ.(CDIAL 14088 to 14090)

परि-व्राजक m. ( f(इका). ; ifc. f(अका).) a wandering religious mendicant Ma1lav. Pan5c. Hit.

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Itihāsa. अश्वमेध is NOT 'sacrifice' of animals; यष्टि 'pillar' decorated with dotted circles and identified animals are metaphors for यष्टृ 'worshippers' and metalwork, wealth-accounting ledgers

December 10, 2018, 6:45 pm

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https://tinyurl.com/y7bbvag5

A standard device (so-called cult object) is shown in front of 1) young bull on over 1200 inscriptions, is also shown in front of 2) Urus; 3) Rhino.

This device is an Indus Script hypertext to signify: sangaḍa'joined parts' rebus: samgaha'catalogue' PLUS kammata'portable furnace' rebus: kammaṭa'mint' PLUS the dotted circle which signifies Sindhi. dhāī f. ʻ wisp of fibres' Hindi. dhāv 'throw of dice' rebus: dhāū, dhāv 'mineral' धाव (p. 250) dhāva m f A certain soft, red stone. Baboons are said to draw it from the bottom of brooks, and to besmear their faces with it. धवड (p. 249) dhavaḍa m (Or धावड) A class or an individual of it. They are smelters of iron. धावड (p. 250) dhāvaḍa m A class or an individual of it. They are smelters of iron. धावडी (p. 250) dhāvaḍī a Relating to the class धावड. Hence 2 Composed of or relating to iron PLUS वृत्त [p= 1009,2] mfn. turned , set in motion (as a wheel) RV.; a circle; vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vr̥t1] 1. Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ; L. (Ju.) vaṭ m. ʻ anything twisted ʼ; Si. vaṭa ʻ round ʼ, vaṭa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va'ʻ round ʼ GS 58; -- Paš.ar. waṭṭəwīˊk, waḍḍawik ʻ kidney ʼ ( -- wĭ̄k vr̥kká -- ) IIFL iii 3, 192?(CDIAL 12069) வட்டம்போர் vaṭṭam-pōr, n. < வட்டு +. Dice-play; சூதுபோர். (தொல். எழுத். 418, இளம்பூ.)வட்டச்சொச்சவியாபாரம் vaṭṭa-c-cocca-viyāpāram, n. < id. + சொச்சம் +. Money-changer's trade; நாணயமாற்று முதலிய தொழில். Pond. வட்டமணியம் vaṭṭa-maṇiyam, n. < வட் டம் +. The office of revenue collection in a division; வட்டத்து ஊர்களில் வரிவசூலிக்கும் வேலை. (R. T.) వట్ట (p. 1123) vaṭṭa vaṭṭa. [Tel.] n. The bar that turns the centre post of a sugar mill. చెరుకుగానుగ రోటినడిమిరోకలికివేయు అడ్డమాను. వట్టకాయలు or వట్టలు vaṭṭa-kāyalu. n. plu. The testicles. వృషణములు, బీజములు. వట్టలుకొట్టు to castrate. lit: to strike the (bullock's) stones, (which are crushed with a mallet, not cut out.) వట్ర (p. 1123) vaṭra or వట్రన vaṭra. [from Skt. వర్తులము.] n. Roundness. నర్తులము, గుండ్రన. వట్ర. వట్రని or వట్రముగానుండే adj. Round. గుండ్రని.Rebus: dhāvaḍa 'iron (mineral) smelter'.

See the dotted circle hieroglyph on the bottom of the sacred device, sangaḍa

m0352 cdef

The + glyph of Sibri evidence is comparable to the large-sized 'dot', dotted circles and + glyph shown on this Mohenjo-daro seal m0352 with dotted circles repeated on 5 sides A to F. Mohenjo-daro Seal m0352 shows dotted circles in the four corners of a fire-altar and at the centre of the altar together with four raised 'bun' ingot-type rounded features.

यूपेषु ग्राम्यान् पशून् तान् युञ्जति। Domestic animals are tied on the Yupas. आरोकेष्वारण्यान् धारयति। Wild animals are held in the spaces in between the Yupas. पशूनां व्यावृत्यै। To separate the animals.

आग्राम्यान् पशून् लभेत् The domestic animals are 'sacrificed' (translation of Mrugendra Vinod). प्रारण्यान् सृजति। The wild are released. The expression लभेत् has to be interpreted as 'wealth-acquisition' using metal resources and the processes of working with sacred fire in fire-altars such as śyenaciti to create metalwork artifacts of utility and exchange value during the Tin-Bronze Revolution from 5th millennium BCE.

अश्वस्तूपरो गोमृग इति प्रजापत्याः तान् अग्निष्ठ आलभेत 'the aśva sacred post nearest the fire for the lords of creatures is for aśva, hornless, ox-antelope'.

Disagreeing with this interpretation, Mrugendra VInod notes that the gomr̥ga of Veda tradition is Urus. A brilliant insight presented by him is that the Urus is called usra in the Veda and calls is bos namadicus which is the Indian aurochs. Note: Alternative interpretation of the yajña process: “Ashva, Hornless (goat) and Gomriga (urus) are offered in toto (without any remnants). (For all the offerings, only some part is thrown in Fire. Remaining is variously used in after procedure.)” (Mrugendra Vinod) Comment: The statement about the release of all wild animals is inconsistent with the averment of 'sacrifice in toto' of the aśva, goat and urus. From the decipherment of Indus Script inscriptions, it is clear that the hieroglyphs of animals such as zebu, young bull, goat, ram are rendered rebus to signify metals such as ferrite/magnetite ore, gold, copper, iron (ferrite) ore. For example:

A scorpion signifies bica 'haematite, ferrite ore'; karibha, ibha 'elephant' rebus: karba, ib 'iron'. kola 'tiger' rebus: kol 'working in iron'. meḍho 'ram' rebus: meḍ 'iron'. ranku 'antelope' rebus; ranku 'tin' rango 'buffalo' 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. rāṅ, rāṅo 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) kāraṇḍava m. ʻ a kind of duck ʼ MBh. [Cf. kāraṇḍa- m. ʻ id. ʼ R., karēṭu -- m. ʻ Numidian crane ʼ lex.: see karaṭa -- 1]Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , ˚ḍaga -- , ˚ḍava -- m. ʻ a partic. kind of bird ʼ; S. kānero m. ʻ a partic. kind of water bird ʼ(CDIAL 3059)rebus: karaḍa 'hard alloy'.करडा karaḍā Hard from alloy--iron, silver &38;c. (Marathi)

यष्टि 'pillar, flag, staff, support' rebus: यष्टृ यष्ट्/ऋ or य्/अष्टृ, mf(ट्री A1pS3r. Sch.)n. worshipping , a worshipper RV. &c &c; यष्टि the blade of a sword (» असि-य्°). I submit that the yūpas, together with domesticated and wild animals (including snakes, cobrhoods, scorpions, ants, aquatic bird) are metaphors of a rebus rendering of the metallurgical vocabulary, as evidenced by the rebus renderings of over 8000 Indus Script inscriptions. I submit that it is an error to translate the expression labh as 'sacrifice'; the root signifies, wealth-acquisition. लभ् (cf. √ रभ्) cl.1 A1. ( Dha1tup. xxiii , 6) लभते (ep. also °ति

and लम्भते ; pf. लेभ्/ , ep. also ललाभ ; aor. अलब्ध , अलप्सत Br. ; Prec. लप्सीय Pa1n2. 8-2 , 504 Sch. ; fut. लब्धा Gr.; लप्स्यते,ति Br. &c ; लभिष्यति Ka1v. ; inf. लब्धुम् MBh. ; ind.p. लब्ध्व्/आ AV. &c ; -लभ्य,-लम्भम् Br. &c ; लाभम् Pa1n2. 7-1 , 69) , to take , seize , catch ; to gain possession of , obtain , receive , conceive , get , receive (" from " abl. ; " as " acc.) , recover ib. (with गर्भम् , " to conceive an embryo " , " become pregnant " ; with पदम् , to obtain a footing); to gain the power of (doing anything) , succeed in , be permitted or allowed to (inf. or dat. e.g. लभते द्रष्टुम् , or दर्शनाय , " he is able or allowed to see ") ChUp. MBh. &c ; to possess , have Sa1h. Ma1rkP. ; to perceive , know , understand , learn , find out Katha1s. Kull. : Pass. लभ्य्/ते (ep. also °ति ; aor. अलाभि or अलम्भि , with prep. only अलम्भि ; cf. Pa1n2. 7-1 , 69Ka1s3. ) , to be taken or caught or met with or found or got or obtained Br. &c ; to be allowed or permitted (inf. sometimes with pass. sense e.g. ना*धर्मो लभ्यते कर्तुम् , " injustice ought not to be done " , cf. above ) Katha1s. ; to follow , result Sa1h. Sarvad. ; to be comprehended by (abl.) Bha1sha1p. :
Caus. लम्भयति , °ते (aor. अललम्भत्) , to cause to take or receive or obtain , give , bestow (generally with two acc. ; rarely with acc. and instr. = to present with ; in Kir. ii , 55 with two acc. and instr. ; cf. Va1m. v , 2 , 10) MBh. Ka1v. &c ; to get , procure (cf. लम्भित) ; to find out , discover Mn. viii , 109 ; to cause to suffer MW. ; Desid. ल्/इप्सते (mc. also °ति TBr. लीप्सते) , to wish to seize or take or catch or obtain or receive (with acc. or gen. ; " from abl.) TBr. &c &c : Intens. लालभ्यते , लालम्भीति or लालब्धि Gr.
([Gk. Î»Î¬Ï-ÏÏÎ¿Î½ , Î»Î±Î¼Î²-Î¬Î½Ï ; Lat. labor ; Lith. la4bas , ल्/ओबिस्.])

An array of Indus Script hieroglyphs to signify mẽṛhẽt, meḍ ‘iron (metal)’ (Munda), med 'copper (metal)' (Slavic) are used in Indus Script Corpora.

Hieroglyph-multiplexes also signify expressions to specify 'iron or copper (metal) castings or implements'.

Examples of such expressions in Santali, a Meluhha language of Indian sprachbund are as follows:

.med 'copper' (Slavic languages)

Hieroglyphs to signify mẽṛhẽt, meḍ ‘iron (metal)’ (Munda), med 'copper (metal)' (Slavic)

Sign 1 Variants and decipherment are presented on Seal m0304 of a seated person surrounded by tiger, elephant, rhinoceros, buffalor AND 'body' Sign 1 hieroglyph.

Hieroglyph: mē̃d, mēd 'body, womb, back'

Ta. mēṉi body, shape, colour, beauty; mēl body. Ma. mēni body, shape, beauty, excellence; mēl body. Koḍ. me·lï body. Te. mēnuid.; mēni brilliancy, lustre; belonging to the body, bodily, personal. Kol. me·n (pl. me·nḍl) body. Nk. mēn (pl. mēnuḷ) id. Nk. (Ch.) mēn id. Pa. mēn (pl. mēnul) id. Ga. (S.) mēnu (pl. mēngil), (P.) mēn id. Go. (Tr.) mēndur (obl. mēnduḍ-), (A. Y. W. M.) mēndul, (L.)meṇḍū˘l, (SR.) meṇḍol id. (Voc. 2963). Konḍa mēndol human body. Kur. mē̃d, mēd body, womb, back. Malt. méth body. Cf. 5073 Ta.mey. (DEDR 5099)

meḍ(h), meḍhī f., meḍhā ʻ post, forked stake ʼ; meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ (See the rope tied to a tiger on Kalibangan terracotta cake found in a fire-altar; kola 'tiger' rebus: kol 'working in iron'; kohle 'smelters'.)

Image result for bijnor octagonal brick

Binjor octagonal brick as a skambha, 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), miho, miyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽh, mẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. meh, mehā 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. mīr, mīrü 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 meṛha, mehra 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) mehṭā, mẽhṭā ʻ the bullock next the post ʼ.(CDIAL 10317 to, 10319)

For details of Mrugendra Vinod's thesis, see: https://www.scribd.com/document/388163808/Identifying-the-Ritual-Expected-by-All-the-Scholars-Working-on-the-Harappan-Seals-and-Tablets

Identifying the Ritual Expected by All the Scholars Working on the Harappan Seals and Tablets (Sept.09, 2018) Embedded.

उस्रा f. ( Un2. ii , 13) morning light , daybreak , brightness RV.; (personified as a red cow); a cow RV. AV. xii , 3 , 73 MBh. xiii Nir. &c; उस्र m. an ox , bull RV. vi , 12 , 4 VS. iv , 33; m. N. of the अश्विन्s RV. ii , 39 , 3 ; iv , 62 , 1 ; vii , 74 , 1; m. a ray of light RV. i , 87 , 1 Ragh. Kir. &c

लभ् labh लभ् 1 Ā. (लभते, लेभे, अलब्ध, लप्स्यते, लब्धुम्, लब्ध) 1 To get, obtain, gain, acquire; लभेत सिकतासु तैलमपि यत्नतः पीडयन् Bh.2.5; चिराय याथार्थ्यमलम्भि दिग्गजैः Śi.1. 64. -2To have, possess, be in possession of. -3 To take, receive. -4 To catch, take or catch hold of; प्रांशु- लभ्ये फले लोभादुद्बाहुरिव वामनः R.1.3. -5 To find, meet with; यत्किंचिल्लभते पथि. -6 To recover, regain. -7 To know, learn, perceive, understand; भ्रमणं ..... गमनादेव लभ्यते Bhāsā. P.6; सत्यमलभमानः Kull. on Ms.8.19. -8 To be able or be permitted (to do a thing) (with inf.); मर्तुमपि न लभ्यते; नाधर्मो लभ्यते कर्तुं लोके वैद्याधरे. (The senses of लभ् are modified according to the noun with which it is used; i. e. गर्भं लभ् to conceive, become pregnant; पदं or आस्पदं लभ् to gain a footing, take a hold on; see under पद; अन्तरं लभ् to get a footing, enter into; लेभे$न्तरं चेतसि नोपदेशः R.6.66 'was not impressed on the mind;'चेतनां-संज्ञां लभ् to regain one's consciousness; जन्म लभ् to be born; Ki.5.43; स्वास्थ्यं लभ् to enjoy ease, be at ease; दर्शनं लभ् to get an audience of &c.). -Caus. (लम्भयति-ते) 1 To cause to get or receive, cause to take; मधुरै रवशानि लम्भयन्नपि तिर्यञ्चि शमं निरीक्षितैः Ki.2.55. -2 To give, confer or bestow upon; मोदकशरावं माणवकं लम्भय V.3. -3 To cause to suffer. -4 To obtain, receive. -5 To find out, discover. -Desid. (लिप्सते) To wish to get, long for; अलब्धं चैव लिप्सेत H.2.8.(Apte)
लाभ lâbh-a finding, meeting; obtainment, acquirement (of, g., --°); gain, advantage, profit; object acquired, acquisition; capture; apprehension, knowledge: -lipsâ, f. desire of gain, covetousness; -vat, a. having gained advantage; having got possession of (--°); -̮alâbha, m. du. & n. sg. gain and loss.(Macdonell)

तूपरः tūparḥ तूपरः Ved. A hornless beast, particularly a goat; तमसा ये च तूपरा अथो बस्ताभिवासिनः Av.11.9.22.(Apte)

Indian aurochs, bos namadicus "The Indian aurochs (Bos primigenius namadicus) was a subspecies of the extinct aurochs. It is considered as the ancestor of the zebu cattle, which is mainly found in the Indian subcontinent and has been introduced in many other parts of the world, like Africa and South America. In contrast, the taurine cattle breeds, which are native to Europe, the Near East, and other parts of the world, are descendants of the Eurasian aurochs (Bos primigenuis primigenius). According to IUCN, the Indian aurochs disappeared sometime until the 13th century AD, when the only subspecies standing was the Bos primigenius primigenius" https://en.wikipedia.org/wiki/Indian_aurochs

21 Yūpa

RV 1.162.18 The four-and-thirty ribs of the Swift Charger, kin to the Gods, the slayer's hatchet pierces.

Cut ye with skill, so that the parts be flawless, and piece by piece declaring them dissect them. (trans. Griffith)

An exposition by Sadhashiv A Dange: “the yūpa is described as being the emblem of the sacrifice (RV III.8.8 yajñasya ketu). Though it is fixed on the terrestrial plane at the sacrifice, it is expected to reach the path of the gods. Thus, about the many sacrificial poles (fixed in the Paśubandha, or at the Horse-sacrifice) it is said that they actually provide the path for reaching the gods (ib., 9 devānām api yanti pāthah). They are invoked to carry the oferings to the gods (ib., 7 te no vyantu vāryam devatrā), which is the prerogative of the fire-god who is acclaiemd as ‘messenger’ (dūta); cf. RV I.12.1 agrim dūtam vṛṇimahe). In what way is the yūpa expected to carry the chosen offering to the gods? It is when the victim is tied to the sacrificial pole. The prallelism between the sacrificial fire and the yūpa is clear. The fire carries it through the smoke and flames; the yūpa is believed to carry it before that, when the victim is tied to it, as its upper end is believed to touch heaven. A more vivid picture obtains at the yajapeya. Here the yūpa is eight-angled, corresponding to the eight qurters. (śat. Br. V.2.1.5 aṣṭāśrir yūpo bhavati; the reason given is that the metre Gayatri has eight letters in one foot; not applicable here, as it is just hackneyed. At Taitt.Sam. I.7.9.1, in this context a four-angled yūpa is prescribed.) The one yūpa is conceived as touching three worlds: Heaven, Earth and the nether subterranean. The portion that is above the caṣāla (ring) made of wheat-dough (cf.śat. Br. V.2.1.6 gaudhūmam caṣālam bhavati) represents Heaven. This is clear from the rite of ascending to the caṣāla, made of wheat-dough, in the Vajapeya sacrifice. The sarificer ascends to it with the help of a ladder (niśrayaṇī); and, while doing so, calls upon his wife, ‘Wife, come; let us ascend to Heaven’. As soon as he ascends and touches the caṣāla, he utters, ‘We have reached Heavven, O gods’ (ib., 12). According to Sāyaṇa on the Taiit.Sam. I.7.9.1, the sacrificer stretches his hands upwards when he reaches the caṣāla and says, ‘We have reached the gods that stay in heaven’ (udgṛhītābhyām bāhubhyām). Even out of the context of the Vajapeya, when the yūpa is erected (say in the Paśubandha), it is addressed, ‘For the earth you, for the mid-region you, for heaven you (do we hoist you)’ (Taitt. Sam. I.3.6.1-3; cf. śat. Br. III.7.1.5-6). The chiselled portion of the yūpa is above the earth. So, from the earth to heaven, through the mid-region the yūpa represents the three-regions. The un-chiselled portion of the yūpa is fixed in the pit (avaṭa) and the avaṭa, which represents the subterranean regions, is the region of the ancestors (ib.4).The yūpa, thus, is theaxis mundi…Then, it gave rise to various myths, one of them being that of the stūpa of Varuṇa, developing further into Aśvattha tree, which is nothing but a symbol of a tree standing with roots in the sun conceived as the horse (aśva-stha = aśvattha), a symbol obtaining at varius places in the Hindu tradition. It further developed into the myth of the churning staff of the mountain (Amṛta-manthana); and yet further, into the myth of Vasu Uparicara, whom Indra is said to have given his yaṣṭi (Mb.Adi. 6y3.12-19). This myth of the yaṣṭi was perpetuated in the ritual of the Indra-dhvaja in the secular practice (Brhatsamhita, Chapter XLII), while in the s’rauta practice the original concept of the axis mundi was transformed into the yūpa that reached all regions, including the under-earth. There is another important angle to theyūpa. As the axis mundi it stands erect to the east of the Uttaravedi and indicates the upward move to heaven. This position is unique. If one takes into account the position of the Gārhapatya and the āhavaniya fireplaces, it gets clear that the march is from the earth to heaven; because, the Gārhapatya is associated with this earth and it is the household fire (cf. gṛhā vai gārhapatyah, a very common saying in the ritual texts), and the seat of the sacrificer’s wife is just near it, along with the wives of the gods, conceptually. From this fire a portion is led to the east, in the quarter of the rising sun (which is in tune with such expressions as prāñcam yajñam pra nayatā sahāyah, RV X.101.2); where the Ahavaniya fireplace is structured. As the offerings for the gods are cast in the Ahavaniya, this fire is the very gate of heaven. And, here stands, the yūpa to its east taking a rise heavenwards. This is, by far, the upward rise. But, on the horizontal plane, the yūpa is posted half-inside, half-outside the altar. The reason is, that thereby it controls the sacred region and also the secular, i.e. both heaven and earth, a belief attested by the ritual texts. (Tait. Sam. VI.6.4.1; Mait. Sam. III.9.4).”(Dange, SA, 2002, Gleanings from Vedic to Puranic age, New Delhi, Aryan Books International, pp. 20-24).

The Sukta RV X.101 reads, explaining the entire yajña as a metaphor of golden-tinted soma poured into a wooden bowl, a smelting process yielding weapons of war and transport and implements of daily life:

10.101.01 Awake, friends, being all agreed; many in number, abiding in one dwelling, kindle Agni. I invoke you, Dadhikra, Agni, and the divine Us.as, who are associated with Indra, for our protection. [In one dwelling: lit., in one nest; in one hall].
10.101.02 Construct exhilarating (hymns), spread forth praises, construct the ship which is propelled by oars, prepare your weapons, make ready, lead forth, O friends, the herald, the adorable (Agni).
10.101.03 Harness the ploughs, fit on the yokes, now that the womb of earth is ready, sow the seed therein, and through our praise may there be abundant food; may (the grain) fall ripe towards the sickle. [Through our praise: sow the seed with praise, with a prayer of the Veda; s’rus.t.i = rice and other different kinds of food].
10.101.04 The wise (priests) harness the ploughs, they lay the yokes apart, firmly devoted through the desire of happiness. [Happiness: sumnaya_ = to give pleasure to the gods].
10.101.05 Set up the cattle-troughs, bind the straps to it; let us pour out (the water of) the well, which is full of water, fit to be poured out, and not easily exhausted.
10.101.06 I pour out (the water of) the well, whose cattle troughs are prepared, well fitted with straps, fit to be poured out, full of water, inexhaustible.
10.101.07 Satisfy the horses, accomplish the good work (of ploughing), equip a car laden with good fortune, pour out (the water of) the well, having wooden cattle-troughs having a stone rim, having a receptable like armour, fit for the drinking of men.
10.101.08 Construct the cow-stall, for that is the drinking place of your leaders (the gods), fabricate armour, manifold and ample; make cities of metal and impregnable; let not the ladle leak, make it strong.
10.101.09 I attract, O gods, for my protection, your adorable, divine mine, which is deserving of sacrifice and worship here; may it milk forth for us, like a large cow with milk, giving a thousand strreams, (having eaten) fodder and returned.
10.101.10 Pour out the golden-tinted Soma into the bowl of the wooden cup, fabricate it with the stone axes, gird it with ten bands, harness the beast of burden to the two poles (of the cart).
10.101.11 The beast of burden pressed with the two cart-poles, moves as if on the womb of sacrifice having two wives. Place the chariot in the wood, without digging store up the Soma.
10.101.12 Indra, you leaders, is the giver of happiness; excite the giver of happiness, stimulate him, sport with him for the acquisition of food, bring down here, O priests, Indra, the son of Nis.t.igri_, to drink the Soma. [Nis.t.igri_ = a name of Aditi: nis.t.im ditim svasapatni_m girati_ti nis.t.igri_raditih].

Image result for bairat kota rajasthan yupa

Shapes of Yupa: A. Commemorative stone yupa, Isapur – from Vogel, 1910-11, plate 23; drawing based on Vedic texts – from Madeleine Biardeau, 1988, 108, fig. 1; cf. 1989, fig. 2); C. Miniature wooden yupa and caSAla from Vaidika Samsodana Mandala Museum of Vedic sacrificial utensils – from Dharmadhikari 1989, 70) (After Fig. 5 in Alf Hiltebeitel, 1988, The Cult of Draupadi, Vol. 2, Univ. of Chicago Press, p.22)

The insights provided by Dr. Satya Prakash in the JRIHR article (1968) are emphatic that the Yupa inscriptions record the performance of Vedic Yajnas.

“No other state of India has yielded as many Yajastambhas as the present united State of Rajasthan. All these pillars are dated in Krita era (Malava era) and are interesting from several points of view. The existence of these pillars in Kotah, Jaipur, Udaipur, Tonk and Bharatpur areas of Rajasthan is a definite proof of the performance of Vedic sacrifices in these areas in the early centuries of the Christian era, to which period these belong on the bsis of the times mentioned in them in the corresponding Malava Samvat. These inscriptional religious pillars were set p immediately after the performance of Vedic sacrifices. All these pillars are indicative of the performance of Vedic sacrifices (Vedic Yajnas) in various areas of Rajasthan and are inscribed in the Brahmi script and in Sanskrit language and belong to the 3^rd and 4^th centuries of the Christian era, but we can trace the tradition of putting up inscribed pillars to pre-christian era, to which period belong the pillars and Incribed rock edict of Asoka at Bairat, which was, then a stronghold of Buddhist faith. The inscription (Dr. R. Sahni mentions in his excation report on Bairat that the Yupa devices were also found used on the Yaudheya coins of about the beginning of the Christian era) from Ghoshundi, near Nagri the old Madhyamika Nagri (in the present Cchittorgarah ditrict) of the days of Patanjali's Mahabhashya mentioning the performance of a horse sacrifice is also very interesting. This is s a proof of the fact that Nagri and its vicinity was not only the centre of Buddhist activities and Greek incursions but it was also a stronghold of Brahminical faith and horse sacrifices were performed there.It was also the centre of Samkarshana Vasudeva worship in whose honour a stone enclosure (Silaprakara) was constructed there...An inscriptional reference to the performance of Vajapeya sacrifice is also available from an epigraph of the 4^th century AD to which period belongs a Yupa pillar also. A terracotta seal found by Col. Hendley at Sambhar during excavations by him was studied by DR Sahni and he interprets the principal impression as displaying a sacrificial post (Yupa) surrounded by a railing. The upper portion of the post is bent down to about the middle of the shaft taken by Sahni to display the mystic symbol Swastika while the sixth one as showing a triangular pattern with five cross bars. This last device appears to represent the ladder by which the sacrificer and his wife ascended to the top of the Yupa and looking in the different directions silently enchanted prayers and offered by Prajapati 17 pieces of salt tied up to Pippala leaves. The setting up of Yupas in the celebration of Yajnas stands recorded in the Atharva Veda. Several ancient inscriptions on stone and other monumental evidences show the performance of such sacrifices done I the 5^th or the 6^th centuries AD also. Let us now discuss the details of the Yupa pillar inscriptions.”

Source:

A note on the Yupa Pillars of Rajasthan -- Dr. Satya Prakash (1968), All Yupa inscriptions document Vedic Yajnas
http://bharatkalyan97.blogspot.com/2016/01/a-note-on-yupa-pillars-of-rajasthan-dr.html

Mrugendra Vinod (https://www.youtube.com/watch?v=dqKOtc2gKTs 26:01) notes that the wild animals recognized in the aśvamedha yajña are: gaur 'bison', mahiṣa 'buffalo', khaḍga 'rhino' and vyāghra 'tiger'. In fact, there are over 200 animals and insects recognized in the texts. The list includes all the animals signified as hieroglyphs on Indus Script inscriptions.

Samudragupta, gold dinar, c. 335-375 CE Weight: 7.46 gm, Diameter: 21 mm. Sacrificial horse standing left, yupa (sacrificial post) before,
circular Brāhmī legend around and si (for siddham) below horse /Queen standing left, holding towel in left hand, flywhisk in right over her shoulder
needle before, Brāhmī legend at right: Ashvamedhaparākrama

Samudragupta, gold dinar, c. 335-375 CE Weight: 7.37 gm, Diameter: 23 mm. Sacrificial horse standing left, yupa (sacrificial post) before,
circular Brāhmī legend around and si (for siddham) below horse / Queen standing left, holding towel in left hand, flywhisk in right over her shoulder
needle before, Brāhmī legend at right: Hayamedhaparākrama A unique coin in which the reverse legend reads Hayamedhaparākrama instead of the usual Ashvamedhaparākrama. Haya is another Sanskrit word that means "horse."

http://coinindia.com/galleries-samudragupta.html

Samudragupta's gold coin s

hows aśva in front of sacred post

Noting that the aśvamedha central yūpa has 239 svarus according to the Hiranyakeśi version, Mrugendra Vinod suggests that the standard device generally shown in front of the young bull is comparable to a yūpa as described in the texts with three distinctly identifiable iconographic elements as shown below:

चषाल mn. (g. अर्धर्चा*दि) a wooden ring on the top of a sacrificial post RV. i , 162 , 6 TS. vi Ka1t2h. xxvi , 4 (चशाल) S3Br. &c; m. a hive; n. the snout of a hog MaitrS. i , 6 , 3 (Monier-Williams)

स्वरु m. (of doubtful derivation) a large piece of wood cut from the trunk of a tree , stake , (esp.) sacrificial post or a strip of wood from it RV.AV. Br. Ka1tyS3r.; a thunderbolt; arrow; a kind of scorpion; sunshine; yajña.

यूप m. (prob. fr. √ युप् ; but according to Un2. iii , 27 , fr. √2. यु) a post , beam , pillar , (esp.) a smooth post or stake to which the sacrificial victim is fastened , any sacrificial post or stake (usually made of bamboos or खदिर wood ; in R. i , 13 , 24 ; 25, where the horse sacrifice is described , 21 of these posts are set up , 6 made of बिल्व , 6 of खदिर , 6 of पलाश , one of उडुम्बर , one of श्लेष्मातक , and one of देव-दारु) RV. &c; a column erected in honour of victory , a trophy (= जय-स्तम्भ); N. of a partic. conjunction of the class आकृति-योग (i.e. when all the planets are situated in the 1st , 2nd , 3rd and 4th houses) VarBr2S.

नि- √ युज् P. A1. -युनक्ति , -युङ्क्ते , to bind on , tie or fasten to (loc.) AV. S3Br. MBh. &c; (with धुरि) to tie to the pole of a carriage i.e. yoke , harness R.; (met.) to place in front i.e. employ in the hardest work ib. (also गुरु-धूर्षु MBh. )

अरोक arōka अरोक a. [न. ब.] 1 Without holes (अच्छिद्र). -2 Without splendour, obscured, dim. -Comp. -दत्, -दन्त a. [विभाषाश्यावारोकाभ्याम् P.V.4.144] 1 having black teeth. -2 having thickset teeth (निबिडदन्त). धारय mfn. holding , bearing &c ( Pa1n2. 3-1 , 138)

स्तूप् stūp स्तूप् 4 P. 1 U. (स्तूप्यति, स्तूपयति-ते) 1 To heap up, accumulate, pile, collect. -2 To erect, raise.

स्तूपः stūpḥ स्तूपः 1 A heap, pile, mound (of earth &c.); ब़टुभिरुपहृतानां बर्हिषां स्तूपमेतत् Mu.3.15; -पृष्ठः a turtle, tortoise.

गो--मृग m. (= 2. गवय्/अ q.v.) the Gayal VS. xxiv TS. ii S3Br. xiii Ka1tyS3r. = गवय m. the Gayal (a species of ox , Bos gavaeus , erroneously classed by Hindu writers as a species of deer ; cf. गो-मृग्/अ) RV. iv , 21 , 8 VS. S3Br. AitBr. &c

गो gō गो -मृगः a kind of ox (गवय). (Apte)

प्रजा--पत्य w.r. for प्राजापत्य. प्राजापत्या f. N. of a verse addressed to प्रजा-पति , A1pGr2.; प्राजापत्य m. a descendant of प्रजा-पति (patr. of पतं-ग , of प्रजावत् , of यक्ष्म-नाशन , of यज्ञ , of विमद , of विष्णु , of संवरण , of हिरण्य-गर्भ) RAnukr.; प्रजा--पति (°जा-) m. " lord of creatures " , N. of सवितृ , सोम , अग्नि , इन्द्र &c RV. AV.; (°जा-) a divinity presiding over procreation , protector of life ib. VS. Mn. Sus3r. BhP.; (°जा-) lord of creatures , creator RV. &c &c (N. of a supreme god above or among the Vedic deities [ RV. (only x , 21 , 10) AV. VS. Br. ] but in later times also applied to विष्णु , शिव , Time personified , the sun , fire , &c , and to various progenitors , esp. to the 10 lords of created beings first created by ब्रह्मा ,viz. मरीचि , अत्रि , अङ्गिरस् , पुलस्त्य , पुलक , क्रतु , वसिष्ठ , प्रचेतस् or दक्ष , भृगु , नारद [ Mn. i , 34 ; cf. IW. 206 n. 1] , of whom some authorities count only the first 7 , others the last 3)

अग्नि--ष्ठ mfn. placed in , or over , near the fire; m. (in the अश्वमेध sacrifice) the eleventh यूप or sacrificial post , which (of all the twenty-one) is nearest the fire S3Br.; अग्नि--ष्ठा f. that corner of the sacrificial post which (of all the eight) is nearest the fire S3Br.

Taurine cattle with one-horn in profile

The hut of a Toda Tribe of Nilgiris, India. Note the decoration of the front wall, and the very small door.

Rebus Meluhha readings: kōṭhā 'warehouse' kuṭhāru 'armourer, PLUS kole.l'temple' rebus: kole.l 'smithy, forge' PLUS ḍhāla 'flagstaff' rebus: ḍhālako 'large ingot'. Thus, the message is: armoury, smithy, forge ingots.

m0702 Text 2206 showing Sign 39, a glyph which compares with the Sumerian mudhif structure.

- ढालकाठी [ ḍhālakāṭhī ] f ढालखांब m A flagstaff; esp.the pole for a grand flag or standard.

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

Field symbol is zebu (bos indicus). pōḷa 'zebu, bos indicus' rebus: pōḷa 'magnetite, ferrite ore' [pōlāda] 'steel'.

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

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

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

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

One-horned young bulls and calves are shown emerging out of कोंडण kōṇḍaṇa cattlepens heralded by Inana standards atop the mudhifs. The Inana standards are reeds with three rings. The reed standard is the same which is signified on Warka vase c. 3200–3000 BCE.

Reed PLUS ring on Inanna standard on Warka vase.

Scarf on the reeds: dhaṭu 'scarf' Rebus: dhatu 'mineral' (Santali) *dhaṭa2, dhaṭī -- f. ʻ old cloth, loincloth ʼ lex. [Drav., Kan. daṭṭi ʻ waistband ʼ etc., DED 2465]Ku. dhaṛo ʻ piece of cloth ʼ, N. dharo, B. dhaṛā; Or. dhaṛā ʻ rag, loincloth ʼ, dhaṛi ʻ rag ʼ; Mth. dhariā ʻ child's narrow loincloth ʼ.Addenda: *dhaṭa-- 2. 2. †*dhaṭṭa -- : WPah.kṭg. dhàṭṭu m. ʻ woman's headgear, kerchief ʼ, kc. dhaṭu m. (also dhaṭhu m. ʻ scarf ʼ, J. dhāṭ(h)u m. Him.I 105).(CDIAL 6707)

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

One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meḍ (Ho.) of Munda family of Meluhha language stream. It is significant that the word med in Slavic languages signifies copper.

Sa. mE~R~hE~'d `iron'. ! mE~RhE~d(M). Ma. mErhE'd `iron'.Mu. mERE'd `iron'.~ mE~R~E~'d `iron'. ! mENhEd(M).Ho meD `iron'.Bj. merhd(Hunter) `iron'.KW mENhEd@(V168,M080) http://www.ling.hawaii.edu/austroasiatic/AA/Munda/ETYM/Pinnow&Munda

Image result for sumerian cylinder mudhif

A Sumerian reed hut, or mudhif, as depicted on a stone trough of about 3000 BCE.

A cow and a stable of reeds with sculpted columns in the background. Fragment of another vase of alabaster (era of Djemet-Nasr) from Uruk, Mesopotamia.

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

Three rings on reed posts are three dotted circles: dāya 'dotted circle' on dhā̆vaḍ priest of 'iron-smelters', signifies tadbhava from Rigveda dhāī ''a strand (Sindhi) (hence, dotted circle shoring cross section of a thread through a perorated bead);rebus: dhāū, dhāv ʻa partic. soft red ores'. dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. 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)

Cylinder seal impression, Uruk period, Uruk?, 3500-2900 BCE. Note a load of livestock (upper), overlapping greatly (weird representation), and standard 'mudhif' reed house form common to S. Iraq (lower).

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

Further to the discussion of chimeras, among the first unicorn seals found by John Marshall at Mohenjo-daro in the 1920's was this one. He wrote: "The animal most often represented on the seals is the apparently single-horned beast ... There is a possibility, I think, that the artist intended to represent one horn behind the other. In other animals, however, the two horns are shown quite distinctly. In some respects the body of this beast, which is always a male, resembles that of an antelope of heavy build, such as the eland or oryx, and in others that of an ox. The long tuffed tail may belong to either class. The horn is sometimes smooth ... sometimes it has transverse ridges. In the latter case,

m0233 Field symbol: kõda ‘young bull-calf’. Rebus: kũdār ‘turner’. sangaḍa ‘lathe, furnace’. Rebus: samgara ‘living in the same house, guild’. sãgaḍa (double-canoe, catamaran) Hence, smith guild.Urus

Meaning, artha of inscription: Trade (and metalwork wealth production) of kōnda sangara 'metalwork engraver'... PLUS (wealth categories cited.).

(Note: In this, the animal young bull is shown with two curved horns) Signifier; dula ‘duplicated’ rebus; dul ‘metalcasting’

Ficus glomerate leaf atop a hill. mēṭu 'height, eminence, hillock' rebus: meḍ 'iron' (Mu.Ho.) PLUS loa 'ficus glomerata' Rebus: loha 'copper, iron'. PLUS karṇī‘ears’ rebus: karṇī 'supercargo, scribe, helmsman'

Urus

m0232

2234 'Unicorn' with two horns! "Bull with two long horns (otherwise resembling the 'unicorn')", generally facing the standard. That it is the typical ‘one-horned bull’ is surmised from two ligatures: the pannier on the shoulder and the ring on the neck.

Field symbol: kõda ‘young bull-calf’. Rebus: kũdār ‘turner’. sangaḍa ‘lathe, furnace’. Rebus: samgara ‘living in the same house, guild’. sãgaḍa (double-canoe, catamaran) Hence, smith guild.

Meaning, artha of inscription: Trade (and metalwork wealth production) of kōnda sangara 'metalwork engraver'... PLUS (wealth categories cited.).

baṭa 'rimless, wide-mouthed pot' rebus: bhaṭa 'furnace' PLUS ḍabu 'an iron spoon' (Santali) Rebus: ḍab, ḍhimba, ḍhompo 'lump (ingot?). PLUS sal ‘splinter’ rebus: sal ‘workshop’

kolmo 'riceplant' rebus: kolimi 'smithy, forge'.

aya, ayo 'fish' rebus: aya'iron'ayas 'metal' PLUS adaren 'lid' rebus: aduru'unsmelted metal' PLUS gaṇḍa 'four' rebus: khaṇḍa'implements'. Thus metal implements of unsmelted metal.

Rhino

m1135

2140 Pict-50 Composite animal: features of an ox and a rhinoceros facing the standard device. Field symbol: kāṇḍā‘rhinoceros’ rebus: kaṇḍa 'implements' PLUS standard device of lathe/portable furnace.

baṭa 'rimless, wide-mouthed pot' rebus: bhaṭa 'furnace' PLUS kolom ‘three’ rebus: kolimi ‘smithy, forge’

sal ‘splinter’ rebus: sal ‘workshop’ PLUS khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (Gujarati) PLUS kāmsako, kāmsiyo= a large sized comb (G.) Rebus: kaṁsa 'bronze' (Telugu) kharaḍa ‘day-book of bronze metalcasting workshop account’

dhāḷ'slanted stroke' rebus: dhāḷako'ingot' PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon) rebus: khaṇḍa 'implements'. Thus, ingots and implements.

kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman'

Bison/Urus

h176a,b text

Field symbol hieroglyphs 1: barad, balad 'ox' rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi) kole.l 'temple' rebus: kole.l 'smithy, forge'

Field symbol hieroglyphs 2:

kol 'tiger' Rebus: kolhe 'smelter',kol 'working in iron' PLUS krammara 'look back' rebus;kamar 'smith'. Thus, iron smith.

kamaḍha 'penance' Rebus: kammaṭa 'mint, coiner, coinage'.

mēḍa 'platform, hillock' rebus meḍ 'iron'.

