Quantcast
Channel: Bharatkalyan97
Viewing all 11034 articles
Browse latest View live

Primadonna SoniaG Agusta scam: Giulia, gorgeous girl starts singing? NaMo, nationalise kaalaadhan

$
0
0

Tyagi has stakes in 3 firms with suspicious funds flow, says CBI

 | TNN | 



Top Comment

Corruption, fraud, adulteration and dishonesty are in the blood of a majority of Indians. That''s the simple fact.Rohan Seth



VVIP chopper scam: Tyagi reveals more facts





Top Comment

Shame on this fellowBalasubramanian Iyer


Indus Script hieroglyphs: कर्णक kárṇaka, kannā 'legs spread', 'rim of jar', 'pericarp of lotus' karaṇī 'scribe, supercargo', kañi-āra 'helmsman'

$
0
0

On  kāraṇikā 'pericarp of lotus' hieroglyphs in Sanchi see: http://bharatkalyan97.blogspot.in/2015/03/x.html
 The s'ilpin standing next to the fish-fin hieroglyph-multiplex ayo khambhaṛā'fish-fin', rebus: ayas kammaTa'metal mint' is: kāraṇikā 'helmsman' (perhaps also śrēṣṭhin 'foreman of guild') The elephant carrying the wheel (eraka 'nave of wheel' rebus: eraka 'moltencast, copper', arA 'spoke' rebus: Ara 'brass') is karibha 'trunk of elephant' ibha'elephant' rebus: karba 'iron' ib 'iron' is the centrepiece proclaiming metalwork (iron and brass).

With the focus on 'spread legs' on this hieroglyph of 'standing person' orthography, it is possible that the 'body hieroglyph with spread legs' also connoted: कर्णक 'spread legs' rebus: 'helmsman',karṇi supercargo'. 

Decipherment: कर्णक 'helmsman' PLUS mē̃d, mēd 'body' rebus: mē̃d, mēd 'iron', med 'copper' (Slavic). Thus the body hieroglyph signifies mē̃d कर्णक karṇi 'an iron helmsman seafaring, supercargo merchant.'

Thus, in the following renderings kāṭi 'body stature' should be supplemented with कर्णक karṇi'helmsman seafaring, supercargo metals merchant'.


 


















Ligature: Stool or plank/seat
Sign 43: Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ 'fire-altar' (Santali) kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) +  kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for metals in mint. Thus, fire-altar metalware furnace.
Ligature: crab, claws

Sign 36: kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for metals in mint + kamaḍha ‘crab’ Rebus: kammaṭa ‘mint, coiner’. ḍato = claws of crab (Santali) Rebus: dhātu ‘mineral ore’. Thus mineral ore mint, coiner.
Archer. Ligature one bow-and-arrow hieroglyph
kamaḍha ‘archer, bow’ Rebus: kammaṭa ‘mint, coiner’. + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for metals in mint.
Sign 29 Archer. Ligature two bow-and-arrow hieroglyphs

kamaḍha ‘archer, bow’ Rebus: kammaṭa ‘mint, coiner’. dula 'two' Rebu: dul 'cast metal'. Thus metal castings mint. + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for metal castings in mint.
Ligature hieroglyph: 'lid of pot'

aḍaren
‘lid of pot’ Rebus: aduru ‘unsmelted, native metal’ + kāṭi 'body stature; Rebus: fireplace trench. Thus furnace for aduru, unsmelted, native metal.Ligatures: water-carrier + lid of pot
Sign 14: kuṭi ‘water-carrier’ Rebus: kuṭhi
‘smelter/furnace’+
kāṭi 'body stature; Rebus: fireplace trench +
aḍaren
‘lid of pot’ Rebus: aduru ‘unsmelted, native metal’ + kāṭi 'body stature; Rebus: fireplace trench. Thus furnace for aduru, unsmelted, native metal. Thus, furnace-smelter for unsmelted, native metal.
Ligature: water-carrier

Sign 12: kuṭi ‘water-carrier’ Rebus: kuṭhi ‘smelter/furnace’+ kāṭi 'body stature; Rebus: fireplace trench.  Thus, smelter furnace.
Ligatures: water-carrier + notch

Sign 13: kuṭi ‘water-carrier’ Rebus: kuṭhi ‘smelter/furnace’+ kāṭi 'body stature; Rebus: fireplace trench. +  खांडा [ khāṇḍām  A jag, notch, or indentation (as upon the edge of a tool or weapon)(Marathi). Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) + kāṭi 'body stature; Rebus: fireplace trench. + kāṭi 'body =stature; Rebus: fireplace trench. Thus, smelter-furnace metalware.

Ligatures: water-carrier (as in Sign 12) + rim of jar
Ligature: rim of jar Rebus: kanda kanka 'fire-trench account, karṇi supercargo'  Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a fireplace during weddings. Pe.kanda fire trench. Kui kanda small trench for fireplace. Malt. kandri a pit. (DEDR 1214).
  
'rim-of-jar' hieroglyph Rebus: kanka  (Santali) karṇika  ‘scribe’(Sanskrit) kuṭi ‘water-carrier’ Rebus: kuṭhi ‘smelter/furnace’.+kāṭi'body stature; Rebus: fireplace trench.  Thus, smelter furnace account, supercargo.
Ligature 'two spoked wheels'

Spokes-of-wheel, nave-of-wheel āra 'spokes' Rebus: āra ‘brass’. cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) Glyph: eraka’nave of wheel’ Rebus: eraka ‘copper’; cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) dula 'two' Rebus: dul 'cast metal'. Thus, moltencast copper castings ++ kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for copper metal castings.


Ligature hieroglyph 'corner'
kanac ‘corner’ Rebus:  kañcu ‘bronze’ + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for bronze castings.
Ligatures: corner + notch
Sign 31: kana, kanac = corner (Santali); Rebus: kañcu = bronze (Telugu) PLUS खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon). Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ Thus, bronze metalware. + kāṭi'body stature; Rebus: fireplace trench. Thus, furnace bronze metalware castings.
Ligature hieroglyph: 'stick' or 'one'
Sign1 Hieroglyph: काठी [ kāṭhī ] f (काष्ट S)  (or शरीराची काठी) The frame or structure of the body: also (viewed by some as arising from the preceding sense, Measuring rod) stature (Marathi) B. kāṭhā ʻ measure of length ʼ(CDIAL 3120).
H. kāṭhī 'wood' f.  G. kāṭh n. ʻ wood ʼ, °ṭhī f. ʻ stick, measure of 5 cubits ʼ(CDIAL 3120). + kāṭi 'body stature; Rebus: fireplace trench.The 'stick' hieroglyph is a phonetic reinforcement of 'body stature' hieroglyph. Alternatively,  koḍ 'one' Rebus:  koḍ 'workshop'+ kāṭi 'body stature; Rebus: fireplace trench.. Thus, workplace of furnace fire-trench.

Rebus: G. kāṭɔṛɔ m. ʻ dross left in the furnace after smelting iron ore ʼ.(CDIAL 2646)

Rebus: kāṭi , n. < U. ghāṭī. 1. Trench of a fort; அகழி. 2. A fireplace in the form of a long ditch; கோட்டையடுப்பு காடியடுப்பு kāṭi-y-aṭuppu , n. < காடி&sup6; +. A fireplace in the form of a long ditch used for cooking on a large scale; கோட்டையடுப்பு.

Rebus: S.kcch. kāṭhī f. ʻ wood ʼPa. Pk. kaṭṭha -- n. ʻ wood ʼ(CDIAL 3120).

Sign 37 Hieroglyph: WPah.kṭg. ṭōṭ ʻ mouth ʼ.WPah.kṭg. thótti f., thótthəṛ m. ʻ snout, mouth ʼ, A. ṭhõt(phonet. thõt) (CDIAL 5853).

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. tūtātūtiyā m., M. tutiyā m.
4. M. totā m.(CDIAL 5855) Ka. tukku rust of iron; tutta, tuttu, tutte blue vitriol. Tu. tukků rust; mair(ů)suttu, (Eng.-Tu. Dict.) mairůtuttu blue vitriol. Te. t(r)uppu rust; (SAN) trukku id., verdigris. / Cf. Skt. tuttha- blue vitriol (DEDR 3343).

Sign 2: dula 'pair' Rebus: dul 'cast metal' + kāṭi 'body stature; Rebus: fireplace trench. Thus furnace for metal casting.  koḍ 'one' Rebus:  koḍ 'workshop'. Thus, furnace workshop.
Ligature: harrow
Ligatures: harrow + notch (between legs) Allographs: Signs 18, 39
Sign 18: खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon)(Marathi). Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for metalware castings of unsmelted, native metal.

Ligature component in hieroglyph 'harrow'

Sign 19: aḍar 'harrow'; rebus: aduru 'native unsmelted metal’ (Kannada) + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for native metal.

Sign 20: खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon)(Marathi). Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for metalware castings of unsmelted, native metal.

 Ligature hieroglyph 'currycomb'
kSign 38: hareḍo = a currycomb (Gujarati) खरारा [ kharārā m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) kharādī ‘ turner’ (Gujarati)  kāṭi 'body stature; Rebus: fireplace trench. Thus, fireplace for hard alloy metal.

 Ligature hieroglyph 'foot, anklet'
Sign 40: toṭi bracelet (Tamil)(DEDR 3682). Jaina Skt. (IL 20.193) toḍaka- an
anklet (Sanskrit) khuṭo ʻ leg, foot ʼ, °ṭī ʻ goat's leg ʼ Rebus: khōṭā ‘alloy’ (Marathi) Rebus: tuttha 'copper sulphate' + kāṭi 'body stature; Rebus: fireplace trench. Thus smelted copper sulphate alloy.
Ligature hieroglyph 'rimless pot + ladle'
Sign 34:
muka ‘ladle’ (Tamil)(DEDR 4887) Rebus: mū̃h ‘ingot’ (Santali) baṭa = a kind of iron (G.) baṭa = rimless pot (Kannada) Thus, iron ingot.+ kāṭi 'body stature; Rebus: fireplace trench. Thus, iron ingot furnace.
Ligatures: rimless pot + hollow or ingot
Sign 32: baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (G.)kāṭi 'body stature; Rebus: fireplace trench. Thus, iron furnace
Sign 33: As for Sign 32 + dulo 'hole' Rebus: dul 'cast metal' Thus, furnace iron castings.Ligatures: rimless pot + dance step
Ligatures: rimless pot + wire mesh
Sign 44: meṭ sole of foot, footstep, footprint (Ko.); meṭṭu step, stair, treading, slipper (Te.)(DEDR 1557).  Rebus: meḍ ‘iron’(Munda); मेढ meḍh‘merchant’s helper’(Pkt.)  meḍ  iron (Ho.)  meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) +  kāṭi 'body stature; Rebus: fireplace trench. Thus, iron furnace.

Sign 35: baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (G.)kāṭi 'body stature; Rebus: fireplace trench + akho m. ʻmesh of a netʼ Rebus: L. P. akkhā m. ʻ one end of a bag or sack thrown over a beast of burden ʼ; Or. akhā ʻ gunny bag ʼ; Bi. ākhā, ã̄khā ʻ grain bag carried by pack animal ʼ; H. ākhā m. ʻ one of a pair of grain bags used as panniers ʼ; M. ã̄khā m. ʻ netting in which coco -- nuts, &c., are carried ʼ, ā̆khẽ n. ʻ half a bullock -- load ʼ (CDIAL 17)  అంకెము [ aṅkemu ] ankemu. [Telugu] n. One pack or pannier, being half a bullock load. Thus, a consignment or packload of furnace iron castings.
Ligature: warrior + ficus religiosa

Sign 17:  loa ficus religiosa’ Rebus: lo ‘iron’ (Sanskrit) PLUS unique ligatures: 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. (Marathi)bhaṭa ‘warrior’ (Sanskrit) Rebus: baṭa a kind of iron (Gujarati). Rebus: bhaṭa ‘furnace’ (Santali) Thus, together, th ligatured hieroglyph reads rebus: loa bhaṭa ‘iron furnace’
 Ligature 'armed body stature' or 'horned body stature'
Sign 8:bhaṭa ‘warrior’ (Sanskrit) Rebus: baṭa a kind of iron (Gujarati). Rebus: bhaṭa ‘furnace’ (Santali) + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for a kind of iron.
Ligatures: two curved lines
Sign 9: Read rebus as for Sign 8 PLUS Ligature hieroglyphs of two curved lines
dula 'pair' Rebus: dul 'cast metal + ()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’ (Sanskrit) +bhaṭa ‘warrior’ (Sanskrit) Rebus: baṭa a kind of iron (Gujarati). Rebus: bhaṭa ‘furnace’ (Santali) + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace bronze castings.
Ligature hieroglyph: 'roof' Allograph: Sign 10

Sign 5: mūdh ʻ ridge of roof ʼ (Assamese)(CDIAL 10247) Rebus: mund 'iron' + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace for  iron.
 Ligature hieroglyph 'flag'
Sign 4: koḍi ‘flag’ (Ta.)(DEDR 2049). Rebus 1: koḍ ‘workshop’ (Kuwi) Rebus 2: khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947). + kāṭi 'body stature; Rebus: fireplace trench. Thus, furnace workshop.

Sign 16:dula 'two' Rebus: dul 'cast metal' + + kāṭi 'body stature; Rebus: fireplace trench +koḍi ‘summit of mountain' (Tamil). Thus, furnace for metal casting. mēḍu height, rising ground, hillock (Kannada) Rebus: mẽṛhẽt, meḍ ‘iron’ (Munda.Ho.) Thus, iron metal casting. The ligaured hieroglyph of Sign 11 is a ligature with two mountain peaks. Hence dul meḍ ‘iron casting’
 Ligature hieroglyph 'paddy plant' or 'sprout'
kolmo ‘paddy plant’ Rebus: kolami ‘smithy, forge’ Vikalpa: mogge ‘sprout, bud’ Rebus: mū̃h ‘ingot’ (Santali) dolu ‘plant of shoot height’ Rebus: dul ‘cast metal’ + kāṭi 'body stature; Rebus: fireplace trench. Thus furnace smithy or ingot furnace.
Ligature hieroglyph: 'three short strokes on a slanted stroke'

Signs 23, 24: dula 'two' Rebus: dul 'cast metal' dhāḷ ‘a slope’; ‘inclination of a plane’ (G.); ḍhāḷiyum = adj. sloping, inclining (G.) Rebus: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati)  + kāṭi 'body stature; Rebus: fireplace trench' Thus ingot furnace for castings. Three short strokes: kolom 'three' Rebus: kolami 'smithy, forge'. Thus it is a place where artisans work with furnace for metal castings. 
Ligatures: Worshipper + rimless pot + scarf (on pigtail)

Signs 45, 46: A variant of ‘adorant’ hieroglyph sign is shown with a ‘rimless, broad-mouthed pot’ which is baṭa read rebus:bhaṭa ‘furnace’. If the ‘pot’ ligature is a phonetic determinant, the gloss for the ‘adorant’ is bhaṭa ‘worshipper’. If the ‘kneeling’ posture is the key hieroglyphic representation, the gloss is eragu ‘bow’ Rebus: erako ‘moltencast copper’. Thus moltencast copper furnace. + dhaṭu m. (also dhaṭhu) m. ‘scarf’ (Western Pahari) (CDIAL 6707) Rebus: dhatu ‘minerals’ (Santali). Thus Sign 46 read rebus: moltencast copper minerals furnace.
Hieroglyphs: backbone + four short strokes

Signs 47, 48: baraḍo = spine; backbone (Tulu) Rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi) +

gaṇḍa ‘four’ Rebus: kaṇḍ ‘fire-altar’. Thus, Sign 48 reads rebus: bharat kaṇḍ ‘fire-altar’, furnace for mixed alloy called bharat(copper, zinc, tin alloy),

‘Backbone, spine’ hieroglyph: baraḍo = spine; backbone; the back; baraḍo thābaḍavo = lit. to strike on the backbone or back; hence, to encourage; baraḍo bhāre thato = lit. to have a painful backbone, i.e. to do something which will call for a severe beating (Gujarati)bārṇe, bāraṇe = an offering of food to a demon; a meal after fasting, a breakfast (Tulu) barada, barda, birada = a vow (Gujarati)bharaḍo a devotee of S’iva; a man of the bharaḍā caste in the bra_hman.as (Gujarati) baraṛ = name of a caste of jat- around Bhaṭiṇḍa; bararaṇḍā melā = a special fair held in spring (Punjabi) bharāḍ = a religious service or entertainment performed by a bharāḍi_; consisting of singing the praises of some idol or god with playing on the d.aur (drum) and dancing; an order of aṭharā akhād.e = 18 gosāyi_ group; bharād. and bhāratī are two of the 18 orders of gosāyi_ (Marathi).

Division of responsibilities in a janapada: बलुतेदार or बलुता (p. 567) [ balutēdāra or balutā ] or त्या m (बलुतें &c.) A public servant of a village entitled to बलुतें. There are twelve distinct from the regular Governmentofficers पाटील, कुळकरणी &c.; viz. सुतार, लोहार, महार, मांग (These four constitute पहिली or थोरली कास or वळ the first division. Of three of them each is entitled to चार पाचुंदे, twenty bundles of Holcus or the thrashed corn, and the महार to आठ पाचुंदे); कुंभार, चाम्हार, परीट, न्हावी constitute दुसरी or मधली कास orवळ, and are entitled, each, to तीन पाचुंदेभट, मुलाणा, गुरव, कोळी form तिसरी or धाकटी कास or वळ, and have, each, दोन पाचुंदे. Likewise there are twelve अलुते or supernumerary public claimants, viz. तेली, तांबोळी, साळी, माळी, जंगम, कळवांत, डवऱ्या, ठाकर, घडशी, तराळ, सोनार, चौगुला. Of these the allowance of corn is not settled. The learner must be prepared to meet with other enumerations of the बलुतेदार (e. g. पाटील, कुळ- करणी, चौधरी, पोतदार, देशपांड्या, न्हावी, परीट, गुरव, सुतार, कुंभार, वेसकर, जोशी; also सुतार, लोहार, चाम्हार, कुंभार as constituting the first-class and claiming the largest division of बलुतें; next न्हावी, परीट, कोळी, गुरव as constituting the middle class and claiming a subdivision of बलुतें; lastly, भट, मुलाणा, सोनार, मांग; and, in the Konkan̤, yet another list); and with other accounts of the assignments of corn; for this and many similar matters, originally determined diversely, have undergone the usual influence of time, place, and ignorance. Of the बलुतेदार in the Indápúr pergunnah the list and description stands thus:--First class, सुतार, लोहार, चाम्हार, महार; Second, परीट, कुंभार, न्हावी, मांग; Third, सोनार, मुलाणा, गुरव, जोशी, कोळी, रामोशी; in all fourteen, but in no one village are the whole fourteen to be found or traced. In the Panḍharpúr districts the order is:--पहिली or थोरली वळ (1st class); महार, सुतार, लोहार, चाम्हार, दुसरी or मधली वळ (2nd class); परीट, कुंभार, न्हावी, मांग, तिसरी or धाकटी वळ (3rd class); कुळकरणी, जोशी, गुरव, पोतदार; twelve बलुते and of अलुते there are eighteen. According to Grant Duff, the बलतेदार are सुतार, लोहार, चाम्हार, मांग, कुंभार, न्हावी, परीट, गुरव, जोशी, भाट, मुलाणा; and the अलुते are सोनार, जंगम, शिंपी, कोळी, तराळ or वेसकर, माळी, डवऱ्यागोसावी, घडशी, रामोशी, तेली, तांबोळी, गोंधळी. In many villages of Northern Dakhan̤ the महार receives the बलुतें of the first, second, and third classes; and, consequently, besides the महार, there are but nine बलुतेदार. The following are the only अलुतेदार or नारू now to be found;--सोनार, मांग, शिंपी, भट गोंधळी, कोर- गू, कोतवाल, तराळ, but of the अलुतेदार & बलुते- दार there is much confused intermixture, the अलुतेदार of one district being the बलुतेदार of another, and vice versâ. (The word कास used above, in पहिली कास, मध्यम कास, तिसरी कास requires explanation. It means Udder; and, as the बलुतेदार are, in the phraseology of endearment or fondling, termed वासरें (calves), their allotments or divisions are figured by successive bodies of calves drawing at the कास or under of the गांव under the figure of a गाय or cow.)

Ta. kōl stick, staff, branch, arrow. Ma. kōl staff, rod, stick, arrow. Ko. ko·l stick, story of funeral car. To. kw&idieresisside;s̱ stick. Ka. kōl, kōlu stick, staff, arrow. Koḍ. ko·lï stick. Tu. kōlů, kōlu stick, staff. Te. kōla id., arrow; long, oblong; kōlana elongatedness, elongation; kōlani elongated. Kol. (SR.) kolā, (Kin.) kōla stick. Nk. (Ch.) kōl pestle. Pa. kōl shaft of arrow. Go. (A.) kōla id.; kōlā (Tr.) a thin twig or stick, esp. for kindling a fire, (W. Ph.) stick, rod, a blade of grass, straw; (G. Mu. Ma. Ko.) kōla handle of plough, sickle, knife, etc. (Voc. 988); (ASu.) kōlā stick, arrow, slate-pencil; (LuS.) kola the handle of an implement. Konḍa kōl big wooden pestle. Pe. kōl pestle. Manḍ. kūl id. Kui kōḍu (pl. kōṭka) id. Kuwi (F.) kōlū (pl. kōlka), (S. Su.) kōlu (pl. kōlka) id. Cf. 2240 Ta. kōlam (Tu. Te. Go.). / Cf. OMar. (Master) kōla stick. (DEDR 2237)

S. Kalyanaraman
Sarasvati Research Centre
May 5, 2016

Cartel leading BJP and Karunanidhi's slurred speech -- Kumar Chellappan

$
0
0

CARTEL LEADING TN BJP, ALLEGES SENIOR LEADER

Thursday, 05 May 2016 | Kumar Chellappan | CHENNAI
With hardly two days to go for the arrival of Prime Minister Narendra Modi to Chennai to campaign for the NDA candidates in the Assembly election in Tamil Nadu, the BJP in the State is in total disarray if allegations by some of the senior and veteran leaders are to be believed. The parties with which the BJP has aligned, the Indian Jananayaga Katchi led by Patchamuthu owner of SRM Transport Services, SRM University and Puthiya Thalamurai TV network and  India Makkal Kalvi Munnetra Kazhakam led by T Devanathan has not gone well with most of the BJP leaders in the State other than those occupying official positions.
“Tamil Nadu BJP is under the control of the Kanyakumari cartel led by Union Minister of State Pon Radhakrishnan. The present leadership of Tamil Nadu BJP is taking the party to nowhere,” TS Sankarana-rayanan, a senior BJP leader from Madurai told The Pioneer. He said those leaders who have put in more than two decades of ‘selfless’ service for the party were overlooked during the selection of candidates for the Assembly election. “Only the henchmen of Radhakrishnan and his acolytes has been fielded as candidates,” charged Sankaranarayanan.
The allegation by Sankaranarayanan is not an isolated one. There are many leaders and activists in the party who has been pointing fingers at the party leadership, especially Pon Radhakrishnan, senior secretary Mohanarajulu and the national secretary P Muraleedhar Rao who has been deputed by the Central leadership to oversee the BJP affairs in Tamil Nadu.
Uma Anandan, a former women’s wing leader pointed out that selection of some of the candidates has not been made with an eye to win the election. She said party workers were flabbergasted by the BJP candidate who has been fielded at Mylapore assembly constituency, described as the cultural and intellectual capital of Chennai. “Instead of fielding someone who is familiar to the people of the constituency, Radhakrishnan has brought in Karu Nagarajan, a person about whom nobody in Mylapore has heard of. We understand that he is one of the trustees of Madras Port Trust, appointed at the instance of Radhakrishnan,” said Anandan.
Anandan also said that Patchamuthu, leader of the IJK, uses his TV channel Puthiya Talamurai to attack the Sangh Parivar. “The channel always portrays the BJP and Sang Parivar in poor light. Now we hear Patchamuthu who is also known as Parivendhar is sharing the stage with Prime Minister when he comes to Chennai for campaigning,” said Anandan.
T Balasubramania Adityan, BJP activist and president of Modi Parishad, which is working to restore the rivers in Tamil Nadu back to their old glory, said Prime Minister Narendra Modi should not waste his time campaigning in Tamil Nadu. “He is a great man who built the infrastructure for the BJP in Tamil Nadu. But the people in Tamil Nadu do not trust the present State leadership and the BJP would not touch the double digit figure in Tamil Nadu,” said Adityan, son of late ST Adityan, the Supreme Court lawyer who shocked the Congress by defeating the party candidate in the 1952 general election.
SV Sekhar, party spokesman is already on record pleading with the Prime Minister to cancel his trip to Tamil Nadu. Going by the statements made by a national level leader from Tamil Nadu, the BJP may find it difficult to field polling agents in all the booths from where its candidates are contesting. “If one has to go by what Muraleedhar Rao is claiming, the BJP should get more than 50,00,000 votes in this election. He has claimed that the BJP has 50 lakh members  in the State. Lets wait till May 19 to know the truth,” said Adityan.
http://www.dailypioneer.com/nation/cartel-leading-tn-bjp-alleges-senior-leader.html

KARUNANIDHI FANS LAMENT ORATOR’S SLURRED SPEECH

Thursday, 05 May 2016 | Kumar Chellappan | CHENNAI
The public meeting at Madurai late Tuesday evening addressed by Muthuvel Karunanidhi, the 93-year-old president of the DMK turned out to be a pathetic exercise. Though the rally drew hundreds of party cadre and the fans of Karunanidhi, the DMK chief failed to either inspire or enthuse them as age has taken a heavy toll on him.
Karunanidhi has lost his unique oratorical skills. His booming voice has started to slur and memory failed him many times during the 20- minute speech necessitating the intervention of Shanmug-anathan, his Man Friday. It is time the nonagenarian leader retired from active politics and start playing with the kids of his grand— children Udayanidhi Stalin, Daya Alagiri and Kayalvizhi.
Karunanidhi is the oldest active politician in the 2016 Assembly election. Though K Anbazhagan (94), general secretary of the DMK, too wanted to have a last foray in this election, senior members of the party persuaded the “professor” to take a break from electoral politics leaving Kalaignar (as Karunanidhi prefers to be addressed by all) to create new records in the country’s election books.
The DMK patriarch, who took over the presidency of the party in 1969 following the death of CN Annadurai, is the longest serving president of any political outfits in India. Though confined to a wheel chair since the last eight years reportedly due to knee disorder, Kalaignar has no major health issues and is said to enjoy all good things in life. The number of septuagenarian and octogenarian women who turned up for the Madurai rally is an indication of the popularity enjoyed by this former script writer of Tamil films. A mention of Karunanidhi’s name was sufficient to make them blush and giggle.
“He has lost his memory and that exciting voice,” said Ramamoorthy, a scribe who never misses any public speeches by Kalaignar. People in Madurai where anxious to know whether the Grand Old Man of Tamil Nadu politics would go to TVS Nagar where his elder son Alagiri is living with his children and grand children. It is reported that though the great grand children waited for their Thatha (great grandfather) to come home for dinner, Karunanidhi accompanied by third wife Rajathi preferred to have his dinner from the star hotel he was staying.
What surprised and shocked all was Karunanidhi’s request made to Prime Minister Narendra Modi asking the latter’s immediate intervention to ensure free and fair election in Tamil Nadu on May 16. Karunanidhi knows well that the Election Commission of India is in control of the administration during the process of election and it is for ECI to ensure the smooth conduct of the polls.
What is causing concern to ardent Karunanidhi fans is his State of health. Even a person like EMS Nampoothirippadu, known for his strict food habits and sedate life style could not go beyond 89 years of age. The CPI(M) veteran passed away immediately after the 1998 Lok Sabha election campaign after a bout of pneumonia.

http://www.dailypioneer.com/nation/karunanidhi-fans-lament-orators-slurred-speech.html

Primadonna SoniaG Agusta scam: For whom the bell tolls...NaMo, nationalise kaalaadhan

Transit of Mercury (Budha) across the Sun on May 9, visible in Bharat

$
0
0
Simhasth Maha Kumbh Ujjain
TRANSIT OF MERCURY, 2016
 II- Transit of Mercury  over the disc of the Sun; Vaisakha 19, 1938 S.E.; May 9, 2016, Monday
          
Visible in India
A transit of Mercury over the disc of the Sun will take place in the afternoon of 9 May, 2016 (19 Vaishakha, 1938 Saka Era). This transit phenomenon will be visible from India.

The transit of Mercury is a phenomenon when the planet Mercury will be seen as a small black dot traveling from one limb of the solar disc to the other. From the Earth this phenomenon is seen when the Mercury passes between the Sun and the Earth and this happens only when the Sun, the planet Mercury and the Earth are lined up. The Mercury appears as a dot on the solar disc because its angular size is very small compared to that of the Sun as seen from the Earth.

The transit of Mercury begins with contact-I, the instant when the disc of the planet Mercury is externally tangent with the Sun (Ingress exterior) followed by contact-II when the Mercury is internally tangent with the Sun (Ingress interior). The Mercury will be seen as a black spot, traveling several hours over the face of the disc, will reach the opposite limb of the Sun at contact-III, when the disc of the planet Mercury is internally tangent with the Sun (Egress interior). Finally the transit ends at contact-IV when the disc of the planet Mercury is externally tangent with the Sun (Egress exterior).

The transit of Mercury is relatively rare phenomenon, occurs 13 or 14 times in a century. It occurs in the month of May and November. The interval between one November transit and next November transit may be 7, 13 or 33 years whereas the interval between one May transit and the next May transit may be 13 or 33 years.

General Visibility
The transit of Mercury will be visible from most of Asia (except south eastern parts and Japan), Europe, Africa, Greenland, South America, North America, Arctic, North Atlantic Ocean and most of the Pacific Ocean. The entire transit, from beginning to end, will be visible from eastern North America, northern South America, the Arctic, Greenland, extreme northwestern Africa, western Europe, and the North Atlantic Ocean.

Visiblity in India
The beginning of the event comprising of Ingress exterior (Contact-I) and Ingress interior (Contact-II) will be visible from all places in India. The duration of the entire transit event will be about 7 hour and 30 minutes. The observer in India will not see the ending of the event as the same will be in progress after sunset. Depending upon the sunset time of different places in India, the observer located in the extreme east of the country will see the event about 1 hour from the beginning and the observer located in the extreme west of the country will see the event about 2 hours and 45 minutes from the beginning.

In Delhi the event can be seen for a duration of about 2 hours 20 minutes as it will start at 16h 41m IST and sunset will take place at 19h 01m IST. Similarly in Kolkata the event will start at 16h 41m IST and it can be seen for a duration of about 1 hour 26 minutes, in Mumbai the event will start at 16h 41m IST and it can be seen for a duration of about 2 hours 24 minutes, in Chennai the event will start at 16h 41m IST and it can be seen for a duration of about 1 hour 45 minutes.


The last transit of Mercury occurred on 6 November, 2006 when just end of the event was visible from the extreme north eastern parts of India at the time of sunrise.  The next transit of Mercury will take place on 11 November, 2019 but the event will not be seen from India as the same will begin after the sunset time of all places in India. The transit of Mercury on 13 November, 2032 will be visible again from India.


The apparent diameter of Mercury will be nearly 12 arc-second which is 1/158 of Sun’s apparent diameter. Thus, it will be difficult to see the Mercury at transit over the face of the Sun without optical magnification. This event can be viewed with the help of binocular or telescope attached with proper solar filter or by making projection of the Sun’s image on a white board by telescope. The Sun should never be viewed with the naked eye. Safe technique to observe is by using filter like aluminized mylar, black polymer or welding glass of shade number 14.

SHARE info on Hindu heritage of Bharatam. Tell US children about Les états hindouisés d'Extrême-Orient.

$
0
0

USA schoolkids should not be misled by a SouthAsia myth. All teachers should read George Coedes' 1944 wok in French Les états hindouisés d'Extrême-Orient and tell the children about the heritage of Bharatam Janam.
Kalyanaraman

Hindu American Foundation Blog Alert

#DontEraseIndia: HAF in The New York Times, Blogs & More






Religion News Service: Teaching Hinduism in California's Schools
by Aseem Shukla


Please share these pieces with your networks, using the hashtag #DontEraseIndia. We need your support to ensure Hinduism and India are fairly and accurately represented in our children's classrooms.  

What's #DontEraseIndia?


A small group calling itself “South Asia Faculty Group” sought and, to some extent, succeeded in removing references to “India” and “Hinduism” and replaced them with the terms “South Asia” and “ancient Indian religion,” respectively.  

They also removed any mention of Hinduism’s acceptance of religious diversity, re-linked Hinduism with caste, and removed the contributions of Hindu sages of different backgrounds, such as Valmiki and Vyasa.

In order to combat these regressive and arguably Hinduphobic recommendations and effect change, HAF has launched the #DontEraseIndia campaign.

#DontEraseIndia seeks to ensure that Indian and Hindu American students are able to feel secure in their religious and cultural identities and are not bullied due to misrepresentations of their beliefs or heritage. The blogs and news coverage we’re sharing today represent only the beginning of this multi-faceted campaign.

What can I do to help?  


As a start, SHARE these articles and media coverage with your friends and family, and post them to your social networks using the hashtag #DontEraseIndia to help spread awareness about the importance of accuracy, cultural competency, and equity in the California History-Social Science Framework.

Also, be on the lookout for next steps. We know your inboxes are full, and it’s hard to keep up with emails. But if you see one from HAF, open and read it, and be ready to take action.  