āra 'spokes' rebus: āra 'brass' PLUS dula 'two' rebus: dul 'metal casting'.Thus brass metalcastings.

kanka, karṇika 'rim of jar'rebus: karṇī 'supercargo, scribe'

Meaning, artha: Metalwork wealth production... PLUS (wealth/business categories iron smelting and copperwork cited above).

m0234.

1321 Field symbol: barad, balad 'ox'rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi) PLUS pattar ‘trough’ rebus: pattar ‘goldsmiths’ guild’

kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass' Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥ

कौटिलिकः 1 A hunter.-2 A blacksmith PLUS dula ‘duplicated’ rebus: dul ‘metal casting’. Thus, bronze castings.

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

aya, ayo 'fish' rebus: aya 'iron' ayas 'metal' PLUS aḍaren 'lid' Rebus: aduru 'unsmelted metal'

aya, ayo 'fish' rebus: aya 'iron' ayas 'metal' (Rigveda)

kāṇḍa, kã̄ṛ ʻstalk, arrow’(CDIAL 3023) rebus: kaṇḍa 'implements'.(Oriya)

dāṭu 'cross' rebus: dhatu = mineral (Santali) Hindi. dhāṭnā 'to send out, pour out, cast (metal)' (CDIAL 6771) PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS खांडा (p. 116) khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). khaṇḍa 'implements'. Thus, ingots and implements.

aḍaren 'lid' Rebus: aduru 'unsmelted metal'

kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman'

gaṇḍā 'an aggregate of four' rebus: khāṇḍā 'implements' as in lokhāṇḍā 'metal implements'

meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic) PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). khaṇḍa 'implements' PLUS sal ‘splinter’ rebus: sal ‘workshop’

kāru pincers, tongs. Rebus: khār खार् 'blacksmith'

karã̄ n. pl. wristlets, bangles Rebus: khār खार् 'blacksmith' PLUS circumscript gaṇḍā 'an aggregate of four' rebus: khāṇḍā 'implements' as in lokhāṇḍā 'metal implements

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

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

Two unique signifiers in front of wild/domesticated animals and in front of hare on Indus Script Corpora are:1. 'thorny bush' 2. feeding trough'. This monograph demonstrates that the hypertexts are: 1. kaṇṭho, kaṭrā market town; 2. pattar paṭṭi 'goldsmith guild market, goldsmith guild hamlet'.

1.thorny bush2. feeding trough

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

Orthographic variant of the 'feeding-trough' hieroglyph with stripes, yields the related signifier word in Meluhha (Bhāratīya sprachbund, speech union): pattar paṭṭi 'feeding trough + stripes' Rebus: pattar 'goldsmith guild' PLUS paṭṭi 'stripes, hamlet', rebus: pāṭan 'market'. Thus, pattar paṭṭi means: 'market inventory, market list'. Together, for example, with tiger, the reading of hypertext is: kolhe pattar paṭṭi'smelter, goldsmith guild market inventory'.

'Feeding-trough' Variants 1, 2

There are two orthographic variants of this 'feeding-trough' hieroglyph which are read in Meluhha lexis (vocbulary) rebus:Ta. paṭṭai painted stripe Ma. paṭṭa stripe. Ka. paṭṭe, paṭṭi id. Koḍ. paṭṭe striped;
Tu. paṭṭè stripe. Te. paṭṭe stripe or streak of paint; paḍita stripe, streak, wale. (DEDR 3877). Rebus:

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

PLUS

pāṭroṛo, pattar 'feeding trough' Rebus: పట్ర paṭra, patta 'village, hamlet, maritime town' pāṭan 'market'. paṭan ʻ quarter of a town; village, hamlet, town'. Thus, the hypertext, striped feeding trough reads: pattar paṭṭi 'feeding trough+ stripes' rebus: 'market inventory, market list'.

It may be seen from Variant 2 of the 'feeding-trough' hieroglyph, that an unambiguous signifier 'three stripes' has been ligatured at the bottom of the trough as a phonetic determinant of the intended 'feeding trough' signifier word.

Phonetic variants of related lexis (vocabulary) are:
Feeding trough: 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. pāṭri f. ʻ large earth or wooden dish ʼ, pāṭroṛo m. ʻwooden troughʼ; P. pātar m. ʻ vessel ʼ, parāt f., parātṛā m. ʻ large wooden kneading vessel ʼ, ḍog. pāttar m. ʻbrass or wooden do.ʼ; Ku.gng. pāiʻ wooden potʼ (CDIAL 8055)

See:

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

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

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

Trough PLUS buffalo/bull

Other examples of trough as a hieroglyph on Indus writing seals shown in front of animals.

A trough is shown in front of some domesticated animals and also wild animals like rhinoceros, tiger, elephant. The trough glyph is clearly a hieroglyph, in fact, a category classifier. Trough as a glyph occurs on about one hundred inscriptions, though not identified as a distinct pictorial motif in the corpus of inscriptions. Why is a trough shown in front of a rhinoceros which was not a domesticated animal? A reasonable deduction is that ‘trough’ is a hieroglyph intended to classify the animal ‘rhinoceros’ in a category.

ḍhangar ‘trough’; ḍhangar ‘bull’; rebus: ḍhangar ‘blacksmith’

Chanhudaro22a ḍhangar ‘bull’. Rebus: ḍhangar‘blacksmith’ pattar ‘trough’. Rebus: pattar (Ta.), battuḍu (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); baḍhi = worker in wood and metal (Santali)ḍāngrā = a wooden trough just enough to feed one animal. cf. iḍankar̤i = a measure of capacity, 20 iḍankar̤i make a par-r-a (Ma.lex.) ḍangā = small country boat, dug-out canoe (Or.); ḍõgā 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
Banawali b-17 Tiger PLUS standard device
m290 tiger PLUS trough
m276
h088 Rhinoceros PLUS trough
h1966A h1966B

m1486B Text 1711
Obverse: karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron' khār 'blacksmith'. Thus, ironsmith.
Reverse: Inscription of hypertext:
baṭa 'rimless pot' Rebus: bhaṭa 'furnace' PLUS muka 'ladle' rebus; mū̃h 'ingot', quantity of metal got out of a smelter furnace (Santali)
kolom 'three' Rebus: kolimi 'smithy, forge'
Doubling of this signifies dula 'pair' rebus: dul 'cast metal'. Thus doubling of the right parenthesis results in a hieroglyph-multiplex as shown on the elephant copper plate inscription m1486 text

This hieroglyph-multiplex is thus read as: kuṭilika 'bent, curved' dula 'pair' rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin)

The 'curve' hieroglyph is a splitting of the ellipse. kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh.

Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass' Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. kastilla -- .1. H. kathīr* m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ.(CDIAL 2984)

Hieroglyphs: कौटिलिकः kauṭilikḥ कौटिलिकः 1 A hunter.-2 A blacksmith. कौटिलिक [p= 315,2] m. (fr. कुटिलिका Pa1n2. 4-4 , 18) " deceiving the hunter [or the deer Sch.] by particular movements " , a deer [" a hunter " Sch.] Ka1s3. f. ( Pa1n2. 4-4 , 18) कुटिलिका crouching , coming stealthily (like a hunter on his prey ; a particular movement on the stage) Vikr. कुटिलिक " using the tool called कुटिलिका " , a blacksmith ib. कुटिलक [p= 288,2] f. a tool used by a blacksmith Pa1n2. 4-4 , 18 Ka1s3.mfn. bent , curved , crisped Pan5cat.
The hieroglyph-multiplex may be a variant of split ellipse curves paired: dula 'pair' rebus: dul 'cast metal' PLUS mū̃h 'ingot' (Paired split ellipse or a pair of right parentheses) -- made of -- kuṭila, katthīl = bronze (8 parts copper and 2 parts tin)
karNika 'rim of jar' rebus: karNI 'supercargo'; karNaka 'account'; Alternative: kanka 'rim of jar' rebus: kanga 'brazier'.
Thus, the entire inscription is a metalwork catalogue: supercargo of iron, cast bronze metal ingots, our of smithy furnace and forge.

Signs 12 to 15. Indus script:

m1405 A,B

Indus inscription on a Mohenjo-daro tablet (m1405) including ‘rim-of-jar’ glyph as component of a ligatured glyph (Sign 15 Mahadevan)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 Parpola or Mahadevan corpuses will result in an incomplete decoding of the complete message of the inscribed object.

This inscribed object is decoded as a professional catalogue calling card: a blacksmith-precious-stone-merchant with the professional role of copper-miner-smelter-furnace-scribe-Supercargo.

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, kaṉ (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.

Feeding trough on m1405 segment. Hieroglyph: pattar 'feeding trough' rebus: pattharika'merchant'
Daimabad seal
. 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: karṇī, '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 karṇī, 'Supercargo functionary' on a seafaring vessel.
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' paṭṭaḍa smithy, 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: kuṭhi 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. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று.

The Pali expression usu -- kāraṇika -- 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: kārṇī . 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 -- karaṇika<-> 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 -- kāraṇika* -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻ village accountant ʼ.(CDIAL 3058) kāraṇa n. ʻ cause ʼ KātyŚr. [√kr̥1] Pa. kāraṇa -- n. ʻ deed, cause ʼ; Aś. shah. karaṇa -- , kāl. top. kālana -- , gir. kāraṇa -- ʻ purpose ʼ; Pk. kāraṇa -- n. ʻ cause, means ʼ; Wg. (Lumsden) "kurren"ʻ retaliation ʼ, Paš. kāran IIFL iii 3, 97 with (?); S. kāraṇu m. ʻ cause ʼ; L. kārnā m. ʻ quarrel ʼ; P. kāraṇ m. ʻ cause ʼ, N. A. B. kāran, Or. kāraṇa; Mth. kāran ʻ reason ʼ, OAw. kārana, H. kāran m., G. kāraṇ n.; Si. karuṇa ʻ cause, object, thing ʼ; -- postpositions from oblique cases: inst.: S. kāraṇi, kāṇe, °ṇi ʻ on account of ʼ, L. awāṇ. kāṇ, 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: kuṭhi kaṇḍa kanka ‘smelting furnace account (scribe)’.

Thus, the hieroglyph multiplex on m1405 is read rebus from r.: kuṭhi 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).

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. paṭi
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)

4079 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)

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.

pāˊtra n. ʻ drinking vessel, dish ʼ RV., °aka -- n., pātrīˊ- ʻ vessel ʼ Gr̥ŚrS. [√pā1]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. 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. pāi ʻ 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 -- ). kācapātra -- , khaḍgapātra -- , tāmrapātra -- .pāthá -- m. ʻ way, path ʼ Pāṇ.gaṇa. [pánthā -- ]śabdapātha -- .Addenda: pāˊtra -- : S.kcch. pātar* f. ʻ round shallow wooden vessel for kneading flour ʼ; WPah.kṭg. (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. 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. pā̆ṭaṇā, °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. pāṭaṇn.; M. pāṭaṇ ʻ name of a town ʼ; Si. paṭuna ʻ town ʼ. -- Pa. paṭṭana -- n. ʻ harbour, port ʼ, Pk. paṭṭaṇa -- n.; H. paṭnī, pā̆ṭaunī, pāṭūnī 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)

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* -- , **pāṭṭha<-> ~ pāḍḍa -- q.v.] 1. S. paṭha f. ʻ kid of 8 or 9 months ʼ; L. paṭṭh, paṭṭhṛī f., paṭhōrā m., °rī f. ʻ kid ʼ, paṭṭhā m., °ṭhī f. ʻ young donkey ʼ; P. paṭṭh f. ʻ young she -- goat not yet giving milk, pullet ʼ, paṭṭhā m. ʻ young he -- goat or cock or man or grass ʼ, paṭṭhī f. ʻ young girl before puberty ʼ, paṭhor, °rī f., °rā m. ʻ young goat ʼ; WPah. bhal. paṭhe_r m.f. ʻ well -- developed lamb ʼ; Ku. pāṭho m.,°ṭhī f. ʻ kid, lamb ʼ, paṭṭhā ʻ young man ʼ, paṭhaṅaro ʻ young she -- goat ʼ, gng. pāṭh m., pyeṭh f. ʻ kid ʼ; N. pāṭho m., °ṭhi f. ʻ kid ʼ; A. paṭhā ʻ full -- grown uncastrated goat ʼ, pāṭhī ʻ she -- goat ʼ; B. pã̄ṭ(h)ā ʻ he -- goat, young ram ʼ, pã̄ṭhi ʻ young she -- goat, any young female animal ʼ; Or. peṇṭhā m., °ṭhī f. ʻ kid, lamb ʼ; Bi. pāṭhā m., °ṭhī, paṭhiyā f. ʻ kid ʼ, Bhoj. pāṭhā,paṭṭhā; H. pāṭhā, paṭṭhā, paṭh m. ʻ young full grown animal ʼ, paṭhiyā f. ʻ young she -- goat ʼ; M. pāṭ(h) f. ʻ kid ʼ; Si. päṭavā, päṭiyā ʻ young of any animal, young person ʼ, -- ext. kk -- : Sh. faṭikĕr m.f. ʻ foal ʼ; Si. päṭikkī ʻ girl ʼ.
2. K.pog. pāṭh ʻ kid ʼ; S. pāṭho, pāṭhuru m. ʻ 10 or 12 months old kid ʼ; P. pāṭhā m. ʻ young elephant ʼ; H. pāṛhī f. ʻ young buffalo ʼ (or < pāḍḍa -- ?).
paṣṭharūpa -- ; ajapaṣṭha -- , avipaṣṭha -- .
Addenda: paṣṭha -- : S.kcch. paṭṭh* m. ʻ young goat ʼ.

paṣṭharūpa 8016 paṣṭharūpa ʻ young animal ʼ. [paṣṭha -- , rūpá -- ] Bi. paṭhrū ʻ kid, lamb ʼ; Bhoj. paṭharū ʻ buffalo calf ʼ. 699 paṭṭa1 m. ʻ slab, tablet ʼ MBh., °ṭaka -- m., °ṭikā -- 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 -- , °ṭaya -- m., °ṭiyā<-> f. ʻ slab of stone, board ʼ; NiDoc. paṭami loc. sg., paṭi ʻ tablet ʼ; K. paṭa m. ʻ slab, tablet, metal plate ʼ, poṭu m. ʻ flat board, leaf of door, etc. ʼ, püṭü f. ʻ plank ʼ, paṭürü f. ʻ plank over a watercourse ʼ (< -- aḍikā -- ); S. paṭo m. ʻ strip of paper ʼ, °ṭi f. ʻ boat's landing plank ʼ, °ṭī f. ʻ board to write on, rafter ʼ; L.paṭṭ m. ʻ thigh ʼ, f. ʻ beam ʼ, paṭṭā m. ʻ lease ʼ, °ṭī f. ʻ narrow strip of level ground ʼ; P. paṭṭ m. ʻ sandy plain ʼ, °ṭā m. ʻ board, title deed to land ʼ, °ṭī f. ʻ writing board ʼ; WPah.bhal. paṭṭ m. ʻ thigh ʼ, °ṭo m. ʻ central beam of house ʼ; Ku. pāṭo ʻ millstone ʼ, °ṭī ʻ board, writing board ʼ; N. pāṭo ʻ strip, plot of land, side ʼ, °ṭi ʻ tablet, slate, inn ʼ; A. pāṭ ʻ board ʼ, paṭā ʻ stone slab for grinding on ʼ; B. pāṭ, °ṭā ʻ board, bench, stool, throne ʼ, °ṭi ʻ anything flat, rafter ʼ; Or. pāṭa ʻ plain, throne ʼ, °ṭi, paṭā ʻ wooden plank, metal plate ʼ; Bi. pāṭ ʻ wedge fixing beam to body of plough, washing board ʼ, °ṭī ʻ side -- piece of bed, stone to grind spices on ʼ, (Gaya) paṭṭā ʻ wedge ʼ; Mth. pāṭ ʻ end of handle of mattock projecting beyond blade ʼ, °ṭā ʻ wedge for beam of plough ʼ; OAw. pāṭa m. ʻ plank, seat ʼ; H. pāṭ, °ṭā m. ʻ slab, plank ʼ, °ṭī ʻ side -- piece of bed ʼ, paṭṭā m. ʻ board on which to sit while eating ʼ; OMarw. pāṭī f. ʻ plank ʼ; OG.pāṭīuṁ n. ʻ plank ʼ, pāṭalaü m. ʻ dining stool ʼ; G. pāṭ f., pāṭlɔ m. ʻ bench ʼ, pāṭɔ m. ʻ grinding stone ʼ, °ṭiyũ n. ʻ plank ʼ, °ṭṛɔ m., °ṭṛī f. ʻ beam ʼ; M. pāṭ m. ʻ bench ʼ, °ṭā m. ʻ grinding stone, tableland ʼ, °ṭī f. ʻ writing board ʼ; Si. paṭa ʻ metal plate, slab ʼ. -- Deriv.: N. paṭāunu ʻ to spread out ʼ; H. pāṭnā ʻ to roof ʼ.

Donal B. Buchanan, in a short article, ("A short introduction to the study of the Indus Script with comments on the corner symbols", ESOP, The Epigraphical Society Occasional Papers, Volume 28, pp. 16-21) presents some examples of symbols which appear on 'corners' of inscriptions.

The examples he cites include the following examples thorn-bush, feeding-trough, animals surrounding a seated person, standard device.

m0304 Mohenjo-daro seal impression

Thus, the focus of Buchanan is on 5 signs: 1. 'Standard device' normally shown in front of a one-horned young bull 2-3. Two types of feeding troughs (or containers for feeds) 4. Bush; 5. Person seated on a tree. Buchanan further suggests that these could be items being transported or cargo of some sort since the purported use of the seals is in connection with trade.
These suggestions of Buchanan are substantially valid as will be argued below.
Hypertext (hieroglyph-multiplex), One-horned young bull in front of 'standard device': Hieroglyph: sãgaḍ, 'lathe' (Meluhha) Rebus 1: sãgaṛh , 'fortification' (Meluhha). Rebus 2:sanghAta 'adamantine glue'. Rebus 3: sangāṭh संगाठ् 'assembly, collection'. Rebus 4: sãgaḍa 'double-canoe, catamaran'. Hieroglyph: one-horned young bull: खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf. Rebus: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) kũdār 'turner, sculptor, engraver'.

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

Hare in front of the bush: Hieroglyph kharā 'hare' (Oriya) Rebus: khār खार् 'blacksmith' (Kashmiri) PLUS kaṇḍɔ m. ʻ thorn'; kaṇṭa1 m. ʻ thorn ʼ BhP. 2. káṇṭaka -- m. ʻ thorn ʼ ŚBr., ʻ anything pointed ʼ R. 1. Pa. kaṇṭa -- m. ʻ thorn ʼ, Gy. pal. ḳand, Sh. koh. gur. kōṇ m., Ku. gng. kã̄ṇ, A. kāĩṭ (< nom. **kaṇṭē?), Mth. Bhoj. kã̄ṭ, OH. kã̄ṭa.* 2. Pa. kaṇṭaka -- m. ʻ thorn, fishbone ʼ; Pk. kaṁṭaya<-> m. ʻ thorn ʼ, Gy. eur. kanro m., SEeur. kai̦o, Dm. kãṭa, Phal. kāṇḍu, kã̄ṛo, Sh. gil. kóṇŭ m., K. konḍu m., S. kaṇḍo m., L. P. kaṇḍā m., WPah. khaś. kaṇṭā m., bhal. kaṇṭo m., jaun. kã̄ḍā, Ku. kāno; N. kã̄ṛo ʻ thorn, afterbirth ʼ (semant. cf.śalyá -- ); B. kã̄ṭā ʻ thorn, fishbone ʼ, Or. kaṇṭā; Aw. lakh. H. kã̄ṭā m.; G. kã̄ṭɔ ʻ thorn, fishbone ʼ; M. kã̄ṭā, kāṭā m. ʻ thorn ʼ, Ko. kāṇṭo, Si. kaṭuva. kaṇṭala -- Addenda: kaṇṭa -- 1. 1. A. also kã̄iṭ; Md. kaři ʻ thorn, bone ʼ.2. káṇṭaka -- : S.kcch. kaṇḍho m. ʻ thorn ʼ; WPah.kṭg. (kc.) kaṇḍɔ m. ʻ thorn, mountain peak ʼ, J. kã̄ḍā m.; Garh. kã̄ḍu ʻ thorn ʼ. (CDIAL 2668) kãḍeārī f. ʻ a partic. thorny bush ʼ (CDIAL 2872) 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. kã̄ṭī, kāṭī f. ʻ thorn bush ʼ. -- Ext. with -- la -- : S. kaṇḍiru ʻ thorny, bony ʼ; -- with -- lla -- : Gy. pal. ḳăndīˊla ʻ prickly pear ʼ; H. kãṭīlā, kaṭ° ʻ thorny ʼ.(CDIAL 2679) Rebus: kaṇḍa 'implements'. Thus, hare in front of thorn/bush signifies: khār खार् 'blacksmith' PLUS kaṇḍa 'implements', i.e. implements from smithy/forge. Rebus: kaṇṭho, kaṭrā market town.

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'.

For the animals surrounding a seated person and the hieroglyph narrative on Mohenjodaro seal m0304, as they relate to trade and mineral/metal resources see:
http://bharatkalyan97.blogspot.in/2015/12/kamadha-penance-indus-script-hieroglyph.html rango 'buffalo' rebus: rango 'pewter' karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'; kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'; kANDA 'rhinoceros' rebus: kaNDa 'implements' meD 'body' rebus: meD 'iron' karNaka 'spread legs' rebus: karNI 'Supercargo' ṭhaṭera 'buffalo horns'. Rebus: ṭhaṭerā 'brass worker' muh 'face' rebus: muh 'ingot' muhA 'quantity of metal taken out of furnace' PLUS kolom 'three' rebus: kolimi 'smithy, forge'.

Thus, the 'corner symbols' focussed by Buchanan can be deemed to be unique hypertexts of Indus Script which relate to traded metalwork catalogues.

This is an amplification of the thesis that Indus Script is a knowledge system, documenting technical specifications of minera/metal resources used by artisans and products traded by seafaring merchants.

Examples of incised copper tablets (Hieroglyph-multiplex: hare PLUS thorn/bush):
m1491Act
m1491Bct
m1492Act
m1492Bct
m1493Bct
1706 Hare
m1494
Pict-42
m1497Act
See: http://bharatkalyan97.blogspot.in/2016/01/data-mining-techniques-decipherment-of.html
Hieroglyph kharā 'hare' (Oriya): kharabhaka ʻ hare ʼ. [ʻ longeared like a donkey ʼ: khara -- 1?]N. kharāyo* ʻ hare ʼ, Or. kharā, °riā, kherihā, 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) 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.

The following seals signify field symbols with: 1. feeding trough (even in front of wild animals);and 2. kneeling adorant.

1. 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.

2. kneeling adorant బత్తుడు battuḍu. n. A worshipper.பத்தர்³ pattar, n. < bhakta. 1. Devotees, votaries Rebus: பத்தர்² pattar, n. < 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 pattar, n. < 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.

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 pattar, n. 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. [√pā1]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 pattar, n. < T. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று. பத்தர்&sup5; pattar, n. perh. vartaka. Merchants; வியாபாரிகள். (W.)

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)

Identifying the Ritual Expe... by on Scribd

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Vidiśa Museum: Yajña Varāha, Indus Script rebus: vāḍhī 'merchant', baḍiga, 'artificer' wealth-creators of the nation

December 10, 2018, 9:01 pm

≫ Next: Itihāsa. शुभ कामनाएं Mohit Bharadwaj ji, keeper of the scrolls, जीवेम शरदः शतम्

≪ Previous: Itihāsa. अश्वमेध is NOT 'sacrifice' of animals; यष्टि 'pillar' decorated with dotted circles and identified animals are metaphors for यष्टृ 'worshippers' and metalwork, wealth-accounting ledgers

https://tinyurl.com/yc5olgdw

‏ @Hiddenheritage 13 hours ago

A Varaha of immense proportions, exact provenance and antiquity uncertain. 

Thanks to Arjun Kumar for the images from the Museum of Vidiśa.

This is an addendum to:

Yajña Varāha pratimā, Indus Script Hypertext of copper anthropomorph are Wealth-accounting ledgers of History of Hindu Civilization

https://tinyurl.com/ydhdo3ba

http://bharatkalyan97.blogspot.com/2018/11/yajna-varaha-pratima-indus-script.html

I went through the encyclopaedic work by Haripriya Rangarajan: (Varāha images in Madhya Pradesh, 1997, Mumbai, Somaiya Publications Pvt. Ltd.)

I do not find a reference to this pratimā in Vidiśa Museum Yajña Varāha.

The sculptural details of Vidiśa Museum Yajña Varāha indicate that the metaphors relate to the Indus Script hypertext: badhia 'castrated boar' Rebus: badhi 'carpenter'; badhoe 'worker in wood and iron'.bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman.

Rebus: vāḍhī, bari, barea ‘merchant’

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Itihāsa. शुभ कामनाएं Mohit Bharadwaj ji, keeper of the scrolls, जीवेम शरदः शतम्

December 10, 2018, 10:09 pm

≫ Next: Rāṣṭram 'valour & intellect' is R̥gveda aśva medhā मेधा; aṣṭāśri yūpa, an Indus Script allegory for 'dhana, wealth of mobility'राष्ट्रं वा अश्वमेधः। (Śatapatha Brāhmaṇa 13.1.6.3))

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The keeper of the scrolls

Grin

Dec 10

Mohit Bhardwaj, a former information technology professional, has taken up the back-breaking task of scanning and digitizing thousands upon thousands of some of India’s most ancient manuscripts.

A scene from Bhardwaj’s manuscript digitisation process

Mohit Bhardwaj used to be a student in 2009 when he started getting interested in the fate of the many crumbling manuscripts, many of them old and priceless, held in institutions and private hands around India.

How, he asked himself, would they survive for the next generation?

Cut to 2014, Bhardwaj, now an information technology engineer, decided that he would start digitising old manuscripts to preserve them for the next generation. They had little resources — basically only a laptop and a scanner and with the help of his wife and friends — to start with, and therefore decided to go one city at a time.

At a steady pace, since then, the tiny team has digitised 1 TB of data covering around 200,000 pages of manuscripts. Some of these are nearly six-hundred-years-old and include Panini’s Ashtadhyayi, a treatise on Sanskrit grammar, from 1,420 CE and the second-oldest manuscript of the Rig Veda dated to 1,468 CE.

Digitising old manuscripts is not easy. Many-a-times, the palm leaf parchment might crumble when handled. Winning the trust of the owners of the scrolls is another hurdle — many do not trust government bodies or private parties. There is also a long and nefarious history of such material being stolen from India. This means, often, Bhardwaj and his team can only work on-site.

But giving up, says Bhardwaj, is not an option, not when he chances upon lines like these in the manuscripts from an unknown scribe: “My back is broken, my fingers don’t work and I find it hard to look straight, yet I write this document; protect it, look after it”.

At the moment, Bhardwaj’s Vaidika Bharata is working on digitizing documents at the Raghunath Temple Library in Jammu, the Punjab University, Chandigarh, the Academy of Sanskrit Research, Melkote, the Sri Krishna Museum, Kurukshetra and the Bhuri Singh Museum at Chamba.

“I never really enjoyed my job as an information technology engineer. I had learnt Sanskrit at an early age and when I came upon this work, it felt like I was doing this for my ancestors,” says Bhardwaj.

He has spent a total of around Rs. 2.2 million (around $30,000; half of which came from his own savings and the other half raised through a social media campaign). He is now looking to raise more money to expand the work.

https://grin.news/the-keeper-of-the-scrolls-b75d71f24055

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Rāṣṭram 'valour & intellect' is R̥gveda aśva medhā मेधा; aṣṭāśri yūpa, an Indus Script allegory for 'dhana, wealth of mobility'राष्ट्रं वा अश्वमेधः। (Śatapatha Brāhmaṇa 13.1.6.3))

December 11, 2018, 6:11 pm

≫ Next: R̥gveda aśva is metaphor for Yūpa.चषालं ये अश्वयूपाय तक्षति Rv.1.162.6 is a veneration of त्वाष्ट्र, artificers who are wealth-creators of a nation

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https://tinyurl.com/y9bpqazo

This is an addendum to:

Vidiśa Museum: Yajña Varāha, Indus Script rebus: vāḍhī 'merchant', baḍiga, 'artificer' wealth-creators of the nation https://tinyurl.com/yc5olgdw

Dayananda Sarasvati refers toaśva medhā (medha) narratives as an allegory of a ritual. "...as a bahuvrihi, saptāśva "having seven horses" is another name of the Sun, referring to the horses of his chariot. 'aśva' is glossed as "the symbol of mobility, valour and strength" and 'medha' as "the symbol of supreme wisdom and intelligence", yielding a meaning of 'aśvamedha' of "the combination of the valour and strength and illumined power of intellect."

medha मेध offering , oblation , any sacrifice (esp. ifc.) ib. MBh. &c; medhā मेधा f. mental vigour or power , intelligence , prudence , wisdom (pl. products of intelligence , thoughts , opinions) RV. &c; Intelligence personified (esp. as the wife of धर्म and daughter of दक्ष) MBh. R. Hariv. Pur.; a form of सरस्वती; a symbolical N. of the letter ध् Up.; = धन (नैघण्टुक , commented on by यास्क ii , 10.).

I submit that R̥gveda aśva medhā मेधा is an allegory for 'dhana, wealth of mobility' (Dayananda Sarasvati). This allegory is personified in the Yajna varāha pratimā of Vidiśa Museum by signifying an iconographic cipher of Sarasvati pratimā on the caचषाल n. the snout of a hog MaitrS. i , 6 , 3.; hive rebus:mn. (g. अर्धर्चा*दि) a wooden ring on the top of a sacrificial post RV. i , 162 , 6 To signify Sarasvati on the snout as a rebus metaphor in Indus Script Cipher is to sit venerate the ancient knowledge system of infusing carbon into molten metal through smoke of wheat chaff generated from the fiery pillar of light and flame.

TS. vi Ka1t2h. xxvi , 4 (चशाल) (शतपथ-ब्राह्मण). The text describes it as wheat-chaff, godhuma.गो--धुम for -ध्/ऊम , wheat; गो--धूम m. ( √गुध् Un2. ) " earth-smoke " , wheat (generally pl.) VS. TBr. i S3Br. v (sg.) , xii , xiv S3a1n3khS3r. Mn. &c; f. = -लोमिका (The last meaning leads to the signifier of jata, 'locks of hair' on ekamukha linga with an octagonal shaped Rudra bhāga. Note that the Yūpa of R̥gveda is aṣṭāśri octagonal, eight-angled. I also submit that aśva is a personification of such an eight-angled, Yūpa.

10th century Cham segmented jatalinga stands at the temple complex of Mỹ Sơn.

Lingam iconography exists in many forms, and their design are described in the Agama texts. a 5th-century Mukha-linga (with face),

Binjor aṣṭāśri yūpa and aṣṭāśri yūpa inscription on a seal signifying metalwork at the archaeological site on the Sarasvati River Basin. The one-horned yount bull is konda 'young bull' rebus: konda 'fire-altar' kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). --khasüñ^ü --खस॑ञू॒ । 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. 1033, where the causal form of the verb is used.(Kashmiri)

Cut ye with skill, so that the parts be flawless, and piece by piece declaring them dissect them. (trans. Griffith)The four-and-thirty ribs of the Swift Charger, kin to the Gods, the slayer's hatchet pierces.In RV 1.162.18, the sacrificial horse is described as having 34 (2x17) ribs:

RV 1.6.1,2 (Griffith):
1 They who stand round him as he moves harness the bright, the ruddy Steed
The lights are shining in the sky.
2 On both sides to the car they yoke the two bay coursers dear to him,
Bold, tawny, bearers of the Chief.

Wilson: 1.005.01 Hasten hither, friends, offering praises; sit down, and sing repeatedly the praises of Indra. [stoma-va_hasah = lit. bearing praises; 'presenting in this rite Trivr.t, Pan~cadas'a, and others', trivr.tpan~cadas'a_distoma_nasmin karman.i bahanti pra_payanti_ti; i.e. collection of laudatory hymns in the R.gveda (Vis.n.u Pura_n.a)].

1.006.02 They (the charioteers) harness to his car his two desirable coursers, placed on either hand, bay coloured, high-spirited, chief-bearing. [Horses of Indra are called hari (Nirukta 1.15.1), perhaps, of yellow colour; s'on.a_ = crimson colour; vipaks.asa_ = harnessed on different sides (of the chariot or pole (?)].

Ashva (aśva, अश्व) is the Sanskrit word for a horse, one of the significant animals finding references in the Vedas as well as later Hindu scriptures. The corresponding Avestan term is aspa. The word is cognate to Latin equus, Greek ἵππος hippos, Germanic *ehwaz and Baltic *ašvā all from Proto-Indo-European*h₁éḱwos.

See: https://en.wikipedia.org/wiki/Ashva

Kak, Subhash (2004). The Aśvamedha: The rite and its logic. Motilal Banarsidass.
Kazanas, N. Anatolian bull and Vedic horse in the Indo-European diffusion. 2005. Adyar Library Bulletin (2003)

Griffith translation:
HYMN CLXI. Rbhus. 161
1 WHY hath the Best, why hath the Youngest come to us? Upon what embassy comes he? What have we
said?
We have not blamed the chalice of illustrious birth. We, Brother Agni, praised the goodness of the
wood.
2 The chalice that is single make ye into four: thus have the Gods commanded; therefore am I come.
If, O Sudhanvans' Children, ye will do this thing ye shall participate in sacrifice with Gods.
3 What to the envoy Agni in reply ye spake, A courser must be made, a chariot fashioned here,
A cow must be created, and the Twain made young. When we have done these things, Brother, we turn
to you.
4 When thus, O Rbhus, ye had done ye questioned thus, Whither went he who came to us a messenger?
Then Tvastar, when he viewed the four wrought chalices, concealed himself among the Consorts of
the Gods.
5 As Tvastar thus had spoken, Let us slay these men who have reviled the chalice, drinkingcup- of
Gods,
They gave themselves new names when Soma juice was shed, and under these new names the Maiden
welcomed them.
6 Indra hath yoked his Bays, the Asvins' car is horsed, Brhaspati hath brought the Cow of every
hue.
Ye went as Rbhus, Vibhvan, Vaja to the Gods, and skilled in war, obtained your share in sacrifice.
7 Ye by your wisdom brought a cow from out a hide; unto that ancient Pair ye gave again their
youth.
Out of a horse, Sudhanvans' Sons, ye formed a horse: a chariot ye equipped, and went unto the Gods.
8 Drink ye this water, were the words ye spake to them; or drink ye this, the rinsing of the
MuÑjagrass-.
If ye approve not even this, Sudhanvans' Sons, then at the third libation gladden ye yourselves.
9 Most excellent are waters, thus said one of you; most excellent is Agni, thus another said.
Another praised to many a one the lightning cloud. Then did ye shape the cups, speaking the words
of truth.
10 One downward to the water drives the crippled cow, another trims the flesh brought on the
carvingboard-.
One carries off the refuse at the set of sun. How did the Parents aid their children in their task!
11 On the high places ye have made the grass for man, and water in the valleys, by your skill, O
Men.
Rbhus, ye iterate not today- that act of yours, your sleeping in the house of him whom naught can
hide.
12 As, compassing them round, ye glided through the worlds, where had the venerable Parentstheir
abode?
Ye laid a curse on him who raised his arm at you: to him who spake aloud to you ye spake again.
13 When ye had slept your fill, ye Rbhus, thus ye asked, O thou whom naught may hide, who now hath
wakened us?
The goat declared the hound to be your wakener. That day, in a full year, ye first unclosed our
eyes.
14 The Maruts move in heaven, on earth this Agni; through the midfirmament- the Windapproaches.
Varuna comes in the seas' gathered waters, O Sons of Strength, desirous of your presence.

HYMN CLXII. The Horse. 162
1. SLIGHT us not Varuna, Aryaman, or Mitra, Rbhuksan, Indra, Ayu, or the Maruts,
When we declare amid the congregation the virtues of the strong Steed, Goddescended-.
2 What time they bear before the Courser, covered with trappings and with wealth, the grasped
oblation,
The dappled goat goeth straightforward, bleating, to the place dear to Indra and to Pusan.
3 Dear to all Gods, this goat, the share of Pusan, is first led forward with the vigorous Courser,
While Tvastar sends him forward with the Charger, acceptable for sacrifice, to glory.
4 When thrice the men lead round the Steed, in order, who goeth to the Gods as meet oblation,
The goat precedeth him, the share of Pusan, and to the Gods the sacrifice announceth.
5 Invoker, ministering priest, atoner, firekindler- Somapresser-, sage, reciter,
With this well ordered sacrifice, well finished, do ye fill full the channels of the rivers.
6 The hewers of the post and those who carry it, and those who carve the knob to deck the Horses'
stake;
Those who prepare the cookingvessels- for the Steed, may the approving help of these promote our
work.
7 Forth, for the regions of the Gods, the Charger with his smooth back is come my prayer attends
him.
In him rejoice the singers and the sages. A good friend have we won for the Gods banquet.
8 May the fleet Coursers' halter and his heelropes-, the headstall- and the girths and cords about
him.
And the grass put within his mouth to bait him, among the Gods, too, let all these be with thee.
9 What part of the Steeds' flesh the fly hath eaten, or is left sticking to the post or hatchet,
Or to the slayers' hands and nails adhereth, among the Gods, too, may all this be with thee.
10 Food undigested steaming from his belly, and any odour of raw flesh remaining,
This let the immolators set in order and dress the sacrifice with perfect cooking.
11 What from thy body which with fire is roasted, when thou art set upon the spit, distilleth,
Let not that lie on earth or grass neglected, but to the longing Gods let all be offered.
12 They who observing that the Horse is ready call out and say, the smell is good; remove it;
And, craving meat, await the distribution, may their approving help promote labour.
13 The trialfork- of the fleshcooking- caldron, the vessels out of which the broth is sprinkled,
The warmingpots-, the covers of the dishes, hooks, carvingboards-, all these attend the Charger.
14 The startingplace-, his place of rest and rolling, the ropes wherewith the Chargers' feet were
fastened,
The water that he drank, the food he tasted, among the Gods, too, may all these attend thee.
15 Let not the fire, smokescented-, make thee crackle, nor glowing caldron smell and break to
pieces.
Offered, beloved, approved, and consecrated, such Charger do the Gods accept with favour.
16 The robe they spread upon the Horse to clothe him, the upper covering and the golden trappings,
The halters which restrain the Steed, the heelropes-, all these, as grateful to the Gods, they
offer.
17 If one, when seated, with excessive urging hath with his heel or with his whip distressed thee,
All these thy woes, as with the oblations' ladle at sacrifices, with my prayer I banish.
18 The fourandthirty— ribs of the. Swift Charger, kin to the Gods, the slayers' hatchet pierces.
Cut ye with skill, so that the parts be flawless, and piece by piece declaring them dissect them.
19 Of Tvastars' Charger there is one dissector, this is the customtwo- there are who guide him.
Such of his limbs as I divide in order, these, amid the balls, in fire I offer.
20 Let not thy dear soul burn thee as thou comest, let not the hatchet linger in thy body.
Let not a greedy clumsy immolator, missing the joints, mangle thy limbs unduly.
21 No, here thou diest not, thou art not injured: by easy paths unto the Gods thou goest.
Both Bays, both spotted mares are now thy fellows, and to the asss' pole is yoked the Charger.
22 May this Steed bring us allsustaining- riches, wealth in good kine, good horses, manly
offspring.
Freedom from sin may Aditi vouchsafe us: the Steed with our oblations gain us lordship!