Arise, awake, and stop not till the goal is reached!
-The HAF Team

The Clandestine Curriculum: Temple of Doom in the Classroom

“Education About Asia”
2001 winter edition
(Published by: the Association of Asian Studies)
EAATemple of Doom
Yvette C. Rosser, PhD.
Social studies classrooms often have a back door through which a clandestine curriculum enters with images from popular myths, media, and movies. The scholarly discourse and the learning experience intertwine with this backdoor curriculum of folklore, stereotypes, and sensational misinformation. Often the fusion between Hollywood and the syllabus is so complete that fact and fiction become confused, and ultimately, like ‘Shakespeare or the Bible,’ we are unsure of the source of our knowledge.
Content on India is particularly susceptible to these covert pressures. At educational workshops about India and when making presentations to high school students, I am inevitably asked about the worship of rats in India. When I assert that it is absurd to teach this to students, teachers often argue that they “read it in an AP newswire.” I found it difficult to believe that in American classrooms rat worship is actually taught as a bona fide Hindu practice until my own son came home from high school and told me his World History teacher had made that very statement. The son of my friend who lives in another state also reported the same thing. Urban legends have metamorphosed into fact.
I have often explained to educators and students that the worship of rats among Hindus, at an obscure temple in Rajasthan mentioned in that now infamous AP wire report during the ‘epidemic’ in Surat in the early nineties, is comparable to the worship among Christians of David Koresh at the Davidian compound in Waco, Texas. This is an effective strategy since teachers and students respond passionately that though some Christians may have worshiped David Koresh, it is certainly not a defining characteristic of Christianity and is actually abhorrent to most Christians . . . as is rat worship among Hindus. This analogy helps to deconstruct and discard the flimsy tale of so-called rat worship in India.
When I make presentations about India at teachers’ conferences or in classrooms, the two most often asked questions are: “Why do women wear a ‘dot’ on their forehead?” and “Why, when there is so much poverty in India, don’t they eat all those cows?” These questions broach issues of relevance and correlating non-Western practices to similar experiences in the students’ lives, within a context they can comprehend.
When information about India is contextualized and made relevant rather than exotic and inexplicable, students will have a more realistic, and hopefully non-biased perspective of Indian culture. In answering the question about beef eating, I explain it in several ways. I mention the negative impact that raising beef for meat can have on the environment and, citing statistics, explain that it is ecologically highly inefficient to raise cattle for meat. It takes approximately sixteen pounds of edible vegetable protein and 44,000 gallons of water to make one pound of beef.[i] India cannot afford to waste that much protein and water in an inversely productive ratio. I explain that cows are used primarily for milk, which is a staple and one of the main caloric sources in India. In addition, oxen are essential for pulling plows and carts and for crop irrigation.
Even more importantly, the cow is the national symbol, like the eagle is the symbol of the USA, where, in some states, even to be in possession an eagle feather, unless you are a member of a registered tribe, is a criminal offense punishable by a $5,000 fine. To many Hindus, their cow is a member of the family, like the family dog is loved in the USA. We would never eat Rover. Americans are repulsed by the thought of eating dog meat. Most Indians feel the same about the flesh of cows. Americans can easily understand this canine analogy: the thought of eating a cow is as repulsive to most Hindus as the thought of eating a dog or a horse is to most Americans. This does not preclude the eating of dogs or horses in other countries. Culinary habits are quite culturally specific.
A university student of Indian heritage suggested that teachers in World History classes should make associations
“with something Western that kids can understand–associate rebirth or moksha with a Christian principle like being born again or salvation. If [teachers discussed] the American flag and its [patriotic] symbolism, suddenly it would become clear what a symbol is. Instead of just saying that Hindus are idolaters, tell the students that the idols [revered by Hindus] are [religious] symbols to them. Unless the teacher explains it, in their own terms, the [students] think ‘these people are weird,’ but if you explain about the symbolism of the flag, it becomes rational.”
Relating perceived oddities about India to aspects of life in the West can shine a sympathetic light of commonality on practices and theories that might otherwise appear laughable and strange. Grounding the unfamiliar in a recognizable cultural context encourages transferability of respect for other traditions and an appreciation for the pluralistic nature of our world.
The “dot” on the forehead of Indian women is also easy to explain. Though historically originating from a mark with religious connotations still used by holy men and women and by priests, contemporary forms of the ‘dot’ are often made from velvet and glitter. They play the same glamorous role as lipstick or mascara. Some fashion statements are shared across cultures such as the painting of women’s nails and piercing of ear lobes, and others are particular to a certain people, such as the bindi, or dot. As can be seen by the growing popularity of nose rings among Western youths and blue jeans among Indian teens, fashions borrowed from other countries can easily become the norm.[ii]
High school teachers often lament that India is more difficult to teach than other countries in Asia. They complain it’s too diverse, too ancient, too exotic, too many gods with too many arms. Unfortunately only a small fraction of aspiring teachers are able to take courses about India during their college experiences. Many educators are therefore at a disadvantage when trying to understand the complexities, sophistication, and resilience of Indic Civilization, particularly the tremendous pressures and dynamic changes that have occurred in Hindu/Indic traditions through the millennia. Since teachers generally have inadequate academic preparation to teach about India, the focus in our classrooms is often centered on the three P’s: population, poverty, and pollution–the usual perspective found in popular media treatments of modern India.
Following the chronology of the World History curriculum from the “Cradle of Civilization” approach, teachers often highlight the Indus-Saraswati Culture while studying Ancient River Valleys. Excavated ruins from the Indus-Saraswati Civilization extend over an area covering half a million square miles, roughly the size of Western Europe–stretching a thousand miles from the Himalayan foothills to the shores of the Arabian Sea. Sites have been found in western Afghanistan near the Iranian border, across most of present day Pakistan and much of northwest India, including a large seaport in Southern Gujarat. Salient archaeological and cultural characteristics link these far flung sites: the uniformity of building styles and materials, advanced urban planning, a uniform standard of weights and measures, hundreds of small seals carved from soapstone and decorated with a wide variety of animal figures, and an as yet undeciphered script. The symbols on these many small seals such as the Pipal or Bo tree, the Brahma bull, the swastika, the trident, serpents, tigers, and a male figure in a yogic or meditative position, often referred to as a “Proto-Shiva”, are still sacred to modern-day Hindus.
High School level textbooks often take great interest in explaining about the amazing drainage system of these 5000 year old urban sites. Many dwellings were equipped with bathrooms that had facilities for showering as well as a toilet. The sewage was channeled out of the private houses to covered canals that ran alongside the public roadways. This hygienic sewer system was far more advanced than anything found in contemporaneous urban sites in the Middle East and even more efficient than can be found in some less developed areas of modern India.
Many teachers in American high schools take the time, during the first weeks of a World History course, to teach about this remarkable culture that thrived for thousands of years with an economy based on commerce and agriculture. Goods sent from the Indian Subcontinent to Mesopotamia and Sumeria, 4,500 years ago, included luxury items such as teak and sandalwood, cotton, sesame oil, etched carnelian beads, lapis lazuli, precious and semi-precious stones and bronze ware. DNA testing has shown that cotton used for wrapping a mummy in an Egyptian pyramid dated 2400 BCE was of Indian origin. There are cuneiform records indicating that even peacocks were exported to the Fertile Crescent thousands of years ago. These are facts that make history fascinating. However, the treatment of the Indus-Saraswati Civilization may be one of the only positive representations of India offered to students until they get to the modern period, when most teachers will take up the topic of Mahatma Gandhi and his influence on Dr. Martin Luther King, Jr. The rest, several millennia of Indian history, is often skipped because of the teacher’s lack of familiarity or shortage of time.
When topics about India are discussed in American classrooms, one of the most common themes is to focus on the Caste System as the defining feature of Indic Civilization, the lens, as it were, through which a foreigner can understand Hinduism. This is the usual approach, not only in World History and World Geography classrooms, but in university courses as well. At the high school level students sometimes play games in which they draw lots to determine into what caste they have by chance been born. The students must abide by prescribed hierarchical rules that proscribe certain behaviors and allow specific privileges to a select group, namely the “power-hungry dogmatic Brahmans”. The untouchables are banished to one corner of the classroom or forced to stand outside in the hallway.
American students, who are taught from grade one that equality is the basis of our democratic society, will inherently feel negatively towards the privileged Brahmans. Teachers consider the game successful if the students playing the role of the upper castes, gleefully lord their status over their classmates, commanding them to do demeaning chores. The luck of the draw determines their caste, their fate. There is little discussion of the concepts of karma and samsara upon which the caste system is based.
Karma is often erroneously defined as chance, fortune, fate, or coincidence, when it is more aptly the sum total of a soul’s experiences. Our Karma is the residue or residual energy created by the power of our thoughts, words, and deeds–this energy determines the future trajectory of our soul’s path. Karma has been likened to little specks of dust that attach themselves to the pure white light of the soul and color and distort our perceptions, which then create our understandings, thus determining how we experience and respond to our lives. It is the result of an individual’s free will–cause and effect– that determines his or her destiny… not random luck.
Samsara refers to the “rounds of rebirth” through which a soul must pass in order to burn off accumulated karma and transcend to higher states of consciousness. Our birth family, which according to this system of thought we consciously choose at the time of conception, as well the personal challenges we will face, including the strengths and weaknesses of our character, are determined by our past thoughts and deeds. In this system each individual is responsible for his or her own fate or destiny. There are no accidents of birth–poverty or riches, a sorrow-filled life or one full of joy, traits such as kindness or cruelty, are determined by our own previous actions and intentions. However, it is important to understand that karma is not etched in stone and can be altered by conscious efforts toward self-realization. Each soul is on a journey that will ultimately lead to enlightenment. Our dharma, determined by our accumulated karma, is more than mere chance or luck. It is an intimate, individual spiritual path or calling, the unfolding of which is unavoidable and also a sacred duty.[iii]
In the ancient past, caste was not determined by birth but rather by ability. This is one important historical caveat about the Caste System that is rarely explained to students. Historically there was a high degree of caste mobility, and interrelationships between groups were in constant flux. Many famous characters in Indian history, such as Valmiki who wrote the epic The Ramayana, are referred to as Brahmins, though Valmiki was actually born in a low caste family. Numerous famous dynasties were founded by men who were born into the servant caste and due to their great deeds became kings–the strength of their personalities determined their caste not their parentage. Many scholars point out that through census data formulated to serve the colonial project, and a quota system designed to divide and rule, the British helped to reify the Caste System. Caste identity was, in the distant past, and is even now, far more adaptable and far less codified than is understood in World History textbooks.
If being born in a certain caste is by chance, like the drawing of lots, then it is certainly cavalier and unfair. But, if the caste system is explained in the context of the broader epistemology, including a discussion of dharma (duty, personal spiritual path) andkarma, then the original concept–dividing the work of society up according to the skill and predilection of the individual–does not seem inherently evil but has a rationale, which is seldom explained to school children.
The Caste System, as taught in American classrooms, is represented as the exact opposite of our democratic institutions. If a rigid Caste System is employed to explain the primary expression or essence of Indic Civilization, it makes that culture seem heartless and quite unfair and does not further the understanding of the fluidity and mobility inherent in Hinduism. This critique is not offered as an apologist for the Caste System but as an alternative to negatively objectifying caste as the evil other that ultimately becomes the hallmark of Indian civilization. In a survey of high school level World History textbooks, I found that more space is devoted to the caste system than all the other characteristics of Hindu India combined, such as their art, literature, architecture, philosophy, economics, politics, and the culturally rich and diverse population.
In textbooks, few other aspects of Hinduism are considered as relevant or dealt with in comparable depth as is the Caste System. What is rarely mentioned or downplayed are India’s post-independence efforts toward national integration of its minorities and low caste citizens. Caste was made illegal by the Indian constitution in 1950. But just as the Civil Rights Amendment of 1965 did not immediately end racism in the USA, the legal prohibition against caste prejudice did not automatically end centuries of social discrimination. Instead of objectifying the Caste System as a curiosity to be deplored, teachers should draw parallels between caste-based discrimination and the tremendous obstacles that poverty stricken inner-city minority families must face to overcome low class status in the United States. Affirmative Action programs exist in both countries and are actually written in to the Indian Constitution.
From the perspective of Western Civilization, which we regard as liberal and egalitarian rising from the Enlightenment, we condemn hereditary castes. Yet, our own societies have a similar past–divine right to rule, inherited aristocracies and sharp class inequities. In all countries, East and West, there are social divisions and vast differences in economic classes that persist, despite the Reformation, Humanism, Marxism, or Capitalism. The Brahman priest is a handy scapegoat to salve the Western conscience and assert our moral superiority over this type of religiously sanctioned inherited status. In later Sanskrit literature there are ironic stories about “stupid Brahmans,” but the spiritual powers of such saintly figures as the sages, Vishwamitra and Valmiki, were considered essential to the survival of the state.
In classical India, Brahmans were charged with the maintenance of religious and societal continuity. There were instances of corrupt Brahmans and Hindu history has condemned them. However, countless Brahman priests undoubtedly took their duties to the community seriously as well as their own personal sadhana or religious practice. In most texts written in the West, Brahmans are uniformly shown as irrelevant hangers-on to the royal court and exploiters of the people.
For example, one textbook that I surveyed, World History: People and Nations, by Anatole G Mazour and John M Peoples, published by Harcourt, Brace, Javonovich in 1990, stressed that moral conduct was unimportant to the Aryans. Which for those familiar with the relevant literature, is easily refuted by the many Sanskrit eulogies to noble and virtuous character. In fact, in the Hindu law books, Brahmins are given harsher penalties than are given to other castes for the same crime. Brahmins were held to a stricter moral code. This was not imposed upon them; Brahmins wrote the law books.
The Mazour-Peoples textbook goes on to explain that during Brahmanic rituals, “The important point was to perform the ceremony properly. The good qualities of the person performing it did not matter.” This implies that Brahmans were not bestowed with adequately “good qualities,” when in fact, according to Vedic tradition, Brahmans had to be in a state of ritual purity to perform the ceremonies, which included proper behavior. Statements such as this reinforce the perception that moral conduct, as found in Indian philosophy, is relative and unimportant. Compared to the later Semitic traditions, with their clearly articulated and specific lists of do’s and don’ts, Hinduism can appear to have fluid views of morality when if fact there are detailed codes of behavior–honesty and trustworthiness are highly valued.
Several times this World History textbook calls the moral character of the Brahman priests into question. It states, “priests, called Brahmans, prepared the proper ceremony for almost every occasion in life and charged heavily for their services.” However, many references from Vedic sources indicate that the majority of Brahmans were poor and often took only alms for their services. Obviously, in later periods, many Brahmans became rich and powerful, and some were corrupt. But the fact that the authors state categorically that they “charged heavily for their services” omits the other side of the picture, knowledge of which is essential for a well-rounded understanding of Brahmans in the Vedic period.
In the post-Enlightenment West, politics and government–political economy–are primary in the historical narrative. The place of religion and its role in the everyday functioning of historical and contemporary Indian society is not adequately addressed. Brahmans are therefore always suspect and unnecessary. A well-known historian of India, Stanley Wolpert, wrote, Brahmans were “guardians and interpreters of that sacred lore,” and as “officiators of the royal sacrifice, the Brahman priesthood maintained its special privileges and courtly influence.”[iv] Though this at least allows the Brahmans some social worth, there is a tone indicating their ultimate political uselessness and economic self-interest. However, on the ground realities, the rulers and the merchants the farmers, and even the low caste laborers depended on the Brahmans for spiritual guidance and advice.
The vast majority of Brahmins were not hangers-on at the royal court. Brahmins were scholars. They preserved and passed on the sacred texts ensuring their survival through the ages. It could be said that Brahmins are the main reason that Vedic knowledge and Hindu philosophical treatises are still extant, after centuries of foreign occupations, and the vicissitudes of a hot climate with torrential seasonal rains. It was after all, their duty or dharma to preserve and transmit the Vedic/Indic traditions.
Students should be informed when discussing the Caste System, that modern Hindu teachers such as Swami Vivekananda, who visited the USA in the 1890’s, Shri Aurobindo, a revered twentieth century philosopher and vocal advocate for Indian independence, and also the well-known leader Mahatma Gandhi, have been at the forefront of removing caste from Indian society. Anti-caste movements in modern India include the Arya Samaj, founded in 1875, the largest religious organization in India, and Swadhyaya, a popular religious movement devoted to social causes founded in 1954. The current ruling party of India, the BJP (Bharatiya Janata Party) rejects caste and has made an effort to give prominence to leaders from lower classes. There are socio-religious organizations in India working to open the Hindu priesthood to members of all castes. Though caste continues to be a problem and caste conflicts can occasionally erupt in violence, much like racial violence in the U.S., there are many on-going reform efforts associated with Hindu social, religious and political movements.[v]
Another field applied to the study of India that can be shaped to offer primarily negative views of the society is the discourse on the condition of women. The role that women played in the independence movement is rarely discussed in classes, nor is the fact that Indian women continue to be deeply involved in politics. Significantly, at the localpanchayat, village council level, over fifty percent of democratically elected gram pradhans, village headmasters (mayors) are now women. After independence in 1947, women were given the franchise and didn’t have to wait for the suffragette or the women’s liberation movement to earn their constitutional rights. Additionally, there is currently a bill in parliament to amend the constitution and reserve thirty percent of the seats for women in the Lok Saba (the democratically elected “lower” house of the Indian parliament). Though there are on-going debates about how those reservations should be implemented, and the bill has not yet passed, it can be assumed that it will be a long time until thirty percent of the members of the U.S. Congress are female.
According to most Americans, women in India are to be pitied. The positive social progress made by many Indian women in the twentieth century is usually ignored. The very gradual and much maligned development of the Suffragette movement in the U.S. is rarely compared to the correspondingly slow process of upliftment of modern Indian women. The image prevails that if the unfortunate female in India survives a deprived childhood she is likely to be burned in a dowry death after her forced marriage to a complete stranger. Indian women are shown as downtrodden and powerless victims, unlike American women who have more freedom. Indira Gandhi is seen as an anomaly.
Indian feminist scholars often complain that the production of the “third world woman” in Western feminist discourse creates an image of Hindu women as victims of oppressive traditional structures and denies them any agency over their own lives. Indian feminists argue that there are culture differences in terms of oppression and not all women in the world want to be “liberated” by a universalizing Western white middle-class feminist perspective. They claim that focusing on patriarchal oppression alone, and discounting economic and political disempowerment which are also prevalent in Western, predominately Christian societies, serves to continue the ethnocentrism of postcolonialism.
One highly inflated stereotype that is regularly used to describe Indian/Hindu cultural practices is the discourse regarding sati, or as the British spelled it, “suttee”–the burning of widows on their husband’s funeral pyres. Sati has never been widely practiced in India, and in fact in the modern period is very, very rare. Defining Hindu practices through a discussion of sati, is no more accurate than defining Christianity by delving at length into the “Burning Times” in Medieval Europe when as many as nine million women, and even children, were burned at the stake as witches through the encouragement and official approval of the Christian Church. The burning of women does not define Christianity any more than the burning of widows defines Hinduism–both are long discarded practices of the past.
The British justified their exploitation of India by the White Man’s Burden, which often meant rescuing “Brown women” from “Brown men.” Madhu Kishwar the editor of the Indian feminist journal, Manushi, wrote,
“Our erstwhile colonial rulers who needed the pretense of being on a civilizing mission here to justify their brutal reign had a vested interest in identifying select criminal acts and projecting them as Indian traditions in need of reform. They began this cultural invasion by deliberately targeting a few cases of young widows in Bengal who were forcibly burnt on their husband’s pyres, calling those murders sati and banning it by law, so they could appear as agents of a superior civilisation rescuing victims from a savage culture. They even called their mission the White Man’s Burden! Thereafter, the supposedly miserable plight of a newly invented creature called the Indian women became emblematic of the inferior civilisation and culture of the Indian people.”[vi]
The popular media in the West often runs stories about “dowry deaths”, when women are murdered by their in-laws because of blind greed. Often the media’s explanation of such criminal behavior is blamed on inherent anti-female bias in Hindu society. Yet the cases of “bride burning” or “dowry deaths” are few and far between in a country with a billion population. Wives and girlfriends murdered by their husbands or significant others are, all too common crimes, certainly not unknown in modern Western countries. But such crimes are carried out by rogues and have no more to do with Hinduism or the Hindu way of life than they do with Christianity or the American way of life.
But in the media, “dowry deaths” are sensationalized and are often given worldwide publicity particularly by proselytization groups in an effort to denigrate Hindu traditions and Indian society. In contrast, crimes in America such as the burning of Black churches, or hate crimes against homosexuals, or wife murdering to collect insurance, or wife battering, of which there are thousands of cases each year, are treated as secular crimes and receive very little or no publicity. We do not define American society with images of domestic abuse. Introducing American students to India through a discussion of dowry deaths is as unrealistic as teaching school children in India about America by focusing primarily on domestic violence, as if it is the defining characteristic of either society.[vii]There are criminal elements in every country that victimize women and children.
In our classrooms, many conscientious teachers strive to present non-biased materials in their classes. Unfortunately, often recommended readings, such as May You Be the Mother of a Hundred Sons: A Journey Among the Women of India [viii] are highly stereotyped and use the untenable convention of comparing the lives of poor village women in India with the lives of middle class urban American women. Naturally, the village women seem less free and independent. A more appropriate comparison would a comparison of village women in India with poor women in rural Appalachia, or upper class women in Bombay with their counterparts in urban America.[ix] Sometimes the textbooks themselves can undermine the teachers’ efforts.[x] For example, this statement in large bolded italics meant to stimulate interest on the first page of the chapter about India from a World History textbook,
“Although many Hindu rituals no longer exist in India, some, such as walking across a bed of hot coals or lying on a bed of nails, are still practiced to gain forgiveness for sins or to build spiritual control. They continue to intrigue outsiders who have never experienced the rich cultural diversity of India.”[xi]
This implies that though Hinduism seems to be fading out in India some strange “rituals” are commonplace and “still practiced”. After a hard day at the office, the banker or farmer comes home and walks across a bed of hot coals before dinner. In reality, most Indians have never seen, let alone tried, this type of tapasya, mortification of the flesh, unless they have gone to a Kumbha Mela or other spiritual fair where Sadhus and holy men may indeed perform these tricks. This casual statement leads the naïve reader to assume that these rituals may be widely practiced in modern India, when they are actually very rare.[xii]
Making this sensationalist comment in bold italics at the very beginning of the chapter on India immediately creates an exotic picture in the mind of the student whose Indian teenage counterpart, after doing his or her homework, lies around on a bed of nails watching ZTV (India’s version of MTV). If this book is the only source of information about India available to the students, they may assume that Indian teens regularly walk on coals and sit on nails. Perhaps such tapasya will become a fad in the U.S. much like body piercing and painting the hands and feet with henna have become popular.
Wild fictitious accounts about India, such as eating monkey brains and eyeballs and other strange practices portrayed in Indiana Jones and the Temple of Doom, often find their way into the classroom through the backdoor. With films such as Schindler’s List andAmistad, Hollywood is writing the scripts for our historical narratives, but when they get it really, really wrong, like Spielberg did in Temple of Doom, the negative images can have pervasive repercussions with unexpected longevity.
————————-
“Exchange between educators, on how to teach India in USA schools.”

The special Issue of the journal, “Education About Asia,” that was sponsored by The Infinity Foundation in 2002, had an essay by Yvette Rosser (titled, “Temple of Doom in the Classroom”) critiquing the portrayal of India in American World History classrooms and textbooks. Prof. David Stone wrote a letter to the editor of the magazine to criticize Rosser’s article about using stereotypes in when teaching about India. Yvette Rosser was asked by the editors of EAA to give her response to Stone’s critique. Both the letter by David Stone and Rosser’s response are below. This shows how well-entrenched the bias is; so much so that when someone calls for a change there is criticism of such attempts.
Letter by Professor David Stone, in “Education About Asia,” Fall 2002
Kansas State University
Department of History
208 Eisenhower Hall
Manhattan, KS 66506-1002
March 7, 2002
Dear Editor:
Yvette Rosser’s article “Temple of Doom in the Classroom” is admirable in its intent: to dispel negative stereotypes about South Asia. Her proposed solution, however, leads to the opposite extreme by minimizing South Asia’s very real social problems.
For example, Rosser dismisses sati as “never . . . widely practiced” and today “very, very rare.” As dowry deaths are likewise “few and far between,” there is no basis for an accusation of an “inherent anti-female bias in Hindu society.” As a result, she argues, it would be as unfair to judge India by sati and dowry deaths as it would be to judge the United States by domestic violence.
This misses the point. Rosser is certainly correct that sati is extraordinarily rare, but after the 1987 death of Roop Kanwar on her husband’s funeral pyre, hundreds of thousands came to worship at the site. While many condemned Kanwar’s death, too many others publically celebrated it, something that could not be said of her proposed parallel, American domestic violence. This attitude needs to be explored, not minimized.
True multicultural education should be based on an honest and analytical appraisal of other cultures, both their positives and negatives. We do our students no favors if we teach them that all aspects of all cultures are equally praiseworthy. Better to expose them to the writings of Ram Mohun Roy and contemporary Zadian feminists than to pretend that sati and dowry deaths are not worthy of attention.
David Stone
History Department
Kansas State University
Response by Yvette C. Rosser, in “Education About Asia,” Fall 2002

Re: To a Letter to the Editor written by Professor David Stone, Kansas State University
            The EAA article, Temple of Doom in the Classroom proposed strategies for high school teachers to make India relevant to their students, suggesting ways to resist essentializing cultural differences or reifying the exotic as the norm. By contextualizing social oppression and sexism within the discourse of human rights, relating inequities in India to similar problems in Western society, educators can avoid stereotyping class-based discrimination and gender violence as uniquely Hindu. Using sati to narrate Hinduism is tantamount to viewing Christianity through the lens of witch burning.
David Stone contends this approach leads “to the opposite extreme by minimizing South Asia’s very real social problems”. Conceding that “sati is extraordinarily rare”, Stone mentions Roop Kanwar, who died “on her husband’s funeral pyre” where “hundreds of thousands” have since worshiped. Clearly, when a teacher only has a week devoted to India’s millennia – from Mohenjo-Daro to Mahatma Gandhi – Roop Kanwar’s murder sensationalizes the rarified event, creating the impression that dowry deaths and sati are innately linked.
According to Stone, parallel popularization “could not be said of American domestic violence”. Unfortunately, a profitable XXX-rated industry graphically objectifies women, glorifying rape, while Charlton Heston, et al. celebrate America’s gun culture, blurring Hollywood and history, as Moses hands the commandments down from the NRA. Natural Born Killers and Pulp Fiction, orgies of violence, were blockbusters. Domestic violence is celebrated by millions of misguided Americans, re: snuff films and kiddy porn. But, should secondary level students in India with only a few days to cover the USA, explore “wider dimensions” of exploitive porn? Classes about the USA in India should not delve on the Davidian compound in Waco, Texas as relevant to beliefs and practices of most Americans. Roop Kanwar is similarly unrepresentative.
Why should students learn that such anomalies are particular to Hinduism, while practicing Hindus are shocked and repulsed? Does it benefit students to learn that “thousands went to her shrine” while millions were appalled, catalyzing a “nation-wide cathartic reappraisal of women’s status”? (Kanwar was drugged, pushed onto the pyre, her family members arrested for murder. See: Radha Kumar, “Chipko to Sati: Contemporary Indian Women’s Movement”, Challenge of Local Feminisms: Women’s Movements in Global Perspective, ed., Amrita Basu, Westview, Boulder: 1995; also Oldenburg, “Roop Kanwar Case: Feminist Responses”, Sati, The Blessing and the Curse: The Burning of Wives in India, ed., John Hawley, OUP, NY: 1994.) After the Kanwar case, federal legislation was enacted providing the death penalty for anyone abetting Sati.
A World History class is often American students’ only exposure to India unless they specialize, at which time senior class seminars might include “Zadian feminists”. Introductory lessons about India should eschew the obscure, the long outlawed, unsavory details of the past, otherwise we disseminate Eurocentristic constructs of a progressive West, where positive changes happen in history, whereas traditional countries like India are frozen in time by moribund customs.
To base this rejoinder in both practice and theory, I forwarded my article and Prof. Stone’s letter to an experienced high school teacher and a professor who has published extensively on women’s issues in India. David Freedholm, from Princeton Day School, NJ, co-author with Arvind Sharma of Hinduism: An Introduction for High School Students (forthcoming), commented, “When students receive comparatively little instruction about India, is it fair to choose sati or dowry deaths as one of the few topics covered?” He added, “Regarding public celebrations of violence – lyrics of popular rap songs violently demean women, but do not represent American attitudes, similarly, Indians oppose sati and dowry deaths.” Freedholm concluded, “The treatment of India in many American classrooms is full of stereotypes. This must be remedied.”
Prof. Veena Oldenburg, Professor of History at Baruch College and The Graduate Center of the City University of NY concurred, “Worshipping guns is as marked a practice as worshipping ‘holy cows'”. Her recent research unpacks “the ‘cultural fingerprints’ discovered at the scene of any crime because the British saw Hinduism as a cruel set of fixed beliefs”. Dowry Murder: The Imperial Origins of a Cultural Crime (OUP, 2002) points out, “U.S. murders of women are proportionate to those in India, done in ‘ordinary ways’ – shooting, strangling, bludgeoning, poisoning, using automobiles to create convenient accidents. In India, fire as a murder weapon creates false resonances with sati and makes the crime ‘cultural’, whereas kerosene stoves are common and forensically, burning is difficult to prove when repackaged as accidents or suicides.”
Oldenburg demystifies contemporary bride burning arguing such violence is traceable to British policies that drastically eroded “women’s entitlements” by “radically redefining property rights” thus negatively impacting precolonial marriage practices “managed by women, for women […] to establish their status”. British documents blamed crimes against women on the caste system, to “cover up the devastation wrought by colonial agrarian policies”. Classroom discussions of sati must carefully disentangle domestic violence from religion.
In an introduction to Western Civilization should school children in India learn that racism is imbedded in Christian culture, with slavery its corollary; that the Bible and the bullet went hand in hand with imperialism and genocide? Such approaches may deconstruct power relations, but if emphasized and sensationalized, they can promote negative stereotypes.
I agree with Dr. Stone that “multicultural education should be based on an honest and analytical appraisal of other cultures”, but as educators we must be clear that gender crime is a social pathology carried out by rogues and has no more to do with Hinduism than Christianity. If not, we do a disservice to inter-community dialogue by perpetuating old civilizational prejudices that have distorted the discourse about India for several Euro-centric centuries.
Sincerely,
Yvette C. Rosser
Department of Curriculum and Instruction
The University of Texas at Austin
—————–
Note this 2015 update of American teachers actually using The Temple of Doom in their social studies classrooms as a learning aid! See this website designed for social studies teacher to use when teaching their students about India.
I was appalled that serious and alert teachers would think this was an appropriate film to use to teach their students about Hinduism and life in India. I wrote an email to the two educators who are the authors of this ‘Indy in the Classroom’ project:
Greetings,
As an educator I saw that you were using popular culture and fiction to teach students social studies, which is usually a good way to get their attention unless teachers are inadvertently using blatantly stereotypical and negative images.
Unfortunately, the film The Temple of Doom is filled with erroneous and negative images of India and Hinduism.  It would have been more educationally productive to use this movie as a method to teach students higher-level discriminatory thinking skills to see through the negative Hollywood stereotypes and sensationalism of other cultures. At least you must add a line or two to your lesson plans if using the movie to teach about India… this very important issue!
Please see my article written 15 years ago, but just as valid now. Please add a link from your lesson plans to this page, so teachers will understand that by using Temple of Doomin their classrooms they are teaching negative stereotypes and cultural biases to their students.
“The Clandestine Curriculum: The Temple of Doom in the Classroom”, Education About Asia, Volume 6, Number 3, Winter 2001 (Association of Asian Studies) -discusses common stereotypes found in teaching about India and suggests corrective pedagogical strategies:
also: “Exchange between educators, on how to teach India in USA schools”:
Thank you,
Yvette C. Rosser, PhD.
See this as well:
and part II:
[i] Lappe, Frances Moore. Diet for a Small Planet, Ballantine Books, 1992.
[ii] In the context of cultural borrowing, it is interesting to note one of India’s lasting contributions to what has come to be considered the “Western” lifestyle and that was the export of a thick cotton cloth known as “Dungaree” which, in the sixteenth century was sold at a market near the Dongarii Fort in Bombay. Portuguese and Genoan sailors used this durable blue broad cloth, dyed with indigo, for their bellbottom sailing pants, it was soon became popular with farmers and others.
[iii] For an excellent resource about Ancient India, see: Ancient India, part of the Ancient World History Program of History Alive! Created by the Development Team of Teacher’s Curriculum Institute, Executive Director, Bert Bower 2465 Latham Street, Suite 100, Mountain View California 94040: 1997. For more information call 1(800) 497-6138 or email at info@historyalive.com. This thick binder is rich with useful activities and ideas and valuable information. An example of the contexts can be found at: http://www.teachtci.com/curriculum/wh6-program.asp
[iv] Stanley Wolpert. A New History of India, New York, NY: Oxford University Press, 1997,
page 40.
[v] These two books may be of use when seeking to “read against the text” of the usual negative treatment of Indic traditions: S. Kak, The Wishing Tree: The Presence and Promise of India. Munshiram Manoharlal, New Delhi, 2001. This book is based on invited lectures at Stanford Univ and U o California in 2000. The book presents an overview of Indian history with special emphasis on the Vedic period and history of science. It begins with recent archaeological discoveries including the discovery of the rock art and the elucidation of the Indus-Sarasvati cultural tradition. It describes the influence of Indic ideas on modern science. The book is addressed to the layperson and scholar alike. And: G. Feuerstein, S. Kak, D. Frawley, In Search of the Cradle of Civilization: New Light on Ancient India. Quest Books, Wheaton, IL, 1995, 2001. Synthesizing recent scholarship from archaeology and literary analysis, this book dispenses with several jaded and time-worn academic myths about ancient India to create a new understanding. Written in a   straightforward style, it carefully presents the significance of ancient Indian civilization and culture for the study of world history.
[vi] “Deadly Laws and Zealous Reformers: The Conflicting Interpretations and Politics of Sati”, by Madhu Kishwar, editor of Indian feminist journal, Madhushi, full text available at:http://www.infinityfoundation.com/mandala/s_es/s_es_kishw_deadly_frameset.htm
[vii] The following compilation of statistics reflect a dysfunctional aspect of American society: “Somewhere in America a woman is battered, usually by her intimate partner, every 15 seconds. (United Nations Study on the Status of Women, 2000). Somewhere in America, a woman is raped every 90 seconds. (US Department of Justice, 2000). 1 in 3 murdered females are killed by a partner, versus 3.6% of males. (US Department of Justice, May 2000). Pregnant or recently pregnant women are more likely to be the victims of homicide than to die of any other cause. (Journal of the American Medical Association, March 2001). Battering is the leading cause of injury to women aged 15 to 44 in the United States. (US Surgeon General, 1992).” See: <http://www.vday.org/ie/index.cfm?articleID=522&gt;.
[viii] Elisabeth Bumiller, May You Be the Mother of a Hundred Sons: A Journey Among the Women of India, New York: Random House, 1990.
[ix] For an excellent critique of the book by Elisabeth Bumiller, May You Be the Mother of a Hundred Sons, see the review by Veena T. Oldenburg athttp://sipa.Columbia.edu/REGIONAL/SAI/veena.html, Professor Oldenburg writes, “Out of a single village she extrapolates and conjures up a homogenized larger reality of rural India. All its dull, dusty, changeless tedium is captured in “thick description,” reprehensibly uninformed by the work of several scholars, some of them western women, who have worked in villages nearby that might have tempered her conclusions. Instead she generates for the reader the impression that the poverty, dirt, flies, and the “ways of the 1,000 people of Khajuron are the ways of most of humanity [in India].” [p.76] Bumiller brisk desire to arrive at conclusions on her journey remind me of anthropology’s beginnings under the aegis of colonial rule for “places without history”, to “observe” people and judge their strange, barbaric, and unchanging ways. Unwittingly she manages to revive the old-fashioned view of “the Indian village” as that quintessentially unchanging place that exists outside of history.”
[x] Of the numerous textbooks I surveyed, the one that had the most authentic and inclusive treatments of Indian Civilization is: World History: Continuity and Change, by William Travis Hanes, III, published by Holt, Rinehart and Winston of the Harcourt Brace & Company, Austin: 1997.
[xi] Mazour, Anatole G., and Peoples, John M., World History: People and Nations(Harcourt, Brace, Javonovich, 1990).
[xii]For an excellent website on Indian history see:http://www.historyofindia.com/home.html
The two following letters appeared in the Spring 2002 edition of EAA:
  1. Letter to the editor from David Stone:
Kansas State University
Department of History
208 Eisenhower Hall
Manhattan, KS 66506 ‑1002
785-532-6730
Fax: 785-532-7004
March 7, 2002
Dear Editor:
Yvette Rosser’s article “Temple of Doom in the Classroom” is admirable in its intent: to dispell negative stereotypes about South Asia. Her proposed solution, however, leads to the opposite extreme by minimizing South Asia’s very real social problems.
For example, Rosser dismisses sati as “never . . . widely practiced” and today “very, very rare.” As dowry deaths are likewise “few and far between,” there is no basis for an accusation of an “inherent anti-female bias in Hindu society.” As a result, she argues, it would be as unfair to judge India by sati and dowry deaths as it would be to judge the United States by domestic violence.
This misses the point. Rosser is certainly correct that sati is extraordinarily rare, but after the 1987 death of Roop Kanwar on her husband’s funeral pyre, hundreds of thousands came to worship at the site. While many condemned Kanwar’s death, too many others publically celebrated it, something that could not be said of her proposed parallel, American domestic violence. This attitude needs to be explored, not minimized.
True multicultural education should be based on an honest and analytical appraisal of other cultures, both their positives and negatives. We do our students no favors if we teach them that all aspects of all cultures are equally praiseworthy. Better to expose them to the writings of Ram Mohun Roy and contemporary Zadian feminists than to pretend that sati and dowry deaths are not worthy of attention.
David Stone
History Department
Kansas State University
  1. Rebuttal letter from Yvette Rosser:
Re: Letter to the Editor written by
Professor David Stone, Kansas State University
Temple of Doom in the Classroom proposed strategies for high school teachers to make India relevant to their students, suggesting ways to resist essentializing cultural differences or reifying the exotic as the norm. By contextualizing social oppression and sexism within the discourse of human rights, relating inequities in India to similar problems in Western society, educators can avoid stereotyping class-based discrimination and gender violence as uniquely Hindu. Using sati to narrate Hinduism is tantamount to viewing Christianity through the lens of witch burning.
David Stone contends this approach leads “to the opposite extreme by minimizing South Asia’s very real social problems”. Conceding that “sati is extraordinarily rare”, Stone mentions Roop Kanwar, who died “on her husband’s funeral pyre” where “hundreds of thousands” have since worshiped. Clearly, when a teacher only has a week devoted to India’s millennia–from Mohenjo-Daro to Mahatma Gandhi–Roop Kanwar’s murder sensationalizes the rarified event, creating the impression that dowry deaths and sati are innately linked.
According to Stone, parallel popularization “could not be said of American domestic violence”. Unfortunately, a profitable XXX-rated industry graphically objectifies women, glorifying rape, while Charlton Heston, et al. celebrate America’s gun culture, blurring Hollywood and history, as Moses hands the commandments down from the NRA. Natural Born Killers and Pulp Fiction, orgies of violence, were blockbusters Domestic violence is celebrated by millions of misguided Americans, re: snuff films and kiddy porn. But, should secondary level students in India with only a few days to cover the USA, explore “wider dimensions” of exploitive porn? Classes about the USA in India should not delve on the Davidian compound in Waco, Texas as relevant to beliefs and practices of most Americans. Roop Kanwar is similarly unrepresentative.
Why should students learn that such anomalies are particular to Hinduism, while practicing Hindus are shocked and repulsed? Does it benefit students to learn that “thousands went to her shrine” while millions were appalled, catalyzing a “nation-wide cathartic reappraisal of women’s status”? (Kanwar was drugged, pushed onto the pyre, her family members arrested for murder. See: Radha Kumar, “Chipko to Sati: Contemporary Indian Women’s Movement”, Challenge of Local Feminisms: Women’s Movements in Global Perspective, ed., Amrita Basu, Westview, Boulder: 1995; also Oldenburg, “Roop Kanwar Case: Feminist Responses”, Sati, The Blessing and the Curse: The Burning of Wives in India, ed., John Hawley, OUP, NY: 1994.) After the Kanwar case, federal legislation was enacted providing the death penalty for anyone abetting Sati.
A World History class is often American students’ only exposure to India unless they specialize, at which time seminars might include “Zadian feminists”. Introductory lessons about India should eschew the obscure, the long outlawed, unsavory details of the past, otherwise we disseminate Eurocentristic constructs of a progressive West, where positive changes happen in history, whereas traditional countries like India are frozen in time by moribund customs.
To base this rejoinder in both practice and theory, I forwarded my article and Prof.. Stone’s letter to an experienced high school teacher and a professor who has published extensively on women’s issues in India. David Freedholm, from Princeton Day School, NJ, co-author with Arvind Sharma of Hinduism: An Introduction for High School Students (forthcoming)commented, “When students receive comparatively little instruction about India, is it fair to choose sati or dowry deaths as one of the few topics covered?” He added, “Regarding public celebrations of violence– lyrics of popular rap songs violently demean women, but do not represent American attitudes, similarly, Indians oppose sati and dowry deaths.” Freedholm concluded, “The treatment of India in many American classrooms is full of stereotypes. This must be remedied.”
Prof. Veena Oldenburg, Professor of History at Baruch College and The Graduate Center of the City University of NY concurred, “Worshipping guns is as marked a practice as worshipping ‘holy cows’”. Her recent research unpacks “the ‘cultural fingerprints’ discovered at the scene of any crime because the British saw Hinduism as a cruel set of fixed beliefs”. Dowry Murder: The Imperial Origins of a Cultural Crime (OUP, 2002) points out, “U.S. murders of women are proportionate to those in India, done in ‘ordinary ways’–shooting, strangling, bludgeoning, poisoning, using automobiles to create convenient accidents. In India, fire as a murder weapon creates false resonances with sati and makes the crime ‘cultural’, whereas kerosene stoves are common and forensically, burning is difficult to prove when repackaged as accidents or suicides.”
Oldenburg demystifies contemporary bride burning arguing such violence is traceable to British policies that drastically eroded “women’s entitlements” by “radically redefining property rights” thus negatively impacting precolonial marriage practices “managed by women, for women […] to establish their status”. British documents blamed crimes against women on the caste system, to “cover up the devastation wrought by colonial agrarian policies”. Classroom discussions of sati must carefully disentangle domestic violence from religion.
In an introduction to Western Civilization should school children in India learn that racism is imbedded in Christian culture, with slavery its corollary; that the Bible and the bullet went hand in hand with imperialism and genocide? Such approaches may deconstruct power relations, but if emphasized and sensationalized, they can promote negative stereotypes.
I agree with Dr. Stone that “multicultural education should be based on an honest and analytical appraisal of other cultures”, but as educators we must be clear that gender crime is a social pathology carried out by rogues and has no more to do with Hinduism than Christianity; if not, we do a disservice to inter-community dialogue by perpetuating old civilizational prejudices that have distorted the discourse about India for several Euro-centric centuries.
Yvette C. Rosser
Department of Curriculum and Instruction
The University of Texas at Austin

https://yvetterosser.com/2015/05/11/the-clandestine-curriculum-temple-of-doom-in-the-classroom/

Primadonna SoniaG Agusta scam: Sonia is suspect and should be quizzed says Dr. Swamy. 10 salvos to Karan Thapar

$
0
0

Subramanian Swamy wants day-to-day hearing in SC on Ram temple issue

Financial Express - ‎7 hours ago‎
BJP leader Subramanian Swamy today demanded in Rajya Sabha the day-to-day hearing in the Supreme Court on the issue of Ram Janambhoomi temple at Ayodhya. By: PTI | Published: May 5, 2016 10:31 PM. G+. Subramaniam Swamy. BJP leader ...

Sonia is a suspect, should be quizzed: Swamy's latest 10 salvos in Agusta case

India Today - ‎10 hours ago‎
In an exclusive interview with India Today TV's Karan Thapar, Swamy said that the Congress president should be questioned over her role in the Agusta chopper deal. IndiaToday.in | Posted by Shashank Shantanu. desk-itgd@intoday.com. New Delhi, May 5, ...

CBI must summon Sonia Gandhi, Manmohan Singh in AgustaWestland case: Subramanian Swamy

Financial Express - ‎10 hours ago‎
BJP MP Subramanian Swamy on Thursday said Congress president Sonia Gandhi and former prime minister Manmohan Singh should be summoned by the CBI on the AgustaWestland helicopter case. By: IANS | Published: May 5, 2016 6:48 PM.

Sonia is a suspect, should be quizzed: Swamy's latest 10 salvos in Agusta case

In an exclusive interview with India Today TV's Karan Thapar, Swamy said that the Congress president should be questioned over her role in the Agusta chopper deal.

IndiaToday.in  | Posted by Shashank Shantanu
New Delhi, May 5, 2016 | UPDATED 23:37 IST



Save democracy? Save Sonia? Memory lane of Allahabad HC unseating Mrs. Indira G in 1975 -- Kanchan Gupta

$
0
0
Tweet text
 
 

Goat-fish on Assyrian seal, ayaskara fish-man of Ancient Near East are Indus Script hieroglyphs, mintwork catalogues

$
0
0


Goat, fin, fin of fish are recurring images of Ancient Near East and also on Indus Script Corpora. These three significant hieroglyphs relate to minwork catalogues. Variant ligatures on 'fish' hieroglyph are also explained in positional analyses describing the processes involved in working with aya 'iron' ayas 'metal'.

Steven Bonta (2010) has presented a semiologic approach on the Indus Valley Script and offers some insights: “What is beyond reasonable dispute is that the Harappan signary is a sophisticated system of signs that represent, possibly quite elliptically, the language or languages employed by the Harappans…Whatever the irretrievable details of their culture and history, the preliminary evidence from their inscriptions appears to suggest that their voice may have been Indo-Aryan.” 

Michael Korvink presents a positional anaysis of 'fish' signs and highlights the ligatures to derive variants of the message conveyed by the basic glyph. Some ligatures are accents indicating 'fins' of fish read rebus as related to mintwork.

What are recorded as Sumerian SUHUR.MASH, Akk. suhurmashu/i sometimes interpreted as 'sea-goat' and kulullû fish-man may relate to two Meluhha expressions:1. mr̤ēka'goat': Ka. mēke she-goat;  the bleating of sheep or goats. Te. mē̃ka, mēka goat. Kol. me·ke id. Nk. mēke id. Pa. mēva, (S.) mēya she-goat. Ga. (Oll.) mēge, (S.) mēge goat. Go. (M) mekā, (Ko.) mēka id. ? Kur. mēxnā (mīxyas) to call, call after loudly, hail. Malt. méqe to bleat. [Te. mr̤ēka (so correct) is of unknown meaning. Br. mēḻẖ is without etymology; see MBE 1980a.] / Cf. Skt. (lex.) meka- goat. (DEDR 5087) Rebus: milakkhu, mleccha, mlecchamukha 'copper' (Pali. Samskrtam) 2. ayo, ayu 'fish' rebus: aya 'iron' ayas 'metal' (Samskrtam) 3. kammaa'mint': khambhaṛā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint  Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) Thus, the goat-fish message relates to copper, iron mintwork.