HYMN CLXIII. The Horse. 163
1. WHAT time, first springing into life, thou neighedst, proceeding from the sea or upper waters,
Limbs of the deer hadst thou, and eagle pinions. O Steed, thy birth is nigh and must be lauded.
2 This Steed which Yama gave hath Trita harnessed, and him, the first of all, hath Indra mounted.
His bridle the Gandharva grasped. O Vasus, from out the Sun ye fashioned forth the Courser.
3 Yama art thou, O Horse; thou art Aditya; Trita art thou by secret operation.
Thou art divided thoroughly from Soma. They say thou hast three bonds in heaven
that hold thee.
4 Three bonds, they say, thou hast in heaven that bind thee, three in the waters,
three within the ocean.
To me thou seemest Varuna, O Courser, there where they say is thy sublimest birthplace-.
5 Here-, Courser, are the places where they groomed thee, here are the traces of thy hoofs as
winner.
Here have I seen the auspicious reins that guide thee, which those who guard the holy Law keep
safely.
6 Thyself from far I recognized in spirita, Bird that from below flew through the heaven.
I saw thy head still soaring, striving upward by paths unsoiled by dust, pleasant to travel.
7 Here I beheld thy form, matchless in glory, eager to win thee food at the Cows' station.
WheNever a man brings thee to thine enjoyment, thou swallowest the plants most greedy eater.
8 After thee, Courser, come the car, the bridegroom, the kine come after, and the charm of maidens.
Full companies have followed for thy friendship: the pattern of thy vigour Gods have copied.
9 Horns made of gold hath he: his feet are iron: less fleet than he, though swift as thought, is
Indra.
The Gods have come that they may taste the oblation of him who mounted, first of all, the Courser.
10 Symmetrical in flank, with rounded haunches, mettled like heroes, the Celestial Coursers
Put forth their strength, like swans in lengthened order, when they, the Steeds, have reached the
heavenly causeway.
11 A body formed for flight hast thou, O Charger; swift as the wind in motion is thy spirit.
Thy horns are spread abroad in all directions: they move with restless beat in wildernesses.
12 The strong Steed hath come forward to the slaughter, pondering with a mind directed Godward-.
The goat who is his kin is led before him the sages and the singers follow after.
13 The Steed is come unto the noblest mansion, is come unto his Father and his Mother.
This day shall he approach the Gods, most welcome: then he declares good gifts to him who offers.
Wilson translation:

1.161.01 Is this our senior or our junior who has come (to us); has he come upon a message (from the gods); what is it we should say? Agni,brother, we revile not the ladle which is of exalted race; verily we assert the dignity of the wooden (implement). [The legend: the three R.bhus were engaged in a sacrifice and about to drink the Soma; the gods sent Agni to see what they were doing. Agni noticed that they resembled each other; Agni assumed a like form. The hymn refers to this form, calling himbrother, and questionign his comparative age. The next hymn states the purpose of Agni's visit is to order the conversion of one spoon or ladle, camasa, used for drinking Soma, or for libations, into four spoons].
1.161.02 Make fourfold the single ladle; so the gods command you; and for that purpose have I come, sons of Sudhanvan; if you accomplish this, you will be entitled to sacrifices along with the gods.
1.161.03 Then said they, in answer to Agni, the messenger (of the gods). Whatever is to be done, whether a horse is to be made, or a car is to be made, or a cow is to be made, or the two (old parents) are to be made young, having done all these (acts), Brother Agni, we are then ready to do (what you desire) to be done. [cf. su_ktas 20, 110 and 111 which relate the marvelsof the R.bhus].
1.161.04 So doing R.bhus, you inquired: where, indeed, is he who came to us as a messenger? When Tvas.t.a_ observed the one ladle become four, he was immediately lost amongst the women. [gna_su antarnya_naje; the verb is explained: nyakto abhu_t; the combination of ni and anj is perhaps the converse of vyan~j, to be manifest, i.e. to be concealed, indistinct, or invisible. gna_ = stri_ (mena gna_ iti stri_n.a_m--Nirukta 3.21); str.yam a_tma_nam amanyata = he, Tvas.t.a_, fancied himself; woman, that is, he felt humbled, as feeble as a female].
1.161.05 When Tvas.t.a_ said: let us slay those who have profaned the ladle, (designed) for the drinking of the gods; then they made use of other names for one another as the libation was poured out; and the maiden (mother) propitiated them by different appellations. [Then they made us of other names: a legend accounts for the origin of the names of the chief officiating priests; to evade the indignation of Tvas.t.a_, the R.bhus assumed the titles: adhvaryu, hota_ and udgata_;an individual engaged in priestly functions at a sacrifice is to be always addressed by these titles, and never by his own name; propitiated themby different appellations: anyair ena_n kanya_ na_mabhih sparat: kanya_ = svotpa_dayitri_ ma_ta_, a mother self-engendering].
1.161.06 Indra has caparisoned his horses; the As'vins have harnessed their car; Br.haspati has accepted the omniform (cow); therefore, R.bhu, Vibhva and Va_ja, go the gods, doers of good deeds, enjoy your sacrificial portion.
1.161.07 Sons of Sudhanvan, from a hideless (cow) you have formed a living one; by your marvellous acts you have made your aged parents young; from one horse you have fabricated another; harness now your chariot, and repair unto the gods.
1.161.08 They, (the gods), have said, sons of Sudhanvan, drink of this water, (the Soma); or drink that which has been filtered through the mun~ja grass; or, if you be pleased with neither of these, be exhilarated (by that which is drunk) at the third (daily) sacrifice. [R.bhus may be participants of the libations offered at dawn or at noon; the right of the R.bhus to share in the third, or evening sacrifice is always acknowledged].
1.161.09 Waters are the most excellent said one (of them). Agni is that most excellent, said another; the third declared to many the Earth (to be the most excellent), and thus speaking true things the R.bhus divided the ladle. [The earth: vardhayanti_m = a line of clouds or the earth: vadhah arkah (Nirukta 2.20.7)].
1.161.10 One pours the red water (the blood) upon the ground; one cuts the flesh, divided into fragments by the chopper; and a third seperates the excrement from the other parts; in what manner may the parents (of the sacrifice) render assistance to their sons? [The R.bhus are identified with the priests employed in the sacrifice of a victim; the parents of the sacrifice: the parents pitr.s, = the institutor of the ceremony and his wife].
1.161.11 R.bhus, leaders (of the rains), you have caused the grass to grow upon the high places; you have caused the waters to flow over the low places; for (the promotion of) good works; as you have reposed for a while in the dwelling of the unapprehensible (Sun), so desist not today from (the discharge of) this (your function). [R.bhus are identified in this and following hymns with the rays of the sun, as the instruments of the rain and the causes of fertility; a_dityaras'mayo api r.bhava ucyante: (Nirukta 11.16); unapprehensible Sun: agohyasya gr.he: agohya = a name of the sun (Nirukta); who is not to be hidden, aguhani_ya;or, agrahan.i_ya, not to be apprehended, literally or metaphorically; so desist not: idam na_nugacchatha; anusr.tya na gacchatha, having come forth, go not away without doing this,idam, your office of sending down rain for as long a period as you repose in the solar orb; a truism is explained in Nirukta: ya_vat tatra bhavatha na ta_vadiha bhavatha, as long as you are there, you are not here].
1.161.12 As you glide along enveloping the regions (in clouds); where, then, are the parents (of the world)? curse him who arrests your arm; reply sternly to him who speaks disrespectfully (to you). [The parents of the world: the sun and the moon, the protectors of the world, which, during the rains, are hidden by the clouds; who speaks disrespectfully: yah pra_bravi_t pra tasma_ abravi_tana: pra prefixed to bru_ = either to speak harshly or kindly, to censure or to praise].
1.161.13 R.bhus, reposing in the solar orb, you inquire: who awakens us, unapprehensive (Sun), to this office (of sending rain). The Sun replies: the awakener is the wind; and the year (being ended), you again today light up this (world). [The awakener is the wind: s'va_nam bodhayita_ram = the awakener is the dog; but, s'va_nam = antarks.e svasantam va_yum, the reposer in the firmament, the wind; sam.vatsare idam adya_ vyakhyata, you have made this world today luminous, after the year has expired; i.e. the rainy season has passed, the rays of the sun and moon are again visible].
1.161.14 Sons of Strength, the Maruts, desirous of your coming, advance from the sky; Agni comes (to meet you) from the earth; the wind traverses the firmament; and Varun.a comes with undulating waters.

1.162.01 Let neither Mitra nor Varun.a, Aryaman, A_yu, Indra, R.bhuks.in,nor the Maruts, censure us; when we proclaim in the sacrifice the virtus of the swift horse sprung from the gods. [a_yu = va_yu (a_yuh satataganta_ va_yuh, vaka_ralopo va_); r.bhuks.in = Indra; but,here Praja_pati, he in whom the r.bhus,or the devas, abide (ks.iyanti); sprung from the gods: devaja-tasya = born as the type of various divinities, who are identified with different parts (e.g. us.a_ va_ as'vasya medhyasya s'irah: Br.hada_ran.yaka Upanis.ad 1.1.1); legend: the horse's origin from the sun, either direct, or through the agency of the Vasus: sura_d as'vam vasavo niratas.t.a].
1.162.02 When they, (the priests), bring the prepared offering to the presence (of the horse), who has been bathed and decorated with rich (trappings), the various-coloured goat going before him, bleating, becomes an acceptable offering to Indra and Pu_s.an. [The prepared offering: ra_tim-gr.bhi_ta_m = lit. the seized wealth; the offering to be made for the horse; pu_s.an = Agni; the goat is to be tied to the front of the horse at the sacrificial post, such a goat, black-necked, kr.s.nagri_va (a_gneyah kr.s.n.agri_vah: Taittiri_ya Sam.hita_ 5.5.22), being always regarded as an a_gneya pas'u, or victim sacred to Agni, and to be offered to him (Ka_tya_yana Su_tra 98). A black goat is also dedicated to pu_s.an, along with soma (Yajus. xxix.58; but, he is also to be attached to the na_bhi or middle of the horse (Yajus. xxiv.1)].
1.162.03 This goat, the portion of Pu+s.an fit for all the gods, is brought first with the fleet courser, to that Tvas.t.a_ may prepare him along with the horse, as an acceptable preliminary offering for the (sacrificial) food. [The portion of Pu_s.an: he is to be offered in sacrifice to Pu_s.an or Agni; Tvas.t.a_ = sarvasyotpa_daka, the producer of all forms; tvas.t.a_ ru_pa_n.i vikaroti (Taittiri_ya Sam.hita_ 1.5.92); or, identified wiith Agni;preliminary offering purod.a_s'am = offering of cakes and butter; purasta_d-da_tavyam, that which is to be first offered].
1.162.04 When the priests at the season (of the ceremony), lead forth the horse, the offering devoted to the gods, thrice round (the sacrificial fire); then the goat, the portion of Pu_s.an, goes first, announcing the sacrificer to the gods. [The goat is to be first immolated].
1.162.05 The invoker of the gods, the minister of the rite, the offerer of the oblation, the kindler of the fire, the bruiser of the Soma, the director of the ceremony, the saage (superintendent of the whole); do you replenish the rivers by this well-ordered, well-conducted, sacrifice. [The invoker of the gods: designations applied to eight of the sixteen priests employed at a solemn rite: the two first are: hota_ and adhvaryu; avaya_j = pratiprastha_ta_, who brings and places the offering; agnimindha = agni_dh, the kindler of the fire; gra_vagra_bha = the praiser of the stones that bruise the Soma,or he who applies the stones to that purpose; s'am.sta_ = pras'a_sta_; suvipra = Brahma_ (brahmaiko ja_te ja_te vidya_m vadatibrahma_ sarvavidyah sarva veditumarhati: Nirukta 1.8); replenish the rivers: vaks.an.a_ apr.n.adhvam, nadi_h pu_rayata, fill the rivers; the consequence of sacrifice being rain and fertility; or, it may mean, offer rivers of butter, milk, curds, and the like].
1.162.06 Whether they be those who cut the (sacrificial) post, or those who bear the post, or those who fasten the rings on the top of the post, to which the horse (is bound); or those who prepare the vessels in which the food of the horse is dressed; let the exertions of them all fulfil our expectation. [The post: twenty-one posts, of different kinds of wood, each twenty-one cubits long, are to be set up, to which the different animals are to be fastened, amounting to three hundred and forty-nine, besides two hundred and sixty wild animals, making a total of six hundred and nine (Ka_tya_yana); the text seems to refer to a single post: cas.a_lam ye as'vayu_pa_ya taks.ati: cas.a_la = a wooden ring, or bracelet, on the top of the sacrificial post; or, it was perhaps a metal ring at the foot of the post].
1.162.07 May my desire be of itself accomplished, such as it has been entertained, that the smooth-backed steed should come to (gratify) the expectations of the gods; we have made him well-secured for the nutriment of the gods; let the wise saints now rejoice.
1.162.08 May the halter and the heel-ropes of the fleet courser, and the head-ropes, the girths, and any other (part of the harness); and the grass that has been put into his mouth; may all these be with you, (horse), amongst the gods. [The heel-ropes: da_ma = a rope fastened round the horse's neck; sanda_na = one that fastens his feet; any other part of the harness: s'is.an.ya_ ras'ana_ rajjuh: s'irs.an.ya_ = the rope that is fastened to the head, the reins; rajjuh = rope].
1.162.09 Whatever the flies may eat of the raw flesh of the horse; whatever (grease) is smeared upon the brush or upon the axe; (what is smeared) upon the hands or the nails of the immolator, may all this be with you, (horse), amongst the gods. [Whatever is smeared: svarau svadhitau riptam, or liptam, smeared: the flesh that is smeared;or, unguent with which the animal is anointed; svaru = implement used used in anointing; svarun.a_ pas'um anakti = grease of fat; svadhiti = axe; explained elliptically: chedanaka_le,or avada_naka_le, at the time of cutting up or dissecting, or, pas'uchedana-sa_dhana a_si_h = a sword or knife, the instrument of cutting up the victim; Ni_ti-man~jari cites a text, in which the sacrificers are vais.n.avas: dhanyaste vais.n.ava_ deva_n yajante pas'orami_s.am s'amiturnakha hastastham deves.t.am maks.ika_sitam = happy are the vais.n.avas, who worship the gods with the consecrated flesh of an animal, adhering to the nails and hands of the immolator, and eaten by flies; maks.ika_ = pyrites ores].
1.162.10 Whatever undigested grass fall from this belly; whatever particle of raw flesh may remain; let the immolators make the whole free from defect, and so cook the pure (offering) that it may be perfectly dressed. [Particle: gandhan = les'ah, a little part; may be perfectly dressed: medham s'r.tapa_kam pacantu = let them cook the pure flesh with perfect cooking; i.e. make it fit for the gods, and not done toomuch or toolittle, as may be fit for pitr.s and men].
1.162.11 Whatever (portion) of your slaughtered (body) fall from your carcass when it is being roasted by the fire, (escaping) from the spit; let it not be left on the ground,nor on the (sacred) grass, but let it (all) be given to the longing gods. [ga_tra_d agnina_ pacyama_na_d abhi s'u_lam:in the preceding hymn, s'r.tapa_kam = boiling; and a ukha, a pot or cauldron is specified in hymn 13 for the same purpose; this use is at variance with the use of s'u_la or spit; the inference is that part was boiled and part was roasted; it is suggested that the portion that falls may be the rasa, the dripping, which is to be received upon darbha grass, afterwards probably to be thrown on the fire].
1.162.12 Let their exertions be for our good who watch the cooking of the horse; who say, it is fragrant; therefore give us some; who solicit the flesh of the horse as alms. [Therefore give us some: ya i_m a_huh suribhir nirhareti = ye cainam s'obhana gandho atah kin~cid asmabhyam dehi = who say of it, it is fragrant, therefore, give us some; or, give to to the gods; nirhara = take off, or give, having no government].
1.162.13 The stick that is dipped into the cauldron in which the flesh is boiled; the vessels that distribute the broth; the covers of the dishes, the skewers, the knives, all do honour (to the horse). [The stick: i_ks'an.am ma_m.spacanya_ ukha_yah; i_ks'an.am = pa_kapari_ks.a_ sa_dhanam ka_s.t.ham, a piece of wood, an implement for testing if the cooking is effected; the vessels: pa_tra_n.i yu_s.n.a a_secana_ni = the vessels that are sprinklers of the boiled juice or broth, rasasya kvathitasya; the dishes: u_s.man.ya_ pidha_na_, covers confining the heat; u_s.man.ya_ = vessels for confining the heat, u_s.maniva_ran.a_rha_n.i pa_tra_n.i; pidha_na_ = covers of the dishes, apidha_na_ caru_n.a_m; skewers: an:ka, slips of cane, vetasas'a_kha_, for marking the members of the horse as they are to be dissected. According to Ka_tya_yana, Su_tra 155, this is to be done by the queens, or wives of the sacrificer, and their attendants, with one hundred and one needles or skewers, which may of gold, silve,or bronze or other metal, so embellished; the knives: su_na_h avada_na sa_dhana_h = implements of dissection, the svadhiti and others].
1.162.14 May the place of going forth, of tarrying, of rolling on the ground; the foot-fastening of the horse, (the water) that he has drunk, the grass that he has eaten; may all these be thine among the gods.
1.162.15 Let not smoke-smelling Agni cause you, (horse), to utter sound; let not the glowing cauldron, odoriferous (with its contents), be overturned; the gods accept a horse that has been selected (for sacrifice); that has been led (round the fire); that has been devoutly offered, and has been consecrated by (the exclamation), vas.at. [Let not: this may be addressed to the horse before the horse is killed; or, to the horse's limbs in process of cooking, to desire them not to boil too loud, that is, too fast, lest the fire split the cauldron; odoriferous: jaghrih tapena jighrati, smellling with heat].
1.162.16 The cloth which they spread as a covering for the horse; the golden (trappings with which they decorate him), the head-ropes, the foot-ropes, all these they offer as acceptable to the gods. [As a covering for the horse: at the time of putting the horse to death, the adhi_va_sa (cf. Ka_tya_yana Su_tra 145), a curtain is held,behind which the principal queen lies through the night by the side of the horse].
1.162.17 Whoever has goaded you in your paces, either with heel or with whip, whilst nothing in your strength-- all these (vexations) I pour out with holy prayers, as oblation with the ladle.
1.162.18 The axe penetrates the thirty-four ribs of the swift horse; the beloved of the gods, (the immolators), cut up (the horse) with skill, so that the limbs may be unperforated, and recapitulating joint by joint. [Thirty-four ribs: it is noted that other animals have only 24 ribs; unperforated: acchidra_ ga_tra_: the vis'asana karta_rah, or dissectors, are to utter the name of the parts, as heart, tongue,breast, as they divide them; and are to so separate them that they may not have holes or perforations, they may not be mangled].
1.162.19 There is one immolator of the radiant horse, which is Time; there are two that hold him fast; such of your limbs as I cut up in due season, I offer them, made into balls (of meat) upon the fire. [Time: r.tuh, properly season; by metonymy, time; there are two: day and night, or heaven and earth].
1.162.20 Let not your precious body grieve you, who are going verily (to the gods); let not the axe linger in your body; let not the greedy and unskilful (immolator) missing the members, mangle your limbs needlessly with his knife.
1.162.21 Verily at this moment you do not die; nor are you harmed; for you go by auspicious paths to the gods. The horses of Indra, the steeds of the Maruts shall be yoked (to their ears), and a courser shall be placed in the shaft of the ass of the As'vins (to bear you to heaven).
1.162.22 May this horse bring to us all-sustaining wealth, with abundance of cows of excellent horses, and of male offspring; may the spirited steed bring us exemption from wickedness; may this horse, offered in oblation, procure for us bodily vigour. [The spirited steed; aditi = not poor or mean, adi_na, as an epithet of as'va].

1.163.01 Your great birth, O Horse, is to be glorified; whether first springing from the firmament or from the water inasmuchas you have neighed (auspiciously), for you have the wings of the falcon and the limbs of the deer. [Spring from the firmament: samudra_d uta va_ puri_s.a_t = antariks.a, the firmament, and udaka, water; samudra = the sun].
1.163.02 Trita harnessed the horse which was given by yama; Indra first mounted him, and gandharva seized his reins. Vasus, you fabricated the horse from the sun. [Trita = Va_yu, as pervading the three regions; Yama = Agni; gandharva = Soma; Vasus = demi-gods or personified solar rays; su_ra = a_dityaman.d.ala, the solar sphere].
1.163.03 Your horse is Yama and you are A_ditya; you are Trita by a mysterious act; you are associated with Soma. The sages have said there are three bindings of you in heaven. [By a mysterious act: guhyena vratena gopani_yena, durdina ru_pen.a va_ karman.a_ sarvatra vya_ptiru_pen.a, by a secret nature of a cloudy day,or an act of a universally penetrating character; the three bindings: bandhana_ni tri_n.i = utpattika_ran.a_ni, media of origin, that is the Vasus, A_ditya and heaven].
1.163.04 They have said that there are your bindings in heaven three upon earth; and three in the firmament. You declare to me, Horse, who are (one with) Varun.a, that which they have called your most excellent birth. [There upon earth: tri_n.yapsu = three in the waters; the three bindings are: food,site, seed].
1.163.05 I have beheld, Horse, these your purifying (regions) these impressions of the feet of you who share in the sacrifice; and here your auspicious reins, which are the protectors of the rite that preserve it. [avama_rjana_ni = the water with which the horse is sprinkled; s'apha_na_m nidha_na_, the place of sacrifice, or the field in which he is pastured; ras'ana_ r.tasya gopa_ = either the guards attending on the horse, or the priests].
1.163.06 I recognize in my mind your form afar off, going from (the earth) below, by way of heaven, to the sun. I behold your head soaring aloft, and mountain quickly by unobstructed paths, unsullied by dust.
1.163.07 I behold your most excellent form coming eagerly to (receive) your food in your (holy) place of earth; when your attendant brings you nigh to the enjoyment (of the provender), therefore gredy, you devour the fodder. [The fodder: identical with the sun; applied to his acceptance of the oblations offered in the ceremony].
1.163.08 The car follows you, O Horse; men attend you; cattle follow you; the loveliness of maidens (waits) upon you; troops of demi-gods following you have sought your friendship; the gods themselves have been admirers of your vigour [Loveliness of maidens: bhagah kani_na_m = kanya_na_m saubha_gyam or saundaryam].
1.163.09 His mane is of gold; his feet are of bronze; and fleet as thought, Indra is his inferior (in speed). The gods have come to partake ofhis (being offered as) oblation; the first who mounted the horse was Indra. [His mane is of gold: hirn.yas'r.n:ga = lit. golden-horned; but figuratively, golden-maned].
1.163.10 The full-haunched, slender-waistd, high-spirited, and celestial coursers (of the sun), gallop along like swans in rows, when the horses spread along the heavenly path. [i_rma_nta_sah silika madhya ma_sah = thin-ended or thin-haunched, and plump-waisted; the allusion is to a troop or herd of horses].
1.163.11 Your body, horse, is made for motion; your mind is rapid (in intention) as the wind; the hairs (of your mane) are tossed in manifold directions; and spread beautiful in the forests. [The horse is identified with Agni, whose flames consume the forests].
1.163.12 The swift horse approaches the place of immolation, meditating with mind intent upon the gods; the goat bound to him is led before him; after him follow the priests and the singers. [The goat bound to him: ajah puroni_yate na_bhirasya_nu pas'ca_t kavayo yanti rebha_h: na_bhi is connected with aja, implying nahanam, a binding; or, as not detached from him; anu andpas'ca_t are connected = following after; kavih mani_s.i_ (Nirukta 3.15.10), i.e. the priests; rebhah jarita_ (Nirukta 3.16.1), i.e. the singers; stota_rah, i.e. the praisers follow the goat fastened to the horse's waist].
1.163.13 The horse proceeds to that assembly which is most excellent; to the presence of his father and his mother, (heaven and earth). Go, (Horse), today rejoicing to the gods, that (the sacrifice) may yield blessings to the donor.

Ashvamedha

A 19th-century painting, depicting the preparation of army to follow the sacrificial horse. Probably from a picture story depicting Lakshmisa's Jaimini Bharata

The Ashvamedha (Sanskrit: अश्वमेध aśvamedhá) is a horse sacrifice ritual followed by the Śrauta tradition of Vedic religion. It was used by ancient Indian kings to prove their imperial sovereignty: a horse accompanied by the king's warriors would be released to wander for a period of one year. In the territory traversed by the horse, any rival could dispute the king's authority by challenging the warriors accompanying it. After one year, if no enemy had managed to kill or capture the horse, the animal would be guided back to the king's capital. It would be then sacrificed, and the king would be declared as an undisputed sovereign.

The Ashvamedha could only be conducted by a powerful victorious king (rājā).^[1]^[2] Its object was the acquisition of power and glory, the sovereignty over neighbouring provinces, seeking progeny and general prosperity of the kingdom.^[3]

The horse to be sacrificed must be a stallion. The horse is sprinkled with water, and the Adhvaryu, the priest and the sacrificer whisper mantras into its ear. The horse is then set loose towards the North-East, to roam around wherever it chooses, for the period of one year (or half a year, according to some commentators). The horse is associated with the Sun, and its yearly course.^[4] If the horse wanders into neighbouring provinces hostile to the sacrificer, they must be subjugated. The wandering horse is attended by a hundred young men, sons of princes or high court officials, charged with guarding the horse from all dangers and inconvenience. During the absence of the horse, an uninterrupted series of ceremonies is performed in the sacrificer's home.

After the return of the horse, more ceremonies are performed. The horse is yoked to a gilded chariot, together with three other horses, and Rigveda (RV) 1.6.1,2 (YajurVeda (YV) VSM 23.5,6) is recited. The horse is then driven into water and bathed. After this, it is anointed with ghee by the chief queen and two other royal consorts. The chief queen anoints the fore-quarters, and the others the barrel and the hind-quarters. They also embellish the horse's head, neck, and tail with golden ornaments. The sacrificer offers the horse the remains of the night's oblation of grain.

After this, the horse, a hornless he-goat, a wild ox (go-mrga, Bos gaurus) are bound to sacrificial stakes near the fire, and seventeen other animals are attached to the horse. A great number of animals, both tame and wild, are tied to other stakes, according to a commentator, 609 in total.^[5]

The chief queen ritually calls on the king's fellow wives for pity. The queens walk around the dead horse reciting mantras. The chief queen then has to spend a night with the dead horse.^[6]

On the next morning, the priests raise the queen from the place. One priest cuts the horse along the "knife-paths" while other priests start reciting the verses of Vedas, seeking healing and regeneration for the horse.^[7]

The Laws of Manu refer to the Ashvamedha (V.53): "The man who offers a horse-sacrifice every day for a hundred years, and the man who does not eat meat, the two of them reap the same fruit of good deeds."^[8]

In Hindu mythology the horse is a symbol of the sun, and the primal waters are considered its stable and birthplace. It was believed that the sun rises from the primal waters which surrounded the earth. According to Subhash Kak, therefore, the Ashvamedha is "the sacrifice of the annual renewal of the Sun at the New Year and that of the accompanying renewal of the king's rule."^[9]

Ashvameda is a forbidden ritefor Kaliyuga, the current age.^[10]^[11]

Many Indo-European branches show evidence for horse sacrifice, and comparative mythology suggests that they derive from a Proto-Indo-European ritual. The Ashvamedha is the clearest evidence preserved, but vestiges from Latin and Celtic traditions allow the reconstruction of a few common attributes.

A similar ritual is found in Celtic tradition in which the King in Ireland conducted a rite of symbolic marriage with a sacrificed horse.^[6] Roman horse sacrificetradition also coincide with Ashvamedha.^[12]

Horse sacrifice were performed among the ancient Germans, Armenians, Iranians,^[13] Chinese, Greeks,^[14] among others.

List of performers

Sanskrit epics and Puranas mention numerous legendary performances of the horse sacrifice.^[15] For example, according to the Mahabharata, Emperor Bharataperformed a hundred Ashvamedha ceremonies on the banks of Yamuna, three hundred on the banks of Saraswati and four hundred on the banks of the Ganga. He again performed a thousand Ashvamedha on different locations and a hundred Rajasuya.^[16] Following the vast empires ruled by the Gupta and Chalukya dynasties, the practice of the sacrifice diminished remarkably.^[17]

The historical performers of Ashvamedha include:

Monarch	Reign	Dynasty	Source
Pushyamitra Shunga	185-149 BCE	Shunga	Ayodhya inscription of Dhanadeva and Malavikagnimitra of Kalidasa^[18]
Sarvatata	1st century BCE	Gajayana	Ghosundi and Hathibada inscriptions.^[18] Some scholars believe Sarvatata to be a Kanvaking, but there is no definitive evidence for this.^[19]
Devimitra	1st century BCE	Unknown	Musanagar inscription^[18]
Satakarni I	1st or 2nd century CE	Satavahana	Nanaghat inscription mentions his second Ashvamedha^[20]^[18]
Vasishthiputra Chamtamula	c. 227-250	Andhra Ikshvaku	Records of his son and grandson^[21]
Shilavarman	3rd century CE	Varshaganya	Jagatpur inscriptions mention his fourth Ashvamedha^[18]
Pravarasena I	c. 270 – c. 330 CE	Vakataka	Inscriptions of his descendants state that he performed four Ashvamedha sacrifices^[22]
Bhavanaga	305-320 CE	Nagas of Padmavati	The inscriptions of Vakataka relatives of the Nagas credit them with 10 horse-sacrifices, although they do not name these kings.^[18]^[21]
Vijaya-devavarman	300-350 CE	Shalankayana	Ellore inscription^[22]^[23]
Shivaskanda Varman	4th century CE	Pallava	Hirahadagalli inscription^[22]
Kumaravishnu	4th century CE	Pallava	Omgodu inscription of his great-grandson^[22]
Samudragupta	c. 335/350-375 CE	Gupta	Coins of the king and records of his descendants^[22]^[24]
Kumaragupta I	414 – 455 CE	Gupta	^[25]
Madhava Varman	440-460 CE	Vishnukundina	^[21]
Dharasena	5th century CE	Traikutaka	^[23]
Krishnavarman	5th century CE	Kadamba	^[23]
Narayanavarman	494–518 CE	Varman	Legend of Bhaskaravarman's seals^[26]
Bhutivarman	518–542 CE	Varman	Barganga inscription^[26]
Pulakeshin I	543–566	Chalukyas of Vatapi	^[27]
Sthitavarman	565–585 CE	Varman	^[28]
Pulakeshin II	610–642 CE	Chalukyas of Vatapi	^[21]
Madhavaraja II (alias Madhavavarman or Sainyabhita)	c. 620-670 CE	Shailodbhava	Inscriptions^[29]^[26]
Simhavarman (possibly Narasimhavarman I)	630-668 CE	Pallava	The Sivanvayal pillar inscription states that he performed ten Ashvamedhas^[22]
Adityasena	655-680 CE	Later Gupta	Vaidyanatha temple (Deoghar) inscription^[26]
Madhyamaraja I (alias Ayashobhita II)	c. 670-700 CE	Shailodbhava	Inscriptions;^[30] one interpretation of the inscriptions suggests that he merely participated in the Ashvamedha performed by his father Madhavaraja II^[26]
Dharmaraja (alias Manabhita)	c. 726-727 CE	Shailodbhava	Inscriptions; one interpretation of the inscriptions suggests that he merely participated in the Ashvamedha performed by his grandfather Madhavaraja II^[26]
Rajadhiraja Chola	1044–1052 CE	Chola	^[31]
Jai Singh II	1699–1743 CE	Kachwahas of Jaipur	^[32]

The Dhanadeva-Ayodhya inscription, 1st century BCE, mentions two Ashvamedha rituals by Pushyamitra in the city of Ayodhya.^[33]

An Ashwamedha coin of Kumaragupta, who performed the sacrifice in 5th century CE

Coin of Samudragupta circa 335-380 CE. Ashvamedha type.

The Udayendiram inscription of the 8th century Pallava king Nandivarman II (alias Pallavamalla) states that his general Udayachandra defeated the Nishada ruler Prithvivyaghra, who, "desiring to become very powerful, was running after the horse of the Ashvamedha". The inscription does not clarify which king initiated this Ashvamedha campaign. Historian N. Venkataramanayya theorized that Prithvivyaghra was a feudatory ruler, who unsuccessfully tried to challenge Nandivarman's Ashvamedha campaign. However, historian Dineshchandra Sircar notes that no other inscriptions of Nandivarman or his descendants mention his performance of Ashvamedha; therefore, it is more likely that the Ashvamedha campaign was initiated by Prithvivyaghra (or his overlord), and Nandivarman's general foiled it.^[34]

In Hindu revivalism

In the Arya Samaj reform movement of Dayananda Sarasvati, the Ashvamedha is considered an allegory or a ritual to get connected to the "inner Sun" (Prana)^[4]^[35] According to Dayananda, no horse was actually to be slaughtered in the ritual as per the Yajurveda. Following Dayananda, the Arya Samaj disputes the very existence of the pre-Vedantic ritual; thus Swami Satya Prakash Saraswati claims that

the word in the sense of the Horse Sacrifice does not occur in the Samhitas [...] In the terms of cosmic analogy, ashva s the Sun. In respect to the adhyatma paksha, the Prajapati-Agni, or the Purusha, the Creator, is the Ashva; He is the same as the Varuna, the Most Supreme. The word medha stands for homage; it later on became synonymous with oblations in rituology, since oblations are offered, dedicated to the one whom we pay homage. The word deteriorated further when it came to mean 'slaughter' or 'sacrifice'.^[36]

He argues that the animals listed as sacrificial victims are just as symbolic as the list of human victims listed in the Purushamedha.^[36] (which is generally accepted as a purely symbolic sacrifice already in Rigvedic times).

All World Gayatri Pariwar since 1991 has organized performances of a "modern version" of the Ashvamedha where a statue is used in place of a real horse, according to Hinduism Today with a million participants in Chitrakoot, Madhya Pradesh on April 16 to 20, 1994.^[37] Such modern performances are sattvika Yajnaswhere the animal is worshipped without killing it,^[38] the religious motivation being prayer for overcoming enemies, the facilitation of child welfare and development, and clearance of debt,^[39] entirely within the allegorical interpretation of the ritual, and with no actual sacrifice of any animal.

Reception

The earliest recorded criticism of the ritual comes from the Cārvāka, an atheistic school of Indian philosophy that assumed various forms of philosophical skepticism and religious indifference. A quotation of the Cārvāka from Madhavacharya's Sarva-Darsana-Sangraha states: "The three authors of the Vedas were buffoons, knaves, and demons. All the well-known formulae of the pandits, jarphari, turphari, etc. and all the obscene rites for the queen commanded in Aswamedha, these were invented by buffoons, and so all the various kinds of presents to the priests, while the eating of flesh was similarly commanded by night-prowling demons."^[40]

This part of the ritual offended the Dalit reformer and framer of the Indian constitution B. R. Ambedkar and is frequently mentioned in his writings as an example of the perceived degradation of Brahmanical culture.^[41]

While others such has Manohar L. Varadpande, praised the ritual as "social occasions of great magnitude".^[42] Rick F. Talbott writes that "Mircea Eliade treated the Ashvamedha as a rite having a cosmogonic structure which both regenerated the entire cosmos and reestablished every social order during its performance."^[43]

Footnotes

^ Mansingh, Surjit. Historical Dictionary of India. Rowman & Littlefield. p. 68.
^ Rick F. Talbott 2005, p. 111.
^ Gopal, Madan (1990). K.S. Gautam, ed. India through the ages. Publication Division, Ministry of Information and Broadcasting, Government of India. p. 72.
^ Jump up to:^a ^b Roshen Dalal 2010, p. 399.
^ Glucklich, Ariel. The Strides of Vishnu: Hindu Culture in Historical Perspective. Oxford University Press. p. 112.
^ Jump up to:^a ^b Thomas V. Gamkrelidze; Vjaceslav V. Ivanov (1995). Indo-European and the Indo-Europeans: A Reconstruction and Historical Analysis of a Proto-Language and Proto-Culture. Part I: The Text. Part II: Bibliography, Indexes. Walter de Gruyter. p. 402-403.
^ Rick F. Talbott 2005, p. 123.
^ The Laws of Manu, translated by Wendy Doniger with Brian K. Smith, p.104. Penguin Books, London, 1991
^ Subhash Kak (2002). The Aśvamedha: The Rite and Its Logic. Motilal Banarsidass. ISBN 9788120818774.
^ Rosen, Steven. Holy Cow: The Hare Krishna Contribution to Vegetarianism and Animal Rights. Lantern Books. p. 212.
^ The Vedas: With Illustrative Extracts. Book Tree. p. 62. horse sacrifice was prohibited in the Kali Yuga
^ Thomas V. Gamkrelidze; Vjaceslav V. Ivanov (1995). Indo-European and the Indo-Europeans: A Reconstruction and Historical Analysis of a Proto-Language and Proto-Culture. Part I: The Text. Part II: Bibliography, Indexes. Walter de Gruyter. p. 70.
^ Rick F. Talbott 2005, p. 142.
^ Roshen Dalal 2010, p. 44.
^ David M. Knipe 2015, p. 234.
^ K M Ganguly 1896, pp. 130–131.
^ Mansingh, Surjit. Historical Dictionary of India. Rowman & Littlefield. p. 68.
^ Jump up to:^a ^b ^c ^d ^e ^f Dineshchandra Sircar 1971, p. 175.
^ Dinesh Chandra Shukla (1978). Early history of Rajasthan. Bharatiya Vidya Prakashan. p. 30.
^ David M. Knipe 2015, p. 8.
^ Jump up to:^a ^b ^c ^d Jayantanuja Bandyopadhyaya 2007, p. 203.
^ Jump up to:^a ^b ^c ^d ^e ^f Dineshchandra Sircar 1971, p. 176.
^ Jump up to:^a ^b ^c Upinder Singh 2008, p. 510.
^ David M. Knipe 2015, p. 9.
^ Ashvini Agrawal 1989, p. 139.
^ Jump up to:^a ^b ^c ^d ^e ^f Dineshchandra Sircar 1971, p. 179.
^ David M. Knipe 2015, p. 10.
^ Karl J. Schmidt (20 May 2015). An Atlas and Survey of South Asian History. Taylor & Francis. p. 77. ISBN 978-1-317-47680-1.
^ Snigdha Tripathy 1997, p. 67.
^ Snigdha Tripathy 1997, pp. 74-75.
^ Rama Shankar Tripathi (1942). History of Ancient India. Motilal Banarsidass. p. 466. ISBN 978-81-208-0018-2.
^ Yamini Narayanan (2014). Religion, Heritage and the Sustainable City: Hinduism and Urbanisation in Jaipur. Routledge. p. 106. ISBN 978-1-135-01269-4.
^ Ayodhya Revisited by Kunal Kishore p.24 [1]
^ Dineshchandra Sircar 1962, p. 263.
^ as a bahuvrihi, saptāśva "having seven horses" is another name of the Sun, referring to the horses of his chariot.; akhandjyoti.org ArchivedSeptember 29, 2007, at the Wayback Machine. glosses 'ashva' as "the symbol of mobility, valour and strength" and 'medha' as "the symbol of supreme wisdom and intelligence", yielding a meaning of 'ashvamedha' of "the combination of the valour and strength and illumined power of intellect"
^ Jump up to:^a ^b The Critical and Cultural Study of the Shatapatha Brahmana by Swami Satya Prakash Saraswati, p. 415; 476
^ Hinduism Today, June 1994 ArchivedDecember 13, 2006, at the Wayback Machine.
^ "Ashwamedha Yagam in city". Hyderabad, Andhra Pradesh. The Hindu. Oct 13, 2005. Retrieved 30 September 2014.
^ Ashwamedhayagnam.org ArchivedSeptember 29, 2007, at the Wayback Machine.
^ Madhavacarya, Sarvadarsana-sangraha, English translation by E. B. Cowell and A. E. Gough, 1904 quoted in Debiprasad Chattopadhyaya (ed.), Carvaka/Lokayata: An Anthology of Source Materials and Some Recent Studies (New Delhi: Indian Council of Philosophical Research, 1990)
^ Dr. Babasaheb Ambedkar, Writings and Speeches. p. 1376.
^ "History of Indian Theatre, Volume 1" by Manohar Laxman Varadpande, p.46
^ "Sacred Sacrifice: Ritual Paradigms in Vedic Religion and Early Christianity" by Rick F. Talbott, p. 133

References

Ashvini Agrawal (1989). Rise and Fall of the Imperial Guptas. Motilal Banarsidass. ISBN 978-81-208-0592-7.
Charles Drekmeier (1962). Kingship and Community in Early India. Stanford University Press. ISBN 978-0-8047-0114-3.
David M. Knipe (2015). Vedic Voices: Intimate Narratives of a Living Andhra Tradition. Oxford: Oxford University Press.
Dineshchandra Sircar (1962). Ramesh Chandra Majumdar, ed. The History and Culture of the Indian People: The classical age. Bharatiya Vidya Bhavan.
Dineshchandra Sircar (1971). Studies in the Religious Life of Ancient and Medieval India. Motilal Banarsidass. ISBN 978-81-208-2790-5.
Jayantanuja Bandyopadhyaya (2007). Class and Religion in Ancient India. Anthem. ISBN 978-1-84331-332-8.
K M Ganguly (1896). The Mahabharata of Krishna Dwaipayana Vyasa. Sacred Texts.
Rick F. Talbott (2005). Sacred Sacrifice: Ritual Paradigms in Vedic Religion and Early Christianity. Wipf and Stock. ISBN 978-1-59752-340-0.
Roshen Dalal (2010). Hinduism: An Alphabetical Guide. Penguin Books India. ISBN 9780143414216.
Snigdha Tripathy (1997). Inscriptions of Orissa. I - Circa 5th-8th centuries A.D. Indian Council of Historical Research and Motilal Banarsidass. ISBN 978-81-208-1077-8.
Stephanie Jamison (1996). Sacrificed Wife / Sacrificer's Wife. Oxford: Oxford University Press.
Upinder Singh (2008). A History of Ancient and Early Medieval India. Pearson Education India. ISBN 9788131711200.

https://en.wikipedia.org/wiki/Ashvamedha

The Indian Ashvamedha involves the following:

the sacrifice is connected with the elevation or inauguration of a member of the warrior caste^{[citation needed]}
the ceremony took place in springtime
the horse sacrificed was a grey or white stallion
the stallion selected was one which excelled at the right side of the chariot
it was bathed in water
it was sacrificed alongside a hornless ram and a he-goat
the stallion was dissected and its portions awarded to various deitie

https://en.wikipedia.org/wiki/Horse_sacrifice

Embedded comments and insights of Siddhanta Singh Arya posted on Facebook:

सिद्धान्त सिंह आर्य Srini Kalyanaraman sir swami
Dayanand has given some proofs in his satyarth prakash to proof that ashvamedha is not animal sacrifice:-

◆राष्ट्रं वा अश्वमेधः।

shatapath bhramana (13।1।6।3।)
_______________________

◆अँन्न हि गो:।
(Shatapath।3।6।2।5।)
_______________________

◆अग्नीर्वा अश्वः।

(Shatapath:-4।3।1।24)
________________________

◆आज्यं मेधः।।-- shatapath
________________________

●Here swami dayanand is saying that the king who Follow the nyaya dharma & Take care of his country Citizen's, who is giving education & do (hom) with "Ghee" is know as ashvamedh.