A person ligatured to a fish w/fin is ayaskara 'metalsmith' -- working in khambhaṛā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint. కమ్మటము (p. 0247) [ kammaṭamu ] Same as కమటముకమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste. He wears a bracelet with a safflower hieroglyph.  करडी [ karaḍī ] f (See करडई) Safflower  Rebus: करड [ karaḍa ] 'hard alloy'.

A fish-apkallu drawn by A.H. Layard from a stone relief, one of a pair flanking a doorway in the Temple of Ninurta at Kalhu.  British Museum. 

Reproduced in Schlomo Izre'el, Adapa and the South Wind: Language Has the Power of Life and Death, Eisenbrauns, 2001.

 https://books.google.co.th/books?id=MbwwROVGl7UC&pg=PA3&source=gbs_selected_pages&cad=3#v=onepage&q&f=falseA fish-apkallu drawn by AH Layard from a stone relief, one of a pair flanking a doorway in the Temple of Ninurta at Kalhu. British Museum. Reproduced in Schlomo Izre'el, Adpa and the South Wind, Language has the power of life and death, Eisenbrauns, 2001.


See: http://bharatkalyan97.blogspot.in/2011/11/susa-ritual-basin-decorated-


Below, a fish-man in a sea from a bas-relief in the palace of the Assyrian king Sargon II, ca. 
721-705 BCE at Dur-Sharken, modern Khorsabad. (p. 131. fig. 107. "merman and mermaid." 
Jeremy Black and Anthony Green. Gods, Demons and Symbols of Ancient Mesopotamia, 
An Illustrated Dictionary. London, British Museum, in association with the University of Texas Press.
 Austin. 1992. ISBn 0-292-70794-0. paperback)
Below, sun-dried clay figures. Upper: a goat-fish (Greek: Capricorn) emblem of the god Enki (Ea) of Eridu. Lower: a fishman. Placed in a building to ward off evil in the Assyrian period (p. 92. figure 70. "goat-fish." Jeremy Black and Anthony Green. Gods, Demons and Symbols of Ancient Mesopotamia, An Illustrated Dictionary. London, British Museum, in association with the University of Texas Press. Austin. 1992. ISBn 0-292-70794-0. paperback). Note: I understand that Ea (Enki) who gave his servant Adapa wisdom or knowledge but denied him immortality has been recast as Yahweh in the Garden of Eden. Please click here for the details.

Below, fish-men figurines, the so-called "seven sages" 


(apkallu), sun-dried clay, from the foundations of a priest's house in Asshur ca. 721-705 BCE (p. 18. Jeremy Black and Anthony Green.Gods, Demons and Symbols of Ancient Mesopotamia, An Illustrated Dictionary. London, British Museum, in association with the University of Texas Press. Austin. 1992. ISBN 0-292-70794-0. paperback).








Below, p. 131. fig. 108. "merman and mermaid." Jeremy Black and Anthony Green. Gods, Demons and Symbols of Ancient Mesopotamia, An Illustrated DictionaryLondon, British Museum, in association with the University of Texas Press. Austin. 1992. ISBN 0-292-70794-0. paperback).
















Below, a cylinder seal showing "fishmen" holding pine cones (?) and pollen-buckets (?), adoring a sacred tree. Above the tree is the sun-god with eagle wings and tail (perhaps Utu, Shamash or Asshur?). This tree appears in other Neo-Assyrian art forms as a highly stylized Date-palm with a vine lattice and leaves, sometimes bearing fruits such as grapes (?). To this day, Arabs in Lower Mesopotamia drape grapevines about Date-palms in their gardens. Could the Neo-Assyrian highly stylized grapevine tendril motif associated with the Date-palm be what is represented in this art form? In the Epic of Gilgamesh, a plant of rejuvenation lies at the bottom of the sea, could this be the plant the Fishmen are adoring? Or are they adoring the Mesu tree or Kiskanu tree at Eridu where Adapa and the apkallu served? (For the below picture cf. p. 15. figure 7. "Fish Gods at the Tree pf Life; Assyria, c. 700 BC." Joseph Campbell. The Masks of God: Creative Mythology. New York. Viking Penguin. 1968. Reprinted 1976)





kuTi 'tree' rebus: kuThi 'smelter'.





Below, sun-dried clay figures. Upper: a goat-fish (Greek: Capricorn) emblem of the god Enki (Ea) of Eridu. Lower: a fishman. Placed in a building to ward off evil in the Assyrian period (p. 92. figure 70. "goat-fish." Jeremy Black and Anthony Green. Gods, Demons and Symbols of Ancient Mesopotamia, An Illustrated Dictionary. London, British Museum, in association with the University of Texas Press. Austin. 1992. ISBn 0-292-70794-0. paperback). Note: I understand that Ea (Enki) who gave his servant Adapa wisdom or knowledge but denied him immortality has been recast as Yahweh in the Garden of Eden. Please click here for the details.














Fish-garbed priest bas-relief on temple of the god Ninurta (Saturn) at Kalhu (biblical Calah), ca. 883-859 BCE Assurnasirpal II (p. 83. fig. 65.) Fish-men figurines, the so-called "seven sages" (apkallu), sun-dried clay, from the foundations of a priest's house in Asshur ca. 721-705 BCE (p. 18.) Fish-man in a sea from a bas-relief in the palace of the Assyrian king Sargon II, ca. 721-705 BCE at Dur-Sharken, modern Khorsabad. (p. 131. fig. 107. "merman and mermaid." Jeremy Black and Anthony Green. Gods, Demons and Symbols of Ancient Mesopotamia, An Illustrated Dictionary. London, British Museum, in association with the University of Texas Press. Austin. 1992.



See the use of the fish hieroglyph on an Indus inscription (m0357); orthography discussed. 

m0357 Text 1401  The 'fish' on this text and on a tablet (together with crocodile) seem to focus on the fins of fish and hence, signify. khambhaṛā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint.
Reading of Text 1401: karaNika 'rim of jar' rebus: karNi 'supercargo' bhaTa 'warrior' rebus: bhaTa 'furnace' goTa 'round' rebus: khoTa 'ingot' PLUS kolom 'rice plant' rebus: kolami 'smithy, forge' tutha 'goad' rebus: tutha 'pewter' PLUS kolom 'three' rebus: kolami 'smithy, forge' khambhaṛā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint PLUS ayo 'fish' rebus: aya 'iron' ayas 'metal'.

Last three hieroglyphs as a distinct string: tutha 'goad' rebus: tutha 'pewter' PLUS kolom 'three' rebus: kolami 'smithy, forge' khaNDa 'notch' rebus: khaNDa 'implements' arA 'spoke' rebus: Ara 'brass' eraka 'nave of wheel' rebus: eraka 'moltencast, copper'.


See m1429C


On many sculptural friezes of Ancient Near East, a 'fin' is also signified by the short linear stroke at the fish-tail, the word signified is khambhaṛā ʻfinʼ (Lahnda Punjabi)(CDIAL 13640) rebus: kammaṭṭam, kammiṭṭam coinage, mint. (Malayalam)(DEDR 1236). Crocodile hieroglyph: kharA 'crocodie' rebus: khara 'blacksmith'. Thus, togethr ayaskara'metalsmith'. This is a Pali expression. 

A person ligatured to a fish PLUS fins is ayaskara 'metalsmith'.

Also attested in Panini:  अयस्--कार [p= 85,1]m. id. Pa1n2. 2-4 , 10 Sch. and viii , 3 , 46 Sch.अयस्--काम [p= 85,1] m. a blacksmith Pa1n2. 8-3 , 46 Sch.अयस् [p= 85,1]n. iron , metal RV. &can iron weapon (as an axe , &c RV. vi , 3 ,5 and 47 , 10 gold Naigh.steel L. ; ([cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa ; Old Germ. e7r , iron ; Goth. eisarn ; Mod. Germ. Eisen.]) See: aya 'iron' (Gujarati)

Munda etyma related to ayo, ayu:

bea hako (ayo) ‘fish’ (Santali); bea ‘either of the sides of a hearth’ (G.) Munda: So. ayo `fish'. Go. ayu `fish'. Go <ayu> (Z), <ayu?u> (Z),, <ayu?> (A) {N} ``^fish''. Kh. kaDOG `fish'. Sa. Hako `fish'. Mu. hai (H) ~ haku(N) ~ haikO(M) `fish'. Ho haku `fish'. Bj. hai `fish'. Bh.haku `fish'. KW haiku ~ hakO |Analyzed hai-kO, ha-kO (RDM). Ku. Kaku`fish'.@(V064,M106) Mu. ha-i, haku `fish' (HJP). @(V341) ayu>(Z), <ayu?u> (Z)  <ayu?>(A) {N} ``^fish''. #1370. <yO>\\<AyO>(L) {N} ``^fish''. #3612. <kukkulEyO>,,<kukkuli-yO>(LMD) {N} ``prawn''. !Serango dialect. #32612. <sArjAjyO>,,<sArjAj>(D) {N} ``prawn''. #32622. <magur-yO>(ZL) {N} ``a kind of ^fish''. *Or.<>. #32632. <ur+GOl-Da-yO>(LL) {N} ``a kind of ^fish''. #32642.<bal.bal-yO>(DL) {N} ``smoked fish''. #15163.

Vikalpa: Munda: <aDara>(L) {N} ``^scales of a fish, sharp bark of a tree''.#10171. So<aDara>(L) {N} ``^scales of a fish, sharp bark of a tree''.
khambhaā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint.
Indian mackerel Ta. ayirai, acarai, acalai loach, sandy colour, Cobitis thermalisayilai a kind of fish. Ma.ayala a fish, mackerel, scomber; aila, ayila a fish; ayira a kind of small fish, loach (DEDR 191) aduru native metal (Ka.); ayil iron (Ta.) ayir, ayiram any ore (Ma.); ajirda karba very hard iron (Tu.)(DEDR 192). Ta. ayil javelin, lance, surgical knife, lancet.Ma. ayil javelin, lance; ayiri surgical knife, lancet. (DEDR 193). aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddhānti Subrahmaya’ Śastri’s new interpretation of the AmarakoŚa, Bangalore, Vicaradarpana Press, 1872, p.330); adar = fine sand (Ta.); ayir – iron dust, any ore (Ma.) Kur. adar the waste of pounded rice, broken grains, etc. Malt. adru broken grain (DEDR 134).  Ma. aśu thin, slender;ayir, ayiram iron dust.Ta. ayir subtlety, fineness, fine sand, candied sugar; ? atar fine sand, dust. அய.³ ayir, n. 1. Subtlety, fineness; நணசம. (__.) 2. [M. ayir.] Fine sand; நணமணல. (மலசலப. 92.) ayiram, n.  Candied sugar; ayil, n. cf. ayas. 1. Iron; 2. Surgical knife, lancet; Javelin, lance; ayilava, Skanda, as bearing a javelin (DEDR 341).Tu. gadarů a lump (DEDR 1196) 


Fish ligatured to a crocodile. Mohenjodaro tablet. Decoding of the two Indus Script glyphs of fish and crocodile read rebus:

fish fins khambhaṛā 'fin' rebus: kammaTa 'mint'
Ayo ‘fish’ (Mu.) aya = iron (G.); 
ayah, ayas = metal (Skt.)
kāru a wild crocodile or alligator (Te.) ghariyal id. (H.)
khār a blacksmith, an iron worker (Kashmiri)
ayakāra ‘iron-smith’ (Pali)

While the goat-fish enters into myths of Sumer and later Assyrian traditions, the hieroglyphs of goat and fish on Indus script have been decoded in the context of metallurgy [metal (milakkhu, 'copper'(Pali)and cast metal -- ayas, perhaps bronze]. 

The emphatic depiction of fish ligatured with a crocodile on Indus Script (on a Mohenjodaro tablet) is decoded asayakara 'metalsmith' (aya 'fish'; kara 'crocodile' of the underlying Meluhha (Mleccha) lexemes of Indian linguistic area).



[Anthony Green, A Note on the Assyrian "Goat-Fish", "Fish-Man" and "Fish-Woman", Iraq, Vol. 48 (1986), pp. 25-30; After Plate X, b, on seal. BM 119918. 2.5X2.5X2.5cm. Late Babylonian stamp seal depicting kulullu and kuliltu(?); streams flow from a vase at top left;top centre, a crescent. Previously published: Van Buren 1933: Pl. XX:70, p. 116, with earlier references cited in n.3, to which may be added Munter 1827: Tab. II:18, p. 139. Cf. also Unger 1957: 71, Nr. 2; Unger 1966.)

In Fig. 1 in the following embedded document, a pair of goat-fish images appear, flanking a door entrance, on a Middle Assyrian seal. Sumerian SUHUR.MASH, Akk. suhurmashu/i is sometimes interpreted as 'sea-goat'.



A Note on the Assyrian “Goat-Fish”, “Fish-Man” and “Fish-Woman”


Anthony Green

In their recent edition of inscribed material from Fort Shalmaneser at Nimrud, Dalley and Postgate (1984: No. 95, pp. 159 ff., Pl. 22) have published and discussed a text recording the measurements, apparently in preparation for their covering in gold leaf, of statues for a temple of Nabu, probably the Nabu Temple at Kalḫu itself. As extant, “face B” begins with the dimensions for the statue or statues of the uridimmu (UR.ID[IM?]), which is probably to be identified as an upright figure with human head, arms and torso but the lower body and legs of lion, a type known in the Assyrian period on the palace reliefs and among the apotropaic foundation figurines (Wiggermann, in press: § VII C 5; cf. Green 1985: 77, with Fig. 1 and Pls. XIIIb, XIVab).
The next section (ll. 10 ff.) concerns statues of the suḫurmāšu, or “Goat-fish” (literally “Carp-goat”), and kulullû, “Fish-man”. As Dr. Dalley points out, these creatures are known among the apotropaic figurines and named in the appropriate rituals (Dalley and Postgate 1984: 162, n. to ll. 15–19; citing Rittig 1977 for the figurines). An example of the Goat-fish omitted from Rittig's catalogue is shown on Plate V; its inscription (er-ba taš-mu u ma-ga-rù), corresponding to the form prescribed in KAR, no. 298, rev. line 5 (Gurney 1935: 70 f.; Rittig 1977: 157, 167) proves the identity as the suḫurmāšu(cf. Rittig 1977: 188 f., § Ib.2; 206; Green 1983: 93, n. 54; Wiggermann, in press: § VII C 10 b). The mention of statues of the type in the Nimrud text is a significant testimony to their original presence in the repertoire of Assyrian monumental art, for which no examples are now known (notice their absence in the review by Kolbe 1981), although an example is to be found on one face of a ninth(?)-century smaller-scale stone altar from Nineveh (Plate VIa), and statues of the creature appear to be depicted on a Middle Assyrian (Fig. 1 ) and post-Assyrian (Plate Xc) seals. This fact further supports the apparent identical, or at least very close, repertoires of apotropaic figures as foundation figurines and in monumental sculpture (Green 1983). 
Example of water-carrier hieroglyph as Indus script. Seal impression, Ur (Upenn; U.16747) Seal impression, Ur (Upenn; U.16747); dia. 2.6, ht. 0.9 cm.; Gadd, PBA 18 (1932), pp. 11-12, pl. II, no. 12; Porada 1971: pl.9, fig.5; Parpola, 1994, p. 183; water carrier with a skin (or pot?) hung on each end of the yoke across his shoulders and another one below the crook of his left arm; the vessel on the right end of his yoke is over a receptacle for the water; a star on either side of the head (denoting supernatural?). The whole object is enclosed by 'parenthesis' marks. The parenthesis is perhaps a way of splitting of the ellipse (Hunter, G.R., JRAS, 1932, 476). An unmistakable example of an 'hieroglyphic' seal.

The inscription on the Ur circular seal is deciphered goṭa dul meḍ kuṭhi 'laterite, iron (cast metal), tin smelter furnace'. [kuṭhi 'smelter' furnace for iron/ kuṭila, 'tin (bronze)metal; kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Samskritam)] 

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) मेढ (p. 662) [ mēḍha ] 'polar' star' Rebus: mẽṛhẽt, meḍ 'iron' (Ho.Munda)

kuṭi 'womanwater-carrier' (Telugu) kuṭhi ‘smelter furnace’ (Santali)] A pair of hieroglyphs flank the head of the water-carrier. It is read as the polar star मेढ [mēḍha](Marathi) Rebus: meḍ ‘iron’ (Ho.) dula ‘pair’ (Kashmiri); rebus: dul ‘cast (metal)’(Santali) 

kuṭhi 'smelter, furnace for iron' (Santali) kūṭa कूट -पालकः a potter; a potter's kiln. (Samskritam) कुटिलिका  A blacksmith's forge. (Samskritam) कुटिलक [p= 288,2] f. a tool used by a blacksmith Pa1n2. 4-4 , 18 Ka1s3.कुटी  a hut , cottage , house , hall , shop MBh. R. &c  kut.hi, kut.i (Or.; Sad. kot.hi) (1) the smelting furnace of the blacksmith; kut.ire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of e_kut.i has been given to the fire which, in lac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kut.hi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, as seen in fig. 1, and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari)

měď (copper)(Czech) mіdʹ (copper, cuprum, orichalc)(Ukrainian) medʹ (copper, cuprum, Cu), mednyy (copper, cupreous, brassy, brazen, brass), omednyatʹ (copper, coppering), sulʹfatmedi (Copper), politseyskiy (policeman, constable, peeler, policemen, redcap), pokryvatʹ medʹyu (copper), payalʹnik (soldering iron, copper, soldering pen, soldering-iron), mednyy kotel (copper), medno-krasnyy (copper), mednaya moneta (copper). медь (copper, cuprum, Cu), медный (copper, cupreous, brassy, brazen, brass), омеднять (copper, coppering), Сульфатмеди (Copper), полицейский (policeman, constable, peeler, policemen, redcap), покрывать медью (copper), паяльник (soldering iron, copper, soldering pen, soldering-iron), медный котел (copper), медно-красный (copper), медная монета (copper).(Russian)
meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali) meṛha, meḍhi ‘merchant’s clerk; (Gujarati) 

Sign 15 occurs togethe with a notch-in-fixed fish hieroglyph on Harappa 73 seal:Harappa seal (H-73)[Note: the hieroglyph ‘water carrier’ pictorial of Ur Seal Impression becomes a hieroglyph sign] Hieroglyph: fish + notch: aya 'fish' + khāṇḍā m  A jag, notch Rebus: aya 'metal'+  khāṇḍā ‘tools, pots and pans, metal-ware’. kuṭi 'water-carrier' Rebus: kuṭhi 'smelter'. खोंड (p. 216) [khōṇḍam A young bull, a bullcalf; खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl (Marathi); kōḍe dūḍabull calf (Telugu); kōṛe 'young bullock' (Konda) rebus: kõdā ‘to turn in a lathe’ (Bengali) [The characteristic pannier which is ligatured to the young bull pictorial hieroglyph is a synonym खोंडा 'cowl' or 'pannier').खोंडी [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) ] खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf.(Marathi) खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl.खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडी [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.)

Hieroglyph: kōḍ 'horn' Rebus: kōḍ 'place where artisans work, workshop' কুঁদন, কোঁদন [ kun̐dana, kōn̐dana ] n act of turning (a thing) on a lathe; act of carving (Bengali) कातारी or कांतारी (p. 154) [ kātārī or kāntārī ] m (कातणें) A turner.(Marathi)

Rebus: खोदकाम [ khōdakāma ] n Sculpture; carved work or work for the carver.
खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving: also sculptured or carved work.खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engraveखोदींव [ khōdīṃva ] p of खोदणें Dug. 2 Engraved, carved, sculptured. http://bharatkalyan97.blogspot.in/2015/04/excavations-at-dholavifra-1989-2005-rs.html
The intimations of a metals turner as a scribe are also gleaned from the gloss: खोडाखोड or डी [ khōḍākhōḍa or ḍī ] f (खोडणें) Erasing, altering, interlining &c. in numerous places: also the scratched, scrawled, and disfigured state of the paper so operated upon; खोडींव [ khōḍīṃva ] p of खोडणें v c Erased or crossed out.Marathi). खोडपत्र [ khōḍapatra ] n Commonly खोटपत्र.खोटपत्र [ khōṭapatra ] n In law or in caste-adjudication. A written acknowledgment taken from an offender of his falseness or guilt: also, in disputations, from the person confuted. (Marathi) Thus, khond 'turner' is also an engraver, scribe.

That a metals turner is engaged in metal alloying is evident from the gloss: खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. Hence 2 A lump or solid bit (as of phlegm, gore, curds, inspissated milk); any concretion or clot. खोटीचाComposed or made of खोट, as खोटीचें भांडें.

See: http://bharatkalyan97.blogspot.in/2015/03/x.html

'Based on cuneiform documents from Mesopotamia we know that there was at least one Meluhhan village in Akkad at that time, with people called 'Son of Meluhha' living there. The cuneiform inscription (ca. 2020 BCE) says that the cylinder seal belonged to Shu-ilishu, who was a translator of the Meluhhan language. "The presence in Akkad of a translator of the Meluhhan language suggests that he may have been literate and could read the undeciphered Indus script. This in turn suggests that there may be bilingual Akkadian/Meluhhan tablets somewhere in Mesopotamia. Although such documents may not exist, Shu-ilishu's cylinder seal offers a glimmer of hope for the future in unraveling the mystery of the Indus script." (Gregory L. Possehl,Shu-ilishu's cylinder seal, Expedition, Vol. 48, Number 1, pp. 42-43).http://www.penn.museum/documents/publications/expedition/PDFs/48-1/What%20in%20the%20World.pdf
Shu-ilishu's cylinder seal. Department des Antiquites Orienteles, Musee du Louvre, Paris.

Kannada. mēke she-goat; mē the bleating of sheep or goats. Te. mē̃ka, mēka goat. Kol. me·ke id. Nk. mēke id. Pa. mēva, (S.) mēya she-goat. Ga. (Oll.) mēge, (S.) mēge goat. Go. (M) mekā, (Ko.) mēka id. ? Kur. mēxnā (mīxyas) to call, call after loudly, hail. Malt. méqe to bleat. [Te. mr̤ēka (so correct) is of unknown meaning. Br. mēḻẖ is without etymology; see MBE 1980a.] / Cf. Skt. (lex.) meka- goat (Monier-Williams lex.) mlekh ‘goat’ (Br.); meḷh ‘goat’ (Br. mr̤eka (Te.); mēṭam (Ta.); meṣam (Samskritam) Te. mr̤eka (DEDR 5087)  (DEDR 5087) Rebus: meluh.h.a (Akkadian) mleccha (Samskritam) milakkhu 'copper' (Pali)

Ht. 10 feet.Alabaster relief in the Louvre. Drawing by Saint-Elme Gautier.  Illustration for A History of Art in Chaldaea and Assyria by Georges Perrot and Charles Chipiez (Chapman and Hall, 1884) The winged person, whose helmet has three sets of horns holds a raphia farinifera  cone on his right palm. The person (perhaps a Meluhha) with antelope on his left arm appears to be holding a date cluster on his right hand; he is followed by a person holding a pomegrante cluster.  
 
The relief presents a trade deal involving exchange of sharp metal tools with copper metal ingots from Meluhha.

mlekh 'goat' carried by him denotes the Meluhha merchant (dealing in) milakkhu 'copper'. The twig or sprig on his right hand: ḍhāḷā m. ʻsprig'  meṛh 'merchant's assistant' carries a cluster of pomegranates: ḍ̠āṛhū̃ 'pomegranate' (Sindhi) Rebus:  ḍhālako 'a large metal ingot' (Gujarati)

ḍāla1 m. ʻ branch ʼ Śīl. 2. *ṭhāla -- . 3. *ḍāḍha -- . [Poss. same as *dāla -- 1 and dāra -- 1: √dal, √d&rcirclemacr;. But variation of form supports PMWS 64 ← Mu.]1. Pk. ḍāla --  n. ʻ branch ʼ; S. ḍ̠āru m. ʻ large branch ʼ, ḍ̠ārī f. ʻ branch ʼ; P. ḍāl m. ʻ branch ʼ, °lā m. ʻ large do. ʼ, °lī f. ʻ twig ʼ; WPah. bhal. ḍā m. ʻ branch ʼ; Ku. ḍālo m. ʻ tree ʼ; N. ḍālo ʻ branch ʼ, A. B. ḍāl, Or. ḍāḷa; Mth. ḍār ʻ branch ʼ, °ri ʻ twig ʼ; Aw. lakh. ḍār ʻ branch ʼ, H. ḍāl,  °lā m., G. ḍāḷi°ḷīf., °ḷũ n.2. A. ṭhāl ʻ branch ʼ, °li ʻ twig ʼ; H. ṭhāl°lā m. ʻ leafy branch (esp. one lopped off) ʼ.3. Bhoj. ḍāṛhī  ʻ branch ʼ; M. ḍāhaḷ m. ʻ loppings of trees ʼ, ḍāhḷā m. ʻ leafy branch ʼ, °ḷī f. ʻ twig ʼ, ḍhāḷā m. ʻ sprig ʼ, °ḷī f. ʻ branch ʼ.(CDIAL 5546). Rebus: 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.. *ḍhāllā -- : WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f. (CDIAL 5583).

dalim 'the fruit of pomegranate, punica granatum, Linn.' (Santali) 
S. ḍ̠āṛhū̃ 'pomegranate'(CDIAL 6254). Gy. eur. darav ʻ pomegranate ʼ (GWZS 440).(CDIAL 14598). dāḍima m. ʻ pomegranate tree ʼ MBh., n. ʻ its fruit ʼ Suśr., dālima -- m. Amar., ḍālima -- lex. 1. Pa. dālima -- m., NiDoc. daḍ'ima, Pk. dāḍima -- , dālima -- n., dāḍimī -- f. ʻ the tree ʼ, Dm. dā̤ŕim, Shum. Gaw. dāˊṛim,Kaldā̤ŕəm, Kho. dáḷum, Phal. dhe_ṛum, S. ḍ̠āṛhū̃ m., P. dāṛū̃°ṛū°ṛam m., kgr. dariūṇ (= dariū̃?) m.; WPah.bhiḍ. de_ṛũ n. ʻ sour pomegranate ʼ; (Joshi) dāṛū, OAw. dārivaṁ m., H. poet. dāriũ m., OG. dāḍimi f. ʻ the tree ʼ, G. dāṛam n., dāṛem f. ʻ the tree ʼ, Si. deḷum.2. WPah.jaun. dāṛim, Ku. dā̆ṛimdālimdālimo, N. rim, A. ḍālim, B. dāṛimdālim, Or. dāḷimba°imadāṛima
ḍāḷimba,ḍarami ʻ tree and fruit ʼ; Mth. dāṛim ʻ pomegranate ʼ, daṛimī ʻ dried mango ʼ; H. dāṛimb°imdālimḍāṛimḍār°ḍāl° m., M.dāḷĩb°ḷīmḍāḷĩb n. ʻ the fruit ʼ, f. ʻ the tree ʼ.3. Sh.gil. daṇū m. ʻ pomegranate ʼ, daṇúi f. ʻ the tree ʼ, jij. *lṇə́i, K. dönü m., P. dānū m. 

dāḍima -- . 2. dāḍimba -- : Garh. dāḷimu ʻ pomegranate ʼ, A. ḍālim (phonet. d -- ).(CDIAL 6254).Ta. mātaḷai, mātuḷai, mātuḷam pomegranateMa. mātaḷam id. (DEDR 4809). 
தாதுமாதுளை tātu-mātuḷai
n. < id. +. Pomegranate, s. tr., Punica granatum; பூ மாதுளை. (யாழ். அக.)

Rebus: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati)

Elamite statuette showed a person (king?) carrying an antelope on his hands, the same way a Meluhhan carried an antelope on his hands.

While a composite comparable glyph has not been identified in the corpus of Indus inscriptions,there are seals which show fish glyph together with antelope glyph; fish glyph together with composite bull + heifer glyph.
Harappa seal (h350B)
Harappa seal (h330)

Seal. National Museum: 135.

The rebus readings of the hieroglyphs are: mẽḍha ‘antelope’; rebus: meḍ ‘iron’ (Ho.) aya 'fish'; rebus: aya 'cast metal' (G.).

A Susa ritual basin dated to ca. 12th or 13th century BCE depicts goat and fish ligatured into a 'fabulous' or 'composite' animal representation, clearly intended to connote the underlying hieroglyphic meaning. 

Deification of glyphs: When did it happen?

At what point in time, the glyphic representations denoting native metal or cast metal artefacts and which were used to authenticate trade transactions of the civilization, using Indus script inscriptions, were deified can only be conjectured. This shift from use in trade to use in cultural/religious contexts may have occurred -- in the interaction areas such as Susa and Meluhha -- between 19th and 13th centuries BCE (i.e. between the time when the continued use of Indus Script glyphs is attested, say, 19th century BCE and the time when the same glyphs or cognate glyphic representations were deified, say, 13th century BCE).


Mohenjodaro seal (m0302).


Susa ritual basin dates from 13th or 12th cent. BCE. It is decorated with goatfish figures, flankin a hieroglyph-multiplex of reedposts, spathes, molluscs. http://www.louvre.fr/en/oeuvre-notices/ritual-basin-decorated-goatfish-figures aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda) meḷh ‘goat’ (Br. mr̤eka (Te.); mēṭam (Ta.); meṣam (Samskritam) Te. mr̤eka (DEDR 5087)  (DEDR 5087) Rebus: meluh.h.a (Akkadian) mleccha (Samskritam) milakkhu 'copper' (Pali) 

Hieroglyph-multiplex or Susa ritual basin has hieroglyph components: reeds, spathe, mollusc (snail). Rebus Meluhha readings in Indus Script cipher signify this to be Hieroglyph: eruva dhatugarbha śāṅkhika,'reed, spathe, mollusc (snail)' Rebus: eruva dagoba sangha.'copper mineral core assemblage'.

Hieroglyhph: eruva 'reed' Rebus: eruva 'copper' 

Hieroglyph: śāṅkhika 'relating to a shell' hö̃giñ 'shell of a mollusc' Rebus: sangha 'assemblage'

Hieroglyph: spathe "A spathe is a large bract that forms a sheath to enclose the flower cluster of certain plants such as palms, arums, Iris and dayflowers. In many arums (Araceae family), the spathe is petal-like, attracting pollinators to the flowers arranged on a type of spike called a spadix." (http://en.wikipedia.org/wiki/Bract#Spathe) Kashmiri. gab m. ʻ womb, sprout of a plant ʼ; gāb(h)ā ʻspathe of a plant (Bengali)(CDIAL 4055) Rebus:  gābhā m. ʻ heart, core ʼ (Marathi) gāb(h)ā'foetus' dhātugarbha (Samskritam)dhātu gabbhā (Pali) (Sinhalese dāgoba. The expression is equivalent to dhātu relics+garbha womb, inside. Thus, dāgoba is a dome-shaped shrine containing
relics of the Buddha or a Bauddham arhant.

Hieroglyph: mollusc: śāṅkhika ʻ relating to a shell ʼ W. 2. *śāṅkhinī -- (śaṅkhinī -- f. ʻ mother -- of -- pearl ʼ Bālar.). [śaṅkhá -- 1] 1. K. hāngi ʻ snail ʼ; B. sã̄khī ʻ possessing or made of shells ʼ. 2. K. hö̃giñ f. ʻ pearl oyster shell, shell of any aquatic mollusc ʼ (CDIAL 12380). Rebus: sangha [fr. saŋ+hṛ; lit. "comprising." The quâsi pop. etym. at VvA 233 is "diṭṭhi -- sīla -- sāmaññena sanghāṭabhāvena sangha"] 1. multitude, assemblage Miln 403 (kāka˚); J i.52 (sakuṇa˚); Sn 589 (ñāti˚); 680 (deva˚); D iii.23 (miga˚); Vv 55 (accharā˚=samūha VvA 37).Sanghin (adj.) [fr. sangha] having a crowd (of followers), the head of an order D i.47, 116; S i.68; Miln 4; DA i 143. -- sanghâsanghī (pl.) in crowds, with crowds (redupl. cpd.!), with gaṇi -- bhūtā "crowd upon crowd" at D i.112, 128; ii.317; DA i.280.


Source: Source: Joan Aruz et al., 2003, Art of the First cities: the third millennium BCE from the Mediterranean to the Indus, New York, Metropolitan Museum of Art (Pages 320, 322). See also: 
http://ancientworldonline.blogspot.in/2012/10/kuwaiti-slovak-archaeological-mission.html

The center-piece hieroglyph-multiplex: crucible + sun hieroglyphs.

Hieoglyph: koThAri 'crucible' Rebus: koThAri 'treasurer'
Hieroglyph: aru m. ʻ sun ʼ lex. Kho. yor Morgenstierne NTS ii 276 with ? <-> Whence y -- ? (CDIAL 612) arka 'sun' Rebus: araka, eraka 'copper, moltencast' (Kannada. Tulu)  eraka, era, er-a = syn. erka, copper, weapons (Ka.) eruvai ‘copper’ (Ta.); ere dark red (Ka.)(DEDR 446). eraka, er-aka = any metal infusion (Ka.Tu.) Tu. eraka molten, cast (as metal); eraguni to melt (DEDR 866)

Hieroglyph: aquatic bird: karaṭa1 m. ʻ crow ʼ BhP., °aka -- m. lex. [Cf. karaṭu -- , karkaṭu -- m. ʻ Numidian crane ʼ, karēṭu -- , °ēṭavya -- , °ēḍuka -- m. lex., karaṇḍa2 -- m. ʻ duck ʼ lex: seekāraṇḍava -- ]Pk. karaḍa -- m. ʻ crow ʼ, °ḍā -- f. ʻ a partic. kind of bird ʼ; S. karaṛa -- ḍhī˜gu m. ʻ a very large aquatic bird ʼ; L. karṛā m., °ṛī f. ʻ the common teal ʼ.(CDIAL 2787). Allograph: karaṭa m. ʻ Carthamus tinctorius ʼ lex.Pk. karaḍa -- m. ʻ safflower ʼ, °ḍā -- f. ʻ a tree like the karañja ʼ; M. karḍī°ḍaī f. ʻ safflower, Carthamus tinctorius and its seed ʼ.(CDIAL 2788). Rebus:  karaḍā 'hardalloy of metals' (Marathi

gaṇḍ 'four'. kaṇḍ 'bit'. Rebus: kaṇḍ 'fire-altar'.
 
khaṇḍ ‘field, division’ (Skt.) Rebus: Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298). खडा  (Marathi) is ‘metal, nodule, stone, lump’. kaṇi ‘stone’ (Kannada) with Tadbhava khaḍu.  khaḍu, kaṇ ‘stone/nodule (metal)’. Rebus: khaṇḍaran,  khaṇḍrun ‘pit furnace’ (Santali) kaṇḍ ‘furnace’ (Skt.) लोहकारकन्दुः f. a blacksmith's smelting furnace (Grierson Kashmiri lex.) [khaṇḍa] A piece, bit, fragment, portion.(Marathi) Rebus 2: kandi (pl. -l) beads, necklace (Pa.); kanti (pl. -l) bead, (pl.) necklace; kandit. bead (Ga.)(DEDR 1215). Rebus 3: khaNDa 'metal implements'.

Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. (DEDR 1159a) Rebus ‘brazier, bell-metal worker’: கன்னான் kaṉṉāṉ , n. < கன்¹. [M. kannān.] Brazier, bell-metal worker, one of the divisions of the Kammāḷa caste; செம்புகொட்டி. (திவா.) 

ranku 'antelope' Rebus: ranku 'tin'.

The antelope + divided square is read rebus: eraka tagara kaṇḍ 'tin furnace' (merchant, damgar). The upraised arm indicates eraka 'copper': eraka ‘upraised arm’ (Telugu); eraka ‘copper’ (Telugu) Thus, the seal denotes a merchant dealing in iron, tin and copper ingots.

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

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 containinggold (Mundari.lex.) tagara 'antelope'. Rebus 1: tagara 'tin' (ore) tagromi 'tin, metal alloy' (Kuwi)    Rebus 2: damgar 'merchant'. 

Thus the seal connotes a merchant of tin and copper.
 Inventory No. 8480. A seal from Dilmun, A seal from Dilmun, made of soft stone, classified as the 3rd largest seal in Failaka Island, decorated with human and zoomorphic figures. 0.16 X 4.8 cm. Site: the Ruler's Palace. 2nd millennium BCE, Dilmun civilization [NOTE: Many such seals of Failaka and Dilmun have been read rebus as Indus writing.]

Hieroglyphs on this Dilmun seal are: star, tabernae montana flower, cock, two divided squares, two bulls, antelope, sprout (paddy plant), drinking (straw), stool, twig or tree branch. A person with upraised arm in front of the antelope. All these hieroglyphs are read rebus using lexemes (Meluhha, Mleccha) of Indiansprachbund.

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

agara (tagara) fragrant wood (Pkt.Skt.).tagara 'antelope'. Rebus 1: tagara 'tin' (ore) tagromi 'tin, metal alloy' (Kuwi)    Rebus 2: damgar 'merchant'

kuṭi (-pp-, -tt-) to drink, inhale. Rebus: kuṭhi ‘smelting furnace’ (Santali) 

ḍangar ‘bull’; rebus: ḍangar ‘blacksmith’ (Hindi) dula 'pair' (Kashmiri). Rebus: dul 'cast metal' (Santali) Thus, a pair of bulls connote 'cast metal blacksmith'.

khaṇḍ ‘field, division’ (Skt.) Rebus 1: Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (ore). Rebus 2: kaṇḍ 'fire-altar' (Santali) Thus, the two divided squares connote furnace for stone (ore).

kolmo ‘paddy plant’ (Santali) Rebus: kolami ‘furnace, smithy’ (Telugu)

Kur. kaṇḍō a stool. Rebus: kaṇḍ 'fire-altar' (Santali)

Tu. aḍaru twig. Rebus: aduru 'native (unsmelted) metal' (Kannada) Alternative reading: కండె [kaṇḍe] kaṇḍe. [Tel.] n. A head or ear of millet or maize. Rebus 1: kaṇḍ 'fire-altar' (Santali) Rebus 2: khānḍa  ‘tools, pots and pans, metal-ware’.

eraka ‘upraised arm’ (Te.); eraka ‘copper’ (Te.) 

Thus, the Dilmun seal is a metalware catalog of damgar 'merchant' dealing with copper and tin.