●& Those who keep pure food,sense,earth etc;is Gomedh.

●& when a human dye ritualistically by doing (Antim samskar) of the Body is known as narmedha.

Manage

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सिद्धान्त सिंह आर्य Srini Kalyanaraman sir what is your opinion of swami dayananda's ved bhasya & his
& Arya samaj's thinking on the Vaidic culture.

Excerpts from:

Sacred Sacrifice: Ritual Paradigms in Vedic Religion and Early Christianity

Rick F. Talbott

Wipf and Stock Publishers, 01-Nov-2005 - Religion - 364 pages

https://books.google.co.in/books?id=6XNLAwAAQBAJ&source=gbs_navlinks_s

https://books.google.co.in/books?id=6XNLAwAAQBAJ&source=gbs_navlinks_

↧

R̥gveda aśva is metaphor for Yūpa.चषालं ये अश्वयूपाय तक्षति Rv.1.162.6 is a veneration of त्वाष्ट्र, artificers who are wealth-creators of a nation

December 11, 2018, 8:09 pm

≫ Next: An outstanding historical documentary video (17:47) on Kunbi of Goa and Kerala by Kanaka Swamy

≪ Previous: Rāṣṭram 'valour & intellect' is R̥gveda aśva medhā मेधा; aṣṭāśri yūpa, an Indus Script allegory for 'dhana, wealth of mobility'राष्ट्रं वा अश्वमेधः। (Śatapatha Brāhmaṇa 13.1.6.3))

https://tinyurl.com/yal67cs7

This is an addendum to:

पशु-समाम्नाय m. "enumeration of यष्टृ yaṣṭṛ, worshipper animals", Indus Script hypertexts of wealth accounting ledgers https://tinyurl.com/y7smoehb

I suggest that the R̥gveda expression चषालंयेअश्वयूपायतक्षति Rv.1.162.6 signifies the Yūpa-caṣāla artifacts and renders aśva as a metaphor for the fiery pillar of R̥gveda somasamsthā yajña.

Many wild and domesticated animals constitute Indus Script hieroglyphs/hypertexts to signify wealth-accounting ledgers, metalwork catalogues.

Satapatha Brāhmana describes caṣāla as made of wheaten dough (gaudhūma).

Wilson translation: 1.162.06 Whether they be those who cut the (sacrificial) post, or those who bear the post, or those who fasten the rings on the top of the post, to which the horse (is bound); or those who prepare the vessels in which the food of the horse is dressed; let the exertions of them all fulfil our expectation. [The post: twenty-one posts, of different kinds of wood, each twenty-one cubits long, are to be set up, to which the different animals are to be fastened, amounting to three hundred and forty-nine, besides two hundred and sixty wild animals, making a total of six hundred and nine (Ka_tya_yana); the text seems to refer to a single post: cas.a_lam ye as'vayu_pa_ya taks.ati: cas.a_la = a wooden ring, or bracelet, on the top of the sacrificial post; or, it was perhaps a metal ring at the foot of the post].

Griffith translation: RV 1.162.6 The hewers of the post and those who carry it, and those who carve the knob to deck the Horses' stake;Those who prepare the cookingvessels- for the Steed, may the approving help of these promote our work.

पशु--बन्ध, 'animal yajña', signifiers of wealth; meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ. (Marathi) Rebus: meḍ 'iron' (Ho.Mu.) Rebus: mēd ʻboatman, fisher- manʼ मेध 'yajña', rebus मेधा = धन नैघण्टुक , commented on by यास्क. ii , 10.

पशु--समाम्नाय m. "enumeration of यष्टृ yaṣṭṛ, worshipper animals" in the Veda texts include:

Goat, sheep

Horse

Dog

Ass, mule

Camel

Winged creatures (hamsa, suparṇa, śakuna

Amphibian śimsumāra, ‘alligator’, ajagara ‘crocodile’

Fish

Fish (purikāya, jaṣa, matsya)

Worms (rājasah)

I submit that यष्टृ yaṣṭṛ which signify posts and animals tied to them signify performers of yajña, that is, those desirous of obtaining the riches and wealth signified by the animals. It will be a gross error and mis-representation to frame the metaphor as 'sacrificial victims' as often mentionedin western idioms and explanations of Veda texts. We have seen that the Yupa, 'post' signifies an aśva 'horse' in aśvamedhawhich is a yajna, for acquisition of sovereignty (and related shared wealth). The following Veda texts relate to the post as a signifier of aśva 'horse'; the references are simply metaphorical and DO NOT involve the killing of the horse orr any other animal tied to posts. Animals tied to the posts are also signifiers of specific categories of wealth resources as enunciated in hundreds of Indus Script inscriptions detailed in this monograph.

rvs.1.64	They lead, as it were, the Strong Horse forth, that it may rain: they milk the thundering, the
rvs.1.162	HYMN CLXII. The Horse. 162
rvs.1.162	12 They who observing that the Horse is ready call out and say, the smell is good; remove it;
rvs.1.162	16 The robe they spread upon the Horse to clothe him, the upper covering and the golden trappings,
rvs.1.163	HYMN CLXIII. The Horse. 163
rvs.1.163	3 Yama art thou, O Horse; thou art Aditya; Trita art thou by secret operation.
rvs.1.173	Let the Horse neigh led near, let the Steer bellow: let the Voice go between both worlds as herald,

IN RV 1.162 metaphor, for example, चषालं ये अश्वयूपाय तक्षति Rv.1.162.6: caṣālḥ चषालः 1 A wooden ring on the top of a sacrificial post; चषालं ये अश्वयूपाय तक्षति Rv.1.162.6; चषालयूपत- च्छन्नो हिरण्यरशनं विभुः Bhāg.4.19.19. -2 An iron ring at the base of the post. This post with the wheat chaff ring constitutes the pillar of fire when aflame yielding carbon infusion into the molten metal in the yajña process, to carburize iron, for example, to harden it and produce steel as a ferrous-carbon alloy.

Trita ("the Third") is a minor deity of the Rigveda, mentioned 41 times. He is associated with the Maruts, with Vayu and with Indra, like Indra, or as Indra's assistant, fighting Tvastar, Vrtra and Vala. He is called Āptya, meaning "son of the deity of the Apas (waters)" and a friend of Indra. The Śatapatha Brāhmaṇa mentions Trita and his brothers Ekata and Dvita as the sons of Apas or the water deities who were born as a result of Agni's anger with the waters.

Fourfold, namely, was Agni (fire) at first. Now that Agni whom they at first chose for the office of Hotri priest passed away. He also whom they chose the second time passed away. He also whom they chose the third time passed away. Thereupon the one who still constitutes the fire in our own time, concealed himself from fear. He entered into the waters. Him the gods discovered and brought forcibly away from the waters. He spat upon the waters, saying, 'Bespitten are ye who are an unsafe place of refuge, from whom they take me away against my will!' Thence sprung the Âptya deities, Trita, Dvita, and Ekata. - 1:2:3:1

The metaphor of त्वष्टृ relates to generative energy during the yajña. Relation to Indra and Killing of त्रि--शिरस् (a reference to त्वाष्ट्र , author of RV. x , 8.), three-headed son of त्वाष्ट्र, artificer त्वष्टृ m. a carpenter , maker of carriages (= त्/अष्टृ) AV. xii , 3 , 33; " creator of living beings " , the heavenly builder , N. of a god (called सु-क्/ऋत् , -पाण्/इ , -ग्/अभस्ति , -ज्/अनिमन् , स्व्-/अपस् , अप्/असाम् अप्/अस्तम , विश्व्/अ-रूप &c RV. ; maker of divine implements , esp. of इन्द्र's thunderbolt and teacher of the ऋभुs i , iv-vi , x Hariv. 12146 f. R. ii , 91 , 12 ; former of the bodies of men and animals , hence called " firstborn " and invoked for the sake of offspring , esp. in the आप्री hymns RV. AV. &c MBh. iv , 1178 Hariv. 587 ff. Ragh. vi , 32 ; associated with the similar deities धातृ , सवितृ , प्रजा-पति , पूषन् , and surrounded by divine females [ग्न्/आस् , जन्/अयस् , देव्/आनाम् प्/अत्नीस् ; cf. त्व्/अष्टा-व्/अरूत्री] recipients of his generative energy RV. S3Br. i Ka1tyS3r. iii ; supposed author of RV. x , 184 with the epithet गर्भ-पति RAnukr. ; father of सरण्यू [सु-रेणु Hariv. ; स्व-रेणु L. ] whose double twin-children by विवस्वत् [or वायु ? RV. viii , 26 , 21 f.] are यमयमी and the अश्विन्s x , 17 , 1 f. Nir. xii , 10 Br2ih. Hariv. 545 ff. VP. ; also father of त्रि-शिरस्or 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. ); a form of the sun MBh. iii , 146 Hariv. 13143 BhP. iii , 6 , 15

त्वाष्ट्र mfn. belonging to or coming from Tvasht2r2 i RV. i , 117 , 22 AV. VS. &c (पुत्र , " son of त्वष्टृ " Prab. ii , 31); having त्वष्टृ as regent VarBr2S. viii , 37 Jyot. (YV.) 6 Sch.; m. the son of त्वष्टृ (विश्व-रूप RV. &c ; आभूति S3Br. xiv वृत्र BhP. vi , 9 , 17 ; xi , 12 , 5 ; त्रि-शिरस् , RAnukr. ); n. त्वष्टृ's energy , creative power RV. iii , 7 , 4 BhP. viii , 11 , 35;n. a small car; m. N. of an eclipse VarBr2S. iiic , 2

त्रि--शिरस् mfn. three-headed (त्वाष्ट्र , author of RV. x , 8.) Ta1n2d2yaBr. xvii Br2ih. KaushUp. MBh. Ka1m.;

(ज्वर) BhP. x , 63 , 22; three-pointed MBh. xiii R. iv.

The text also mentions that they followed Indra just as a Brahman follows the train of a king.

They roamed about with Indra, even as nowadays a Brâhman follows in the train of a king. When he slew Visvarûpa, the three-headed son of Tvashtri, they also knew of his going to be killed.; and straightway Trita slew him. Indra, assuredly, was free from that (sin), for he is a god. - 1:2:3:2

In RV 1.105, Trita fallen into a well begs aid from the gods. Sayana on 1.105 comments that this relates to three rishis, Ekata, Dvita and Trita who found a well, and Trita, drawing water, was pushed down by the other two and imprisoned, where he composed a hymn to the gods, and managed miraculously to prepare the yajña Soma; this is alluded to in RV 9.34.4 and described in Mahabharata 9.2095.

The secret process of Trita, the artificer, results in a three-fold bandhana, 'alloying of carbon or infusion into the molten metal of Soma'.

RV 1.163.3 explains a secret process:

Griffith translation: 1.163.3 Yama art thou, O Horse; thou art Aditya; Trita art thou by secret operation.

Thou art divided thoroughly from Soma. They say thou hast three bonds in heaven.

that hold thee.Wilson translation: 1.163.03 Your horse is Yama and you are A_ditya; you are Trita by a mysterious act; you are associated with Soma. The sages have said there are three bindings of you in heaven. [By a mysterious act: guhyena vratena gopani_yena, durdina ru_pen.a va_ karman.a_ sarvatra vya_ptiru_pen.a, by a secret nature of a cloudy day,or an act of a universally penetrating character; the three bindings: bandhana_ni tri_n.i = utpattika_ran.a_ni, media of origin, that is the Vasus, A_ditya and heaven].

I suggest that the Varāha Bhutan mask of Kerala with a vividly protruding tongue out of the snout, signifies an alchemist.

Varāha is baḍhi, 'boar', vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu, baḍaga, vardhaki, 'worker in metal and wood'.

The phaḍā, 'cobrahoods' signify that he is a member of a paṭṭaḍi, phaḍā 'smithy, metals manufactory'.

रसः [रस्-अच्] The tongue (as the organ of taste); वाण्यां च छन्दांसि रसे जलेशम् Bhāg.8.2.27; जितं सर्वं जिते रसे 11.8.21. Rebus: रसः Gold. -3 A metal in a state of fusion. -वादः alchemy (Apte).

चषालः, गोधूम 'snout of a boar', wheat chaff (used to carburize molten metal, to harden the alloy with infusion of carbon). Rebus: caṣālḥ

चषालः 1 A wooden ring on the top of a sacrificial post; चषालं ये अश्वयूपाय तक्षति Rv.1.162.6; चषालयूपत- च्छन्नो हिरण्यरशनं विभुः Bhāg.4.19.19. -2 An iron ring at the base of the post.

The kalaśa or kumbha signify nidhi, wealth. medhā 'yajna, dhanam'. Rebus: kumbha 'gold'. See:

బత్తుడు battuḍu báḍḍhi वर्धकि, vaḍlaṅgi, baṛhaï, baḍaga, baḍhi, bāṛaï, varāha, 'title of five artisans' phaḍa फड, paṭṭaḍa 'metals manufactory' venerated in Indus Script

https://tinyurl.com/yct26xc6

भारतीय वास्तुकला(Wonderful Indian Architecture)‏ @wiavastukala 3 hours ago
Bhutan Vārāha(boar) mask, North Kerala c. ~18th century Note details of headdress. Note Naga and Kumbham(with conical spire, also used in Stupa) mounted in alternate pattern.

यष्टृ yaṣṭṛ यष्टृ m. [यज्-तृच्] A worshipper, performer of yajna. यष्टी yaṣṭī यष्टी See यष्टि. (Apte) यष्टि f. (for 2. » [p= 848,3]) performing yajña पाणिनि 3-3 , 110 Scholiast. (prob. w.r. for इष्टि);

f. (also यष्टी cf. g. बह्व्-ादि ; prob. fr. √ यछ् = यम् ; for 1. यष्टि » [p= 840,3]) " any support " , a staff , stick , wand , rod , mace , club , cudgel; pole , pillar , perch S3Br. &c; a flag-staff (» ध्वज-य्°); a stalk , stem , branch , twig Hariv. Ka1v. (Monier-Williams) यष्टिः ष्टी yaṣṭiḥ ṣṭī यष्टिः ष्टी f. [यज्-क्तिन् नि˚ न संप्रसारणम्] 1 A stick, staff. -2 A cudgel, mace, club. -3 A column, pillar, pole; संक्रमध्वजयष्टीनां प्रतिमानां च भेदकः Ms.9.285. -4 A perch, as in वासयष्टि. -5 A stem, support. -6 A flag- staff; as in ध्वजयष्टि. -7 A stalk, stem. -5 A branch, twig; कदम्बयष्टिः स्फुटकोरकेव U.3.42; so चूतयष्टिः Ku.6.2; सालस्य यष्टिः Rām.2.2.32; सहकारयष्टिः &c. -9 A string, thread (as of pearls), a necklace विमुच्य सा हारमहार्य- निश्चया विलोलयष्टिप्रविलुप्तचन्दनम् Ku.5.8; क्वचित् प्रभालेपिभिरिन्द्र- नीलैः मुक्तामयी यष्टिरिवानुविद्धा R.13.54. -1 Any creeping plant. -11 Anything thin, slim, or slender (at the end of comp. after words meaning 'the body'); तं वीक्ष्य वेपथुमती सरसाङ्गयष्टिः Ku.5.85 'with her slender or delicate frame perspiring'. -12 A reed. -13 The arm. -14 Liquorice. -15 Sugar-cane. -Comp. -आघातः cudgeling, beating. -उत्थानम् rising with the help of a staff. -ग्रहः a club-bearer, staff-bearer; P.III.2.9. Vārt. -निवासः 1 a stick or rod serving as a perch for peacocks &c.; वृक्षेशया यष्टिनिवासभङ्गात् R.16.14. -2 a pigeon-house resting on upright poles. -प्राण a. 1 feeble or powerless. -2 out of breath. -मधु n., -मधुका liquorice. -यन्त्रम् a. a particular astronomical instrument.(Apte)

An animal is tied to a pillar of light, pillar of fire is relatable to the gloss semant. 'post, pillar': meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ. (Marathi) Rebus: meḍ 'iron' (Ho.Mu.) Rebus: mēd ʻ boatman, fisher- man ʼ. (Note: It is reasonable to infer that the 'pillar' shape of the linga is related to a rebus reading of this gloss semant. 'boatman' inferring that the artifact of 'metal ingot' is for maritime seafaring trade.

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), miho, miyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽh, mẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. meh, mehā 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. mīr, mīrü 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 meṛha, mehra 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. (CDIAl 10317).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.(CDIAL 10318).

मेध an animal-sacrifice , offering , oblation ,any yajña (esp. ifc.) ib. MBh.;

मेधा = धन Naigh. ii , 10.

mēthiṣṭhá ʻ standing at the post ʼ TS. [mēthí -- , stha -- ]Bi. (Patna) mĕhṭhā ʻ post on threshing floor ʼ, (Gaya) mehṭā, mẽhṭā ʻ the bullock next the post ʼ.(CDIAL 10319).

mēda m. ʻ a mixed caste, any one living by a degrading occupation ʼ Mn. [→ Bal. mēd ʻ boatman, fisher- man ʼ. -- Cf. Tam. metavar ʻ basket -- maker ʼ &c. DED 4178]Pk. mēa -- m., mēī -- f. ʻ member of a non -- Aryan tribe ʼ; S. meu m. ʻ fisherman ʼ (whence miāṇī f. ʻ a fishery ʼ), L. mē m.; P. meũ m., f. meuṇī ʻ boatman ʼ. -- Prob. separate from S. muhāṇo m. ʻ member of a class of Moslem boatmen ʼ, L. mohāṇā m., °ṇī f.: see *mr̥gahanaka -- .(CDIAL 10320).

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An outstanding historical documentary video (17:47) on Kunbi of Goa and Kerala by Kanaka Swamy

December 12, 2018, 1:36 am

≫ Next: Wealth-accounting ledgers of Indus Script show mudhif as a sacred kole.l 'temple'

≪ Previous: R̥gveda aśva is metaphor for Yūpa.चषालं ये अश्वयूपाय तक्षति Rv.1.162.6 is a veneration of त्वाष्ट्र, artificers who are wealth-creators of a nation

https://www.youtube.com/watch?v=YW4z_pN-sxs (17:47) Boat Ahoy Thrilling. A masterly documentary which should be shown to every child in every school and cherished by every Bharatiya interested in civilizational studies.

kanaka swamy

Published on Jan 29, 2018

kanaka swamy

Published on Jan 29, 2018

A documentary showcasing the cultural link of the Kudumbi community of Kerala with  Goa.  This is  a symbolic representation of the hurdles faced by their predecessors while crossing high seas in small canoes. The festival of carrying boats and enacting the various movements represent the physical and mental state of the people and the boats in turbulent waters.

Tears swell in my eyes. This should be made part of curriculum in every school everywhere in the world. This is historical memory like Bali Yatra cherished by Bharatam Janam.

Compares with the boat-building of Kerala coast dates back to 19th cent. BCE (evidence: Ancient Bhārat of 19th cent. BCE as a Maritime, ship-building nation along Indian Ocean Rim, evidence of sewn boats from Red Sea port of Ayn Sukhna comparable to Kerala catamarans https://tinyurl.com/y9n2pa3j
Mirror: http://bharatkalyan97.blogspot.com/.../ancient-bharat-of...

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Wealth-accounting ledgers of Indus Script show mudhif as a sacred kole.l 'temple'

December 12, 2018, 2:19 am

≫ Next: Itihāsa, Standard device on Indus Script Corpora is सांगड sāṅgaḍa 'joined lathe, portable furnace' rebus: saṁghāṭa 'catamaran' (Rāmāyaṇa), sãghāṛɔ 'lathe' jangadiyo 'military guard'

≪ Previous: An outstanding historical documentary video (17:47) on Kunbi of Goa and Kerala by Kanaka Swamy

https://tinyurl.com/y6ufekt9

Mahadevan suggests that the orthography of the sign which is shown on the broken Mohenjo-daro seal should be compared with the Sumerian mudhif with a pennant on top of the roof. It has been demonstrated that the Sumerian mudhif is Mund, sacred temple in Toda tradition. If so, the following rebus Meluhha readings may be suggested:

Sumerian Mudhif and 3 reed banners.

Mund. Toda.

m0702 Text 2206 showing Sign 39, a glyph which compares with the Sumerian mudhif structure.

- ढालकाठी [ ḍhālakāṭhī ] f ढालखांब m A flagstaff; esp.the pole for a grand flag or standard.

Field symbol is zebu (bos indicus). pōḷa 'zebu, bos indicus' rebus: pōḷa 'magnetite, ferrite ore' [pōlāda] 'steel'.

This pair of hieroglyphs on the text message is a hypertext: sal 'splinter' rebus: sal 'workshop' PLUS

xoli 'fish-tail' rebus: kolhe 'smelter' PLUS kuṭhi 'smelting furnace'. Thus, together, kolhe kuṭhi sal the hypertext signifies smelting furnace workshop.

Meluhha rebus readings of the Indus Script inscription on this seal: Wealth-accounting ledger, metalwork catalogue involving kolel,'smithy/forge' for metals, iron, bharata 'alloy of copper, pewter, tin'.

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

mēḍa'platform, hillock' rebus meḍ'iron'

koḍ = a cow-pen; a cattlepen; a byre (G.) कोठी cattle-shed (Marathi) कोंडी [ kōṇḍī ] A pen or fold for cattle. गोठी [ gōṭhī ] f C (Dim. of गोठा) A pen or fold for calves. (Marathi) PLUS xolā 'tail' Rebus: kole.l 'smithy, temple'. This is consistent with the association of Mund with the sacred dairy.

sal 'splinter' rebus: sal 'workshop'

karṇika कर्णिक 'rim of jar' rebus: karṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale'.

karba 'culm of millet' rebus: karba 'iron'

मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c; rebus: meḍ 'iron'

Excerpts from a Facebook post:

Alexandr Semenenko

AdminJuly 14

On Gaur Cult in RigVeda and Mature Harappa

(From my E-book on (Pre)Harappan Art)

Endemic in South Asia Gaur bull (Bos gaurus) and Gavay Bull (gavayas, Bos Gavaeus) are mentioned together in narration of the main myth of RV in the ancient Family Mandala of RV:

ví yád várāṃsi párvatasya vr̥ṇvé páyobhir jinvé apã́ṃ jávāṃsi | vidád gaurásya gavayásya góhe (IV.21.8).

When Indra opens up the Mountain he finds there Gaur Bull and/or Gavay Bull.

The introductory Mandala of RV describes a mystical Gauri Cow who is the source of the world and the Divine Speech:

sūyavasā́d bhágavatī hí bhūyā́ || addhí tŕ̥ṇam aghniye viśvadā́nīm píba śuddhám udakám ācárantī || gaurī́r mimāya salilā́ni tákṣatī ékapadī dvipádī sā́ cátuṣpadī | aṣṭā́padī návapadī babhūvúṣī sahásrākṣarā paramé víoman || tásyāḥ samudrā́ ádhi ví kṣaranti téna jīvanti pradíśaś cátasraḥ | tátaḥ kṣarati akṣáraṃ tád víśvam úpa jīvati (I.164.40–42)

Probably the same Gauri Cow is mentioned as being released by the Vasus:

yáthā ha tyád vasavo gauríyaṃ cit padí ṣitā́m ámuñcatā (IV.12.6=X.126.8)

In the Family Mandala of RV the secret name of the sacrificial butter=the language of the Devas=the navel of Immortality (ghr̥tásya nā́ma gúhiyaṃ yád ásti jihvā́ devā́nām amŕ̥tasya nā́bhiḥ) (IV.58.1) is described as coming out of the four horned Gaura Bull (vayáṃ nā́ma prá bravāmā ghr̥tásya | cátuḥśr̥ṅgo avamīd gaurá etát) (IV.58.2).

Indra is several times compared with Gaura Bull (gauró ná tr̥ṣitáḥ (I.16.5), yáthā gauró tŕ̥ṣyann (VIII.4.3), sáro gauró yáthā piba (VIII.45.24)).

His Cows are Gauri Cows (svādór itthā́ viṣūváto mádhvaḥ pibanti gauríyaḥ | yā́ índreṇa sayā́varīr vŕ̥ṣṇā mádanti vásvīr (I.84.10); tā́ asya pr̥śanāyúvaḥ sómaṃ śrīṇanti pŕ̥śnayaḥ | priyā́ índrasya dhenávo vájraṃ hinvanti sā́yakaṃ vásvīr (I.84.11)).

Agni is compared with Gaur Bull (tásmād bhiyā́ dūrám āyaṃ gauró ná kṣepnór avije jiyā́yāḥ) (X.51.6).

Ashvins are several times compared with Gaur Bulls (áśvinā gaurā́v ivā́nu yávasam (V.78.2), nárā gauréva vidyútaṃ tr̥ṣāṇā́ asmā́kam adyá sávanópa yātam (VII.69.5), aśvinā mádhvaḥ sutásya pātáṃ gaurā́v ivériṇe (VIII.87.1), aśvinā tā́ vāvr̥dhānā́ úpa suṣṭutíṃ divó gantáṃ gaurā́v ivériṇam (VIII.87.4)).

Vayu is described drinking the milk of the Gauri Cow (vāyáve gaurásya yáḥ páyasaḥ pītím ānaśá) (X.100.2).

Soma is described as placed onto Gaur Bull skin (sómo gaurī́ ádhi śritáḥ) (IX.12.3).

Gaurs' mentions can be found in all main chronological layers of RV: in Mandala I — 3 times (I.16.5; I.84.10; I.164.41), in Mandala IV — 3 times (IV.12.6; IV.21.8; IV.58.2), in mandala V — 2 times (V.29.11; V.78.2), in Mandala VII — 2 times (VII.69.6; VII.98.1), in Mandala VIII — 4 times (VIII.4.3; VIII.45.24; VIII.87.1, 4), in Mandala IX — 1 time (IX.12.3) and in Mandala X — 3 times (X.51.6; X.100.2; X.126.8).

All this surely points at the South Asian homeland of the Indo-Aryans.

https://www.facebook.com/groups/1701565476588492/permalink/1726937227384650/

m0710

3159 Field symbol: kõda ‘young bull-calf’. Rebus: kũdār ‘turner’. kundana 'fine gold' (Kannada) sangaḍa ‘lathe, furnace’. Rebus: samgara ‘living in the same house, guild’. sãgaḍa (double-canoe, catamaran) Hence, smith guild.

Meaning, artha of inscription: Trade (and metalwork wealth production) of kōnda sangara 'metalwork engraver'... PLUS (wealth categories cited.)

gaṇḍa 'four'rebus: khaṇḍa 'implements' 'iron' (Mu.Ho.)

kolmo‘riceplant’ rebus; kolimi‘smithy, forge’

khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (Gujarati) PLUS kāmsako, kāmsiyo = a large sized comb (G.) Rebus: kaṁsa'bronze' (Telugu)

कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelting furnace' (Santali)

adaru 'twig'; rebus: aduru 'native, unsmelted metal'.

kolmo ‘three’; rebus: kolom'sprout'; kolom = cutting, graft; to graft, engraft, prune; kolma hoṛo = a variety of the paddy plant (Desi)(Santali.) kolmo 'rice plant' (Mu.) rebus: kolami ‘forge, smithy’ (Telugu)

kolmo ‘rice plant’ (Mu.) Rebus: kolami ‘furnace,smithy’ (Te.) Vikalpa: pajhaṛ = to sprout from a root (Santali); Rebus: pasra ‘smithy, forge’ (Santali)

Meluhha epigraphs including hieroglyph 190 (‘sprouts in watery field’) of Mahadevan ‘Sign

Wim Borsboom and SM Sullivan discuss this hieroglyph in the context of Sanskrit readings of a few Indus script epigraphs.http://www.academia.edu/7751469/Decipherment_Interpretation_and_Translation_of_Indus_Script_Sign_430_Sinha_ The readings do not refer to the pictorial motif hieroglyphs (such as one-horned young bull, rhinoceros, tiger) which occupy the field on some epigraphs.

I would suggest variant readings – of both ‘sign’ glyphs and ‘pictorial motif’ glyphs. They are treated as hieroglyph rebus cipher based on Meluhha which was the lingua franca of artisans and traders of the civilization region. The inscriptions recorded trade transactions along the Tin Road of Bronze Age. – as descriptive parts or bills of materials in bills of lading.http://www.academia.edu/7751469/Decipherment_Interpretation_and_Translation_of_Indus_Script_Sign_430_Sinha_

The following readings suggested are consistent with the cipher presented in “Meluhha hieroglyphs on cylinder and other seals of Bronze Age”

https://www.academia.edu/6898842/Meluhha_hieroglyphs_on_cylinder_and_other_seals_of_Bronze_Age

m0218

2175 Field symbol: kõda ‘young bull-calf’. Rebus: kũdār ‘turner’. sangaḍa ‘lathe, furnace’. Rebus: samgara ‘living in the same house, guild’. sãgaḍa (double-canoe, catamaran) Hence, smith guild.

Meaning, artha of inscription: Trade (and metalwork wealth production) of kōnda sangara 'metalwork engraver'... PLUS (wealth categories cited.).

gaṇḍa 'four' rebus: khaṇḍa 'implements'.PLUS kolmo ‘rice plant’ rebus: kolimi ‘smithy, forge’

ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' (R̥gveda)

khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (Gujarati) PLUS kāmsako, kāmsiyo= a large sized comb (G.) Rebus: kaṁsa 'bronze' (Telugu)

Top left: Shortugai, Bactria (Jarrige 1984). Top right: H-48A

Middle: 1. M-543A. 2, 3. M2047 AB. 4. M-1498A

Bottom: 1. M-546A 2. M-1498B

Mohenjo-daro Copper plate.

In these examples of epigraphs, six pictorial motifs are vivid and clearly distinguishable as occupying the field:

1. Standard device (in front of the one-horned young bull with a pannier)

2. Trough

3. One-horned young bull with a pannier (and rings on neck)

4. Ox

5. Tiger

6. Rhinoceros

Some examples of ‘signs’ as hieroglyphs are:

Hieroglyph 190: Sprouts (in watery field), twigs

Sign 389, bun-ingot shape (oval) + 'twig', i.e. ingots produced from a smelter. This indicates that copper plates on which this hypertext occurs with high frequency are accounting ledgers of products produced from a smelter.

Sign 387, bun-ingot shape (oval) + 'riceplant', i.e. ingots worked on in a smithy/forge. This hypertext DOES NOT occur on copper plates. This indicates that Sign 387 signifies ingots processed in a smithy/forge, i.e. to forge ingots into metalware, tools, implements, weapons.

I suggest the association of Sign 389 with 'smelter' signifies that the copper plates are documentation of products taken out of the smelter.

twig, smelter.

Sign 387 signifies documentation of ingot products worked on in a smithy/forge.

rice plant, smithy/forge.

In metawork processes, there are two distinct operations: 1. ingots which are brought out of a smelter furnace and 2. ingots like wedges forged in a smithy to achieve the desired shapes of implements.

The two distinctly orthographed Indus Script hypertexts signify 1. mũhã̄ kuṭhi 'ingot smelter', 2. mũhã̄ kolami 'ingot smithy, forge'

kã̄ḍ 1 काँड् । काण्डः m. the stalk or stem of a reed, grass, or the like, straw. In the compound with dan 5 (p. 221a, l. 13) the word is spelt kāḍ (Kashmiri)

M. kaḍbā m. ʻ the culm of millet ʼ.; kaḍambá, kalamba -- 1, m. ʻ end, point, stalk of a pot- herb ʼ lex. [See kadambá -- ]B. kaṛamba ʻ stalk of greens ʼ; Or. kaṛambā, °mā stalks and plants among stubble of a reaped field ʼ; H. kaṛbī, karbī f. ʻ tubular stalk or culm of a plant, esp. of millet ʼ (→ P. karb m.) -- Or. kaḷama ʻ a kind of firm -- stemmed reed from which pens are made ʼ infl. by H. kalam ʻ pen ʼ ← Ar.?(CDIAL 2653) कडबड kaḍabaḍa f The residue of eaten and trodden कडबा; pieces of the mere culm without the blade. कडबा kaḍabā m The culm or haum of जोंधळा dried for fodder. 2 fig. (Because कडबा is the mere culm without the head.) Refuse, rubbish, worthless stuff. कडबी kaḍabī f After-sproutings of जोंधळा. Cut in the hot season as food for cattle. 2 Misused by foreigners of the south and by साहेबलोक for कडबा. (Marathi)

Rebus: Tu. ajirda karba very hard iron. is a pronunciation variant of ayas karba 'very hard iron'.Ta. ayil iron. Ma. ayir, ayiram any ore. Ka. aduru native metal. Tu. ajirda karba very hard iron.(DEDR 192) Ka. kare blackness; kabbiṇa iron; (PBh.) karipu blackness; (Hav.) karañcu to be scorched; karañcaṭe scorched; (Gowda) kərṇṭi to become charred. Koḍ. kari- (kariv-, kariñj-) to be singed; (karip-, karic-) to singe; kari black. Tu. kari soot, charcoal; kariya black; karṅka state of being burnt or singed; karṅkāḍuni to burn (tr.); karñcuni to be burned to cinders; karñcāvuni to cause to burn to cinders; kardů black; karba iron (DEDR 1278)

कोंदण kōndaṇa n (कोंदणें) Setting or infixing of gems is the work of a turner on a lathe. Bengali. kõdā ‘to turn in a lathe’; Oriya. kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. kū̃d ‘lathe’) (CDIAL 3295). कुन्द

[p= 291,2] a turner's lathe L. (Monier-Williams)

Such a kū̃d, l'athe' is presented in front of the young bull on many inscriptions of Indus Script Corpora. The gimlet is shown as producing drilled beads, working atop a portable furnace. खोंड khōṇḍa 'm A young bull, a bullcalf' is rebus: kundār ‘turner’.The lathe and gimlet in front of the young bull on many seals are signifiers of a lapidary's instrument to drill holes in beads or to infix or set gems in gold or metal sockets. kunda 'lathe' rebus: कोंदण (p. 102) kōndaṇa n (कोंदणें) Setting or infixing of gems. 2 Beaten or drawn gold used in the operation. 3 The socket of a gem. 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) குந்தனம் kuntaṉam, n. < T. kundanamu. 1. Interspace for enchasing or setting gems in a jewel; இரத்தினம் பதிக்கும் இடம். குந்தனத்தி லழுத்தின . . . ரத்தினங்கள் (திவ். திருநெடுந். 21, வ்யா. பக். 175). 2. Gold, fine gold; தங்கம். (சங். அக.) குந்தனக்காரன் kuntaṉa-k-kāraṉ, n. < T. kundanamu Loc.

కుందనము (p. 289) kundanamu kundanamu. [Tel.] n. Solid gold, fine gold. అపరంజి.

குந்தன் kuntaṉ, n. < Kunda. 1. Viṣṇu; திருமால். வல்வினைமாய்ந்தறச்செய் குந்தன்றன்னை (திவ். திருவாய். 7, 9, 7). 2. Holy person; தூயதன்மை யுடையவன். வண்டீங் கவிசெய்குந்தன் (திவ். திரு வாய். 7, 9, 7).

kōḍe dūḍa bull calf (Telugu); kōṛe 'young bullock' (Konda) kāru-kōḍe. [Tel.] n. A bull in its prime. खोंड [khōṇḍa ] m A young bull, a bullcalf. (Marathi) గోద [ gōda ] gōda. [Tel.] n. An ox. A beast. kine, cattle.(Telugu)

kunda 'lathe' Rebus: कोंदण kōndaṇa n (कोंदणें) Setting or infixing of gems and working with kundana 'fine gold'. Rebus: कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi)

Rebus : Bengali. kõdā ‘to turn in a lathe’; Oriya. kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. kū̃d ‘lathe’) (CDIAL 3295). कुन्द [p= 291,2] a turner's lathe L. (Monier-Williams)

Hypertext on a procession depicted on a schist panel inlaid with mother of pearl plaques -- in Ishtar temple, Mari, Syria. 2400 BCE. The hypertext is composed of two hieroglyphs/hypertexts: 1. culm of millet and 2. one-horned young bull (which is a common pictorial motif in Harappa (Indus) Script Corpora.

Culm of millet hieroglyph: karba 'culm of millet' rebus: karba 'iron'.
One-horned young bull hypertext/hyperimage: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. Thus, an iron turner (in smithy/forge).

The validation of the culm of millet hieroglyph comes from an archaeo-botanical study (2016).

In the article, 'Exploring crop processing northwest Bharata ca. 3200 to 1500 BCE' -- Jennifer Bates et al, 2016, make a significant observation about the cultivation of millets in Northwest Bharat, especially in the Ganga -Sarasvati River Basins. This observation underscores the importance millet and related crop images in the lives of the people of the Bronze Age of Eurasia.
Image result for millet india

Pearl millet in the field.

Culm of millet should have been an object recognized by the people of the 4th millennium BCE in this region which had contacts with Susa and Mari (Sumerian/Elamite civilizations). "In the production of malted grains the culms refer to the rootlets of the germinated grains. The culms are normally removed in a process known as "deculming" after kilning when producing barley malt, but form an important part of the product when making sorghum or milletmalt."
https://en.wikipedia.org/wiki/Culm_(botany)

There are three possible identifications of this image: 1. culm of millet; 2. Christ's thorn; 3. Stalk or thorny joint. In my view, the appropriate fit with the semantics of 'one-horned young bull' is its identification as a 'culm of millet'.

The procession is a proclamation and a celebration of new technological competence gained by the 'turner' artisans of the civilization.

The 'turner' (one who uses a lathe for turning) in copper/bronze/brass smithy/forge has gained the competence to work with karba 'culm of millet' rebus: karba 'iron'.