The two divided squares attached to the straws of two vases in the following seal can also be read as hieroglyphs:

khaṇḍ ‘field, division’ (Skt.) Rebus 1: Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (ore). Rebus 2: kaṇḍ 'fire-altar' (Santali) Thus, the two divided squares connote furnace for stone (ore).

kuṭi (-pp-, -tt-) to drink, inhale. Rebus: kuṭhi ‘smelting furnace’ (Santali) 

angā = small country boat, dug-out canoe (Or.); õgā trough, canoe, ladle (H.)(CDIAL 5568). Rebus: ḍānro  term of contempt for a blacksmith (N.); ḍangar (H.) (CDIAL 5524)

Thus, a smelting furnace for stone (ore) is connoted by the seal of a blacksmith, ḍangar
 

Ta. kara-tāḷam palmyra palm. Ka. kara-tāḷa fan-palm, Corypha umbraculifera   Lin. Tu. karatāḷa cadjan. Te. (B.) kara-tāḷamu the small-leaved palm tree.(DEDR 1270). karukku teeth of a saw or sickle, jagged edge of palmyra leaf-stalk, sharpness (Ta.) Ka. garasu. / Cf. Skt. karaṭa- a low, unruly, difficult person; karkara- hard, firm; karkaśa- rough, harsh, hard; krakaca-, karapattra- saw; khara- hard, harsh, rough, sharp-edged; kharu- harsh, cruel; Pali kakaca- saw; khara- rough; saw; Pkt.karakaya- saw; Apabhraṃśa (Jasaharacariu) karaḍa- hard. Cf. esp. Turner, CDIAL, no. 2819. Cf. also Skt. karavāla- sword (for second element, cf. 5376 Ta. vāḷ). (DEDR 1265) Allograph: Ta. karaṭi, karuṭi, keruṭi fencing, school or gymnasium where wrestling and fencing are taught. Ka. garaḍi, garuḍi fencing school. Tu.garaḍi, garoḍi id. Te. gariḍi, gariḍī id., fencing.(DEDR 1262)

Allograph: eagle: garuḍá m. ʻ a mythical bird ʼ Mn. Pa. garuḷa -- m., Pk. garuḍa -- , °ula -- m.; P. garaṛ m. ʻ the bird Ardea argala ʼ; N. garul ʻ eagle ʼ, Bhoj. gaṛur; OAw. garura ʻ blue jay ʼ; H. garuṛ m. ʻ hornbill ʼ, garul ʻ a large vulture ʼ; Si. guruḷā ʻ bird ʼ (kurullā infl. by Tam.?). -- Kal. rumb. gōrvḗlik ʻ kite ʼ?? (CDIAL 4041). gāruḍa ʻ relating to Garuḍa ʼ MBh., n. ʻ spell against poison ʼ lex. 2. ʻ emerald (used as an antidote) ʼ Kālid. [garuḍá -- ]1. Pk. gāruḍa -- , °ula -- ʻ good as antidote to snakepoison ʼ, m. ʻ charm against snake -- poison ʼ, n. ʻ science of using such charms ʼ; H. gāṛrū, gārṛū m. ʻ charm against snake -- poison ʼ; M. gāruḍ n. ʻ juggling ʼ. 2. M. gāroḷā ʻ cat -- eyed, of the colour of cat's eyes ʼ.(CDIAL 4138). கருடக்கல் karuṭa-k-kal, n. < garuḍa. (Tamil) Rebus: karaDa 'hard alloy' (Marathi)
Hieroglyph: kaNDe 'pine cone' Rebus: khaNDa 'metal implements'

Depiction of an annunaki in the Pergamon Museum in Berlin. Hieroglyph composition of an eagle-faced winged person also carried a pine-cone in his right hand; a basket or wallet is held in the left hand. Assyrian) alabaster  Height: 236.2 cm (93 in). Width: 135.9 cm (53.5 in). Depth: 15.2 cm (6 in). This relief decorated the interior wall of the northwest palace of King Ashurnasirpal II at Nimrud. http://www.cuttingedge.org/articles/RC125.htm 

Hieroglyph: pine-cone: கண்டபலம் kaṇṭa-palam, n. < kaṇṭa கண்டம்¹ kaṇṭam 
kaṇṭal 'pine-cone'; maraka 'peacock' Rebus:  khaṇḍakaṇṭa 'temple front' smāraka, 'memorial for ancestors'., n. < khaṇḍa. A portion of the front hall, in a temple; கோயில் முக மண்டபப்பகுதி. (S. I. I. v, 236.)
Ash. piċ -- kandə ʻ pine ʼ, Kt. pṳ̄ċi, piċi, Wg. puċ, püċ (pṳ̄ċ -- kəŕ ʻ pine -- cone ʼ), Pr. wyoċ, Shum. lyēwič (lyē -- ?).(CDIAL 8407). Cf. Gk. peu/kh f. ʻ pine ʼ, Lith. pušìs, OPruss. peuse NTS xiii 229. The suffix –kande in the lexeme: Ash. piċ-- kandə ʻ pine ʼ may be cognate with the bulbous glyphic related to a mangrove root: Koḍ. kaṇḍe root-stock from which small roots grow; ila·ti kaṇḍe sweet potato (ila·ti England). Tu. kaṇḍe, gaḍḍè a bulbous root; Ta. kaṇṭal mangrove, Rhizophora mucronata; dichotomous mangrove, Kandelia rheedii. Ma. kaṇṭa bulbous root as of lotus, plantain; point where branches and bunches grow out of the stem of a palm; kaṇṭal what is bulb-like, half-ripe jackfruit and other green fruits; R. candel.  (DEDR 1171). Rebus: khaṇḍakaṇṭa 'temple front'. Rebus:khānḍa  ‘tools, pots and pans, metal-ware’. Rebus 2: kaṇḍ 'fire-altar' (Santali)
 
Hieroglyphs: kandə ʻpineʼ, ‘ear of maize’. Rebus: kaṇḍa ‘tools, pots and pans of metal’. Rebus: kāḍ ‘stone’. Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298).

















https://books.google.co.th/books?id=MbwwROVG17UC&pg=PA3&source=gbs_selected_pages&cad=3#v=onepage&q&f=false
 This depiction of a fish-apkallū of the parādu-fish type guarded the entrance to the temple of Ninurta at Nimrud.  A fish's head can be seen on the Apkallu's head, and its skin hangs down over the back of his body.  It is important to recall that the so-called Seven Sages of Sumeria were apkallū of this type. Neo-Assyrian era, 865-860 BCE.  From the Temple of Ninurta, Nimrud (ancient Kalhu; Biblical Calah), northern Mesopotamia, Iraq. (The British Museum, London). Osama Shukir Muhammed Amin FRCP (Glasg) http://www.ancient.eu/image/2708/
A fish's head can be seen on the Apkallu's head, and its skin hangs down over the back of his body. Neo-Assyrian era, 865-860 BCE.
 In this bas relief from Nimrud, human apkallū, the ummánū, kneel and tend to a sacred tree.  Both ummânū wear horned tiaras and display rosette bracelets on their wrists. Bracelets are also apparent on their upper arms.  In the lower register, bird-apkallū raise mulillu cones to sprinkle water in a gesture of exorcism and liberation of sin.  As is typical, the banduddu buckets are in their left hands.  Interestingly in this case, the bracelets of the bird-apkallū are atypical. No rosettes are apparent.
Bas-relief from Nimrud. Bird-apkallu raise mulillu cones.
 The god Ea at far left, wearing the horned headdress indicative of divinity, with water coursing from his shoulders. 

A fish-apkallū is in the iconic posture with right hand raised in blessing or exorcism, with the banduddu bucket in his left hand. 

The next apkallū wields an indistinct and as yet undefined angular object in his right hand, with the typical banduddu bucket in his left. 

The entity at far right, which appears to be wearing a horned tiara indicative of divinty, remains unidentified and undefined.
God Ea at far lef, wears horned headdress, with water coursing from his shoulders. Two fish-apkallu.
 Antediluvian apkallū portrayed as fish-men, such mixed-species creatures were the teachers of men, with Oannes and Odakon from Berossos the exemplars. These specific statuettes were buried in the foundations of the home of an exorcist, where they were positioned beneath doorways and against particular walls to exert a prophylactic effect, warding off evil.  The antediluvian type of apkallū, the so-called paradu fish, are often grouped in sevens.
Apkallu portrayed as fish-men.
Another depiction of the Kulullû, or fish-man.
 Fish-man known as a Kulullû. Terracotta figurine (8th-7th BCE) in the Louvre collection, Nr. 3337.  The Kulullû is distinct from the fish-Apkallū. They are not the same.
Fish-man known as Kulullu. Terracotta figurine (8th-7th BCE). Louvre collection, Nr. 3337.
 Sowie Museum 9-1796, sun-dried clay figurine of a suhurmaššu, probably from Aššur. Previously published: H.F. Lutz, University of California Publications in Semitic Philology 9/7 (1930), Rittig, 97.  Sowie Museum 9-1795, sun-dried figurine of a kilīlu, allegedly from Aššur. Previously published: Lutz, op. cit., Rittig, 95f. Plate XV.
Sowie Museum 9-1796 sun-dried clay figurine of a suhurmashshu, probably from Assur. Previously published HF Lutz, Univ. of California Publications in Semitic Philology 9/7 (1930), Rittig.97.
Fish-Apkallū statuettes of the type that were buried in the foundations of buildings.  The so-called parādu-fish apkallū were the seven antediluvian sages of Sumeria.
Fish-Apkallu statuettes of the type that were buried in the foundations of buildings. The so-called paRadu-fish apkallu were the seven antedeluvian sages of Sumeria.
Two Kusarikku, or "bull-men," holding a sacred palm tree surmounted by the eight-pointed star of Ištar.  Note the horned headdresses, indicative of divinity.  From Eshnunna (Tell Asmar near Baghdad,Iraq). Early 2nd millennium BCE. Louvre, AO 12446
Two kusarikku or 'bull men' holding a sacred palm tree surmounted by the eight pointed star of Ishtar. From Eshnunna (Tell Asmar near Baghdad, Iraq). Early 2nd millennium BCE. Louvre AO 12446

http://therealsamizdat.com/

tamar 'date palm' (Aramaic, Ethiopic, and Hebrew) tamr, 'fruit of the date-palm' (Arabic) http://www.jewishencyclopedia.com/articles/11873-palm Rebus: tam(b)ra 'copper' (Pali) arka 'sun' Rebus: araka, eraka 'copper, moltencast' (Kannada.Tulu).

See the peg shown on the crown of Nihal Mishmar cire perdue alloy hoard of artifacts:

kūṭa 'a peg, etc.'; kūṭi 'a hat turban peg or stand' (Kannada) khut.i Nag. (Or. khut.i_) diminutive of khun.t.a, a peg driven into the ground, as for tying a goat (Mundari) khun.t.i = pillar (Santali) Rebus: kuThi 'smelter'.

Cognate hieroglyph: Ta. kuṭai umbrella, parasol, canopy. Ma. 
kuṭa umbrella. Ko. koṛ umbrella made of leaves (only in a proverb); 
keṛ umbrella. To. kwaṛ id. Ka. koḍe id., parasol. Koḍ. koḍe umbrella. 
Tu. koḍè id. Te. goḍugu id., parasol. Kuwi (F.) gūṛgū, (S.) gudugu, (Su. P.) guṛgu umbrella (< Te.). / Cf. Skt. (lex.) utkūṭa- umbrella, parasol. (DER 1663) उत्-कूट [p= 176,2]  m. an umbrella or parasol L. (Monier-Williams) utkūṭḥ उत्कूटः [उन्नतं कूटमस्य] A parasol or umbrella.(Pali)

The Sheorajpur anthropomorph (348 on Plate A) has a 'fish' hieroglyph incised on the chest

Hieroglyphs: tagara ‘ram’ (Kannada) Rebus: damgar ‘merchant’ (Akk.) Rebus: tagara ‘tin’ (Kannada)

Ta. takar sheep, ram, goat, male of certain other animals (yāḷi, elephant, shark). பொருநகர் தாக்கற்குப் பேருந் தகைத்து (குறள், 486).Ma. takaran huge, powerful as a man, bear, etc. Ka. tagar, ṭagaru, ṭagara, ṭegaru ram. Tu. tagaru, ṭagarů id. Te. tagaramu, tagaru id. / Cf. Mar. tagar id. (DEDR 3000). Rebus 1:tagromi 'tin, metal alloy' (Kuwi) takaram tin, white lead, metal sheet, coated with tin (Ta.); tin, tinned iron plate (Ma.); tagarm tin (Ko.); tagara, tamara, tavara id. (Ka.) tamaru, tamara, tavara id. (Ta.): tagaramu, tamaramu, tavaramu id. (Te.); ṭagromi tin metal, alloy (Kuwi); tamara id. (Skt.)(DEDR 3001). trapu tin (AV.); tipu (Pali); tau, taua lead (Pkt.); tū̃ tin (P.); ṭau zinc, pewter (Or.); tarūaum lead (OG.);tarv (G.); tumba lead (Si.)(CDIAL 5992). Rebus 2: damgar ‘merchant’.

Hieroglyphs, allographs: ram, tabernae montana coronaria flower: तगर [ tagara ] f A flowering shrub, Tabernæ montana coronaria. 2 n C The flower of it. 3 m P A ram. (Marathi)

*tagga ʻ mud ʼ. [Cf. Bur. t*lg*l ʻ mud ʼ] Kho. (Lor.) toq ʻ mud, quagmire ʼ; Sh. tăgāˊ ʻ mud ʼ; K. tagöri m. ʻ a man who makes mud or plaster ʼ; Ku. tāgaṛ ʻ mortar ʼ; B. tāgāṛ ʻ mortar, pit in which it is prepared ʼ.(CDIAL 5626). (Note: making of mud or plaster is a key step in dhokra kamar's work of cire perdue (lost-wax) casting.)
krəm backʼ(Kho.) karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali) 

Meluhha 'fish' hieroglyphs


Mohenjo-daro Seals m1118 and Kalibangan 032, glyphs used are: Zebu (bos taurus indicus), fish, four-strokes (allograph: arrow).ayo ‘fish’ (Mu.) + kaṇḍa ‘arrow’ (Skt.) ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ) aya = iron (G.); ayah, ayas = metal (Skt.) gaṆḌa, ‘four’ (Santali); Rebus: kaṇḍ ‘fire-altar’, ‘furnace’), arrow read rebus in mleccha (Meluhhan) as a reference to a guild of artisans working with ayaskāṇḍa ‘excellent quantity of iron’ (Pāṇini) is consistent with the primacy of economic activities which resulted in the invention of a writing system, now referred to as Indus Writing.

khṭro = entire bull; khṭ= bra_hman.i bull (G.) khuṇṭiyo = an uncastrated bull (Kathiawad. G.lex.) kh_ṭaḍum a bullock (used in Jhālwāḍ)(G.) kuṇṭai = bull (Ta.lex.) cf. kh_dhi hump on the back; khuĩ_dh hump-backed (G.)(CDIAL 3902).  Rebus: kūṭa a house, dwelling (Skt.lex.) khṭ = a community, sect, society, division, clique, schism, stock; khṭren peṛa kanako = they belong to the same stock (Santali)

Allograph: काण्डः kāṇḍḥ ण्डम् ṇḍam The portion of a plant from one knot to another. काण्डात्काण्ड- त्प्ररोहन्ती Mahānār.4.3. A stem, stock, branch; लीलोत्खातमृणालकाण्डकवलच्छेदे U.3.16; Amaru.95; Ms. 1.46,48, Māl.3.34. 
కాండము [ kāṇḍamu ] kānamu. [Skt.] n. Water. నీళ్లు (Telugu) kaṇṭhá -- : (b) ʻ water -- channel ʼ: Paš. kaṭāˊ ʻ irrigation channel ʼ, Shum. xãṭṭä. (CDIAL 14349).

lokhãḍ ‘overflowing pot’ Rebus:  ʻtools, iron, ironwareʼ (Gujarati)
काण्ड an arrow MBh. xiii , 265 Hit. (Monier-Williams, p. 269) Rebus: काण्ड abundance; a multitude , heap , quantity (ifc.) Pa1n2. 4-2 , 51 Ka1s3.
On a Mohenjo-daro seal, ayo 'fish' read rebus ayas 'metal'; ḍangar 'bull' read rebus ḍhangar 'blacksmith'; koṭ 'horn; red rebus: khoṭ 'alloy'; khoṇḍ 'young bull-calf' read rebus khuṇḍ '(metal) turner'. The ayo 'fish' hieroglyph thus adequately categorizes the metalware contents of a pot discovered in Susa.
Kalibangan 37, 34

Two Kalibangan seals show an antelope and fish glyphs as the inscription. Mẽḍha ‘antelope’; rebus: ‘iron’ (Ho.) ayo ‘fish’; rebs: ayo ‘metal’ (G.) [These are examples which clearly demonstrate that Indus script is a glyptic writing system and hence, all glyphs and glyptic elements have to be decoded.] miṇḍālmarkhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) meḍ ‘iron’.

Meluhha 'crocodile' hieroglyph in Ancient Near East and India

A cylinder seal showing hieroglyphs of crocodile, elephant and rhinoceros was found in Tell Asmar (Eshnunna), Iraq. This is an example of Meluhha writing using hieroglyphs to denote the competence of kāru ‘artisan -- kāru 'crocodile' (Telugu) Rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi) He was also ibbo 'merchant' (Hieroglyph: ibha 'elephant' Rebus: ib 'iron') and maker of metal artifacts: kāṇḍā ‘metalware, tools, pots and pans’ (kāṇḍā mṛga 'rhinoceros' (Tamil).
Glazed steatite . Cylinder seal. 3.4cm high; imported from Indus valley. Rhinoceros, elephant, crocodile (lizard? ).Tell Asmar (Eshnunna), Iraq. IM 14674; Frankfort, 1955, No. 642; Collon, 1987, Fig. 610. ibha‘elephant’ Rebus: ibbo ‘merchant’, ib ‘iron’காண்டாமிருகம் kāṇṭā-mirukam , n. [M. kāṇṭāmṛgam.] Rhinoceros; கல்யானை. Rebus: kāṇḍā ‘metalware, tools, pots and pans’.kāru ‘crocodile’ Rebus:   kāru  ‘artisan’. Alternative: araṇe ‘lizard’ Rebus: airaṇ ‘anvil’.

Crocodile hieroglyph in combination with other animal hieroglphs also appears on a Mohenjo-daro seal m0489 in the context of an erotic Meluhha hieroglyph: a tergo copulation hieroglyph

m0489a,b,c Mohenjo-daro prism tablet

A standing human couple mating (a tergo); one side of a prism tablet from Mohenjo-daro (m489b). Other motifs on the inscribed object are: two goats eating leaves on a platform; a cock or hen (?) and a three-headed animal (perhaps antelope, one-horned bull and a short-horned bull).  The leaf pictorial connotes on the goat composition connotes loa; hence, the reading is of this pictorial component is: lohar kamar = a blacksmith, worker in iron, superior to the ordinary kamar (Santali.)] 
kāruvu ‘crocodile’ Rebus:  ‘artisan, blacksmith’.  pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Telugu) Thus, the depiction of animals in epigraphs is related to, rebus: pasra = smithy (Santali)
pisera_ a small deer brown above and black below (H.)(CDIAL 8365).
ān:gra = wooden trough or manger sufficient to feed one animal (Mundari). iṭan:kārri = a capacity measure (Ma.) Rebus: ḍhan:gar ‘blacksmith’ (Bi.)
pattar ‘goldsmiths’ (Ta.) patra ‘leaf’ (Skt.) 
r-an:ku, ran:ku = fornication, adultery (Telugu); rebus: ranku ‘tin’ (Santali)
Rebus readings of Meluhha hieroglyphs:
Hieroglhyphs: elephant (ibha), boar/rhinoceros[kāṇḍā mṛga 'rhinoceros' (Tamil)], tiger (kol), tiger face turned (krammara), young bull calf (khōṇḍa) [खोंड m A young bull, a bullcalf. (Marathi)], antelope, ḍangur ʻbullockʼ, melh ‘goat’ (Brahui) 

Rebus mleccha glosses: Ib 'iron' ibbo 'merchant'; kāṇḍā, 'tools, pots and pans, metalware'; kol 'worker in iron, smithy'; krammara, kamar 'smith, artisan', kõdā 'lathe-turner' [B. kõdā ‘to turn in a lathe’; Or. kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. kū̃d ‘lathe’) (CDIAL 3295)], khũ ‘guild, community’, ḍāṅro ’blacksmith’ (Nepalese) milakkhu ‘copper’ (Pali) [Meluhha!]
 
Iron (ib), carpenter (badhi), smithy (kol ‘pancaloha’), alloy-smith (kol kamar)
tam(b)ra copper, milakkhu copper, bali (iron sand ore), native metal (aduru), ḍhangar ‘smith’.
Smithy with an armourer
http://www.harappa.com/indus/32.html Seal. Mohenjo-daro. Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script symbols. In the centre is a horned crocodile (gharial) surrounded by other animals including a monkey.


In these seals of Mohenjo-daro ‘horned crocodile’ hieroglyph is the center-piece surrounded by hieroglyphs of a pair of bullocks, elephant, rhinoceros, tiger looking back and a monkey-like creature. 

It is also possible that the centre-piece is an orthographic variation to depict the fin of a large fish.

Ta. kōṭaram monkeyIr. kōḍa (small) monkey;  kūḍag  monkey.  Ko. ko·ṛṇ small monkey. To. kwṛṇ  monkey.  Ka. kōḍaga monkey, ape. Koḍ. ko·ḍë monkey. Tu.  koḍañji, koḍañja, koḍaṅgů baboon. (DEDR 2196). kuṭhāru = a monkey (Sanskrit) Rebus: kuṭhāru ‘armourer or weapons maker’(metal-worker), also an inscriber or writer.


Pa. kōḍ (pl. kōḍul) horn; Ka. kōḍu horn, tusk, branch of a tree; kōr horn Tu. kōḍů, kōḍu horn Ko. kṛ (obl. kṭ-)( (DEDR 2200) Paš. kōṇḍā ‘bald’, Kal. rumb. kōṇḍa ‘hornless’.(CDIAL 3508). Kal. rumb. khōṇḍ a ‘half’ (CDIAL 3792).

Rebus: koḍ 'workshop' (Gujarati) Thus, a horned crocodile is read rebus: koḍ khar 'blacksmith workshop'. khar ‘blacksmith’ (Kashmiri) kāruvu ‘crocodile’ Rebus:  ‘artisan, blacksmith’.