Hieroglyph on an Elamite cylinder seal (See illustration embedded)

Hieroglyph: stalk, thorny

Seal published: The Elamite Cylinder seal corpus: c. 3500-1000 BCE. karba 'millet culm' rebus: karba'iron'. krammara 'look back' rebus: kamar 'artisan' karaDa 'aquatic bird' rebus: karaDa 'hard alloy' mlekh 'goat' (Br.); mr̤eka (Te.); mēṭam 'ram, antelope' rebus: milakkhu 'copper' (Pali)mlecchamukha 'copper' (Samskrtam)

Tubular stalk: karb (Punjabi) kaḍambá, kalamba -- 1, m. ʻ end, point, stalk of a pot- herb ʼ lex. [See kadambá -- ] B. kaṛamba ʻ stalk of greens ʼ; Or. kaṛambā, °mā stalks and plants among stubble of a reaped field ʼ; H. kaṛbī, karbī f. ʻ tubular stalk or culm of a plant, esp. of millet ʼ (→ P. karb m.); M. kaḍbā m. ʻ the culm of millet ʼ. -- Or. kaḷama ʻ a kind of firm -- stemmed reed from which pens are made ʼ infl. by H. kalam ʻ pen ʼ ← Ar.?(CDIAL 2653) See: Ta. kāmpu flower-stalk, flowering branch, handle, shaft, haft. Ma. kāmpu stem, stalk, stick of umbrella. Ko. ka·v handle. To. ko·f hollow stem, handle of tool. Ka. kāmu, kāvu stalk, culm, stem, handle. Te. kāma stem, stalk, stick, handle (of axe, hoe, umbrella, etc.), shaft. Ga. (S.3) kāŋ butt of axe. Go. (Tr.) kāmē stalk of a spoon; (Mu.) kāme handle of ladle (Voc. 640)(DEDR1454). Ka. kAvu is cognate with karb 'culm of millet' and kharva 'nidhi'.

Hieroglyph 1: H. kaṛbī, karbī f. ʻ tubular stalk or culm of a plant, esp. of millet ʼ (→ P. karb m.); M. kaḍbā m. ʻ the culm of millet ʼ. (CDIAL 2653) Mar. karvā a bit of sugarcane.(DEDR 1288) Culm, in botanical context, originally referred to a stem of any type of plant. It is derived from the Latin word for 'stalk' (culmus) and now specifically refers to the above-ground or aerial stems of grasses and sedges. Proso millet, common millet, broomtail millet, hog millet, white millet, broomcorn millet Panicum miliaceum L. [Poaceae]Leptoloma miliacea (L.) Smyth; Milium esculentum Moench; Milium paniceum Mill.; Panicum asperrimum Fischer ex Jacq.;Panicum densepilosum Steud.; Panicum miliaceum Blanco, nom. illeg., non Panicum miliaceum L.; Panicum miliaceumWalter, nom. illeg., non Panicum miliaceum L.; Panicum miliaceum var. miliaceum; Panicum milium Pers. (Quattrocchi, 2006) Proso millet is an erect annual grass up to 1.2-1.5 m tall, usually free-tillering and tufted, with a rather shallow root system. Its stems are cylindrical, simple or sparingly branched, with simple alternate and hairy leaves. The inflorescence is a slender panicle with solitary spikelets. The fruit is a small caryopsis (grain), broadly ovoid, up to 3×2 mm, smooth, variously coloured but often white, shedding easily (Kaume, 2006).Panicum miliaceum has been cultivated in eastern and central Asia for more than 5000 years. It later spread into Europe and has been found in agricultural settlements dating back about 3000 years. http://www.feedipedia.org/node/722 Ta. varaku common millet, Paspalum scrobiculatum; poor man's millet, P. crusgalli. Ma. varaku P. frumentaceum; a grass Panicum. Ka. baraga, baragu P. frumentaceum; Indian millet; a kind of hill grass of which writing pens are made. Te. varaga, (Inscr.) varuvu Panicum miliaceum. / Cf. Mar. barag millet, P. miliaceum; Skt. varuka- a kind of inferior grain. [Paspalum scrobiculatum Linn. = P. frumentaceum Rottb. P. crusgalli is not identified in Hooker.] (DEDR 5260)

Rebus 1:

Tu. ajirda karba very hard iron; Ta. ayil iron. Ma. ayir, ayiram any ore. Ka. aduru native metal (DEDR 192) Tu. kari soot, charcoal; kariya black; karṅka state of being burnt or singed; karṅkāḍuni to burn (tr.); karñcuni to be burned to cinders;karñcāvuni to cause to burn to cinders; kardů black; karba iron; karvāvuni to burn the down of a fowl by holding it over the fire (DEDR 1278). खर्व (-र्ब) a. [खर्व्-अच्] N. of one of the treasures of Kubera (Samskritam)

Rebus 2: karvata [ karvata ] n. market-place. (Skt.lex.) கர்வம்² karvam , n. < kharva. 1. A billion; இலட்சங்கோடி 2. One of the nine treasures of Kubēra (Tamil lex.) खार्वा khārvāखार्वा The Tretā age or second Yuga of the world. (Apte Skt. lex.) खर्व , -र्वम् A large number (1,,,)(Samskritam) கர்வடம் karvaṭam , n. < kharvaṭa. Town surrounded by mountains and rivers; மலையும் யாறுஞ் சூழ்ந்த ஊர். (திவா.)

Rebus 3: खर्व (-र्ब) a. [खर्व्-अच्] 1 Mutilated, crippled, imperfect; Yv. Ts.2.5.1.7. -2 Dwarfish, low, short in stature. (Apte. Skt. Lex.)

Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023).Rebus: khāṇḍā ‘tools, pots and pans, metal-ware’. 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’.

S. kã̄ḍo ʻ thorny ʼ (CDIAL 3022).kāˊṇḍa (kāṇḍá -- TS.) m.n. ʻ single joint of a plant ʼ AV., ʻ arrow ʼ MBh., ʻ cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion with gaṇḍa -- 2 makes 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; Ash. kaṇ ʻ arrow ʼ, Mth. kã̄ṛ ʻ stack of stalks of large millet ʼ, kã̄ṛī ʻ wooden milkpail ʼ; Bhoj. kaṇḍā ʻ reeds ʼ; H. kã̄ṛī f. ʻ rafter, yoke ʼ, kaṇḍā m. ʻ reed, bush ʼ (← EP.?); G. kã̄ḍ m. ʻ joint, bough, arrow ʼ, °ḍũ n. ʻ wrist ʼ, °ḍī f. ʻ joint, bough, arrow, lucifer match ʼ; M. kã̄ḍ n. ʻ trunk, stem ʼ, °ḍẽ n. ʻ joint, knot, stem, straw ʼ, °ḍī f. ʻ joint of sugarcane, shoot of root (of ginger, &c.) ʼ; Si. kaḍaya ʻ arrow ʼ. -- Deriv. A. kāriyāiba ʻ to shoot with an arrow ʼ. [< IE. *kondo -- , Gk. kondu/los ʻ knuckle ʼ, ko/ndos ʻ ankle ʼ T. Burrow BSOAS xxxviii 55] S.kcch. kāṇḍī f. ʻ lucifer match ʼ?(CDIAL 3023) *kāṇḍakara ʻ worker with reeds or arrows ʼ. [kāˊṇḍa -- , kará -- 1] L. kanērā m. ʻ mat -- maker ʼ; H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers ʼ.(CDIAL 3024). 3026 kāˊṇḍīra ʻ armed with arrows ʼ Pāṇ., m. ʻ archer ʼ lex. [kāˊṇḍa -- ]H. kanīrā m. ʻ a caste (usu. of arrow -- makers) ʼ.(CDIAL 3026).

Ziziphus (jujube) is called कूदी कूट्/ई in Atharvaveda. It is बदरी, "Christ's thorn". Rebus: kuThi 'smelter'

Some images related to Susa (Sumer)

Culm is the hollow stem of a grass or cereal plant, especially that bearing the flower. Sumer procession shows the banner of aone-horned bull held aloft on a culm of millet. This is unmistakable hieroglyph narrative since a banner topped by a sculpted image (young bull with one-horn) cannot be held aloft on a millet culm.

Both the sculpted image of young bull with one horn AND the millet culm are hieroglyphs.

The post holding the young bull banner is signified by a culm of plant, esp. of millet. This is karba 'culm of millet' rebus: karba 'iron' ajirda karba 'very hard iron' (Tulu)

L’enseigne (M,458) (pl. LVII) est faite d’un petit taureau dresse, passant a gauche, monte sur un socle supporte par l’anneau double du type passe-guides. La hamper est ornementee d’une ligne chevronnee et on retrouve le meme theme en travers de l’anneau double.

M.458 H. 0.070 m. (totale); h. 0, 026 m. (taureau sur socle); l. 0,018m.

Translation

The sign (M, 458) (pl. LVII) is made of a young bull stand, from left, mounted on a base supports the double ring-pass type guides. The hamper is decorated with a line and the same theme is found across the double ring.

M.458 H. 0.070 m. (Total); h. 0, 026 m. (Bull on base); l. 0,018m.

Source: http://digital.library.stonybrook.edu/cdm/compoundobject/collection/amar/id/48366/rec/2 (Parrot, Andre, Mission archéologique de Mari. V. I: Le temple d'Ishtar, p.161)

Frise d'un panneau de mosaïque
Vers 2500 - 2400 avant J.-C.
Mari, temple d'Ishtar
Coquille, schiste
Fouilles Parrot, 1934 - 1936
AO 19820 Louvre reference

Image result for susa pennant one-horned bull bharatkalyan97

In front of a soldier, a Sumerian standard bearer holds a banner aloft signifying the one-horned young bull which is the signature glyph of Harappa Script (Indus writing). Detail of a victory parade, from the Ishtar temple, Mari, Syria. 2400 BCE Schist panel inlaid with mother of pearl plaques. Louvre Museum.

Indus Script hieroglyphs on Kosala coins. The repertoire of metalwork wealth accounting ledger entries are: magnetite, ferrite ore; smelting furnace; copper alloy calcining metal; silver, alloy metal, metalcasting mint to produce hard alloys (by infusion of carbon -- wheat chaff fumes -- into molten metal).

zebu पोळ pōḷa, 'Zebu, bos indicus' rebus: पोळ pōḷa, 'magnetite, ferrite ore'
peacock maraka 'peacock' Rebus: marakaka loha 'copper alloy, calcining metal'.
tree kuṭi 'tree' Rebus: kuṭhi 'smelting furnace'
nandipada khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage' PLUS ayo 'fish' rebus: aya 'iron'ayas 'alloy metal' PLUS dula 'two' rebus: dul 'metal casting'
round pebble: goṭa 'round stone, pebble' rebus:goṭi 'silver'
Standard: skambha with caṣāla : kambha 'pillar' rebus: kammaṭa 'mint, coiner, coinage'

Skambha of Atharva Veda Skambha sukta, as a fiery pillar of light which topped with caṣāla,godhuma 'wheat-chaff' fumes, infuses carbon to harden metal in the fire-altar, furnace, smelter.

cobrahood (stylized)

150 B.CE-100 B.CE :: Coin by King Kumudasena of Ayodhya (Indian Museum Kolkata )

The argument: hieroglyphs for a catalog of a smithy/forge

Provenience: Khafaje Kh. VII 256 Jemdet Nasr (ca. 3000 - 2800 BCE) Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 34. Mythological scene: tailless lion or bear standing erect behind tree; two goats feeding at other side of tree; another tree, with bird in branches, behind monster; three-lowered buildings with door at left side; watercourse along bottom of scene. Gray limestone. 4.1x3.5cm.[i]

The cylinder seal is a catalog of a smithy: copper, iron alloy smith, turner, hard alloy metal tools, pots and pans.

The two animals are: markhor, antelope. miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120); rebus: mẽṛhẽt, meḍ ‘iron’ (Munda.Ho.) mr̤eka, melh ‘goat’ (Telugu. Brahui) Rebus: melukkha ‘milakkha, copper’.

करडणें or करंडणें [ karaḍaṇē or ṅkaraṇḍaṇēṃ ] v c To gnaw or nibble; to wear away by biting (Marathi). Rebus: karaḍa ‘hard alloy’. karaḍa ‘duck’ Rebus: karaḍa ‘hard alloy’ karaḍa ‘wave’ Rebus: karaḍa ‘hard alloy’ karaḍa ‘panther’ Rebus: karaḍa ‘hard alloy’. khōṇḍa ‘leafless tree’ (Marathi). Rebus: kõdār ’turner’ (Bengali) kole.l 'temple' Rebus: kole.l 'smithy'. khōṇḍa A tree of which the head and branches are broken off, a stock or stump: also the lower portion of the trunk—that below the branches. (Marathi) Rebus 1: kõdā ‘to turn in a lathe’ (Bengali) Rebus 2: koḍ ‘workshop’ (Gujarati) Glyh of flowing water: kāṇḍa ‘flowing water’ Rebus: kāṇḍā ‘metalware, tools, pots and pans’.Thus, the entire hieroglyphic composition of the cylinder seal is a smithy catalog:

karaḍ ’nibbling’ karaḍa ‘duck’ karaḍa ‘wave’ karaḍa ‘panther’ all connoting reinforcing, Rebus: karaḍa ‘hard alloy’ and work of kõdār ’turner’ in kole.l ‘smithy, temple’ producing: kāṇḍā ‘metalware, tools, pots and pans’.

Cluster Equipment making black-smithy/-forge

FS 42 (Frequency in M Copus:10 ) Hare facing a bush.

FS 43 (Frequency in M Copus:5) Inscribed object in the shape of a hare.

Examples of incised copper tablets (Hieroglyph-multiplex (FS 42 field symbol): hare PLUS thorn/bush):

m1491Act

m1491Bct

m1492Act

m1492Bct

m1493Bct

1706 Hare

m1494

Pict-42

m1497Act

See: http://bharatkalyan97.blogspot.in/2016/01/data-mining-techniques-decipherment-of.html

Hieroglyph kharā 'hare' (Oriya): *kharabhaka ʻ hare ʼ. [ʻ longeared like a donkey ʼ: khara -- 1?]N. kharāyo ʻ hare ʼ, Or. kharā, °riā, kherihā, 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) 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; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -; or । 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; । 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.

Hare in front of the bush: Hieroglyph kharā 'hare' (Oriya) Rebus: khār खार् 'blacksmith' (Kashmiri) PLUS kaṇḍɔ m. ʻ thorn'; kaṇṭa1 m. ʻ thorn ʼ BhP. 2. káṇṭaka -- m. ʻ thorn ʼ ŚBr., ʻ anything pointed ʼ R. 1. Pa. kaṇṭa -- m. ʻ thorn ʼ, Gy. pal. ḳand, Sh. koh. gur. kōṇ m., Ku. gng. kã̄ṇ, A. kāĩṭ (< nom. *kaṇṭē?), Mth. Bhoj. kã̄ṭ, OH. kã̄ṭa. 2. Pa. kaṇṭaka -- m. ʻ thorn, fishbone ʼ; Pk. kaṁṭaya<-> m. ʻ thorn ʼ, Gy. eur. kanro m., SEeur. kai̦o, Dm. kãṭa, Phal. kāṇḍu, kã̄ṛo, Sh. gil. kóṇŭ m., K. konḍu m., S. kaṇḍo m., L. P. kaṇḍā m., WPah. khaś. kaṇṭā m., bhal. kaṇṭo m., jaun. kã̄ḍā, Ku. kāno; N. kã̄ṛo ʻ thorn, afterbirth ʼ (semant. cf.śalyá -- ); B. kã̄ṭā ʻ thorn, fishbone ʼ, Or. kaṇṭā; Aw. lakh. H. kã̄ṭā m.; G. kã̄ṭɔ ʻ thorn, fishbone ʼ; M. kã̄ṭā, kāṭā m. ʻ thorn ʼ, Ko. kāṇṭo, Si. kaṭuva. kaṇṭala -- Addenda: kaṇṭa -- 1. 1. A. also kã̄iṭ; Md. kaři ʻ thorn, bone ʼ.2. káṇṭaka -- : S.kcch. kaṇḍho m. ʻ thorn ʼ; WPah.kṭg. (kc.) kaṇḍɔ m. ʻ thorn, mountain peak ʼ, J. kã̄ḍā m.; Garh. kã̄ḍu ʻ thorn ʼ. (CDIAL 2668) Rebus: kaNDa 'implements'. Thus, hare in front of thorn/bush signifies: khār खार् 'blacksmith' PLUS kaNDa 'implements', i.e. implements from smithy/forge.

FS 35

FS 57 सांगड sāṅgaḍa sāṅgāḍī 'joined parts rebus, saṁgaha 'catalogues' of metalwork wealth'

FS 7 (Frequency of occurrence in M Corpus: 1159) Unicorn, generally facing a standard device.

FS 108 Person kneeling under a kino tree facing a tiger

FS 53 FS 52, FS 53 Fabulous animal with the body of a tiger. a human head and horns of an antelope.

FS 48

Cluster Eagle in flight cluster, thunderbolt weapon, blacksmith classifier

FS 74 (Frequeny in M Corpus: 4) The hypertext FS 74 signifies: blacksmith's mint and weapon, thunderbolt.

Bird in flight. P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garān. آهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing. and Pl.); (W.) Pl. آهن رباوي āhan-rubāwī. See اوسپنه.(Pashto) ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmiri)

khamba ‘wing’ rebus: kammaṭa ‘mint’.

श्येन [p= 1095,2] m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle Śulbas. (Monier-Williams) śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala):

aśáni f. ʻ thunderbolt ʼ RV., °nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.] Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ. &circmacrepsilon;n (both with n, not ṇ), P. āhiṇ, f., āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, hiṇi f., N. asino, pl. °nā; Si. sena, heṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be ā̤n; -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼcf. upala -- and A. xil* s.v.śilāˊ -- . (CDIAL 910) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ]Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207)

aśáni f. ʻ thunderbolt ʼ RV., °nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.] Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin;n (both with n, not ṇ), P. āhiṇ, f., āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, hiṇi f., N. asino, pl. °nā; Si. sena, heṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be **ā̤n;* -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v.śilāˊ -- . (CDIAL 910) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ]Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207)

Impression of a cylinder seal, unknown Near Eastern Origin.

Image result for indus script cylinder seal

Impression of a cylinder seal, unknown Near Eastern Origin. Louvre Museum.

FS 117 In the upper regiMer from R.-: person grappling with two animals (tigers); a horned personage standing behind a pedestal; a kinn tree; In the lower register from R.-a bird in flight over a

unicorn : an antelope: two horned bulls facingeach other and a cicle (dotted?)

Indus Script inscription, message: Brassworker's guild, smelter metalwork catalogue, pewter, laterite castings, hard alloys, implements, smithy/forge working in iron, lead, metal hard alloys.

Copyrighted photo by M. Chuzeville for the Departement des antiquites orientales, Musee du Louvre. "One of the two anthropomorphic figures carved on this seal wears the horns of water buffalo while sitting on a throne with hoofed legs, surrounded by snakes, fishes and water buffaloes. Copyrighted photo by M. Chuzeville for the Departement des antiquites orientales, Musee du Louvre."

http://www.akhabataku.com/IndusScript.htm (After Fig. 6)

Hieroglyph multiplexes of the hypertext of the cylinder seal from a Near Eastern Source can be identified: aquatic bird, rhinoceros, buffalo, buffalo horn, crucible, markhor, antelope, hoofed stool, fish, tree, tree branch, twig, roundish stone, tiger, rice plant.

Hieroglyph components on the head-gear of the person on cylinder seal impression are: twig, crucible, buffalo horns: kuThI 'badari ziziphus jojoba' twig Rebus: kuThi 'smelter';koThAri 'crucible' Rebus: koThAri 'treasurer'; tattAru 'buffalo horn' Rebus: ṭhã̄ṭhāro 'brassworker'. koD 'horns' rebus: koD 'workshop'. Thus, the gypertext message is: a brassworker's workshop with a smelter.

This hieroglyph multiplex ligatures head of an antelope to a snake: nAga 'snake' Rebus:nAga 'lead' PLUS karaḍū or ṅkaraḍēṃ ] n A kid. कराडूं (p. 137) [ karāḍūṃ ] n (Commonly करडूं ) Akid. (Marathi) Rebus: करडा (p. 137) [ karaḍā ]'hard alloy' ranku 'antelope' Rebus:ranku 'tin'. tuttināgamu is a Prakritam gloss meaning 'pewter, zinc'. A comparable alloy may be indicated by the hieroglyph-multiplex of antelope-snake: rankunAga, perhaps a type of zinc or lead alloy.

Two fish hieroglyphs flank the hoofed legs of the stool or platform signify: warehouse of cast metal alloy metal implements:

khuṭo ʻleg, footʼ. khũṭ ‘community, guild’ (Santali)Ta. kuracu, kuraccai horse's hoof. Ka. gorasu, gorase, gorise, gorusu hoof. Te. gorija, gorise, (B. also) gorije, korije id. / Cf. Skt. khura- id.; Turner, CDIAL, no. 3906 (embedded). (DEDR 1770)

Ta. kurappam currycomb. Ma. kurappam, kurappan id. Ka. korapa, gorapa id. Te. kurapamu, koṟapamu, goṟapamu id. / ? Cf. Turner, CDIAL, no. 3730, kṣurapra- ('scraper'-meanings). (DEDR 1771)

Hieroglyph: kaṇḍō a stool Rebus: kanda 'implements'

Hieroglyph: maṇḍā 'raised platform, stool' Rebus: maṇḍā 'warehouse'.

dula 'pair' Rebus: dul 'cast metal'

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

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

This mkultiplx is flanked by 1. kolom 'rice plant' Rebus: kolimi 'smithy, forge'; 2. kuTi 'tree' Rebus: kuThi 'smeter'. Thus the message is that the warehouse of cast metal alloy metal implements is complemented by a smelter and a smithy/forge -- part of the metalwork repertoire. khuṭo ʻleg, footʼ. khũṭ‘community, guild’ (Santali)

The hieroglyph-multiplex of a woman thwarting two rearing tigers is also signified on other seals and tablets to signify:

Hieroglyph: kola 'woman' Rebus: kol 'working in iron'

dula 'pair' Rebus: dul 'cast metal' PLUS kola 'tiger' Rebus: kolle 'blacksmith'; kolhe 'smelter'; kole.l'smithy, forge'. The kolmo 'rice-plant' Rebus kolimi 'smithy, forge' is a semantic determinant of the cipher: smithy with smelter. taTu 'thwart' rebus: dhatu 'mineral'. Thus, 'mineral smelter'. Together the hieroglyph-multiplex or hypertext of a woman thwarting two tigers signifies: smithy/forge with smelter for dhatu, minerals.

The bottom register of the cylinder seal impression lists the products: smithy/forge forged iron, alloy castings (laterite PLUS spelter), hard alloy implements.

goTa 'roundish stone' Rebus: goTa 'laterite, ferrite ore''gold-lace braid'

dula 'pair' Rebus: dul 'cast metal' PLUS rã̄go 'buffalo' Rebus: rāṅgā 'zinc alloy, spelter, pewter'. Thus, cast spelter PLUS laterite, ferrite ore.

markhor PLUS tail

miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) koṭe meṛed = forged iron, in contrast to dul meṛed, cast iron (Mundari) PLUS Kur. xolā tail. Malt. qoli id. (DEDR 2135) 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.

Rhinoceros PLUS eagle aśan, śyena, sena 'eagle' rebus: sena 'thunderbolt' ahan 'blacksmith' PLUSkhamba 'wing' rebus: kammaṭa 'mint'.

Hieroglyhph: kāṇṭā 'rhinoceros. gaṇḍá m. ʻ rhinoceros ʼ Rebus: kāṇḍa 'tools, pots and pans and metal-ware' (Gujarati)

Two water-buffalos flanks a hieroglyph: something round, like a seed. Hieroglyph: rã̄go 'buffalo' Rebus: rāṅgā 'zinc alloy, spelter, pewter'. What does the hieroglyph 'something round' signify? I suggest that it signifies goṭa 'round pebble' rebus: goṭa 'laterite (ferrous ore)'.

Orthographic variants of tails of 'animal' hieroglyphs, particularly those of ram or antelope are deciphered as rebus-metonymy layered Meluhha (Proto-Prakritam) words related to blacksmithy or smelters of iron and other metals including metal infusion and cire perdue lost-wax castings. The 'tail' hieroglyh also gets normalised as a sign on texts to connote kolA 'tail' Rebus: kolhe 'smelter' kolle 'blacksmith'.

Some hieroglyph components are: hooded snake or short-tail generally on antelopes.

meḍho-kolhe 'iron smelter'

Hieroglyph: eagle in flight:

Parallels from Harappa Script Corpora:

meḍho-kolhe 'iron smelter' PLUS krammara 'look back' Rebus: kamar 'artisan'

meḍho-kolhe 'iron smelter' PLUS aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda)

khura m. ʻ hoof ʼ KātyŚr̥. 2. *khuḍa -- 1 (khuḍaka -- , khula° ʻ ankle -- bone ʼ Suśr.). [← Drav. T. Burrow BSOAS xii 376: it belongs to the word -- group ʻ heel <-> ankle -- knee -- wrist ʼ, see *kuṭṭha -- ]1. Pa. khura -- m. ʻ hoof ʼ, Pk. khura -- m. (chura -- after khura -- ~ chura -- < kṣurá -- ); Ash. kū˘r ʻ hoof, foot ʼ, kurkāˊ ʻ heel ʼ; Kt. kyur ʻ foot ʼ, kyurkəté ʻ heel ʼ; Gamb kr ʻ hoof, foot ʼ, Niṅg. xūr, Woṭ.khuru, (Kaţārkalā) khur; Dm. khur ʻ foot ʼ; Paš. lauṛ. khurīˊ f. ʻ hoof, heel ʼ (→ Par. khurīˊ ʻ heel ʼ IIFL i 265), kuṛ. xūr ʻ foot ʼ, dar. kurī ʻ heel ʼ, nir. xurī; Shum. xurem ʻ my foot ʼ, xurigyem ʻ my heel ʼ; Gaw. Kal. khur ʻ foot ʼ; Bshk. khur m. ʻ foot ʼ (khin ʻ heel ʼ, Gaw. khunīk, Sv. khunike X píṇḍa -- or < khuriṇī -- AO xviii 240); Tor. khū ʻ foot ʼ, Mai. khur, ky. khor, Phal. khur m.; Sh. gil. khūrṷ m. ʻ hoof ʼ, khūri̯ f. ʻ heel ʼ, koh. khōrṷ m. ʻ hoof ʼ, jij. khuri ʻ heel ʼ (koh. thŭri, pales. thurī ʻ heel ʼ X *thuḍḍati ʻ kicks ʼ?); K. khor m. ʻ foot (esp. human) ʼ, khōr m. ʻ foot of any living being ʼ, khūru m. ʻ leg of a bed &c. ʼ,khūrü f. ʻ heel ʼ, kash. khōr ʻ foot ʼ, rām. pog. khur; S. khuru m. ʻ hoof ʼ; L. khurā m. ʻ foot track ʼ, °rī f. ʻ heel ʼ, awāṇ. khur ʻ hoof ʼ; P. khur m. ʻ hoof ʼ, °rā m. ʻ hoof -- print ʼ, °rī f. ʻ small hoof, heel of shoe ʼ, °rṛā m. ʻ divided hoof, its print ʼ; WPah. bhal. pāḍ. khur m. ʻ foot ʼ; Ku. N. khur ʻ hoof ʼ; A. khurā ʻ hoof, leg of table or stool ʼ; B. khur ʻ hoof ʼ, °rā ʻ foot of bedstead ʼ; Or. khura ʻ hoof, foot ʼ, °rā ʻ hoof, leg ʼ; Mth. khūr, khurī ʻ hoof ʼ, Bhoj. khur; H. khur m. ʻ hoof ʼ, °rā m. ʻ heel of shoe ʼ, °rī f. ʻ hoof, heel of slipper, hoof -- print ʼ; G. khur f. ʻ heel ʼ, kharī f. ʻ hoof ʼ; M. khū˘r m. ʻ hoof, foot of bed ʼ, khurī f. ʻ forepart of hoof ʼ, °rā m., °rẽ n. ʻ heel of shoe ʼ (khurũdaḷṇẽ ʻ to trample ʼ X *kṣundati?); Ko. khūru m. ʻ hoof ʼ, Si. kuraya.2. Pk. khuluha -- m. ʻ ankle ʼ; Gy. wel. xur̄, xur m. ʻ hoof ʼ; S. khuṛī f. ʻ heel ʼ; WPah. paṅ. khūṛ ʻ foot ʼ.khuriṇī -- ; *khuraghāta -- , *khurapāśa -- , *khuramr̥ttikā -- ; *catuṣkhura -- .Addenda: khura -- : WPah.kṭg. (kc.) khūˊr m. ʻ hoof ʼ, J. G. khur m.

↧

Itihāsa, Standard device on Indus Script Corpora is सांगड sāṅgaḍa 'joined lathe, portable furnace' rebus: saṁghāṭa 'catamaran' (Rāmāyaṇa), sãghāṛɔ 'lathe' jangadiyo 'military guard'

December 12, 2018, 5:17 am

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https://tinyurl.com/y7o7wf9t

The standard device shown on thousands of Indus Script inscriptions is NOT a Yūpa. This monograph presents reasons why the speculation of links with Yupa are not valid. This is an addendum to:

A short note on the iconography of Sindhu Seals -- Mrugendra Vinod

http://bharatkalyan97.blogspot.com/2017/09/a-short-note-on-iconography-of-sindhu.html

Itihāsa. अश्वमेध is NOT 'sacrifice' of animals; यष्टि 'pillar' decorated with dotted circles and identified animals are metaphors for यष्टृ 'worshippers' and metalwork, wealth-accounting ledgers

https://tinyurl.com/y7bbvag5

http://bharatkalyan97.blogspot.com/2018/12/itihasa-is-not-sacrifice-of-animals.html

The ancient word is saṁghāṭa m. ʻ fitting and joining of timber ʼ R. [√ghaṭ]Pa. nāvā -- saṅghāṭa -- , dāru -- s˚ ʻ raft ʼ; Pk. saṁghāḍa -- , ˚ḍaga -- m., ˚ḍī -- f. ʻ pair ʼ; Ku. sĩgāṛ m. ʻ doorframe ʼ; N. saṅār, siṅhār ʻ threshold ʼ; Or. saṅghāṛi ʻ pair of fish roes, two rolls of thread for twisting into the sacred thread, quantity of fuel sufficient to maintain the cremation fire ʼ; Bi. sĩghārā ʻ triangular packet of betel ʼ; H. sĩghāṛā m. ʻ piece of cloth folded in triangular shape ʼ; G. sãghāṛɔ m. ʻ lathe ʼ; M. sãgaḍ f. ʻ a body formed of two or more fruits or animals or men &c. linked together, part of a turner's apparatus ʼ, m.f. ʻ float made of two canoes joined together ʼ (LM 417 compares saggarai at Limurike in the Periplus, Tam. śaṅgaḍam, Tu. jaṅgala ʻ double -- canoe ʼ), sã̄gāḍā m. ʻ frame of a building ʼ, ˚ḍī f. ʻ lathe ʼ; Si. san̆gaḷa ʻ pair ʼ, han̆guḷa, an̆g˚ ʻ double canoe, raft ʼ.(CDIAL 12859) The Tamil word describes the nature of tied/stitched construction (using coir ropes).: கட்டுமரம் kaṭṭu-maram கட்டுமரம் kaṭṭu-maram, n. < id. +. 1. Catamaran, used for deep sea fishing; raft made of logs of wood lashed or joined together; மீன்பிடிப்பதற்காக மரங்களாற் பிணைக்கப் பட்ட மிதவை. 2. Post to which is bound Arāvāṉ to be offered as a sacrifice in the festival of kūttāṇṭai held to commemorate certain incidents in the Mahabharata; கூத்தாண்டை என்ற பாரதக்கதைபற்றிய விழாக்கொண்டாட்டத்தில், அரவானைப் பலியாகக்கொணர்ந்து கட்டும் மரம். Cm.The Ayn Sukhna evidence is stunning; it is dated to ca. 19th cent.BCE.

The device which appears in front of one-horned young bull on thousands of Indus Script inscriptions is sã̄gāḍā 'joined parts, lathe'. सांगड 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. 2 f A body formed of two or more (fruits, animals, men) linked or joined together.(Marathi).

Lathe + portable furnace are linked in the pictograph. Dotted circles are dAya rebus: dhAi 'red ores'.dhāū, vaṭṭā 'red stone, mineral (iron ore)' rebus: dhā̆vaḍ 'smelter of magnetite, haematite, laterite ores'

Hieroglyph: కమటము kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి. "చ కమటము కట్లెసంచియొరగల్లును గత్తెర సుత్తె చీర్ణముల్ ధమనియుస్రావణంబు మొలత్రాసును బట్టెడ నీరుకారు సా నము పటుకారు మూస బలునాణె పరీక్షల మచ్చులాదిగా నమరగభద్రకారక సమాహ్వయు డొక్కరుడుండు నప్పురిన్"హంస. ii.

Rebus: కమ్మటము Same as కమటము. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste.కమ్మతము kammatamu Same as కమతము. కమ్మతీడు Same as కమతకాడు. Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236)

Another rebus reading for सांगड sāṅgaḍa is samgara 'catalogue'. All IndusScript Inscriptions are metalwork catalogues, wealth-accounting ledgers. Yet another rebus reading is: the ancient accounting system used for invoicing precious commodities on approval basis called: The jangad/Challan made out by the defendant and stated to be signed by the plaintiff as receiver of the goods shown therein evidences the written contract between the parties...https://www.casemine.com/search/in?q=invoice+written+contract In Gujarati, the word jangadiyo means 'a military guard carryiingaccompanies treasure stored in the treasury/warehouse of the state'..

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Itihāsa. Ancient India vis-a-vis Economics, Management -- Satish Deodhar, Megh Kalyanasundaram

December 12, 2018, 11:20 pm

≫ Next: Farmana buffalo, arrow & Ibni-Sharrum seals deciphered 'cast pewter, metalwork implements'. Gaura, Gomr̥ga, Gavaya in R̥gveda aśvamedha may signify rã̄go ʻbuffalo bull' (Ku.N.) rebus raṅga 'tin, pewter, tin foil' (Indian sprachbund, Meluhha)

≪ Previous: Itihāsa, Standard device on Indus Script Corpora is सांगड sāṅgaḍa 'joined lathe, portable furnace' rebus: saṁghāṭa 'catamaran' (Rāmāyaṇa), sãghāṛɔ 'lathe' jangadiyo 'military guard'

Satish Deodhar, a professor at IIMA, punctuated the beginning of 2018 with a data-rich (working) paper Indian Antecedents to Modern Economic Thought.

The closing of 2018 is punctuated by this comparative studies (working) paper History-of-management-thought narratives in English language academia (1959-2016): A limited analysis by an alumnus of ISB, Megh Kalyanasundaram, who seems to have taken a cue from Deodhar.

Even just the bibliography of both papers, in themselves, should be valuable for anyone interested in India's ancient past vis-a-vis topics such as economics, management, international relations theory, strategy and more.

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Farmana buffalo, arrow & Ibni-Sharrum seals deciphered 'cast pewter, metalwork implements'. Gaura, Gomr̥ga, Gavaya in R̥gveda aśvamedha may signify rã̄go ʻbuffalo bull' (Ku.N.) rebus raṅga 'tin, pewter, tin foil' (Indian sprachbund, Meluhha)

December 13, 2018, 12:20 am

≫ Next: Itihāsa. Soft power.Confucius for China's Xi. Ram rajya for Bharat's NaMo. Announce Ordinance for Ram Mandir in Ayodhya.

≪ Previous: Itihāsa. Ancient India vis-a-vis Economics, Management -- Satish Deodhar, Megh Kalyanasundaram

https://tinyurl.com/ycmp8zv7

Ibni-Sharrum cylinder seal of ca. 2350-2170 BCE is a wealth-accounting, metalwork catalogue in Meluhha, Indus Script.

The Indus Script hieroglyphs of the gaur, ox, gaur or wild buffalo and water-buffalo are signifiers of R̥gveda gomr̥ga rendered rebus in vernacular Indian sprachbund Meluhha dialects as raṅga 'tin, pewter, tin foil'.

*mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ] S. mī˜ḍhī f., ˚ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ˚ m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.(CDIAL 10312) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.Santali)

The adorant with six curls on hair: bhaṭa ‘six' (Gujarati) rebus: bhaṭa ‘warrior’; meḍhā 'curl' rebus: mẽṛhẽt, meḍ bhāḍ 'iron furnace'. Thus, the message of the adorant with six curls of hair signifies: meḍ bhāḍ 'iron furnace'. The overflowing pots held by the adorants signify: lokhãḍ 'metal implements, pots and pans, metalware'.

bhaṭa‘six' (Gujarati) rebus: bhaṭa‘warrior’ rebus: baṭa ‘iron’ (Gujarati) bhāḍ'furnace' (Marathi)

9656 bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj] Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭh m., ˚ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhī, bhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v. bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- . Addenda: bhráṣṭra -- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ. 9657 *bhraṣṭrapūra ʻ gridiron -- cake ʼ. [Cf. bhrāṣṭraja -- ʻ pro- duced on a gridiron ʼ lex. -- bhráṣṭra -- , pūra -- 2] P. bhaṭhūhar, ˚hrā, bhaṭhūrā, ˚ṭhorū m. ʻ cake of leavened bread ʼ; -- or < *bhr̥ṣṭapūra -- . 9658 *bhraṣṭrāgāra ʻ grain parching house ʼ. [bhráṣṭra -- , agāra -- ] P. bhaṭhiār, ˚ālā m. ʻ grainparcher's shop ʼ. 9684 bhrāṣṭra m. ʻ gridiron ʼ Nir., adj. ʻ cooked on a grid- iron ʼ Pāṇ., ˚ka -- m. (n.?) ʻ frying pan ʼ Pañcat. [NIA. forms all < eastern MIA. *bhāṭha -- , but like Pk. none show medial aspirate except G. with -- ḍ -- poss. < -- ḍh -- . -- bhráṣṭra -- , √bhrajj]Pk. bhāḍa -- n. ʻ oven for parching grain ʼ; Phal. bhaṛ<-> ʻ to roast, fry ʼ (NOPhal 31 < bhr̥kta -- with ?); L. bhāṛ ʻ oven ʼ; Ku. bhāṛ ʻ iron oven, fire, furnace ʼ; Bi. bhār ʻ grain -- parcher's fireplace ʼ, (N of Ganges) bhaṛ -- bhū̃jā ʻ grain -- parcher ʼ; OAw. bhārū, pl. ˚rā m. ʻ oven, furnace ʼ; H. bhāṛ m. ʻ oven, grain -- parcher's fireplace, fire ʼ; G. bhāḍi f. ʻ oven ʼ, M. bhāḍ n.*bhrāṣṭraśālikā -- . 9685 *bhrāṣṭraśālikā ʻ furnace house ʼ. [bhrāṣṭra -- , śāˊlā -- ]H. bharsārī f. ʻ furnace, oven ʼ.

This is an addendum to: https://tinyurl.com/qdr3vcy Farmana Indus Script seal deciphered, water-buffalo with rings on neck 'pewter workshop',koDiyum, torc (neck-ring) of Cernunnos on Gundestrup cauldron, Pillar of Boatmen

khaṇṭi ‘buffalo bull’ (Tamil) Rebus: khãḍ '(metal) tools, pots and pans' (Gujarati)

Hypertext: overflowing pot: lokhãḍ ‘overflowing pot’ Rebus: ʻtools, iron, ironwareʼ (Gujarati)

The overflowing pot is a signifier of production of metal implements. See:

https://tinyurl.com/y8kq53kl (embedded) When this is demonstrated on seals in front of a bull or buffalo, the the bovine is a signifier of metal alloys. The 'star' hieroglyph shown on one seal reads:

मेढ mēḍha The polar star. मेढंगमत, मेढजोशी, मेढदाई, मेढमत mēḍhaṅgamata, mēḍhajōśī, mēḍhadāī, mēḍhamata See मेढेमत, मेढेजोशी, मेढेदाई &c. मेढेजोशी mēḍhējōśī m A stake-जोशी; a जोशी who keeps account of the तिथि &c., by driving stakes into the ground: also a class, or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers, almanack-makers &c. They are Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The hereditary or settled (quasi fixed as a stake) जोशी of a village. मेढेमत mēḍhēmata n (मेढ Polar star, मत Dogma or sect.) A persuasion or an order or a set of tenets and notions amongst the Shúdra-people. Founded upon certain astrological calculations proceeding upon the North star. Hence मेढेजोशी or डौरीजोशी. Rebus: मेध mēdha m Yajna; In comp. as अश्वमेध, नरमेध.मेध a sacrificial animal , victim VS. Br. S3rS.; an animal-sacrifice , offering , oblation , any sacrifice (esp. ifc.) ib. MBh. &c मेधा f. mental vigour or power , intelligence , prudence , wisdom (pl. products of intelligence , thoughts , opinions) RV. &cIntelligence personified (esp. as the wife of धर्म and daughter of दक्ष) MBh. R. Hariv. Pur.a form of सरस्वती; = धन नैघण्टुक , commented on by यास्क ii , 10.

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

http://www.antiquesatoz.com/golf/Images/sum13-4.jpg

Cylinder seal of Ibni Sharrum (Louvre Museum) https://www.louvre.fr/en/oeuvre-notices/cylinder-seal-ibni-sharrum

"This chlorite cylinder seal belonged to Ibni-sharrum, scribe of King Sharkalisharri, king of Akkad (present-day Iraq), son and successor of Naram-sin (3rd millennium BC), as indicated by the cuneiform inscription between two animals.

It depicts two heroes watering buffaloes with gushing vases, probably two acolytes of the great Sumero-Chaldean god ENKI (Ea)."

http://www.roxanephoto.com/france/paris/louvre/photos/cylindre-buffles.php

Courtesy, The Louvre, Paris, respectively copyright RMN/Franck Raux and RMN/Thierry Ollivier. More at
http://www.louvre.fr/en/oeuvre-notices/cylinder-seal-carved-elongated-bu...
http://www.louvre.fr/en/oeuvre-notices/cylinder-seal-ibni-sharrum

"Cylinder Seal of Ibni-Sharrum, described as "one of the most striking examples of the perfection attained by carvers in the Agade period [2350–2170 BCE]. . . . The decoration, which is characteristic of the Agade period, shows two buffaloes that have just slaked their thirst in the stream of water spurting from two vases held by two naked kneeling heroes." It belonged to Ibni-Sharrum, the scribe of King Sharkali-Sharri, who succeeded his father Naram-Sin. The caption cotinues: "The two naked, curly-headed heroes are arranged symmetrically, half-kneeling. They are both holding vases from which water is gushing as a symbol of fertility and abundance; it is also the attribute of the god of the river, Enki-Ea, of whom these spirits of running water are indeed the acolytes. Two arni, or water buffaloes, have just drunk from them. Below the scene, a river winds between the mountains represented conventionally by a pattern of two lines of scales. The central cartouche bearing an inscription is held between the buffaloes' horns." The buffalo was known to have come from ancient Indus lands by the Akkadians." https://www.harappa.com/blog/indus-cylinder-seals-louvre

Héros acolytes d'Ea abreuvant des buffles " A masterpiece of glyptic art This seal, which belonged to Ibni-Sharrum, the scribe of King Sharkali-Sharri, who succeeded his father Naram-Sin, is one of the most striking examples of the perfection attained by carvers in the Agade period. The two naked, curly-headed heroes are arranged symmetrically, half-kneeling. They are both holding vases from which water is gushing as a symbol of fertility and abundance; it is also the attribute of the god of the river, Enki-Ea, of whom these spirits of running water are indeed the acolytes. Two arni, or water buffaloes, have just drunk from them. Below the scene, a river winds between the mountains represented conventionally by a pattern of two lines of scales. The central cartouche bearing an inscription is held between the buffaloes' horns. A scene testifying to relations with distant lands Buffaloes are emblematic animals in glyptic art in the Agade period. They first appear in the reign of Sargon, indicating sustained relations between the Akkadian Empire and the distant country of Meluhha, that is, the present Indus Valley, where these animals come from. These exotic creatures were probably kept in zoos and do not seem to have been acclimatized in Iraq at the end of the 3rd millennium BC. Indeed, it was not until the Sassanid Empire that they reappeared. The engraver has carefully accentuated the animals' powerful muscles and spectacular horns, which are shown as if seen from above, as they appear on the seals of the Indus. The production of a royal workshop The calm balance of the composition, based on horizontal and vertical lines, gives this tiny low relief a classical monumental character, typical of the style of the late Akkadian period. Seals of this quality were the preserve of the entourage of the royal family or high dignitaries and were probably made in a workshop whose production was reserved for this elite."
Diorite
H. 3.9 cm; Diam. 2.6 cm
Don H. de Boisgelin 1967. Ancienne collection De Clercq , 1967
AO 22303
Near Eastern Antiquities
Richelieu wing
Ground floor
Mesopotamia, c. 2350–2000 BC
Room 228
Vitrine 1 : Glyptique de l'époque d'Akkad, 2340 - 2200 avant J.-C.

Impression of cylinder seal of the scribe Ibni-Sharrum, Mesopotamia, c. 2183-2159 BCE. Seal includes cuneiform inscription in Old Akkadian identifying the scribe, who worked in the court of Shar-kali-sharri. Two nude heroes, with six curls of hair, kneeling, holding waters of overflowing pots, flanking water buffalo

Farmana: metal casting workshop

http://www.chikyu.ac.jp/rihn_e/project/images/4FR-3_photo3.jpg

Reading and translation Excellent quantity cast and forge metal pewterworkshop.

dul ayaskāṇḍa rango koḍ sal

Glyphs: dul 'two'; ayo 'fish'; kāṇḍa 'arrow'; sal 'bos gaurus';

rāngo ‘water buffalo bull’; rebus: raṅga'tin, pewter, tin foil'

koḍ 'rings on neck').Hieroglyph: Rings on neck: koḍiyum (G.) koṭiyum = a wooden circle put round the neck of an animal; koṭ = neck (Gujarati) Rebus: koḍ 'artisan'sworkshop'(Kuwi) koḍ = place where artisans work (Gujarati)koṭhār 'storeroom (Gujarati)

kaṇḍa ‘arrow’; rebus: ayaskāṇḍa; ayaskāṇḍa a quantity of iron, excellent iron (Pāṇ.gaṇ)

dul = pair (synonym: two strokes)(Mu.): rebus: dul (cast) beḍa ‘fish’; beḍa ‘hearth’ Alternative: aya 'fish' rebus: ayas 'metal alloy' aya 'iron' (Gujarati)

koḍ = place where artisans work (G.lex.) koḍiyum = a wooden circle put round the neck of an animal; koḍ = neck (G.lex.) kōḍu = horns (Ta.) rango 'buffalo' rebus: rango 'pewter'

The seal thus denotes: iron metalcastings workshop with a hearth for casting pewter.

Hieroglyph: Rings on neck: koDiyum (G.) koṭiyum = a wooden circle put round the neck of an animal; koṭ = neck (Gujarati)

Rebus: koḍ 'artisan's workshop' (Kuwi) koḍ = place where artisans work (G.lex.) OP. koṭhārī f. ʻ crucible ʼ; Sv. dāntar -- kuṭha ʻ fire -- place ʼ; N. koṭho ʻ chamber ʼ, °ṭhi ʻ shop ; A. koṭhā, kõṭhā ʻ room ʼ, kuṭhī ʻ factory ʼ; Or. koṭhā ʻ brick -- built house ʼ, °ṭhī ʻ factory; WPah.kṭg. kóṭṭhi f. ʻ house, quarters, temple treasury, name of a partic. temple ʼ; kṓṣṭha n. ʻ pot ʼ Kauś., ʻ granary, storeroom' (CDIAL 3546) G. koṭhār m. ʻ granary, storehouse ʼ; WPah.kṭg. kəṭhāˊr, kc. kuṭhār m. ʻ granary, storeroom ʼ, J. kuṭhār, kṭhār m.; -- Md. kořāru ʻ storehouse ʼ; kōṣṭhāgāra n. ʻ storeroom, store ʼ Mn. (CDIAL 3550)

koṭe'forge' (Mu.)

koṭe meṛed = forged iron, in contrast to dul meṛed, cast iron (Mundari)

Metalwork catalogue depicted on the Farmana seal is unambiguous and complete. It is acelebration of the Tin-Bronze Age revolution brought about by metal castings and creation of alloys

The equivalence of wild-buffalo and bull is also signified by the Pashto word: ډنګر ḏḏangar, s.m. (5th) A bullock or buffalo. Pl. ډنګر ḏḏangœr. ډنګره ḏḏangaraʿh, s.f. (3rd). Pl. يْ ey. 2. adj. Thin, weak, lean, meagre, emaciated, scraggy, attenuated. rebus: dangar 'blacksmith'.

It is significant that Indus script hieroglyph 1) svastika, rebus: जस्त jasta n ( H) A coarse kind of pewter, Spelter or Tutanag. and 2) Hieroglyph barad, barat 'ox' rebus: भरत bharata A factitious metal compounded of copper, pewter, tin &c.(Marathi) are also relatad to pewter-like alloys (Marathi).

The Sanskrit word गौर gaura means white, yellowish, reddish. The Sanskrit word gaur-mriga means a kind of buffalo.(Macdonell, A. A. (1929). गौर gaura. A practical Sanskrit dictionary with transliteration, accentuation, and etymological analysis throughout. Oxford University Press, London.)

गो--मृग m. (= 2. गवय्/अ q.v.) the Gayal वाजसनेयि-संहिता xxiv तैत्तिरीय-संहिता ii शतपथ-ब्राह्मण xiii कात्यायन-श्रौत-सूत्र. Thus, Veda texts treat Gomr̥ga, Gavaya as synonyms. The word gaura generally signifies pale red colour,

for e.g. g̠orā ʻ white, pale, red (of cattle) (Lahnda) cf. CDIAL 4345. gavala m. ʻ wild buffalo ʼ lex. [gṓ -- ]

Pk. gavala -- m., N. gauri gāi (← a Bi. dial. < *gavalikā -- ).(CDIAL 4096) The Nepalese expression gauri gāi signifies a wild buffalo. Gavaya (and gavaja) a species of ox, the gayal [Sk. gavaya, cp. gavala, buffalo] J v.406. (˚ja=khagga); Miln 149; DhsA 331.(Pali)

Terms associated with theatre and music/dance related to metals manufactory फड phaḍa

Rebus: Ranga² [fr. raj², irajyati, to straighten, order, direct etc.: see uju. The Dhtp (27) only gives one raj in meaning "gamana"] a stage, theatre, dancing place, playhouse Vv 33¹; J ii.252. -- rangaŋ karoti to play theatre DhA iv.62. -- rangamajjha the stage, the theatre, usually in loc. ˚majjhe, on the stage, S iv.306; J iv.495; DhA iii.79; same with ˚maṇḍale J ii.253.(Pali) रङ्ग raṅg-a [√rañg] colour; nasal colouring of a vowel (gr.); [bright scene], theatre, stage, scene, arena; theatrical audience; N.: -kâra, m. dyer; -kara, m. actor; gladiator; -dvâr, f. stage-door; -dvâra, n. prologue in a play; -nâtha, m. N.; -patâkâ, f. N.; -bhûmi, f. battle-field; -maṅgala, n. festival on the stage; -mandapa, play-house, theatre; -vat-î, f. N.; -vastu, n. colouring matter; -vâra̮aṅganâ, f. stage-dancer; -̮aṅgana, n. arena; -̮avatarana, n. entrance on the stage; histrionic profession; -̮avatâraka, -̮avatârin, m. stage-player, actor.(Skt.) नाचा पाडा nācā pāḍā or -फाडा m See नचा फाडा under न.नचा पाडा or फाडा The chapter of न or No. Ex. नचा फाडा वाचणें-सांगणें-घट करणें-घोकणें To refuse or deny everything; to be ever no-no-ing. ह्याला नचा फाडा पाठ आहे He says No to everything. 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.

I submit that the terms Gaura, Gomr̥ga, Gavaya in R̥gveda aśvamedha may signify a buffalo signified by the following: raṅku m. ʻ a species of deer ʼ Vās., ˚uka -- m. Śrīkaṇṭh.Ku. N. rã̄go ʻ buffalo bull ʼ? -- more prob. < raṅká-<-> s.v. *rakka -- .(CDIAL 10559) These are also associated with colour semantics: raṅga1 m. ʻ dye, colour ʼ MBh. [√rañj] Pa. raṅga -- m. ʻ dye, colour ʼ; Pk. raṁga -- m. ʻ red colour ʼ; Tor. rāṅg m. ʻ dye ʼ, Sh. ro̯ṅ m.; K. rang m. ʻ colour ʼ; S. raṅu m. ʻ dye, colour ʼ, raṅo m. ʻ string with which a sawyer chalks his line ʼ; L. P. raṅg m. ʻ dye, colour ʼ; A. rāṅ ʻ red colour of chewed betel ʼ; B. rāṅā ʻ red ʼ; Or. rā̆ṅgā ʻ red, red colour ʼ; H. rã̄g f. ʻ dye, juice of plants ʼ; Si. ran̆ga ʻ colour ʼ.(CDIAL 10560)

Rebus renderings signify solder, pewter, tin, tinsel, tin foil: Hieroglyph: Ku. N. rã̄go ʻ buffalo bull ʼ(CDIAL 10559) Rebus: 10562 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. rāṅ, rāṅo 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.*raṅgapattra -- .10567 *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ] B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.(CDIAL 10562, 10567)

gaurá ʻ white, yellowish, pale red ʼ RV.Pa. Pk. gōra -- ʻ white ʼ; Gy. wel. gōrō m. ʻ non -- Gypsy married to a Gypsy, halfbreed ʼ; Pr. gúru ʻ red ʼ; Dm. gōra ʻ white ʼ, Kal. gɔ̈̄ra; Bshk. gūr, gū ʼ ʻ khaki -- coloured, yellow ʼ (AO xviii 235 < gūḍhá -- 1); Phal. gūrṓ ʻ yellow (?) ʼ in g˚ maharūc̣u ʻ an inferior kind of mulberry ʼ ~ kiṣíṇu m˚ ʻ black mulberry ʼ; Sh. gūrṷ ʻ brown, grey, selfcoloured ʼ, (Lor.) gvrilo ʻ yellow, withered ʼ; S. goro ʻ fair<-> complexioned ʼ; L. g̠orā ʻ white, pale, red (of cattle) ʼ; P. gorā ʻ white, pale ʼ; Ku. N. goro ʻ fair -- skinned ʼ; A. gõrā ʻ white ʼ; B. gora, ˚rā ʻ white, fair ʼ, Or. gorā; Bi. gorī f. adj. ʻ light -- coloured (of soil) ʼ; Mth. gora ʻ fair ʼ, Bhoj. Aw. lakh. gōr, H. gorā; OMarw. gorī f. adj. ʻ fair, beautiful ʼ; G. gorũ ʻ white, fair, lovely ʼ; M. gorā ʻ fair ʼ; Ko. goro ʻ pale, white ʼ; Si. gora ʻ white ʼ.Addenda: gaurá -- : WPah.kṭg. gorɔ ʻ having a fair complexion ʼ; Garh. gorū.(CDIAL 4345) 4147 *gāva m. ʻ ox ʼ. 2. *gāvā -- f. ʻ cow ʼ. 3. gāvī -- f. Pat. [gṓ -- ]1. Pa. gāva -- m. ʻ ox ʼ, NiDoc. gava F. W. Thomas AO xii 40, Pk. gāa -- m., Gaw. gā, Bshk. Mai. gå; H. gāu m. ʻ bull, bullock ʼ; Si. gava ʻ bullock ʼ or < gava -- .2. Ash. ga ʻ cow ʼ, Kt. gå, Wg. gā, Pr. guṭu (+?), Dm. gâ, Paš. Niṅg. Shum. gā, Woṭ. gau, Kal. gak, pl. gāgan (< *gāvakā -- ?); Kho. gāh ʻ yak cow ʼ, ga -- meṣ ʻ buffalo cow ʼ; Tor. Mai. gā ʻ cow ʼ: all above poss. with BelvalkarVol 90 direct, or through *gākā -- , < acc. gāˊm, pl. gāˊḥ. -- With trace of -- v -- : Sv. gāu, K. gāv f., rām. gau, pl. gawa, kash. gāu, pog. gāū̃, P. gāu, gã̄ f. PhonPj 110, bhaṭ. gau, WPah. bhal. gaũ, pl. gaũã̄, khaś. gau, obl. gauwā, paṅ. cur. cam. gā.3. Pa. Pk. gāvī -- f. ʻ cow ʼ, Pk. gāī -- f., Ḍ. gāi f., Bshk. gay f., Phal. ghāu, pl. ghēyī, S. gã̄i (g!), L. gã̄ (Ju. g̠āū̃), pl. gãī, awāṇ. gã̄, pl. gāī˜ f., P. gāī f., WPah. pāḍ. gā, pl. göī, jaun. gāw, pl. ˚wī˜, N. A. B. gāi, Or. gāī, Bi. Mth. Aw.lakh. gāi, H. gāī f., G. gā, gāy, f., M. gāī f., Ko. gāyi.

Ext. -- l -- or -- ll -- : Paš. gawala ʻ cow ʼ, M. gavlī f. ʻ affectionate term for a cow ʼ; -- -- ḍa -- : Garh. gauṛī ʻ cow ʼ; G. gāvṛī f. ʻ affectionate term ʼ.*gāvaka -- ; *gāvaśāla -- .Addenda: *gāva -- . 2. *gāvā -- : S.kcch. gaũ f. ʻ cow ʼ, Garh. gauṛī f.
3. gāvī -- : WPah.kṭg. (kc.) gau f. (obl. kṭg. gawi, gai, gau, kc. gabi) ʻ cow ʼ, OMarw. gāi f.*gāvā -- , gāvī -- see gāva -- Add2.

4148 *gāvaka ʻ bovine ʼ. [*gāva -- ]Kal. (Leitner) "gao", S. gāo (g!) ʻ pertaining to cows ʼ, L. gāvā adj., ˚vī f. ʻ herd of cows ʼ (Ju. g̠˚), awāṇ. ghio gāvā ʻ ghee from cow's milk ʼ, mult. gāvā māl ʻ property consisting of cows ʼ; A. gā -- khīr ʻ cow's milk ʼ; Or. gaüā ʻ derived from a cow ʼ, guā ghia ʻ ghee from cow's milk ʼ, H. gāwā (e.g. g˚ ghī). 4149 *gāvaśāla ʻ cowshed ʼ. [Cf. gōśāla -- : *gāva -- , śāˊlā -- ]Bi. gausār, ˚sālā: perh. rather changed fr. *gosār < gōśālā -- after *gau ʻ cow ʼ < gāvī -- .(CDIAL 4147 to 4149)

Excerpts from Vedic India on Gaura, Gomr̥ga, Gavaya

The Hindi word गौर gaur means fair-skinned, fair, white.(Caturvedi, M. (1970). गौर gaur. A practical Hindi-English dictionary. National Publishing House, Delhi. Page 184.)

The gaur (/ɡaʊər/, Bos gaurus), also called the Indian bison, is the largest extant bovine. This species is native to South and Southeast Asia. ..The gaur is the tallest of wild cattle species.The Malayan gaur is called seladang, and the Burmese gaur is called pyoung ပြောင်.^[3] The domesticated form of the gaur is called gayal (Bos frontalis) or mithun. (Nowak, R. M. (1999). Gaur Pages 1158–1159 in Walker's Mammals of the World. Volume 1. The Johns Hopkins University Press, Baltimore, USA and London, UK.) ..By most standards of measurements, gaur is the largest wild bovid alive today. However, the shorter-legged, bulkier wild water buffalo (Bubalus arnee) is similar in average body mass, if not maximum weight. (Owen-Smith, R. N. (1992). Megaherbivores: the influence of very large body size on ecology. Cambridge University Press.)...Gaur historically occurred throughout mainland South and Southeast Asia, including Vietnam, Cambodia, Laos, Thailand, Peninsular Malaysia, Myanmar, India, Bangladesh, Bhutan, China and Nepal. Today, the range of the species is seriously fragmented, and it is regionally extinct in Sri Lanka. Gaur are largely confined to evergreen forests or semi-evergreen and moist deciduous forests, but also occur in deciduous forest areas at the periphery of their range. Gaur habitat is characterized by large, relatively undisturbed forest tracts, hilly terrain below an altitude of 1,500 to 1,800 m (4,900 to 5,900 ft), availability of water, and an abundance of forage in the form of grasses, bamboo, shrubs, and trees. Their apparent preference for hilly terrain may be partly due to the earlier conversion of most of the plains and other low-lying areas to croplands and pastures.(Schaller, G. (1967). The Deer and the Tiger: a study of wildlife in India. University of Chicago Press, Chicago) https://en.wikipedia.org/wiki/Gaur

Dimensions of Gaur horns.

Malayan gaur locally called seladang

Leucistic gaur or Manjampatti white bison. Leucistic gaur are very rare; this photograph was taken in Chinnar Wildlife Sanctuary.

Large male gaur.

Present range of Gaur.

https://en.wikipedia.org/wiki/Gaur#/media/File:Gaur_map.png

The gaur is a strong and massively built species with a high convex ridge on the forehead between the horns, which protrudes anteriorly, causing a deep hollow in the profile of the upper part of the head. There is a prominent ridge on the back. The ears are very large; the tail only just reaches the hocks, and in old bulls the hair becomes very thin on the back. In colour, the adult male gaur is dark brown, approaching black in very old individuals; the upper part of the head, from above the eyes to the nape of the neck, is, however, ashy grey, or occasionally dirty white; the muzzle is pale coloured, and the lower part of the legs are pure white or tan. The cows and young bulls are paler, and in some instances have a rufous tinge, which is most marked in groups inhabiting dry and open districts. The tail is shorter than in the typical oxen, reaching only to the hocks. They have a distinct ridge running from the shoulders to the middle of the back; the shoulders may be as much as 12 cm (4.7 in) higher than the rump. This ridge is caused by the great length of the spinous processes of the vertebrae of the fore-part of the trunk as compared with those of the loins. The hair is short, fine and glossy; the hooves are narrow and pointed.

The gaur has a head-and-body length of 250 to 330 cm (8 ft 2 in to 10 ft 10 in) with a 70 to 105 cm (28 to 41 in) long tail, and is 142 to 220 cm (4 ft 8 in to 7 ft 3 in) high at the shoulder, averaging about 168 cm (5 ft 6 in) in females and 188 cm (6 ft 2 in) in males. At the top of its muscular hump just behind its shoulder, an average adult male is just under 200 cm (6 ft 7 in) tall and the male's girth at its midsection (behind its shoulders) averages about 277 cm (9 ft 1 in). Males are about one-fourth larger and heavier than females.^[4]Body mass can range widely from 440 to 1,000 kg (970 to 2,200 lb) in adult females and 588 to 1,500 kg (1,296 to 3,307 lb) in adult males. In general measurements are derived from gaurs surveyed in India. Indian gaur males averaged about 840 kg (1,850 lb) (in a sample of 13) and females weigh a median of approximately 700 kg (1,500 lb). Body masses elsewhere suggest gaurs outside of India can grow larger. For example, males from China (B. g. laosiensis) can weigh 1,200 kg (2,600 lb) or more. The Seladang, or Malayasian subspecies, (B. g. hubbacki) appears to be larger on average than the nominate race from India, but sample sizes as known are small. According to some sources, seladang bulls weigh on average 1,000 to 1,300 kg (2,200 to 2,900 lb), which if accurate indicates these animals are on average more than 20% more massive than the gaurs of India.

https://en.wikipedia.org/wiki/Gaur

Overflowing pot on tens of Ancient Near East artifacts, an Indus Script hypertext signifies production of metal implements

https://tinyurl.com/y8kq53kl

That the hieroglyph of pot/vase overflowing with water is a recurring theme can be seen from other cylinder seals, including Ibni-Sharrum cylinder seal. Such an imagery also occurs on a fragment of a stele, showing part of a lion and vases.

காண்டம்² kāṇṭam, n. < காண்டம்² kāṇṭam n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16).. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16) (Tamil) Rebus: khāṇḍa ‘tools, weapons, vessels’ (Marathi) [Note: On some of the Ancient Near East cylinder seal representations, the flowing water, overflowing pot are augmented by swimming fish, suggesting that ‘fish’ hieroglyph should also be taken as part of the message: ayo, aya ‘fish’ rebus: aya ‘iron’ ayas ‘metal’]

m1656 Mohenjodro Pectoral. Carnelian. kanda kanka ‘rim of pot’ (Santali) rebus: kanda ‘fire-altar’khaNDa ‘implements’ PLUS karNaka ‘rim of jar’ rebus: karNi ‘Supercargo, scribe’ PLUS semantic determinant: kANDa ‘water’ rebus: khaNDa ‘implements’. In the context of semantics of karNi ‘supercargo’, it is possible to decipher the standard device sangaDa ‘lathe’ rebus: jangada ‘double-canoe’ as a seafaring merchant vessel. The suffix -karnika signifies a ‘maker’. Kāraṇika [der. fr. prec.] the meaning ought to be “one who is under a certain obligation” or “one who dispenses certain obligations.” In usu˚ S ii.257 however used simply in the sense of making: arrow — maker, fletcher (Pali). kāraṇika m. ʻ teacher ʼ MBh., ʻ judge ʼ Pañcat. [kā- raṇa — ]Pa. usu — kāraṇika — m. ʻ arrow — maker ʼ; Pk. kāraṇiya — m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul — karṇī m. ʻ village accountant ʼ.

(CDIAL 3058) “Fletching (also known as a flight or feather) is the aerodynamic stabilization of arrows or darts with materials such as feathers, each piece of which is referred to as a fletch. A fletcher is a person who attaches the fletching.The word is related to the French word flèche, meaning “arrow”, via Old French; the ultimate root is Frankish fliukka.”

https://en.wikipedia.org/wiki/FletchingPerhaps the reading should be ˚kāraka. (Pali) Similarly, khaNDa Kāraṇika can be semantically explained as ‘implements maker’. The pectoral thus signifies the profession of an implements-maker and a supercargo, merchant’s representative on the merchant vessel taking charge of the cargo and the trade of the cargo.

Hieroglyph: sãghāṛɔ ‘lathe’.(Gujarati).Rebus: Vajra Sanghāta ‘binding together’ (Varahamihira) *saṁgaḍha ʻ collection of forts ʼ. [*gaḍha — ]L. sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ.(CDIAL 12845). సంగడము (p. 1279) [ saṅgaḍamu ] A raft or boat made of two canoes fastened side by side. రెండుతాటి. బొండులు జతగాకట్టినతెప్ప சங்கடம்² caṅkaṭam, n. < Port. jangada. Ferry-boat of two canoes with a platform thereon; இரட்டைத்தோணி. (J.) G. sãghāṛɔ m. ʻ lathe ʼ; M. sãgaḍ f. ʻ a body formed of two or more fruits or animals or men &c. linked together, part of a turner’s apparatus ʼ, m.f. ʻ float made of two canoes joined together ʼsaṁghāṭa m. ʻ fitting and joining of timber ʼ R. [√ghaṭ] LM 417 compares saggarai at Limurike in the Periplus, Tam. śaṅgaḍam, Tu. jaṅgala ʻ double — canoe ʼ),sã̄gāḍā m. ʻ frame of a building ʼ, °ḍī f. ʻ lathe ʼ; Si. san̆gaḷa ʻ pair ʼ, han̆guḷa, an̆g° ʻ double canoe, raft ʼ.(CDIAL 12859) Cangavāra [cp. Tamil canguvaḍa a dhoney, Anglo– Ind. ḍoni, a canoe hollowed from a log, see also doṇi] a hollow vessel, a bowl, cask M i.142; J v.186 (Pali)

Hieroglyph: खोंड (p. 216) [khōṇḍa] m 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)Rebus: kõdā ‘to turn in a lathe’ (Bengali) Rebus:

kundaṇa pure gold (Tulu)

kāṇḍam காண்டம்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16). Rebus: khāṇḍā ‘metal tools, pots and pans’ (Marathi) (B) {V} “(pot, etc.) to ^overflow”. See `to be left over’. @B24310. #20851. Re(B) {V} “(pot, etc.) to ^overflow”. See`to be left over’. (Munda ) Rebus: loh ‘copper’ (Hindi) The hieroglyph clearly refers to the metal tools, pots and pans of copper.

Some examples of ‘overflowing pot’ metaphors on Ancient Near East artifacts, cylinder seals:

I suggest that together with the adaptation of Egyptian hieroglyphs, the Indus Script hypertexts were also adapted and absorbed into Ancient Near East glyptics to signify wealth creation by metalwork of Meluhha artisans.

Fig. 11.4 shows both on a Syrian dynastic seal and on a Syrian seal signifying a Canaanite goddess a common hieroglyph: an ankh (/ˈæŋk/ or /ˈɑːŋk/; Egyptian ˁnḫ), also known as crux ansata (the Latin for “cross with a handle”) is an ancient Egyptian hieroglyphic ideograph symbolizing “life”. It should be noted that the Syrian seal which shows the ankh upside down also includes two Indus Script hypertext hieroglyphs: 1. twisted rope at the bottom rgister of the seal; 2. overflowing water pot. These two hieroglyphs are read rebus in Indus Script cipher:

1. Twisted rope: मेढा [ mēḍhā ] ‘a curl or snarl; twist in thread’ rebus: med ‘iron’ med ‘copper’ (Slavic) medhā ‘dhana, yajña’.

2. Overflowing water pot: lo ‘overfowing pot’ rebus: loh ‘copper’ PLUS kāṇḍa ‘water’ rebus: kāṇḍā ‘implements’ Thus, together the expression is lokhaṇḍa ‘ metal implements’.

Chlorite vessel found at Khafajeh: Ht 11.5 cm. 2,600 BCE, Khafajeh, north-east of Baghdad (Photo from pg. 69 of D. Collon’s 1995 Ancient Near Eastern Art).

Impression of seal on tablets from Kanesh (After Larsen, Mogens Trolle and Moller Eva, Five old Assyrian texts, in: D. Charpin – Joannès F. (ed.), Marchands, Diplomates et Empereurs. Études sur la civilization Mésopotamienne offertes à Paul Garelli (Éditions research sur les Civilisations), Paris, 1991, pp. 214-245: figs. 5,6 and 10.)

Timber and exotic stones to decorate the temples were brought from the distant lands of Magan and Meluhha (possibly to be identified as Oman and the Indus Valley).

Gudea Basin. Water overflowing from vases. : The Representation of an Early Mesopotamian Ruler … By Claudia E. Suter “The standing statue N (Fig. 5) holds a vase from which four streams of water flow down on each side of the dress into identical vases depicted on the pedestal, which are equally overflowing with water. Little fish swim up the streams to the vase held by Gudea. This statue evidently shows the ruler in possession of prosperity symbolized by the overflowing vase.” (p.58)ayo ‘fish’ (Munda) Rebus: ayo ‘iron’ (Gujarati); ayas‘metal’ (Skt.) Together with lo, ‘overflow’, the compound word can be read as loh+ayas. The compound lohāyas is attested in ancient Indian texts, contrasted withkṛṣṇāyas, distinguishing red alloy metal (bronze) from black alloy metal (iron alloy). ayaskāṇḍa is a compound attested in Pāṇini; the word may be semantically explained as ‘metal tools, pots and pans’ or as alloyed metal.

http://www.britishmuseum.org/explore/highlights/article_index/g/gudea,_king_of_lagash_around.aspx

Workers from Elam, Susa, Magan and Meluhha were deployed by Gudea, the ruler of Lagaṣ, to build The Eninnu, the main temple of Girsu, c. 2125 BCE. We are dealing with Indian sprachbundwhen we refer to Meluhha. This sprachbund has a remarkable lexeme which is used to signify a smithy, as also a temple: Kota. kole·l smithy, temple in Kota village. Toda. kwala·l Kota smithy Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer; 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).

Cylinder seal explained as Enki seated on a throne with a flowing stream full of fish, ca. 2250 BCE

(BM 103317).British Museum.

meḍha ‘polar star’ (Marathi). meḍ ‘iron’ (Ho.Mu.)

2605 (#KJ Roach’s thesis). Sealed tablet. Susa. Illituram, son of Il-mishar, servant of Pala-isshan

#KJ Roach M9 Mesopotamia

#Roach 2168 Cream limestone. Susa.

A person with a vase with overflowing water; sun sign. C. 18th cent. BCE. [E. Porada,1971, Remarks on seals found in the Gulf states, Artibus Asiae, 33, 31-7

See: http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-evidence-for-mleccha.html

The seal of Gudea: Gudea, with shaven head, is accompanied by a minor female diety. He is led by his personal god, Ningishzida, into the presence of Enlil, the chief Sumerian god. Wind pours forth from of the jars held by Enlil, signifying that he is the god of the winds. The winged leopard (griffin) is a mythological creature associated with Ningishzida, The horned helmets, worn even by the griffins, indicates divine status (the more horns the higher the rank). The writing in the background translates as: “Gudea, Ensi [ruler], of Lagash”. lōī f., lo m.2. Pr. ẓūwī ʻfoxʼ (Western Pahari)(CDIAL 11140-2). Rebus: loh ‘copper’ (Hindi). Te. eṟaka, ṟekka, rekka, neṟaka, neṟi id. (DEDR 2591). Rebus: eraka, eṟaka = any metal infusion (Ka.Tu.); urukku (Ta.); urukka melting; urukku what is melted; fused metal (Ma.); urukku (Ta.Ma.); eragu = to melt; molten state, fusion; erakaddu = any cast thng; erake hoyi = to pour meltted metal into a mould, to cast (Kannada)

Gudea’s link with Meluhha is clear from the elaborate texts on the two cylinders describing the construction of the Ninĝirsu temple in Lagash. An excerpt: 1143-1154. Along with copper, tin, slabs of lapis lazuli, refined silver and pure Meluḫa cornelian, he set up (?) huge copper cauldrons, huge …… of copper, shining copper goblets and shining copper jars worthy of An, for laying (?) a holy table in the open air …… at the place of regular offerings (?). Ninĝirsu gave his city, Lagaš

Location.Current Repository

Musee du Louvre. Inventory No. AO 22126 ca. 2120 BCE Neo-Sumerian from the city-state of Lagash. http://contentdm.unl.edu/ah_copyright.html

gud. ‘ ea guda ‘ ea warrior ‘ emphasis/the best “The best warrior”. http://evans-experientialism.freewebspace.com/ling_sumerian.htm

Inscription on base of skirt- God commands him to build house. Gudea is holding plans. Gudea depicted as strong, peaceful ruler. Vessel flowing with life-giving water w/ fish. Text on garment dedicates himself, the statue, and its temple to the goddess Geshtinanna.

According to the inscription this statue was made by Gudea, ruler of Lagash (c. 2100 BCE) for the temple of the goddess Geshtinanna. Gudea refurbished the temples of Girsu and 11 statues of him have been found in excavations at the site. Nine others including this one were sold on the art market. It has been suggested that this statue is a forgery. Unlike the hard diorite of the excavated statues, it is made of soft calcite, and shows a ruler with a flowing vase which elsewhere in Mesopotamian art is only held by gods. It also differs stylistically from the excavated statues. On the other hand, the Sumerian inscription appears to be genuine and would be very difficult to fake. Statues of Gudea show him standing or sitting. Ine one, he rests on his knee a plan of the temple he is building. On some statues Gudea has a shaven head, while on others like this one he wears a headdress covered with spirals, probably indicating that it was made out of fur. Height 61 cm. The overflowing water from the vase is a hieroglyph comparable to the pectoral of Mohenjo-daro showing an overflowing pot together with a one-horned young bull and standard device in front. The diorite from Magan (Oman), and timber from Dilmun (Bahrain) obtained by Gudea could have come from Meluhha.

“The goddess Geshtinanna was known as “chief scribe” (Lambert 1990, 298– 299) and probably was a patron of scribes, as was Nidaba/Nisaba (Micha-lowski 2002). ” http://www.academia.edu/2360254/Temple_Sacred_Prostitution_in_Ancient_Mesopotamia_Revisited

he has constructed.
By the power of the goddessNinâ,
by the power of the godNin-girsu,
to Gudea
who has endowed with the sceptre
the godNin-girsu,
the country ofMâgan, 1

the country ofMelughgha,
the country ofGubi, 2
and the country ofNituk, 3
which possess every kind of tree,
vessels laden with trees of all sorts
intoShirpurla
have sent.
From the mountains of the land ofMâgan
a rare stone he has caused to come;
for his statue
http://www.sacred-texts.com/ane/rp/rp202/rp20221.htm#fr_228

Sumerian sign for the term ZAG ‘purified precious’. The ingot had a hole running through its length Perhaps a carrying rod was inserted through this hole.

Glyph: ḍhol ‘a drum beaten on one end by a stick and on the other by the hand’ (Santali); ḍhol ‘drum’ (Nahali); dhol (Kurku); ḍhol (Hi.) dhol a drum (G.)(CDIAL 5608) డోలు [ḍōlu ] [Tel.] n. A drum. Rebus: dul ‘to cast in a mould’; dul mẽṛhẽt, dul meṛeḍ, dul; koṭe meṛeḍ ‘forged iron’ (Santali) WPah.kṭg. (kc.) ḍhōˋḷ m. ʻstoneʼ, kṭg. ḍhòḷṭɔ m. ʻbig stone or boulderʼ, ḍhòḷṭu ʻsmall id.ʼ Him.I 87.(CDIAL 5536).

Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: khāṇḍā ‘tools, pots and pans, metal-ware’. ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ)

Cylinder seal with kneeling nude heroes, ca. 2220–2159 b.c.; Akkadian Mesopotamia Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) Metropolitan Museum of Art – USA

Four flag-posts(reeds) with rings on top held by the kneeling persons define the four components of the iron smithy/forge. This is an announcement of four shops, पेढी (Gujarati. Marathi). पेंढें ‘rings’ Rebus: पेढी ‘shop’.āra ‘serpent’ Rebus; āra ‘brass’. karaḍa ‘double-drum’ Rebus: karaḍa ‘hard alloy’.

Specific materials offered for sale/exchange in the shop are: hard alloy brass metal (ayo, fish); lokhaṇḍ (overflowing pot) ‘metal tools, pots and pans, metalware’; arka/erka ‘copper’; kammaṭa (a portable furnace for melting precious metals) ‘coiner, mint’ Thus, the four shops are: 1. brass alloys, 2. metalware, 3. copper and 4. mint (services).

erãguḍu bowing, salutation (Telugu) iṟai (-v-, -nt-) to bow before (as in salutation), worship (Tamil)(DEDR 516). Rebus: eraka, eṟaka any metal infusion (Kannada.Tulu) eruvai ‘copper’ (Tamil); ere dark red (Kannada)(DEDR 446).

puṭa Anything folded or doubled so as to form a cup or concavity; crucible. Alternative: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati)

Allograph: ढाल [ ḍhāla ] f (S through H) The grand flag of an army directing its march and encampments: also the standard or banner of a chieftain: also a flag flying on forts &c. ढालकाठी [ ḍhālakāṭhī ] f ढालखांब m A flagstaff; esp.the pole for a grand flag or standard. 2 fig. The leading and sustaining member of a household or other commonwealth. 5583 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. WPah.kṭg. (kc.) ḍhāˋl f. (obl. — a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f. (CDIAL 5583).

They are four Glyphs: paṭākā ‘flag’ Rebus: pāṭaka, four quarters of the village.

kã̄ḍ reed Rebus: kāṇḍa ‘tools, pots and pans, metal-ware’.

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, °ar, kāwaṛ, °ar f., G. kāvaṛf., 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. kã̄bīṭ, °baṭ, °bṭī, kāmīṭ, °maṭ, °mṭī, kāmṭhī, kāmāṭhī f. ʻ split piece of bamboo &c., lath ʼ.(CDIAL 2760). kambi f. ʻ branch or shoot of bamboo ʼ lex. Pk. kaṁbi — , °bī — , °bā — f. ʻ stick, twig ʼ, OG. kāṁba; M. kã̄b f. ʻ longitudinal division of a bamboo &c., bar of iron or other metal ʼ. (CDIAL 2774). कंबडी [ kambaḍī ] f A slip or split piece (of a bamboo &c.)(Marathi)

The rings atop the reed standard: पेंढें [ pēṇḍhēṃ ] पेंडकें [ pēṇḍakēṃ ] n Weaver’s term. A cord-loop or metal ring (as attached to the गुलडा of the बैली and to certain other fixtures). पेंडें [ pēṇḍēṃ ] n (पेड) A necklace composed of strings of pearls. 2 A loop or ring. Rebus: पेढी (Gujaráthí word.) A shop (Marathi) Alternative: koṭiyum [koṭ, koṭī neck] a wooden circle put round the neck of an animal (Gujarati) Rebus: ācāri koṭṭya = forge, kammārasāle (Tulu)

The four hieroglyphs define the four quarters of the village smithy/forge: alloy, metalware, turner’s lathe-work, cruble (or, ingot).

ayo ‘fish’ Rebus: ayo ‘metal, alloy’

కాండము [ kāṇḍamu ] kānḍamu. [Skt.] n. Water. నీళ్లు (Telugu) kaṇṭhá — : (b) ʻ water — channel ʼ: Paš. kaṭāˊ ʻ irrigation channel ʼ, Shum. xãṭṭä. (CDIAL 14349).

lokhãḍ ‘overflowing pot’ Rebus: ʻtools, iron, ironwareʼ (Gujarati)

arká1 m. ʻ flash, ray, sun ʼ RV. [√arc] Pa. Pk. akka — m. ʻ sun ʼ, Mth. āk; Si. aka ʻ lightning ʼ, inscr. vid — äki ʻ lightning flash ʼ.(CDIAL 624) அருக்கன் arukkaṉ, n. < arka. Sun; சூரி யன். அருக்க னணிநிறமுங் கண்டேன் (திவ். இயற். 3, 1).(Tamil) agasāle ‘goldsmithy’ (Kannada) అగసాలి [ agasāli ] or అగసాలెవాడు agasāli. n. A goldsmith. కంసాలివాడు. (Telugu) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) cf. eruvai = copper (Tamil) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tulu) Rebus: eraka = copper (Ka.) eruvai = copper (Ta.); ere – a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a = syn. erka, copper, weapons (Ka.) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) akka, aka (Tadbhava of arka) metal; akka metal (Te.) arka = copper (Skt.) erako molten cast (Tulu)

Alternative: kunda ‘jasmine flower’ Rebus: kunda ʻa turner’s latheʼ. kundaṇa pure gold.

The image could denote a crucible or a portable furnace: kammaṭa ‘coiner, mint, a portable furnace for melting precious metals (Telugu) On some cylinder seals, this image is shown held aloft on a stick, comparable to the bottom register of the ‘standard device’ normally shown in front of a one-horned young bull. Alternatives: puṭa Anything folded or doubled so as to form a cup or concavity; crucible. Ta. kuvai, kukai crucible. Ma. kuva id. Ka. kōve id. Tu. kōvè id., mould. (DEDR 1816). Alternative: Shape of ingot: దళము [daḷamu] daḷamu. [Skt.] n. A leaf. ఆకు. A petal. A part, భాగము. dala n. ʻ leaf, petal ʼ MBh. Pa. Pk. dala — n. ʻ leaf, petal ʼ, G. M. daḷ n.(CDIAL 6214). <DaLO>(MP) {N} “^branch, ^twig”. *Kh.<DaoRa>(D) `dry leaves when fallen’, ~<daura>, ~<dauRa> `twig’, Sa.<DAr>, Mu.<Dar>, ~<Dara> `big branch of a tree’, ~<DauRa> `a twig or small branch with fresh leaves on it’, So.<kOn-da:ra:-n> `branch’, H.<DalA>, B.<DalO>, O.<DaLO>, Pk.<DAlA>. %7811. #7741.(Munda etyma) Rebus: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati).

A baked-clay plaque from Ur, Iraq, portraying a goddess; she holds a vase overflowing with water (‘hé-gál’ or ‘hegallu’) is a symbol of abundance and prosperity. (Beijing World Art Museum) Fish in water on statue, on viewer’s right. Gudea’s Temple Building “The goddesses with overflowing vases. (Fig.8). The large limestone basin (SV.7) restored by Unger from twenty-six fragments is carved in relief on its outside. It shows a row of goddesses walking on a stream of water. Between them they are holding vases from which water flows down into the stream. These, in turn, are fed with water poured from vases which are held by smaller-scale goddesses hovering above. All goddesses wear long pleated dresses, and crowns with a single horn pair. There are remains of at least six standing and four hovering goddesses. Considering the importance the number seven plays in Gudea’s inscriptions, Unger’s reconstruction of seven goddesses of each type is credible. The inscription on the basin, which relates its fashioning, designates it as a large S’IM, a relatively rare and only vagueely understood term, perhaps to be read agarinX. The fashioning of one or more S’IM is also related in the Cylinder inscriptions, and the finished artifact is mentioned again in the description of the temple…Since the metaphor paraphrasing the basin refers to th ceaseless flow of water, it is possible that the basin(s) mentioned in the account of Eninnu’s construction is (are) identical with the fragmentary remains of the one (perhaps two?) actually found within the area of Gudea’s Eninnu, as Unger presumed. Several similar and somewhat intuitive identifications of the goddesses with the overflowing vases have been proposed: Heuzey saw personifications of the Euphrates and Tigris; Unger saw personifications of sources and rain clouds that form the Tigris and identified them with Ningirsu and Baba’s seven daughters; van Buren saw personifications of higher white clouds and lower rain clouds whom she assigned to Ea’s circle. Neither are the seven (not fourteen!) daughters of Ningirsu and Baba ever associated with water, nor can fourteen personified clouds be made out in Ea’s circle…The clue must be the overflowing vase which van Buren correctly interpreted as a symbol of abundance and prosperity. This interpretation is corroborated by the Gottertsypentext which states that the images of Kulullu is blessing with one hand (ikarrab) and holding abundance (HE.GAL) in the other. The protective spirit Kulullu is usually associated with abundance and divine benevolence, and may be reminiscent of the god bestowing the overflowing vase upon a human petititioner in much earlier presentation scenes. The narrative context in which the goddess with the overflowing vase occurs is confined to presentations of a human petititioner to a deity. The Akkadian seal fo the scribe Ili-Es’tar shows her accompanying the petitioner, not unlike a Lamma.

Enki walks out of the water to the land attended by his messenger, Isimud

who is readily identifiable by his two faces looking in opposite directions (duality).

M177. Kidin-Marduk, son of Sha-ilima-damqa, the sha reshi official of Burnaburiash, king of the world Untash-Napirisha

Cylinder seal image. The water-god in his sea house (Abzu) (ea. 2200 B.C.). On the extreme right is Enki, the water-god, enthroned in his sea house. To the left is Utu, the sun-god, with his rays and saw. The middle deity is unidentified. (British Museum)

Gypsum statuette. “A Gypsum statuette of a priestess or goddess from the Sumerian Dynastic period, most likely Inanna. …She holds a sacred vessel from which the life-giving waters flow in two streams. Several gods and goddesses are shown thus with running water, including Inanna, and it speaks of their life-giving powers as only water brings life to the barren earth of Sumeria. The two streams of water are thought to stand for the Euphrates and Tigris rivers. This is the earliest of the group of statues and dates to c. 2600-2300 B.C. 150 mm tall.” http://www.aliraqi.org/forums/showthread.php?t=53773&page=2

These images are explained in terms of associated sacredness of Enki, who in Sumerian mythology

(Enki and Ninhursag) is associated with Abzu where he lives with the source sweet waters.

खांडा [ khāṇḍā ] m A kind of sword, straight, broad-bladed, two-edged, and round-ended (Marathi) M. lokhãḍ n. ʻironʼ(Marthi) yields the clue to the early semantics of khāṇḍā which should have referred to tools, pots and pans (of metal). Kumaoni has semantics: lokhaṛ ʻiron tools’. लोहोलोखंड [ lōhōlōkhaṇḍa ] n (लोह & लोखंड) Iron tools, vessels, or articles in general (Marathi).

Thus lohakāṇḍā would have referred to copper tools. The overflowing vase on the hands of Gudea would have referred to this compound, represented by the hieroglyphs and rendered rebus.

lokhar ʻ bag in which a barber keeps his tools ʼ; H. lokhar m. ʻ iron tools, pots and pans ʼ; — X lauhabhāṇḍa — : Ku. lokhaṛ ʻ iron tools ʼ; H. lokhaṇḍ m. ʻ iron tools, pots and pans ʼ; G. lokhãḍ n. ʻ tools, iron, ironware ʼ; M. lokhãḍ n. ʻ iron ʼ (LM 400 < — khaṇḍa — )(CDIAL 11171). lōhitaka ʻ reddish ʼ Āpast., n. ʻ calx of brass, bell- metal ʼ lex. [lṓhita — ]K. lŏy f. ʻ white copper, bell — metal ʼ. (CDIAL 11166). 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, lō ʻ metal, ore, iron ʼ; Md. ratu — lō ʻ copper ʼ.(CDIAL 11158). lōhakāra m. ʻ iron — worker ʼ, °rī — f., °raka — m. lex., lauhakāra — m. Hit. [lōhá — , kāra — 1] Pa. lōhakāra — m. ʻ coppersmith, ironsmith ʼ; Pk. lōhāra — m. ʻ blacksmith ʼ, S. luhā̆ru m., L. lohār m., °rī f., awāṇ. luhār, P. WPah.khaś. bhal. luhār m., Ku. lwār, N. B. lohār, Or. lohaḷa, Bi.Bhoj. Aw.lakh. lohār, H. lohār, luh° m., G. lavār m., M. lohār m.; Si. lōvaru ʻ coppersmith ʼ. Addenda: lōhakāra — : WPah.kṭg. (kc.) lhwāˋr m. ʻ blacksmith ʼ, lhwàri f. ʻ his wife ʼ, Garh. lwār m.(CDIAL 11159). lōhahala 11161 lōhala ʻ made of iron ʼ W. [lōhá — ](CDIAL 11161). Bi. lohrā, °rī ʻ small iron pan ʼ(CDIAL 11160). Bi. lohsārī ʻ smithy ʼ(CDIAL 11162). P.ludh. lōhṭiyā m. ʻ ironmonger ʼ.(CDIAL 11163). लोहोलोखंड [ lōhōlōkhaṇḍa ] n (लोह & लोखंड) Iron tools, vessels, or articles in general.रुपेशाई लोखंड [ rupēśāī lōkhaṇḍa ] n A kind of iron. It is of inferior quality to शिक्केशाई. लोखंड [ lōkhaṇḍa ] n (लोह S) Iron. लोखंडाचे चणे खावविणें or चारणें To oppress grievously. लोखंडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith. लोखंडी [ lōkhaṇḍī ] a (लोखंड) Composed of iron; relating to iron. 2 fig. Hardy or hard–a constitution or a frame of body, one’s हाड or natal bone or parental stock. 3 Close and hard;–used of kinds of wood. 4 Ardent and unyielding–a fever. 5 लोखंडी, in the sense Hard and coarse or in the sense Strong or enduring, is freely applied as a term of distinction or designation. Examples follow. लोखंडी [ lōkhaṇḍī ] f (लोखंड) An iron boiler or other vessel. लोखंडी जर [ lōkhaṇḍī jara ] m (लोखंड & जर) False brocade or lace; lace &c. made of iron.लोखंडी रस्ता [ lōkhaṇḍī rastā ] m लोखंडी सडक f (Iron-road.) A railroad. लोह [ lōha ] n S Iron, crude or wrought. 2 m Abridged from लोहभस्म. A medicinal preparation from rust of iron.लोहकार [ lōhakāra ] m (S) A smelter of iron or a worker in iron.लोहकिट्ट [ lōhakiṭṭa ] n (S) Scoriæ or rust of iron, klinker.लोहंगी or लोहंगी काठी [ lōhaṅgī or lōhaṅgī kāṭhī ] f (लोह & अंग) A club set round with iron clamps and rings, a sort of bludgeon.लोहार [ lōhāra ] m ( H or लोहकार S) A caste or an individual of it. They are smiths or workers in iron. लोहारकाम [ lōhārakāma ] n Iron-work, work proper to the blacksmith.लोहारकी [ lōhārakī ] f (लोहार) The business of the blacksmith.लोहारडा [ lōhāraḍā ] m A contemptuous form of the word लोहार.लोहारसाळ [ lōhārasāḷa ] f A smithy.

Loha (nt.) [Cp. Vedic loha, of Idg. *(e)reudh “red”; see also rohita & lohita] metal, esp. copper, brass or bronze. It is often used as a general term & the individual application is not always sharply defined. Its comprehensiveness is evident from the classification of loha at VbhA 63, where it is said lohan ti jātilohaŋ, vijāti˚, kittima˚, pisāca˚ or natural metal, produced metal, artificial (i. e. alloys), & metal from the Pisāca district. Each is subdivided as follows: jāti˚=ayo, sajjhaŋ, suvaṇṇaŋ, tipu, sīsaŋ, tambalohaŋ, vekantakalohaŋ; vijāti˚=nāga — nāsika˚; kittima˚=kaŋsalohaŋ, vaṭṭa˚, ārakūṭaŋ; pisāca˚=morakkhakaŋ, puthukaŋ, malinakaŋ, capalakaŋ, selakaŋ, āṭakaŋ, bhallakaŋ, dūsilohaŋ. The description ends “Tesu pañca jātilohāni pāḷiyaŋ visuŋ vuttān’ eva (i. e. the first category are severally spoken of in the Canon). Tambalohaŋ vekantakan ti imehi pana dvīhi jātilohehi saddhiŋ sesaŋ sabbam pi idha lohan ti veditabbaŋ.” — On loha in similes see J.P.T.S. 1907, 131. Cp. A iii.16=S v.92 (five alloys of gold: ayo, loha, tipu, sīsaŋ, sajjhaŋ); J v.45 (asi˚); Miln 161 (suvaṇṇam pi jātivantaŋ lohena bhijjati); PvA 44, 95 (tamba˚=loha), 221 (tatta — loha — secanaŋ pouring out of boiling metal, one of the five ordeals in Niraya). — kaṭāha a copper (brass) receptacle Vin ii.170. — kāra a metal worker, coppersmith, blacksmith Miln 331. — kumbhī an iron cauldron Vin ii.170. Also N. of a purgatory J iii.22, 43; iv.493; v.268; SnA 59, 480; Sdhp 195. — guḷa an iron (or metal) ball A iv.131; Dh 371 (mā ˚ŋ gilī pamatto; cp. DhA iv.109). — jāla a copper (i. e. wire) netting PvA 153. — thālaka a copper bowl Nd1 226. — thāli a bronze kettle DhA i.126. — pāsāda“copper terrace,” brazen palace, N. of a famous monastery at Anurādhapura in Ceylon Vism 97; DA i.131; Mhvs passim. — piṇḍa an iron ball SnA 225. — bhaṇḍa copper (brass) ware Vin ii.135. — maya made of copper, brazen Sn 670; Pv ii.64. — māsa a copper bean Nd1 448 (suvaṇṇa — channa). — māsaka a small copper coin KhA 37 (jatu — māsaka, dāru — māsaka+); DhsA 318. — rūpa a bronze statue Mhvs 36, 31. — salākā a bronze gong — stick Vism 283. Lohatā (f.) [abstr. fr. loha] being a metal, in (suvaṇṇassa) aggalohatā the fact of gold being the best metal VvA 13. (Pali) agga- is explained: erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tulu) agasāle, agasāli, agasālavāḍu = a goldsmith (Telugu) cf. eruvai = copper (Tamil)

Thus loha in aggalohatā gets the semantics ‘metal’.

“Sumerian words with a pre-Sumerian origin are:

professional names such as simug ‘blacksmith’ and tibira ‘copper smith’, ‘metal-manufacturer’ are not in origin Sumerian words.

Agricultural terms, like engar ‘farmer’, apin ‘plow’ and absin ‘furrow’, are neither of Sumerian origin.

Craftsman like nangar ‘carpenter’, agab ‘leather worker’

Religious terms like sanga ‘priest’

Some of the most ancient cities, like Kish, have names that are not Sumerian in origin.

These words must have been loan words from a substrate language. The words show how far the division in labor had progressed even before the Sumerians arrived.”

(http://www.wsu.edu:8080/~dee/meso/meso.htm – No longer available)

http://firstlegend.info/theoldones.html

The rebus readings are:

కాండము [ kāṇḍamu ] kānḍamu. [Skt.] n. Water. నీళ్లు (Telugu) kaṇṭhá — : (b) ʻ water — channel ʼ: Paš. kaṭāˊ ʻ irrigation channel ʼ, Shum. xãṭṭä. (CDIAL 14349). kāṇḍa ‘flowing water’ Rebus: kāṇḍā ‘metalware, tools, pots and pans’. lokhaṇḍ (overflowing pot) ‘metal tools, pots and pans, metalware’ lokhãḍ ‘overflowing pot’ Rebus: ʻtools, iron, ironwareʼ (Gujarati) Rebus: लोखंड lokhaṇḍ Iron tools, vessels, or articles in general. lo ‘pot to overflow’. Gu<loRa>(D) {} “^flowing strongly”.

கொட்டம்¹ koṭṭam Flowing, pouring; நீர் முதலியன ஒழுகுகை. கொடுங்காற் குண்டிகைக் கொட்ட மேய்ப்ப (பெருங். உஞ்சைக். 43, 130) கொட்டம் koṭṭam < gōṣṭha. Cattle- shed (Tamil)

koṭṭam flowing, pouring (Tamil). Ma. koṭṭuka to shoot out, empty a sack. ? Te. koṭṭukonipōv.

https://sarasvati97.wordpress.com/2018/01/19/overflowing-pot-on-tens-of-ancient-near-east-artifacts-an-indus-script-hypertext-signifies-production-of-metal-implements/

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 pattar, n. < 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.

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 pattar, n. 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. [√pā1]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 pattar, n. < T. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று. பத்தர்&sup5; pattar, n. perh. vartaka. Merchants; வியாபாரிகள். (W.)

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)

↧

Itihāsa. Soft power.Confucius for China's Xi. Ram rajya for Bharat's NaMo. Announce Ordinance for Ram Mandir in Ayodhya.

December 13, 2018, 4:38 am

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≪ Previous: Farmana buffalo, arrow & Ibni-Sharrum seals deciphered 'cast pewter, metalwork implements'. Gaura, Gomr̥ga, Gavaya in R̥gveda aśvamedha may signify rã̄go ʻbuffalo bull' (Ku.N.) rebus raṅga 'tin, pewter, tin foil' (Indian sprachbund, Meluhha)

It will be a fitting tribute to the restatement of Bharat as a softpower for NaMo to issue an Ordinance to build Ram Mandir in Ayodhya as an expression of resolve to stabilise Ram Rajya in the nation. This will be a fitting complement to the ongoing re-thinking on Confucius in support of Xi Jinping's soft power policies for China.

Kalyanaraman, Sarasvati Research Centre

December 12, 2018

The rebirth of Confucius in his homeland

KALPIT MANKIKAR

Why The Sage’s Ideals Matter To Xi Jinping

· CHINA HEGEMONY

· CHINESE DREAM

· CONFUCIUS

Asia seems to be on a journey of discovering its traditions. India is connecting with its culture. In 2015, United Nations General Assembly declared 21 June as ‘International Yoga Day’, giving a major boost to the ancient Indian practice. In a span of nearly two years, yoga seemed to be a rage across the world with thousands descending on Times Square in 2017 to mark the day. A small company, which was founded by a monk who had no experience in the FMCG sector, gave well-established MNCs a run for their money. Its USP was ayurved, a 5,000-year-old natural healing solution.

In our neighbourhood, Confucian traditions are being revived in China. The ideas of one of the greatest Chinese thinkers, Confucius, are getting a shot in the arm in his birthplace. The Middle Kingdom seems to be rediscovering his thoughts, thanks to China’s President Xi Jinping.

In Asia, where memorials and statues decide the stature of a person long after he/she has left this world, the world’s largest Confucius statue was inaugurated in his hometown Qufu, Shandong province, two months ago. The thoughts of the Chinese sage had a huge impact on the administration through the ages. His teachings have resonated during various phases in China’s history in the curriculum of its imperial service examinations, which allowed for advancement in governance hierarchy for the nation’s youth. The scholar believed that acting ethically in situations relating both to the family and state would create social harmony, and that it was the job of rulers to emulate and spread ethical behaviour, just as it was children’s duty to venerate their parents and continue their traditions, codifying the filial piety that continues to define familial relations across Asia. His teachings are preserved in Analects, a book that takes the form of structured conversations between Confucius and his followers.

However, Confucian thought went out of favour with the fall of the Imperial Court in early 19th century. The May Fourth Movement, an anti-imperialist and cultural agitation of students in 1919 that laid the seeds of the Communist Party of China’s (CPC) birth, aimed at eradicating the ills of traditional Chinese society. The agitators slammed Confucian thought, calling for an end to patriarchy.

The modern nation’s founder, Mao Zedong, denounced Confucius for “subjugation of women”. He accused the sage of propagating an orthodox ideology that curbed women from receiving an education and encouraging the brutal practice of foot binding, in which a girl’s feet are wrapped to stunt her growth.

In the 60s, at the height of the Cultural Revolution, Mao’s Red Guards waged a battle against the Old Customs, Old Culture, Old Habits, and Old Ideas (known as the ‘Four Olds’). The Cemetery of Confucius in Shandong was attacked and vandalised by a team of Red Guards from Beijing in November 1966.

Project rehabilitation

In 2004, Confucius Institute, an outreach project of the Chinese government to promote its language and culture, was born.

Experts say, the project is the “biggest soft power and public diplomacy programme” in the world and over the years there are more than 1,000 Confucius institutes across the globe.

Since Xi became the new helmsman of the Communist Party in 2012, he has vowed a “great rejuvenation” to restore China’s ancient prominence. The 2012 party congress featured slogans about ‘harmony’ and ‘sincerity’ taken from Confucian thought.

A year later, Xi visited the Research Institute of Confucianism in the city of Qufu, the hometown of Confucius, and Kong Family Mansion, the historical residence of the direct descendants of Confucius. He called for new and positive roles for Confucianism.

The Economist reported that in February 2014 he convened a “collective study” session of the party's elite and emphasised Confucian values. Months later, Xi became the first party chief to attend a birthday party for Confucius. Incidentally, since becoming China’s leader, Xi has not paid respects at the birthplace of Mao Zedong at Shaoshan in Hunan province.

His ‘Xi Jinping Thought’ refers to the preaching of stalwarts like Mao and Marx, but draws on ancient Confucianism. Xi underscores the wisdom of Confucius with emphasis on submission and stability. The idea is perhaps to promote to the nation that he is the protector of a 5,000-year-old civilization.

To some extent Xi’s anti-graft campaign is spurred by Confucian principle of probity in public office. The Communist Party of China perhaps believes that the sage’s thoughts have the advantage of being home-grown and are keen on cashing in on its appeals to a yearning for ancient values among those thrown off-balance by the nation’s rapid speed of change.

New school of thought

Over the last few years, several private educational institutes dedicated to Confucian teachings have opened across the country in response to a desire by parents to school their wards in traditional education. The schools, backed by the central government, instil ideas on filial piety and integrity. At a tender age, kids start memorising Confucian classics, at six (when state schooling commences) they begin reciting the Great Master’s wisdom. The demand for such ‘prep’ schools is growing with upper middle-class parents yearning for inculcating a Confucian bent of mind.

China’s pragmatic ruler is merely following in the footsteps of East Asia’s mini-dragons. In 18th century Japan, the elite was eager to modernise and catch up with the West. Confucian ideals were determinedly used in the curriculum, which were developed to serve the government's desire to link industrialisation with the preservation of traditional Japanese respect for family and state. The Ministry of Education issued ethics textbooks in Japanese schools between 1904 and 1945, introducing students to topics like learning, loyalty, courage and kinship. The implicit aim was to introduce a sense of self-cultivation, a sense of a nation and civic ethos. It specially emphasised on the need for each citizen to be a good person and learn and constantly upgrade his/her knowledge.

Singapore, a British colony that become an independent state by 1965, transformed from a no-hope to a nation with the second highest per capita income. Due to an ambitious industrialisation programme in the 1970s, the standard of living of Singaporeans grew, so did crime, drug abuse, delinquency. The state later introduced Confucian ethics as a component of moral education as a “counterweight to creeping Western culture”. Singapore’s Lee Kuan Yew used Confucian ideals as a means of ensuring modernisation and political stability.

Confucian values such as emphasis on family and respect for authority were featured by Singapore's government in an effort to avoid the pitfalls of what were seen as the ills of Western society. An effort was made to elevate a modernised version of Confucianism as a counterweight to Western political liberalism, and lack of discipline.

While the enormous statue watches over China, Confucius’ hometown of Qufu is scheduled to host China’s first teachers’ museum. The message from Beijing is clear. Mao’s visage is ubiquitous across China, but Confucius is its new star.

Kalpit Mankikar was a news editor at a leading Indian broadsheet, and is currently pursuing his China studies at the London School of Economics.

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‘Claims of jobless growth are completely unfounded, totally wrong’ -- T.V. Mohandas Pai & Yash Baid

December 13, 2018, 4:58 am

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December 13, 2018,
9:59 am
|
Updated
:
December 13, 2018,
9:59 AM

New Delhi: There are no comprehensive reports detailing job creation in India. Numbers for formal sector employment have been arrived at for the first time in the “Towards a Payroll Reporting in India” report by Prof Pulak Ghosh of the Indian Institute of Management, Bangalore and Dr Soumya Kanti Ghosh, Group Chief Economic Adviser of SBI. The predecessors to the Ghosh Report were NSSO reports that, through their estimates, did not adequately represent the employment situation in the country. Thus emerges the need to develop a better mechanism to determine and report the job situation in the country.

A good place to start is analysing the supply of human capital in the jobs market. Taking into consideration the data from the Census of years 1991, 2001, and 2011, the Ghosh Report reveals that 2.5 crore babies are born every year. Consequently, 2.5 crore people attain the age of 21 annually today and will do so for the next 20 years as well.

Labour participation rate among these 2.5 crore people is estimated at about 60%, i.e. 1.5 crore people enter the labour force every year. Further, the AISHE (All India Survey on Higher Education) report for 2016-17 highlights that the total number of graduates that pass-out in the country each year is around 88 lakhs. Within this demographic, the drop-out rate (not wanting a job) can be approximated at around 25%, helping us determine the incremental number of qualified people added to the labour force annually, ~66 lakh. Non-graduates as a proportion of the labour force would then come in at 84 lakh.

Jobs, by definition, are split into the formal and Informal sectors in India. Formal sector jobs are characterised by Social Security coverage. Social Security in India is provided by three organisations: EPFO, ESIC, and NPS (NPS is specific to government employees). The best sources of data for Formal job creation are the EPFO and ESIC, which cover a gamut of 190 and 90 industries, for those employing over 20 and 10 employees, respectively. The data for the last six months has been released by EPFO and ESIC and has been analysed thoroughly in the Ghosh report. As of March 2018, their findings revealed that 55 lakh incremental jobs have been registered with the EPFO, 9 Lakhs with the ESIC, and 7 lakh with the NPS. Therefore, a total of 71 lakh jobs have been created in the formal sector according to incremental Social Security coverage in 2017-18. This data has been well construed and will only see nominal changes with better data coverage as 2018 progresses. It is, however, safe to assume that the formal sector generates close to 70 lakh jobs a year as this data is based on monthly contributions and payroll.

We must also look at members of the population outside the scope of Social Security. Job creation among professionals like chartered accountants, lawyers and doctors is key in generating employment, and needs to be an integral part of our calculations. According to ICAI (Institute of Chartered Accountants of India) data, there were 16,970 new Chartered Accountants added to the job force in 2017 with around 5,624 new practices setting up shop. The total number of jobs created by this segment of the population is a factor of additional human resources employed by the professional for setting up a new practice.

This applies to doctors and lawyers as well, with both adding approximately 80,000 to the labour force in 2017. Summing up ancillary staff members (clerks, paralegals, nurses, etc.) required to set up practices by these professions, we have surmised that over 6 lakh jobs were contributed through just these three professions in the Informal sector, with employment figures for other similar professions and consultancies not considered.

Further, the total stock of employment created through these three professions is around 1.08 crore, assuming 20 jobs per CA practice, 5 jobs per Medical practice, and 3 jobs per law practice as per the below table.

The skill development initiatives of the government under the Pradhan Mantri Kaushal Vikas Yojana and National Skill Development Corporation provide the data as outlined below. They have successfully generated 5 lakh jobs in the previous year but may have been considered in other categories in the formal or informal sector accounting.

The transport industry generates a large chunk of informal employment, made up of individuals or small firms owning vehicles. Data available from Society of Indian Automobile Manufactures (SIAM) is segregated by the types of vehicles, providing us sales and exports numbers across the commercial vehicles, three wheelers, and passenger vehicles categories. The capacity for employment for each of these vehicles can be assumed at around 2 per commercial vehicle, 1.5 per three-wheeler, and about 0.25 (1 in every 4 cars) for every passenger vehicle. Following this premise, it can be surmised that the transport sector contributes close to 20 lakh jobs per year, a figure often overlooked by employment surveys and reports. These jobs would be in the Informal sector as these vehicles are typically owned individually and not by firms. This is buttressed by the fact that the EPFO and ESI data do not reveal these jobs in any large measure.

Commercial vehicles in India—trucks, LMV (goods), LMV (passenger), buses, and taxis—typically generate 2 jobs per vehicle. The cumulative stock of these in 2016-17 was about 2.25 crores. Therefore, the stock of jobs within the transport industry was extrapolated to be around 3.6 crores in India today.

The contribution to informal jobs creation is a factor of many other sources beyond the scope of this analysis. However, for the sake of brevity and reasoning, we have estimated that employment not covered by social security from professional and transport sectors alone contribute about 29 lakhs per year. Cumulatively, from the Formal and these Informal sectors, India generates over 1 crore jobs each year. This is an understatement as several informal sectors and MSMEs are not considered in this extrapolation. A complete picture of the employment scenario can only be achieved through the use of big data analytics over improved information reporting standards. In this article, we restrict ourselves to only a few organised chunks of professionals and to the transport sector to determine an objectively conservative flow of employment for the year.

Further, the total active labour force in India is estimated in various studies to be around 50 crore (estimated based on NSSO 2012). As per the World Bank, agriculture contributes to the creation of around 43% of these jobs, thus bringing the workforce in Industry and Services to around 28.5 crore. Of this, we can quite conservatively appropriate that 9.5 crore are in formal employment as per the below table, placing India as the third largest Formal employment generator in the world after China and the US.

If we take jobs generated in the transport sector and through professionals, the number adds up to about 4.7 crore. This means that the other uncovered sectors in the Informal sector employ the balance of 14.3 crore, requiring periodic adjustments for unemployment through surveys.

This analysis elucidates the fact that India does not, in fact, have a job creation problem, but a wage problem. Low wages (of about INR 15-20K per month), especially in the informal economy, do not allow the Country’s citizens to live a comfortable and productive life. Efforts need to be directed towards greater job formalisation, including increased social security coverage and better data gathering so that appropriate policies can be made.

It is important to note that India does not face a problem of not possessing the data to drive at its employment disposition. The right data is lying with the government, the authors of the Ghosh report have demonstrated that a planned approach of using “Payroll Reporting” can be used to unclutter this data and provide accurate and invaluable insights.

Most importantly, this incontrovertible data proves that claims of jobless growth are completely unfounded and totally wrong. The Indian economy has grown significantly between 1991 to 2018 at the rate of 8.7% a year from USD 275bn to USD 2.6Tn. Such growth cannot be jobless growth. Further, India’s current GDP growth rate of 7.5% per annum would most certainly contribute towards a job growth rate of at the very minimum, 2.5-3% per year. As our Prime Minister said, we need better jobs data so that the focus is on good policy directed at creating more formal jobs rather than empty rhetoric about jobless growth.

T.V. Mohandas Pai is Chairman, Aarin Capital Partners. Yash Baid is Head of Research, 3one4 Capital.

https://www.sundayguardianlive.com/news/claims-jobless-growth-completely-unfounded-totally-wrong

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Itihāsa,. Inaugural conf.on Indic Chronology. Exploring holistic pathways to an Indic Grand Narrative. IHAR & IGNCA Call for papers for Feb. 22-24, 2019

December 13, 2018, 5:55 am

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Unknown Rig Vedic hymn on Aśvins in Mahabharata & the purpose of Rig Veda -- Jayasree Saranathan

December 13, 2018, 7:13 pm

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Friday, December 14, 2018

Unknown Rig Vedic hymn on Aśvins in Mahabharata & the purpose of Rig Veda

Vedas are many and only some of them have been compiled by Vyasa (Krishna Dwaipayana), so goes the tradition. Even this compilation was very huge but what we have today is just 99.1% of what Vyasa had compiled. Of them Rig Vedic hymns in the form of 1028 sūktas are available now. At times we do hear about discovery of some Rig Vedic sūktas with someone, but the authenticity of those hymns cannot be known. In this backdrop, it makes exciting reading to come across an unknown Rig Vedic sūkta onAśvins in Mahabharata.

Exciting because,

(1) It was recited in a time frame that can be deciphered. This brings in newer insight in ‘dating’ efforts of Rig Veda.

(2) It gives references to the zodiac, much the same as what is found in RV 1-164 authored by Rishi Dirghatamas.

(3) The references reveal the purpose of Rig Veda with Sūktas which are nothing but mantras that bring out designated results.

Background of the Sūkta found in Mahabharata.

This Rig Vedic hymn (Sūkta) was recited by Upamanyu, the son of Vyāghrapāda. Upamanyu also happened to be a preceptor for Krishna (MB: 13-17). In his youth while he was serving as a student in the Gurukul of Ayoda-Dhaumya an incident happened by which he lost his vision and fell into a pit. On the advice of his preceptor to glorify Aśvins to regain eye sight, Upamanyu began reciting the Rig Vedic hymn of Aśvins! It is not known whether this sūkta was created by Upamanyu then and there or it existed earlier.

The sūkta begins as follows:

“sa evam ukta upādhyāyena stotuṃ pracakrame devāv aśvinau vāgbhir ṛgbhiḥ”

(स एवम उक्त उपाध्यायेन सतॊतुं परचक्रमे देवाव अश्विनौ वाग्भिर ऋग्भिः) Mahabharata (1:3-59)

(Meaning: “Upamanyu thus directed by his preceptor began to glorify the twin Aśvins, in the following words of the Rig Veda”)

This is followed by 11 riks that praise Aśvins as the Supreme Being that set the Wheel of Time to roll eternally causing the fruits of action manifested for all beings. (Text and meaning at the end of this article)

Aśvins given supreme position.

A chronology of ideas exist in Rig Vedic sūktas, of which the foremost one is in offering soma to Indra and other deities and not offering the same to Aśvins. But then came a time when Aśvins were also offered Soma. It was Rishi Chyavana, son of Bhrigu who started offering Soma to Aśvins (MB- 3:124-125). Generally Kaṇvas were associated with offering oblations to Aśvins. An Atharvan verse (2:141-04) says that the soma offered by Kaṇvas to Aśvins helped Yadu and Turvasu of whom Yadu was the progenitor of Krishna’s race. And Krishna himself had opted for Aśvins in the place of Indra after he stopped the Indra festival. A couple of verses in Rig Veda refer to Krishna invoking Aśvins to accept Soma (RV 8:74.3 &4).

All this goes to show that by Krishna’s times Aśvins had replaced Indra in receiving soma. Upamanya of the same period of Krishna had praised Aśvins as the Supreme Being who facilitated creation and manifestation of karmic results through the wheel of Time.

The Sūkta recited by Upamanyu containing 11 verses (mantras / riks) extols Aśvins as the first –born and who set in motion the wheel of time that had 360 days and 720 days and nights. There is a reference to 12 spokes of the wheel referring to 12 months and the zodiac. Though by themselves are free from fruits of action, the Aśvins cause the fruits of action to all beings.

This sūkta is comparable to another Rig Vedic sūkta (RV 1:164) having the same notions on Wheel of Time but it has in addition two popular ideas of Vedic Thought. One is about the 2-bird analogy found in the Upanishads of the Atman and Paramatman sitting on a tree as birds, with Atman eating the fruit of karma while the other not eating any but shining well. The other view is the now famous but also mis-interpreted verse “ekaṃ sad viprā bahudhā vadanti” – which has the meaning as follows:

“They call him Indra, Mitra, Varuna, Agni, and he is heavenly noblywinged- Garutman.

To what is One, sages give many a title they call it Agni, Yama, Mātariśvan.” (RV 1:164.46)

This conveys that the Supreme Being is known by different names such as Indra, Mitra, Varuna, Agni, Garutman (Garuda), Yama and Mātariśvan. In other words the deities we know as Indra, Varuna etc are none other than the Supreme Being Itself. This verse by Rishi Dirghatamas does not attest the same status to Aśvins though it does say that Aśvins are endowed with helping mankind. But Aśvins are given the Supreme status in Upmanayu’s sūkta.

Part of the compilation by Vyasa.

Now the question comes whether this hymn was part of the Rig Vedic corpus that is now lost or it was newly composed by Upamanyu. Looking at the contemporariness of Upamanyu and Vyasa, and the age of Upamanyu at the time of reciting it - as a young student serving his master - it appears that this verse could have been part of the pre-existing compilation. Upamanyu had recited it for regaining eye-sight

Contextually similar event appears in RV 1:112.6 in a verse in praise of Aśvins that says,

“Wherewith ye rescued Antaka when languishing deep in the pit, and Bhujyu with unfailing help.”

Yet another one (1:116.11) says that Aśvins “delivered Vandana from the pit like hidden treasure”.

Restoration of eye sight is also attributed to Aśvins in a couple of Rig Vedic verses (1:112.8 & 1:116.16). Though Upamanyu’s sūkta does not refer to his sufferings (falling into the pit and losing eye sight), the purpose of the sūkta was to get relief from his suffering. As such this sūkta must have been a popular one in those days when there was a high probability of losing way in the forests and falling into pits and losing eyesight. Upamanyu suffered blindness upon eating a poisonous herb and falling into a pit thereafter. After reciting this sūkta, the Aśvins appeared and got him cured.

Coming to the issues raised earlier,

(1) As Upamanyu was a contemporary of Krishna, this sūkta can be dated to anytime before 5000 years from now. This hymn, found missing from the presently available śāka of Rig Veda but well entrenched in Mahabharata is proof that many Vedic hymns had existed in the past.

(2) The reference to the 12-part zodiac in this sūkta makes it known that the knowledge of the zodiac had existed in India 5000 years ago. The hymn of Dirghatamas being more ancient, it can be said that the original concept had evolved much earlier. (The reference to 5000 years as the date of Krishna is based on the Mahabharata war-date evidenced inAihole inscription).

Purpose of Rig Veda

(3) Coming to the purpose of the Rig Veda, all riks are mantras and the compilation of the riks is a sūkta . Every sūkta or a mantra (rik) is capable of invoking the concerned deity, which is the very purpose of the Rig Veda. The basis is śabda that is understood as word or sound. When Śabda is arranged in specific order known as ‘Ānupūrvi’, the deity is invoked.

This is comparable to the sub-atomic particles of the Universe which combine in various ways - but in specific order- to create composite particles and atoms. That order is the Ānupūrvi of the sub-atomic particles. Every time creation starts after a deluge, the Ānupūrvi of those particles are manifest in the same way – this is expressed as the Supreme Being remembering the Ānupūrvi of śabda that form the Vedas. Science is yet to recognise and be receptive to śabda – the sounds and vibrations of the sub atomic syllables.

The amazing part of the Ānupūrvi is that no mortal except the rishis have understood which śabda goes to make a specific order of Ānupūrvi so that a specific deity can be invoked and through Him, a specific result. For example, in the sūkta of Upamanyu the meaning of the verses look like some description of the zodiac, but that is the Ānupūrvi that makes the śabda eternal by which the Supreme Being in the name Aśvins can be invoked to balance the elements present in Its co-bird on the tree (RV 1:164) – here, Upamanyu.

Thinking in these lines, one cannot miss out the co-existence of three concepts in the hymn of Dirghatamas (RV 1:164) –

(1) Wheel of Time causing things to happen and fruits of action,

(2) Atman co-existing with Paramatman but getting impacted by the Wheel of Time and

(3) Realisation of the Paramatman as the one and only Supreme Being but recognised by different names.

When all these are understood and felt by the Atman, the Atman gets relieved from the influence of Wheel of Time. That is the ultimate result of the hymn by Dirghatamas. But Upamanyu’s hymn invokes Asvins as Paramatman without reference to the last two but with only the first idea of Wheel of Time. His hymn gave him back eye-sight but not ultimate Release. But Dirghatamas was not known to have regained his eye-sight though he invoked Aśvins in that hymn and referred to the Wheel of Time in similar description. The difference in result was obviously related to the Ānupūrvi of the śabda of the riks he conceived. But lesser mortals that we are, we can only see the ‘meanings’ and the differences in them and not the śabda!

The same hymn by Dirghatamas speaks about the purpose of Vedas.

The 39^th rik says,

ṛco akṣare parame vyoman yasmin devā adhi viśve niṣeduḥ |
yastan na veda kiṃ ṛcā kariṣyati ya it tad vidusta ime samāsate ||

रचो अक्षरे परमे वयोमन यस्मिन देवा अधि विश्वे निषेदुः |यस्तन न वेद किं रचा करिष्यति य इत तद विदुस्त इमे समासते ||

Meaning by David Frawley:

“The supreme syllable of the chant in the supreme ether, in which all the Gods reside, those who do not know this, what can they do with the Veda? Those who know it alone are gathered here.”

Meaning by Griffith:

“Upon what syllable of holy praisesong-, as twere their highest heaven, the Gods repose them,
Who knows not this, what will he do with praisesong-? But they who know it well sit here assembled.”

Gods reside in śabda, the basic syllable. Those who know this, sing the riks to get what the Gods give them. But those who don’t know, treat the Vedas as a literary work – the world knows the worst outcome of that – it was the invention of Aryan Invasion!

Here is a small solace for those yearning to see historic inputs in the Rig Veda: one can see a historic development in the concept of Aśvins from Dirghatamas to Upamanyu. Dirghatamas was born blind and remained so throughout his life. Though he praised Aśvins in his hymns, he didn’t see Aśvins as the Supreme Being. In contrast Upamanyu lost his eyesight accidentally and regained it by praying to Aśvins as the Supreme Being. The change of status to Aśvins had happened from Dirghatamas to Upamanyu.

What happened in between cannot be traced in Rig Veda as it is not a historic document. We have to turn to the Itihāsa which are the historical documents. One is expected to refer to the Itihāsa to understand what the Vedas say. This can be authenticated from a verse in Vālmiki Ramayana that Vālmiki composed Ramayana to reinforce the import of the Vedas. (“vedopabrimhaṇārthāya” VR: 1:4-6). The scope of the Itihāsas is such that they help us to weave the chronology of men and events in addition to understanding the Vedic Thought.

The gap between Dirghatamas and Upamanyu can be filled by inputs from Mahabharata with a combined understanding of the Vedic seers mentioned in Rig Veda. Dirghatamas recognised Aśvins only as a benefactor of the Supreme Being and not as the Supreme Being Itself. Aśvins were elevated to the status of the Supreme Being as those who take soma-oblations by Rishi Chyavana (Mahabharata: 3-123). Since invoking Aśvins to partake the soma is found to be associated with the Kaṇvas, Kaṇvas can be positioned after Chyavana and not before him. In a surprising connection to Tamil language, Kaṇ, a Tamil word means eye! This takes us to a different discourse on whether Tamil was theManuśya bhaṣa of those times, which we are not probing here. Finally we find Upamanyu invoking Aśvins as the Supreme Being but he gained eye-sight and not Release from the Wheel of Time.

With just one hymn of riks found in Mahabharata, we are able to construct a fairly reasonable history of the development of Aśvins from a subordinate deity to the main Supreme Deity. And we could identify the persons involved in this development using the Itihāsas.

This runs counter to what persons like Witzel had said that Vedas “represent the only contemporary literary sources for most of early Indian history” and his claim that “everything from known history up to the Mahabharata war is filled in from Vedic sources. ..... One can easily show that groups of 2-3 kings were lifted intact from the Rigveda, the Brahmanas, and so on, and inserted wherever they were thought to fit.” (1995, “Early Indian history: Linguistic and textual parameters”)

For him Rig Veda is “a notoriously difficult text” and “the immigration of Indo-Aryans is a fact that can frequently be noticed in the Rig Veda”. He and those of his ilk certainly do not belong to the gathering that Dirghatamas referred to in his verse as those who knew what Vedic śabda are meant for!

************************

Text of the Rig Vedic Hymn recited by Upamanyu:

And Upamanyu thus directed by his preceptor began to glorify the twin Aswins, in the following words of the Rig Veda:

“Ye have existed before the creation! Ye first-born beings, ye are displayed in this wondrous universe of five elements! I desire to obtain you by the help of the knowledge derived from hearing, and of meditation, for ye are Infinite! Ye are the course itself of Nature and intelligent Soul that pervades that course! Ye are birds of beauteous feathers perched on the body that is like to a tree! Ye are without the three common attributes of every soul! Ye are incomparable! Ye, through your spirit in every created thing, pervade the Universe! Ye are golden Eagles! Ye are the essence into which all things disappear! Ye are free from error and know no deterioration!

Ye are of beauteous beaks that would not unjustly strike and are victorious in every encounter! Ye certainly prevail over time! Having created the sun, ye weave the wondrous cloth of the year by means of the white thread of the day and the black thread of the night! And with the cloth so woven, ye have established two courses of action appertaining respectively to the Devas and the Pitris. The bird of Life seized by Time which represents the strength of the Infinite soul, ye set free for delivering her unto great happiness! They that are in deep ignorance, as long as they are under delusions of their senses, suppose you, who are independent of the attributes of matter, to be gifted with form! Three hundred and sixty cows represented by three hundred and sixty days produce one calf between them which is the year. That calf is the creator and destroyer of all. Seekers of truth following different routes, draw the milk of true knowledge with its help. Ye Aswins, ye are the creators of that calf!

The year is but the nave of a wheel to which is attached seven hundred and twenty spokes representing as many days and nights. The circumference of this wheel represented by twelve months is without end. This wheel is full of delusions and knows no deterioration. It affects all creatures whether to this or of the other worlds. Ye Aswins, this wheel of time is set in motion by you! The wheel of Time as represented by the year has a nave represented by the six seasons. The number of spokes attached to that nave is twelve as represented by the twelve signs of the Zodiac. This wheel of Time manifests the fruits of the acts of all things. The presiding deities of Time abide in that wheel. Subject as I am to its distressful influence, ye Aswins, liberate me from that wheel of Time.

Ye Aswins, ye are this universe of five elements! Ye are the objects that are enjoyed in this and in the other world! Make me independent of the five elements! And though ye are the Supreme Brahma, yet ye move over the Earth in forms enjoying the delights that the senses afford. In the beginning, ye created the ten points of the universe! Then have ye placed the Sun and the Sky above! The Rishis, according to the course of the same Sun, perform their sacrifices, and the gods and men, according to what hath been appointed for them, perform their sacrifices also enjoying the fruits of those acts! Mixing the three colours, ye have produced all the objects of sight! It is from these objects that the Universe hath sprung whereon the gods and men are engaged in their respective occupations, and, indeed, all creatures endued with life! Ye Aswins, I adore you!

I also adore the Sky which is your handiwork! Ye are the ordainers of the fruits of all acts from which even the gods are not free! Ye are yourselves free from the fruits of your acts! Ye are the parents of all! As males and females it is ye that swallow the food which subsequently develops into the life creating fluid and blood! The new-born infant sucks the teat of its mother. Indeed it is ye that take the shape of the infant! Ye Aswins, grant me my sight to protect my life.”

Mahabharata 1-3

59 sa evam ukta upādhyāyena stotuṃ pracakrame devāv aśvinau vāgbhir ṛgbhiḥ

60 prapūrvagau pūrvajau citrabhānū; girā vā śaṃsāmi tapanāv anantau
     divyau suparṇau virajau vimānāv; adhikṣiyantau bhuvanāni viśvā
61 hiraṇmayau śakunī sāmparāyau; nāsatya dasrau sunasau vaijayantau
     śukraṃ vayantau tarasā suvemāv; abhi vyayantāv asitaṃ vivasvat
62 grastāṃ suparṇasya balena vartikām; amuñcatām aśvinau saubhagāya
     tāvat suvṛttāv anamanta māyayā; sattamā gā aruṇā udāvahan
63 ṣaṣṭiś ca gāvas triśatāś ca dhenava; ekaṃ vatsaṃ suvate taṃ duhanti
     nānā goṣṭhā vihitā ekadohanās; tāv aśvinau duhato gharmam ukthyam
64 ekāṃ nābhiṃ saptaśatā arāḥ śritāḥ; pradhiṣv anyā viṃśatir arpitā arāḥ
     anemi cakraṃ parivartate 'jaraṃ; māyāśvinau samanakti carṣaṇī
65 ekaṃ cakraṃ vartate dvādaśāraṃ; pradhi ṣaṇ ṇābhim ekākṣam amṛtasya dhāraṇam
     yasmin devā adhi viśve viṣaktās; tāv aśvinau muñcato mā viṣīdatam
66 aśvināv indram amṛtaṃ vṛttabhūyau; tirodhattām aśvinau dāsapatnī
     bhittvā girim aśvinau gām udācarantau; tad vṛṣṭam ahnā prathitā valasya
67 yuvāṃ diśo janayatho daśāgre; samānaṃ mūrdhni rathayā viyanti
     tāsāṃ yātam ṛṣayo 'nuprayānti; devā manuṣyāḥ kṣitim ācaranti
68 yuvāṃ varṇān vikurutho viśvarūpāṃs; te 'dhikṣiyanti bhuvanāni viśvā
     te bhānavo 'py anusṛtāś caranti; devā manuṣyāḥ kṣitim ācaranti
69 tau nāsatyāv aśvināv āmahe vāṃ; srajaṃ ca yāṃ bibhṛthaḥ puṣkarasya
     tau nāsatyāv amṛtāvṛtāvṛdhāv; ṛte devās tat prapadena sūte
70 mukhena garbhaṃ labhatāṃ yuvānau; gatāsur etat prapadena sūte
     sadyo jāto mātaram atti garbhas tāv; aśvinau muñcatho jīvase gāḥ

59 स एवम उक्त उपाध्यायेन सतॊतुं परचक्रमे देवाव अश्विनौ वाग्भिर ऋग्भिः

60 परपूर्वगौ पूर्वजौ चित्रभानू; गिरा वा शंसामि तपनाव अनन्तौ
     दिव्यौ सुपर्णौ विरजौ विमानाव; अधिक्षियन्तौ भुवनानि विश्वा
61 हिरण्मयौ शकुनी साम्परायौ; नासत्य दस्रौ सुनसौ वैजयन्तौ
     शुक्रं वयन्तौ तरसा सुवेमाव; अभि वययन्ताव असितं विवस्वत
62 गरस्तां सुपर्णस्य बलेन वर्तिकाम; अमुञ्चताम अश्विनौ सौभगाय
     तावत सुवृत्ताव अनमन्त मायया; सत्तमा गा अरुणा उदावहन
63 षष्टिश च गावस तरिशताश च धेनव; एकं वत्सं सुवते तं दुहन्ति
     नाना गॊष्ठा विहिता एकदॊहनास; ताव अश्विनौ दुहतॊ घर्मम उक्थ्यम
64 एकां नाभिं सप्तशता अराः शरिताः; परधिष्व अन्या विंशतिर अर्पिता अराः
     अनेमि चक्रं परिवर्तते ऽजरं; मायाश्विनौ समनक्ति चर्षणी
65 एकं चक्रं वर्तते दवादशारं; परधि षण णाभिम एकाक्षम अमृतस्य धारणम
     यस्मिन देवा अधि विश्वे विषक्तास; ताव अश्विनौ मुञ्चतॊ मा विषीदतम
66 अश्विनाव इन्द्रम अमृतं वृत्तभूयौ; तिरॊधत्ताम अश्विनौ दासपत्नी
     भित्त्वा गिरिम अश्विनौ गाम उदाचरन्तौ; तद वृष्टम अह्ना परथिता वलस्य
67 युवां दिशॊ जनयथॊ दशाग्रे; समानं मूर्ध्नि रथया वियन्ति
     तासां यातम ऋषयॊ ऽनुप्रयान्ति; देवा मनुष्याः कषितिम आचरन्ति
68 युवां वर्णान विकुरुथॊ विश्वरूपांस; ते ऽधिक्षियन्ति भुवनानि विश्वा
     ते भानवॊ ऽपय अनुसृताश चरन्ति; देवा मनुष्याः कषितिम आचरन्ति
69 तौ नासत्याव अश्विनाव आमहे वां; सरजं च यां बिभृथः पुष्करस्य
     तौ नासत्याव अमृतावृतावृधाव; ऋते देवास तत परपदेन सूते
70 मुखेन गर्भं लभतां युवानौ; गतासुर एतत परपदेन सूते

सद्यॊ जातॊ मातरम अत्ति गर्भस ताव; अश्विनौ मुञ्चथॊ जीवसे गाः
http://jayasreesaranathan.blogspot.com/2018/12/unknown-rig-vedic-hymn-on-asvins-in.html

Trial of Upamanyu, trial of Veda (Paushya Parva)

"One day Janamejaya, the son of Parikshit, while a-hunting, observed in a particular part of his dominions a hermitage where dwelt a certain Rishi of fame, Srutasrava. He had a son named Somasrava deeply engaged in ascetic devotions. Being desirous of appointing that son of the Rishi as his Purohita, Janamejaya, the son of Parikshit, saluted the Rishi and addressed him, saying, 'O possessor of the six attributes, let this thy son be my purohita.' The Rishi thus addressed, answered Janamejaya, 'O Janamejaya, this my son, deep in ascetic devotions, accomplished in the study of the Vedas, and endued with the full force of my asceticism, is born of (the womb of) a she-snake that had drunk my vital fluid. He is able to absolve thee from all offences save those committed against Mahadeva. But he hath one particular habit, viz. he would grant to any Brahmana whatever might be begged of him. If thou canst put up with it, then thou take him.' Janamejaya thus addressed replied to the Rishi, 'It shall be even so.' And accepting him for his Purohita, he returned to his capital; and he then addressed his brothers saying, 'This is the person I have chosen for my spiritual master; whatsoever he may say must be complied with by you without examination.' And his brothers did as they were directed. And giving these directions to his brothers, the king marched towards Takshyashila and brought that country under his authority.
"About this time there was a Rishi, Ayoda-Dhaumya by name. And Ayoda-Dhaumya had three disciples, Upamanyu, Aruni, and Veda. And the Rishi bade one of these disciples, Aruni of Panchala, to go and stop up a breach in the water-course of a certain field. And Aruni of Panchala, thus ordered by his preceptor, repaired to the spot. And having gone there he saw that he could not stop up the breach in the water-course by ordinary means. And he was distressed because he could not do his preceptor's bidding. But at length he saw a way and said, 'Well, I will do it in this way.' He then went down into the breach and lay down himself there. And the water was thus confined.
"And some time after, the preceptor Ayoda-Dhaumya asked his other disciples where Aruni of Panchala was. And they answered, 'Sir, he hath been sent by yourself saying, 'Go, stop up the breach in the water-course
p. 34
of the field,' Thus reminded, Dhaumya, addressing his pupils, said, 'Then let us all go to the place where he is.'
"And having arrived there, he shouted, 'Ho Aruni of Panchala! Where art thou? Come hither, my child.' And Aruni hearing the voice of his preceptor speedily came out of the water-course and stood before his preceptor. And addressing the latter, Aruni said, 'Here I am in the breach of the water-course. Not having been able to devise any other means, I entered myself for the purpose of preventing the water running out. It is only upon hearing thy voice that, having left it and allowed the waters to escape, I have stood before thee. I salute thee, Master; tell me what I have to do.'
"The preceptor, thus addressed, replied, 'Because in getting up from the ditch thou hast opened the water-course, thenceforth shalt thou be called Uddalaka as a mark of thy preceptor's favour. And because my words have been obeyed by thee, thou shalt obtain good fortune. And all the Vedas shall shine in thee and all the Dharmasastras also.' And Aruni, thus addressed by his preceptor, went to the country after his heart.
"The name of another of Ayoda-Dhaumya's disciples was Upamanyu. And Dhaumya appointed him saying, 'Go, my child, Upamanyu, look after the kine.' And according to his preceptor's orders, he went to tend the kine. And having watched them all day, he returned in the evening to his preceptor's house and standing before him he saluted him respectfully. And his preceptor seeing him in good condition of body asked him, 'Upamanyu, my child, upon what dost thou support thyself? Thou art exceedingly plump.' And he answered, 'Sir, I support myself by begging'. And his preceptor said, 'What is obtained in alms should not be used by thee without offering it to me.' And Upamanyu, thus told, went away. And having obtained alms, he offered the same to his preceptor. And his preceptor took from him even the whole. And Upamanyu, thus treated, went to attend the cattle. And having watched them all day, he returned in the evening to his preceptor's abode. And he stood before his preceptor and saluted him with respect. And his preceptor perceiving that he still continued to be of good condition of body said unto him, 'Upamanyu, my child, I take from thee even the whole of what thou obtainest in alms, without leaving anything for thee. How then dost thou, at present, contrive to support thyself?' And Upamanyu said unto his preceptor, 'Sir, having made over to you all that I obtain in alms, I go a-begging a second time for supporting myself.' And his preceptor then replied, 'This is not the way in which thou shouldst obey the preceptor. By this thou art diminishing the support of others that live by begging. Truly having supported thyself so, thou hast proved thyself covetous.' And Upamanyu, having signified his assent to all that his preceptor said, went away to attend the cattle. And having watched them all day, he returned to
p. 35
his preceptor's house. And he stood before his preceptor and saluted him respectfully. And his preceptor observing that he was still fat, said again unto him, 'Upamanyu, my child, I take from thee all thou obtainest in alms and thou dost not go a-begging a second time, and yet art thou in healthy condition. How dost thou support thyself?' And Upamanyu, thus questioned, answered, 'Sir, I now live upon the milk of these cows.' And his preceptor thereupon told him, 'It is not lawful for thee to appropriate the milk without having first obtained my consent.' And Upamanyu having assented to the justice of these observations, went away to tend the kine. And when he returned to his preceptor's abode, he stood before him and saluted him as usual. And his preceptor seeing that he was still fat, said, 'Upamanyu, my child, thou eatest no longer of alms, nor dost thou go a-begging a second time, not even drinkest of the milk; yet art thou fat. By what means dost thou contrive to live now? And Upamanyu replied, 'Sir, I now sip the froth that these calves throw out, while sucking their mother's teats.' And the preceptor said, 'These generous calves, I suppose, out of compassion for thee, throw out large quantities of froth. Wouldst thou stand in the way of their full meals by acting as thou hast done? Know that it is unlawful for thee to drink the froth.' And Upamanyu, having signified his assent to this, went as before to tend the cows. And restrained by his preceptor, he feedeth not on alms, nor hath he anything else to eat; he drinketh not of the milk, nor tasteth he of the froth!
"And Upamanyu, one day, oppressed by hunger, when in a forest, ate of the leaves of the Arka (Asclepias gigantea). And his eyes being affected by the pungent, acrimonious, crude, and saline properties of the leaves which he had eaten, he became blind. And as he was crawling about, he fell into a pit. And upon his not returning that day when the sun was sinking down behind the summit of the western mountains, the preceptor observed to his disciples that Upamanyu was not yet come. And they told him that he had gone out with the cattle.
"The preceptor then said, 'Upamanyu being restrained by me from the use of everything, is, of course, and therefore, doth not come home until it be late. Let us then go in search of him.' And having said this, he went with his disciples into the forest and began to shout, saying, 'Ho Upamanyu, where art thou?' And Upamanyu hearing his preceptor's voice answered in a loud tone, 'Here I am at the bottom of a well.' And his preceptor asked him how he happened to be there. And Upamanyu replied, 'Having eaten of the leaves of the Arka plant I became blind, and so have I fallen into this well.' And his preceptor thereupon told him, 'Glorify the twin Aswins, the joint physicians of the gods, and they will restore thee thy sight.' And Upamanyu thus directed by his preceptor began to glorify the twin Aswins, in the following words of the Rig Veda:
'Ye have existed before the creation! Ye first-born beings, ye are displayed
p. 36
in this wondrous universe of five elements! I desire to obtain you by the help of the knowledge derived from hearing, and of meditation, for ye are Infinite! Ye are the course itself of Nature and intelligent Soul that pervades that course! Ye are birds of beauteous feathers perched on the body that is like to a tree! Ye are without the three common attributes of every soul! Ye are incomparable! Ye, through your spirit in every created thing, pervade the Universe!
"Ye are golden Eagles! Ye are the essence into which all things disappear! Ye are free from error and know no deterioration! Ye are of beauteous beaks that would not unjustly strike and are victorious in every encounter! Ye certainly prevail over time! Having created the sun, ye weave the wondrous cloth of the year by means of the white thread of the day and the black thread of the night! And with the cloth so woven, ye have established two courses of action appertaining respectively to the Devas and the Pitris. The bird of Life seized by Time which represents the strength of the Infinite soul, ye set free for delivering her unto great happiness! They that are in deep ignorance, as long as they are under delusions of their senses, suppose you, who are independent of the attributes of matter, to be gifted with form! Three hundred and sixty cows represented by three hundred and sixty days produce one calf between them which is the year. That calf is the creator and destroyer of all. Seekers of truth following different routes, draw the milk of true knowledge with its help. Ye Aswins, ye are the creators of that calf!
"The year is but the nave of a wheel to which is attached seven hundred and twenty spokes representing as many days and nights. The circumference of this wheel represented by twelve months is without end. This wheel is full of delusions and knows no deterioration. It affects all creatures whether to this or of the other worlds. Ye Aswins, this wheel of time is set in motion by you!
"The wheel of Time as represented by the year has a nave represented by the six seasons. The number of spokes attached to that nave is twelve as represented by the twelve signs of the Zodiac. This wheel of Time manifests the fruits of the acts of all things. The presiding deities of Time abide in that wheel. Subject as I am to its distressful influence, ye Aswins, liberate me from that wheel of Time. Ye Aswins, ye are this universe of five elements! Ye are the objects that are enjoyed in this and in the other world! Make me independent of the five elements! And though ye are the Supreme Brahma, yet ye move over the Earth in forms enjoying the delights that the senses afford.
"In the beginning, ye created the ten points of the universe! Then have ye placed the Sun and the Sky above! The Rishis, according to the course of the same Sun, perform their sacrifices, and the gods and men, according to what hath been appointed for them, perform their sacrifices also enjoying the fruits of those acts!
p. 37
"Mixing the three colours, ye have produced all the objects of sight! It is from these objects that the Universe hath sprung whereon the gods and men are engaged in their respective occupations, and, indeed, all creatures endued with life!
"Ye Aswins, I adore you! I also adore the Sky which is your handiwork! Ye are the ordainers of the fruits of all acts from which even the gods are not free! Ye are yourselves free from the fruits of your acts!
"Ye are the parents of all! As males and females it is ye that swallow the food which subsequently develops into the life creating fluid and blood! The new-born infant sucks the teat of its mother. Indeed it is ye that take the shape of the infant! Ye Aswins, grant me my sight to protect my life!"
The twin Aswins, thus invoked, appeared and said, 'We are satisfied. Here is a cake for thee. Take and eat it.' And Upamanyu thus addressed, replied, 'Your words, O Aswins, have never proved untrue. But without first offering this cake to my preceptor I dare not take it.' And the Aswins thereupon told him, 'Formerly, thy preceptor had invoked us. We thereupon gave him a cake like this; and he took it without offering it to his master. Do thou do that which thy preceptor did.' Thus addressed, Upamanyu again said unto them, 'O Aswins, I crave your pardon. Without offering it to my preceptor I dare not apply this cake.' The Aswins then said, 'O, we are pleased with this devotion of thine to thy preceptor. Thy master's teeth are of black iron. Thine shall be of gold. Thou shall be restored to sight and shall have good fortune.'
"Thus spoken to by the Aswins he recovered his sight, and having gone to his preceptor's presence he saluted him and told him all. And his preceptor was well-pleased with him and said unto him, 'Thou shalt obtain prosperity even as the Aswins have said. All the Vedas shall shine in thee and all the Dharma-sastras.' And this was the trial of Upamanyu.
"Then Veda the other disciple of Ayoda-Dhaumya was called. His preceptor once addressed him, saying, 'Veda, my child, tarry some time in my house and serve thy preceptor. It shall be to thy profit.' And Veda having signified his assent tarried long in the family of his preceptor mindful of serving him. Like an ox under the burthens of his master, he bore heat and cold, hunger and thirst, at all times without a murmur. And it was not long before his preceptor was satisfied. And as a consequence of that satisfaction, Veda obtained good fortune and universal knowledge. And this was the trial of Veda.
"And Veda, having received permission from his preceptor, and leaving the latter's residence after the completion of his studies, entered the domestic mode of life. And while living in his own house, he got three pupils. And he never told them to perform any work or to obey implicitly his own behests; for having himself experienced much woe while abiding in the family of his preceptor, he liked not to treat them with severity.
"After a certain time, Janamejaya and Paushya, both of the order of
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[paragraph continues] Kshatriyas, arriving at his residence appointed the Brahman. Veda, as their spiritual guide (Upadhyaya)

http://www.sacred-texts.com/hin/m01/m01004.htm

↧

Barli fragmentary Brāhmī Inscription of ca. 443 BCE (possibly the earliest Brāhmī inscription)

variant readings

Names of the 84 Mahasiddhas

Codage et Traitement de l'Information Sensorielle par le Cerveau Translation from French: The Sensory Theory, Coding and Treatment of Sensory Information by the Brain (2014)https://www.theoriesensorielle.com/analogy-between-the-urukean-harp-and-the-auditory-system/

The rebus readings are: ḍhangar ‘blacksmith’ (Hindi), tāmbarā 'coppersmith' (Oriya).

Who invented the oxhide ingot shape? Meluhha artisans. An archaemetallurgical journey along the Maritime Tin Route. http://tinyurl.com/k3bhx57m1429

Indus Script Meluha hyper texts process auditory, sensory information through sphoṭa, 'bursting' in semantic neural networks.

Codage et Traitement de l'Information Sensorielle par le Cerveau Translation from French: The Sensory Theory, Coding and Treatment of Sensory Information by the Brain (2014)https://www.theoriesensorielle.com/analogy-between-the-urukean-harp-and-the-auditory-system/

Another example is a plaque from Lagash which shows a bull in front of a lyre player. I suggest that the Lagash plaque is a wealth-production accounting ledger in Meluhha Indus Script cipher.

Lyre-player, from one of the steles of king Gudea of Lagash. The lyre has eleven strings. Around 2150 BCE

Tanbur, a long-necked, string instrument originating in the Southern or Central Asia (Mesopotamia and Persia/Iran)

Hieroglyph: tambura 'lyre, harp', rebus: tambra 'copper', tāmbarā

'coppersmith' (Oriya)

Hieroglyh: ayo 'fish' rebus: aya 'iron' ayas 'alloy metal'

2. H. dã̄gar m. = prec.(CDIAL 5526)The rebus readings are: ḍhangar ‘blacksmith’ (Hindi), tāmbarā 'coppersmith' (Oriya).

Who invented the oxhide ingot shape? Meluhha artisans. An archaemetallurgical journey along the Maritime Tin Route. http://tinyurl.com/k3bhx57m1429

tāraká -- 1 see tārā -- Add2.*tāmraghaṭa ʻ copper pot ʼ. [tāmrá -- , ghaṭa -- 1]

Bi. tamheṛī ʻ round copper vessel ʼ; -- tamheṛā ʻ brassfounder ʼ der. *tamheṛ ʻ copper pot ʼ or < next?

Bi. tamahā ʻ drinking vessel made of a red alloy ʼ.

tāmrapaṭṭa m. ʻ copper plate (for inscribing) ʼ Yājñ. [Cf. tāmrapattra -- . -- tāmrá -- , paṭṭa -- 1]M. tã̄boṭī f. ʻ piece of copper of shape and size of a brick ʼ.

tāmrapattra n. ʻ copper plate (for inscribing) ʼ lex. [Cf. tāmrapaṭṭa -- . -- tāmrá -- , páttra -- ]Ku.gng. tamoti ʻ copper plate ʼ.

tāmrapātra n. ʻ copper vessel ʼ MBh. [tāmrá -- , pāˊtra -- ]Ku.gng. tamoi ʻ copper vessel for water ʼ.

*tāmrabhāṇḍa ʻ copper vessel ʼ. [tāmrá -- , bhāṇḍa -- 1]Bhoj. tāmaṛā, tāmṛā ʻ copper vessel ʼ; G. tarbhāṇũ n. ʻ copper dish used in religious ceremonies ʼ (< *taramhã̄ḍũ).

tāmravarṇa ʻ copper -- coloured ʼ TĀr. [tāmrá -- , várṇa -- 1]Si. tam̆bavan ʻ copper -- coloured, dark red ʼ (EGS 61) prob. a Si. cmpd.

tāmrākṣa ʻ red -- eyed ʼ MBh. [tāmrá -- , ákṣi -- ]Pa. tambakkhin -- ; P. tamak f. ʻ anger ʼ; Bhoj. tamakhal ʻ to be angry ʼ; H. tamaknā ʻ to become red in the face, be angry ʼ.

Harp, tantiburra, tambur, BAN.TUR (Sumerian) is an Indus Script hypertext.

tāmrakāra m. ʻ coppersmith ʼ lex. [tāmrá -- , kāra -- 1]Or. tāmbarā ʻ id. ʼ.

tāmrakuṭṭa m. ʻ coppersmith ʼ R. [tāmrá -- , kuṭṭa -- ]N. tamauṭe, tamoṭe ʻ id. ʼ.Addenda: tāmrakuṭṭa -- : Garh. ṭamoṭu ʻ coppersmith ʼ; Ko. tāmṭi.tāraká -- 1 see tārā -- Add2.

*tāmraghaṭa ʻ copper pot ʼ. [tāmrá -- , ghaṭa -- 1]Bi. tamheṛī ʻ round copper vessel ʼ; -- tamheṛā ʻ brassfounder ʼ der. *tamheṛ ʻ copper pot ʼ or < next?

*tāmraghaṭaka ʻ copper -- worker ʼ. [tāmrá -- , ghaṭa -- 2]Bi. tamheṛā ʻ brass -- founder ʼ or der. fr. *tamheṛ see prec.

tāmracūḍa ʻ red -- crested ʼ MBh., m. ʻ cock ʼ Suśr. [tāmrá -- , cūˊḍa -- 1]Pa. tambacūḷa -- m. ʻ cock ʼ, Pk. taṁbacūla -- m.; -- Si. tam̆basiluvā ʻ cock ʼ (EGS 61) either a later cmpd. (as in Pk.) or ← Pa.

*tāmradhāka ʻ copper receptacle ʼ. [tāmrá -- , dhāká -- ]Bi. tamahā ʻ drinking vessel made of a red alloy ʼ.

tāmrapaṭṭa m. ʻ copper plate (for inscribing) ʼ Yājñ. [Cf. tāmrapattra -- . -- tāmrá -- , paṭṭa -- 1]M. tã̄boṭī f. ʻ piece of copper of shape and size of a brick ʼ.

tāmrapattra n. ʻ copper plate (for inscribing) ʼ lex. [Cf. tāmrapaṭṭa -- . -- tāmrá -- , páttra -- ]Ku.gng. tamoti ʻ copper plate ʼ.

tāmrapātra n. ʻ copper vessel ʼ MBh. [tāmrá -- , pāˊtra -- ]Ku.gng. tamoi ʻ copper vessel for water ʼ.

*tāmrabhāṇḍa ʻ copper vessel ʼ. [tāmrá -- , bhāṇḍa -- 1]Bhoj. tāmaṛā, tāmṛā ʻ copper vessel ʼ; G. tarbhāṇũ n. ʻ copper dish used in religious ceremonies ʼ (< *taramhã̄ḍũ).

tāmravarṇa ʻ copper -- coloured ʼ TĀr. [tāmrá -- , várṇa -- 1]Si. tam̆bavan ʻ copper -- coloured, dark red ʼ (EGS 61) prob. a Si. cmpd.

tāmrākṣa ʻ red -- eyed ʼ MBh. [tāmrá -- , ákṣi -- ]Pa. tambakkhin -- ; P. tamak f. ʻ anger ʼ; Bhoj. tamakhal ʻ to be angry ʼ; H. tamaknā ʻ to become red in the face, be angry ʼ.

Flag-staff (ḍhāla, thãbharā) carried as a Meluhha proclamation (ketu) of metalwork competence, rebus: ḍhālako 'ingot', tambra'copper', tāmbarā 'coppersmith' (Oriya)

Girsu (Tlloh) archaeological find. 11 ft. tall copper plated flagpost. This may relate to a period when Girsu (ca. 2900-2335 BCE) was the capital of Lagash at the time of Gudea.

The building of Ningirsu's temple

Music in temple foundation ceremonies

Representations of musicians in Mesopotamia

Bibliography

The ‘Boat-Shaped’ Lyre Restudy of a Unique Musical Instrument from Ur By: Maude de Schauensee Expedition, Volume 40, Issue 2

Chapitre 1Origines: Levant, Mésopotamie

Chapitre 3 Les Analogies Sensorielles

ANALOGY BETWEEN THE URUKEAN HARP AND THE AUDITORY SYSTEM

By Philippe Roi(1), Tristan Girard(2), Richard Dumbrill(3), Michel Leibovici(4)With the participation of Paul Avan(5)

औम mf(ई)n. (fr. उमा) , made of flax , flaxen Pa1n2. 4-3 , 158.; mfn. relating to the goddess उमा , Para1s3.(Monier-Williams).

Carved stone tablets with the inscription Om syllables from Om Mani Padme Hum mantra - Everest region, Nepal, Himalayas

Yoga Sutras 1.23-1.29:Contemplation on AUM (or OM)

1.27 The sacred word designating this creative source is the sound OM, called pranava.1.27 (tasya vachakah pranavah)

Massive controversy breaks out as Social Science text book in Karnataka includes chapters on “How to Islamize country, how to spread Christianity” and force kids to visit Mosques and Churches!

Baba (goddess)

Functions

Divine Genealogy and Syncretisms

Cult Place

Time Periods Attested

Iconography

Name and Spellings

Baba in Online Corpora

Further Reading

The Topography of the Gudea Inscriptions Ira Maurice Price Journal of the American Oriental Society Vol. 43 (1923), pp. 41-48 Published by: American Oriental Society DOI: 10.2307/593296 https://www.jstor.org/stable/593296: The mountain Gubi, mountain of hulupu-wood

Gudea and His Dynasty By Dietz Otto Edzard University of Toronto Press, 1997

The building of Ningirsu's temple

Music in temple foundation ceremonies

Representations of musicians in Mesopotamia

Bibliography

m0352 cdef

Identifying the Ritual Expected by All the Scholars Working on the Harappan Seals and Tablets (Sept.09, 2018) Embedded.

The Sukta RV X.101 reads, explaining the entire yajña as a metaphor of golden-tinted soma poured into a wooden bowl, a smelting process yielding weapons of war and transport and implements of daily life:

Codage et Traitement de l'Information Sensorielle par le Cerveau Translation from French: The Sensory Theory, Coding and Treatment of Sensory Information by the Brain (2014)
https://www.theoriesensorielle.com/analogy-between-the-urukean-harp-and-the-auditory-system/

Who invented the oxhide ingot shape? Meluhha artisans. An archaemetallurgical journey along the Maritime Tin Route. http://tinyurl.com/k3bhx57
m1429

Codage et Traitement de l'Information Sensorielle par le Cerveau Translation from French: The Sensory Theory, Coding and Treatment of Sensory Information by the Brain (2014)
https://www.theoriesensorielle.com/analogy-between-the-urukean-harp-and-the-auditory-system/

2. H. dã̄gar m. = prec.(CDIAL 5526)

The rebus readings are: ḍhangar ‘blacksmith’ (Hindi), tāmbarā 'coppersmith' (Oriya).

Who invented the oxhide ingot shape? Meluhha artisans. An archaemetallurgical journey along the Maritime Tin Route. http://tinyurl.com/k3bhx57
m1429

Bi. tamheṛī ʻ round copper vessel ʼ; -- tamheṛā ʻ brassfounder ʼ der. **tamheṛ* ʻ copper pot ʼ or < next?

tāmrapaṭṭa m. ʻ copper plate (for inscribing) ʼ Yājñ. [Cf. tāmrapattra -- . -- tāmrá -- , paṭṭa -- 1]
M. tã̄boṭī f. ʻ piece of copper of shape and size of a brick ʼ.

tāmrapattra n. ʻ copper plate (for inscribing) ʼ lex. [Cf. tāmrapaṭṭa -- . -- tāmrá -- , páttra -- ]
Ku.gng. tamoti ʻ copper plate ʼ.

tāmrapātra n. ʻ copper vessel ʼ MBh. [tāmrá -- , pāˊtra -- ]
Ku.gng. tamoi ʻ copper vessel for water ʼ.

tāmrabhāṇḍa ʻ copper vessel ʼ. [tāmrá -- , bhāṇḍa -- 1]
Bhoj. tāmaṛā, tāmṛā* ʻ copper vessel ʼ; G. tarbhāṇũ n. ʻ copper dish used in religious ceremonies ʼ (< **taramhã̄ḍũ*).

tāmravarṇa ʻ copper -- coloured ʼ TĀr. [tāmrá -- , várṇa -- 1]
Si. tam̆bavan ʻ copper -- coloured, dark red ʼ (EGS 61) prob. a Si. cmpd.

tāmrākṣa ʻ red -- eyed ʼ MBh. [tāmrá -- , ákṣi -- ]
Pa. tambakkhin -- ; P. tamak f. ʻ anger ʼ; Bhoj. tamakhal ʻ to be angry ʼ; H. tamaknā ʻ to become red in the face, be angry ʼ.

tāmrakuṭṭa m. ʻ coppersmith ʼ R. [tāmrá -- , kuṭṭa -- ]
N. tamauṭe, tamoṭe ʻ id. ʼ.
Addenda: tāmrakuṭṭa -- : Garh. ṭamoṭu ʻ coppersmith ʼ; Ko. tāmṭi.
tāraká -- 1 see tārā -- Add2.

tāmraghaṭa ʻ copper pot ʼ. [tāmrá -- , ghaṭa -- 1]
Bi. tamheṛī* ʻ round copper vessel ʼ; -- tamheṛā ʻ brassfounder ʼ der. **tamheṛ* ʻ copper pot ʼ or < next?

tāmraghaṭaka ʻ copper -- worker ʼ. [tāmrá -- , ghaṭa -- 2]
Bi. tamheṛā* ʻ brass -- founder ʼ or der. fr. **tamheṛ* see prec.

tāmracūḍa ʻ red -- crested ʼ MBh., m. ʻ cock ʼ Suśr. [tāmrá -- , cūˊḍa -- 1]
Pa. tambacūḷa -- m. ʻ cock ʼ, Pk. taṁbacūla -- m.; -- Si. tam̆basiluvā ʻ cock ʼ (EGS 61) either a later cmpd. (as in Pk.) or ← Pa.

tāmradhāka ʻ copper receptacle ʼ. [tāmrá -- , dhāká -- ]
Bi. tamahā* ʻ drinking vessel made of a red alloy ʼ.

tāmrapaṭṭa m. ʻ copper plate (for inscribing) ʼ Yājñ. [Cf. tāmrapattra -- . -- tāmrá -- , paṭṭa -- 1]
M. tã̄boṭī f. ʻ piece of copper of shape and size of a brick ʼ.

tāmrapattra n. ʻ copper plate (for inscribing) ʼ lex. [Cf. tāmrapaṭṭa -- . -- tāmrá -- , páttra -- ]
Ku.gng. tamoti ʻ copper plate ʼ.

tāmrapātra n. ʻ copper vessel ʼ MBh. [tāmrá -- , pāˊtra -- ]
Ku.gng. tamoi ʻ copper vessel for water ʼ.

tāmrabhāṇḍa ʻ copper vessel ʼ. [tāmrá -- , bhāṇḍa -- 1]
Bhoj. tāmaṛā, tāmṛā* ʻ copper vessel ʼ; G. tarbhāṇũ n. ʻ copper dish used in religious ceremonies ʼ (< **taramhã̄ḍũ*).

tāmravarṇa ʻ copper -- coloured ʼ TĀr. [tāmrá -- , várṇa -- 1]
Si. tam̆bavan ʻ copper -- coloured, dark red ʼ (EGS 61) prob. a Si. cmpd.

tāmrākṣa ʻ red -- eyed ʼ MBh. [tāmrá -- , ákṣi -- ]
Pa. tambakkhin -- ; P. tamak f. ʻ anger ʼ; Bhoj. tamakhal ʻ to be angry ʼ; H. tamaknā ʻ to become red in the face, be angry ʼ.

Girsu (Tlloh) archaeological find. 11 ft. tall copper plated flagpost. This may relate to a period when

Girsu (ca. 2900-2335 BCE) was the capital of Lagash at the time of Gudea.

Chapitre 1
Origines: Levant, Mésopotamie

By Philippe Roi⁽¹⁾, Tristan Girard⁽²⁾, Richard Dumbrill⁽³⁾, Michel Leibovici⁽⁴⁾
With the participation of Paul Avan⁽⁵⁾

Yoga Sutras 1.23-1.29:
Contemplation on AUM (or OM)

1.27 The sacred word designating this creative source is the sound OM, called pranava.
1.27 (tasya vachakah pranavah)