Hieroglyph: Joined animals (tigers): sangaḍi = joined animals (M.) Rebus: sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ (Lahnda)(CDIAL 12845) sang संग् m. a stone  (Kashmiri) sanghāḍo (G.) = cutting stone, gilding; sangatarāśū = stone cutter; sangatarāśi = stone-cutting; sangsāru karan.u = to stone (S.), cankatam = to scrape (Ta.), sankaḍa (Tu.), sankaṭam = to scrape (Skt.) kol 'tiger' Rebus: kol 'working in iron'. Thus, the multi-headed tiger is read rebus: kol sangaḍi 'fortified place for metal (& ore stone) workers'.
Rebus readings of Hieroglyphs on two Meluhha tablets: Crocodile, tiger looking back, spy on tree
h1973B h1974B Harappa Two tablets. One side shows a person seated on a tree branch, a tiger looking up, a crocodile on the top register and other animals in procession in the bottom register. Obverse side (comparable to h1970, h1971 and h1972) shows an elephant, a person strangling two tigers (jackals or foxes) and a six-spoked wheel.
The glyphic which is common to both set 1 (h1970B, h1971B and h1972B) and set 2: (h1973B and h1974B) is: crocodile on the top register. 

karā ‘crocodile’ (Telugu). Rebus: khara ‘blacksmith’ (Kashmiri)

Set 1: crocodile + person with foot on head of animal + spearing + bison + horned (with twig) seated person in penance

h1971B Harappa. Three tablets with identical glyphic compositions on both sides: h1970, h1971 and h1972. Seated figure or deity with reed house or shrine at one side. Left: H95-2524; Right: H95-2487.
Harappa. Planoconvex molded tablet found on Mound ET. A. Reverse. a female deity battling two tigers and standing above an elephant and below a six-spoked wheel; b. Obverse. A person spearing with a barbed spear a buffalo in front of a seated horned deity wearing bangles and with a plumed headdress. The person presses his foot down the buffalo’s head. An alligator with a narrow snout is on the top register. “We have found two other broken tablets at Harappa that appear to have been made from the same mold that was used to create the scene of a deity battling two tigers and standing above an elephant. One was found in a room located on the southern slope of Mount ET in 1996 and another example comes from excavations on Mound F in the 1930s. However, the flat obverse of both of these broken tablets does not show the spearing of a buffalo, rather it depicts the more well-known scene showing a tiger looking back over its shoulder at a person sitting on the branch of a tree. Several other flat or twisted rectangular terracotta tablets found at Harappa combine these two narrative scenes of a figure strangling two tigers on one side of a tablet, and the tiger looking back over its shoulder at a figure in a tree on the other side.” (JM Kenoyer, 1998, Ancient cities of the Indus Valley, Oxford University Press, p. 115.)

Set 2: crocodile + person seated on branch of tree + tiger looking back and up + rhinoceros + tiger in procession. 
The following glyphics of m1431 prism tablet show the association between the tiger + person on tree glyphic set and crocile + 3 animal glyphic set.

Mohenjo-daro m1431 four-sided tablet. Row of animals in file (a one-horned bull, an elephant and a rhinoceros from right); a gharial with a fish held in its jaw above the animals; a bird (?) at right. Pict-116: From R.—a person holding a vessel; a woman with a platter (?); a kneeling person with a staff in his hands facing the woman; a goat with its forelegs on a platform under a tree. [Or, two antelopes flanking a tree on a platform, with one antelope looking backwards?]

One side (m1431B) of a four-sided tablet shows a procession of a tiger, an elephant and a rhinoceros (with fishes (or perhaps, crocodile) on top?).

koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.)कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya (G.); crocodile = kāru (Te.)] baṭṭai quail (N.Santali) Rebus: bhaṭa = an oven, kiln, furnace (Santali)

ayo 'fish' Rebus: ayas 'metal'. kaṇḍa 'arrow' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. ayaskāṇḍa is a compounde word attested in Panini. The compound or glyphs of fish + arrow may denote metalware tools, pots and pans.kola 'tiger' Rebus: kol 'working in iron, alloy of 5 metals - pancaloha'. ibha 'elephant' Rebus ibbo 'merchant'; ib ‘iron'.  Alternative: కరటి [ karaṭi ] karaṭi. [Skt.] n. An elephant. ఏనుగు (Telugu) Rebus: kharādī ‘ turner’ (Gujarati) kāṇḍa  'rhimpceros'   Rebus:khāṇḍa ‘tools, pots and pans, and metal-ware’.  The text on m0489 tablet: loa 'ficus religiosa' Rebus: loh 'copper'. kolmo 'rice plant' Rebus: kolami 'smithy, forge'. dula 'pair' Rebus: dul 'cast metal'. Thus the display of the metalware catalog includes the technological competence to work with minerals, metals and alloys and produce tools, pots and pans. The persons involved are krammara 'turn back' Rebus: kamar 'smiths, artisans'. kola 'tiger' Rebus: kol 'working in iron, working in pancaloha alloys'. పంచలోహము pancha-lōnamu. n. A mixed metal, composed of five ingredients, viz., copper, zinc, tin, lead, and iron (Telugu). Thus, when five svastika hieroglyphs are depicted, the depiction is of satthiya 'svastika' Rebus: satthiya 'zinc' and the totality of 5 alloying metals of copper, zinc, tin, lead and iron.

Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi  Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.

m0489A One side of a prism tablet shows: crocodile + fish glyphic on the top register. Glyphs: crocodile + fish Rebus: ayakāra ‘blacksmith’ (Pali)

Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi  Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.

It is possible that the broken portions of set 2 (h1973B and h1974B) showed three animals in procession: tiger looking back and up + rhinoceros + tiger.

Reverse side glyphs:

eraka ‘nave of wheel’. Rebus: era ‘copper’. āra 'spokes' Rebus: āra  'brass'.

Animal glyph: elephant ‘ibha’. Rebus ibbo, ‘merchant’ (Gujarati).

Composition of glyphics: Woman with six locks of hair + one eye + thwarting + two pouncing tigers (jackals)+ nave with six spokes. Rebus: kola ‘woman’ + kaṇga ‘eye’ (Pego.), bhaṭa ‘six’+ dul‘casting (metal)’ + kũdā kol (tiger jumping) or lo ‘fox’ (WPah.) rebus: lōha ʻmetalʼ (Pali) era āra (nave of wheel, six spokes), ibha (elephant). Rebus: era ‘copper’; kũdār dul kol ‘turner, casting, working in iron’;kan ‘brazier, bell-metal worker’; ibbo ‘merchant’.

The glyphic composition read rebus: copper, iron merchant with taṭu kanḍ kol bhaṭa ‘iron stone (ore) mineral ‘furnace’.

lōpāka m. ʻa kind of jackalʼ Suśr., lōpākikā -- f. lex. 1. H. lowā m. ʻfoxʼ.2.  Ash.  ẓōkižōkī  ʻfoxʼ, Kt. ŕwēki, Bashg. wrikī, Kal.rumb. lawák: < *raupākya -- NTS ii 228; -- Dm. rɔ̈̄pak ← Ir.? lōpāśá m. ʻfox, jackalʼ RV., lōpāśikā -- f. lex. [Cf. lōpāka -- . -- *lōpi -- ] Wg. liwášälaúša ʻfoxʼ, Paš.kch. lowóċ, ar. lṓeč ʻjackalʼ (→ Shum.  lṓeč NTS xiii 269), kuṛ. lwāinč; K. lośulōhlohulôhu ʻporcupine, foxʼ.1. Kho.  lōw  ʻfoxʼ, Sh.gil. lótilde;i f., pales. lṓi f., lṓo m., WPah.bhal. lōī f.,  lo m.2. Pr. ẓūwī  ʻfoxʼ.(CDIAL 11140-2).Rebus:lōhá ʻred, copper -- colouredʼ ŚrS., ʻmade of copperʼ ŚBr., m.n. ʻcopperʼ VS., ʻironʼ MBh. [*rudh -- ] Pa. lōha -- m. ʻmetal, esp. copper or bronzeʼ; Pk. lōha -- m. ʻironʼ, Gy. pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻsteelʼ; Kho. loh ʻcopperʼ; S. lohu m. ʻironʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃u n., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā, Ku. luwā, N. lohu, °hā, A. lo, B. lo, no, Or. lohā, luhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H. loh, lohā m., G. M. loh n.; Si. loho,  ʻ metal, ore, iron ʼ; Md. ratu -- lō ʻ copper lōhá -- : WPah.kṭg. (kc.) lóɔ ʻironʼ, J. lohā m., Garh. loho; Md.  ʻmetalʼ. (CDIAL 11158).

Glyph: ‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil)
Glyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist. (DEDR 3031)

Allograph: ‘notch’: Marathi: खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon).
Glyph: ‘full stretch of one’s arms’: kāḍ 2 काड् । पौरुषम् m. a man's length, the stature of a man (as a measure of length) (Rām. 632, zangan kaḍun kāḍ, to stretch oneself the whole length of one's body. So K. 119). Rebus: kāḍ ‘stone’. Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298). mayponḍi kanḍ whetstone;  (Ga.)(DEDR 4628). (खडा) Pebbles or small stones: also stones broken up (as for a road), metal. खडा [ khaḍā ] m A small stone, a pebble. 2 A nodule (of lime &c.): a lump or bit (as of gum, assafœtida, catechu, sugar-candy): the gem or stone of a ring or trinket: a lump of hardened fæces or scybala: a nodule or lump gen. CDIAL 3018 kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone ʼ lex.] Bshk. kōr ʻ large stone ʼ AO xviii 239. கண்டு³ kaṇṭu , n. < gaṇḍa. 1. Clod, lump; கட்டி. (தைலவ. தைல.99.) 2. Wen; கழலைக்கட்டி. 3. Bead or something like a pendant in an ornament for the neck; ஓர் ஆபரணவுரு. புல்லிகைக்கண்ட நாண் ஒன்றிற் கட்டின கண்டு ஒன்றும் (S.I.I. ii, 429). (CDIAL 3023) kāṇḍa 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). Pa. kaṇḍa -- m.n. joint of stalk, lump. काठः A rock, stone. kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone ʼ lex.]Bshk. kōr ʻ large stone ʼ AO xviii 239.(CDIAL 3018). অয়সঠন [ aẏaskaṭhina ] as hard as iron; extremely hard (Bengali)

Glyph: ‘one-eyed’: काण a. [कण् निमीलने कर्तरि घञ् Tv.] 1 One-eyed; अक्ष्णा काणः Sk; काणेन चक्षुषा किं वा H. Pr.12; Ms.3.155. -2 Perforated, broken (as a cowrie) <kaNa>(Z)  {ADJ} ``^one-^eyed, ^blind''. Ju<kaNa>(DP),,<kana>(K)  {ADJ} ``^blind, blind in one eye''.   (Munda) Go. (Ma.) kanḍ reppa eyebrow (Voc. 3047(a))(DEDR 5169). Ka. kāṇ (kaṇḍ-) to see; Ko. kaṇ-/ka·ṇ- (kaḍ-) to see; Koḍ. ka·ṇ- (ka·mb-, kaṇḍ-) to see; Ta. kāṇ (kāṇp-, kaṇṭ-) to see; Kol.kanḍt, kanḍakt seen, visible. (DEDR 1443). Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. (DEDR 1159a) Rebus ‘brazier, bell-metal worker’: கன்னான் kaṉṉāṉ , n. < கன்¹. [M. kannān.] Brazier, bell-metal worker, one of the divisions of the Kammāḷa caste; செம்புகொட்டி. (திவா.)  Ta. kaṉ copper work, copper, workmanship;  kaṉṉāṉ brazier. Ma. kannān id.  (DEDR 1402).  கன்¹ kaṉ , n. perh. கன்மம். 1. Workmanship; வேலைப்பாடு. கன்னார் மதில்சூழ் குடந்தை (திவ். திருவாய். 5, 8, 3). 2. Copper work; கன்னார் தொழில். (W.) 3. Copper; செம்பு. (ஈடு, 5, 8, 3.) 4. See கன்னத்தட்டு. (நன். 217, விருத்.) கன்² kaṉ , n. < கல். 1. Stone; கல். (சூடா.) 2. Firmness; உறுதிப்பாடு. (ஈடு, 5, 8, 3.)

kã̄ḍ 2 काँड् m. a section, part in general; a cluster, bundle, multitude (Śiv. 32). 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.
kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). -- । 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.
kāru ‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar ‘blacksmith’ (Kashmiri) kola ‘tiger’ Rebus: kol ‘working in iron’. Heraka ‘spy’ Rebus: eraka ‘copper’. khōṇḍa ‘leafless tree’ (Marathi). Rebus: kõdār’turner’ (Bengali) 
Looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.

One side of a triangular terracotta tablet (Md 013); surface find at Mohenjo-daro in 1936. Dept. of Eastern Art, Ashmolean Museum, Oxford. 


Hieroglyph: kamaḍha 'penance' (Prakrit) kamaḍha, kamaṭha, kamaḍhaka, kamaḍhaga, kamaḍhaya = a type of penance (Prakrit)

Rebus: kamaṭamu, kammaṭamu = a portable furnace for melting precious metals; kammaṭīḍu = a goldsmith, a silversmith (Telugu) kãpauṭ  jeweller's crucible made of rags and clay (Bi.); kampaṭṭam coinage, coin, mint (Tamil)
kamaṭhāyo = a learned carpenter or mason, working on scientific principles; kamaṭhāṇa [cf. karma, kām, business + sthāna, thāṇam, a place fr. Skt. sthā to stand] arrangement of one’s business; putting into order or managing one’s business (Gujarati)  

The composition of two hieroglyphs: kāru 'crocodile' (Telugu) + kamaḍha 'a person seated in penance' (Prakrit) denote rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi) + kamaṭa 'portable furnace'; kampaṭṭam 'coinage, coin, mint'. Thus, what the tablet conveys is the mint of a blacksmith. A copulating crocodile hieroglyph -- kāru 'crocodile' (Telugu) + kamḍa, khamḍa 'copulation' (Santali) -- conveys the same message: mint of a blacksmith kāru kampaṭṭa 'mint artisan'.


m1429B and two other tablets showing the typical composite hieroglyph of fish + crocodile. Glyphs: crocodile + fish ayakāra ‘blacksmith’ (Pali) kāru a wild crocodile or alligator (Telugu) aya 'fish' (Munda) The method of ligaturing enables creation of compound messages through Indus writing inscriptions. kāru a wild crocodile or alligator (Telugu) Rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi).

Pali: ayakāra ‘iron-smith’. ] Both ayaskāma and ayaskāra are attested in Panini (Pan. viii.3.46; ii.4.10). WPah. bhal. kamīṇ m.f.  labourer (man or woman) ; MB. kāmiṇā  labourer (CDIAL 2902) N. kāmi  blacksmith (CDIAL 2900). 

Kashmiri glosses:

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 khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji or -güjü - लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), 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 - लोहकारमृत्तिका f. (for 2, see [khāra 3), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu  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 । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wānवान् । 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.

Thus, kharvaṭ may refer to an anvil. Meluhha kāru may refer to a crocodile; this rebus reading of the hieroglyph is.consistent with ayakāra ‘ironsmith’ (Pali) [fish = aya (G.); crocodile = kāru (Telugu)]


Lothal seal. L048 ibex

Fish sign incised on  copper anthropomorph, Sheorajpur, upper Ganges valley,   ca. 2nd millennium BCE,   4 kg; 47.7 X 39 X 2.1 cm. State Museum,   Lucknow (O.37) Typical find of Gangetic Copper Hoards. miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍh ‘helper of merchant’ (Gujarati) meḍ iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) ayo ‘fish’ Rebus: ayo, ayas ‘metal. Thus, together read rebus: ayo meḍh  ‘iron stone ore, metal merchant.’

ayo ‘fish’ (Mu.); rebus: ayo ‘metal’ (Gujarati); ayas ‘alloy’ (Sanskrit) ayo kanka ‘fish+ rim-of-jar’ rebus: metal (alloy) account (kaṇakku) scribe.


Glyph of a crocodile and a lying-in woman

This glyph is part of one side of h180 Harappa tablet. A sequence of signs is repeated on both sides of the tablet.
h705B, h172B Harappa tablets show variants of crocodile hieroglyph.

The object between the outspread legs of the woman lying upside down is comparable orthography of a crocodile holding fiish in its jaws shown on tablets h705B and h172B. The snout of the crocodile is shown in copulation with the lying-in woman (as seen from the enlarged portion of h180 Harappa tablet).

Hieroglyph: r-an:ku, ran:ku = fornication, adultery (Telugu) Rebus: ranku ‘tin’ (Santali)

Hieroglyph: kamḍa, khamḍa 'copulation' (Santali) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)  kamaṭa = portable furnace for melting precious metals (Telugu); kampaṭṭam = mint (Tamil)

Glyph: kuhi = pubes. Hieroglyph: kuhi pubes (lower down than paṇḍe) (Santali)pudendum muliebre (Munda, Santali) Cognates: koṭṭha (m. nt.) [Sk. koṣṭha abdomen, any cavity for holding food, cp. kuṣṭa groin, and also Gr.ku/tos cavity, ku/sdos pudendum muliebre, ku/stis bladder = E. cyst, chest; Lat. cunnus pudendum. kuhi = the womb, the female sexual organ; sorrege kuhi menaktaea, tale tale gidrakoa lit. her womb is near, she gets children continually (H. kohī, the womb) (Santali.Bodding) kōṣṭha = anyone of the large viscera (MBh.); koṭṭha = stomach (Pali.Pkt.); kuṭṭha (Pkt.); kohī heart, breast (L.); koṭṭhā, kohābelly (P.); koho (G.); kohā (M.)(CDIAL 3545). kottha pertaining to the belly (Pkt.); kothā corpulent (Or.)(CDIAL 3510). koho [Skt. koṣṭha inner part] the stomach, the belly (Gujarat)  kūti = pudendum muliebre (Ta.); posteriors, membrum muliebre (Ma.); ku.0y anus, region of buttocks in general (To.); kūdi = anus, posteriors, membrum muliebre (Tu.)(DEDR 188). kūṭu = hip (Tu.); kua = thigh (Pe.); kue id. (Mand.); kūṭi hip (Kui)(DEDR 1885). gūde prolapsus of the anus (Ka.Tu.); gūda, gudda id. (Te.)(DEDR 1891). 

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) 

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


The overflowing pot held by the divinity on the left is a hieroglyph: lokhanDa 'pot overflowing water' Rebus: lokhaNDA 'metal pots and pans, metalware, weapons'. The overflowing pots are imageries on a cuneiform seals (unprovenanced)
lokhãḍ ‘overflowing pot’ Rebus:  ʻtools, iron, ironwareʼ (Gujarati)
lokhãḍ ‘overflowing pot’ Rebus:  ʻtools, iron, ironwareʼ (Gujarati)
lokhãḍ ‘overflowing pot’ Rebus:  ʻtools, iron, ironwareʼ (Gujarati)
Enki
Overflowing water kaNDa. Dang 'mountain' Rebus: dhangar 'blacksmith'. ayo 'fish' rebus: aya 'metal alloy' 
lokhãḍ ‘overflowing pot’ Rebus:  ʻtools, iron, ironwareʼ (Gujarati)

lokhãḍ ‘overflowing pot’ Rebus:  ʻtools, iron, ironwareʼ (Gujarati)
Shell inlay: skirt-clad figure carrying fish, Early Dynastic III, ca. 2600-2350 BCE, Mesopotamia, Nippur, Sumerian.metmuseum.org
SUMER SCULPTURE 5TH-2ND MILL.BCE Fish-man or water-sprite. Terracotta figurine (8th-7th BCE) Length 12 cm Nr. 3337 Iraq Museum, Baghdad, IraqSUMER SCULPTURE 5TH-2ND MILL.BCE Fish-man or water-sprite. Terracotta figurine (8th-7th BCE) Length 12 cm Nr. 3337 Iraq Museum, Baghdad, Iraq
A map showing the principal canals of Lower Mesopotamia (p. 34. Map 2. "Map of Sumer, showing the course of ancient rivers and canals.
Overflowing pot. A cylinder seal of Enki (Ea) holding a pot with two streams of freshwater seated in his Abzu/Apsu shrine guarded by two naked men (Lakhmu?) holding stylized gate posts (?). Before him is his two-faced sukkal or vizier Izimud (cf. p. 98. "Ea." Piotr Bienkowski & Alan Millard. Dictionary of the Ancient Near East. Philadelphia. University of Pennsylvania Press. 2000).

lokhãḍ ‘overflowing pot’ Rebus:  ʻtools, iron, ironwareʼ (Gujarati)
Gudea. Overflowing pot. Sumer.

lokhãḍ ‘overflowing pot’ Rebus:  ʻtools, iron, ironwareʼ (Gujarati)

Sumerian relief. Louvre. 
(picture cf. p. 15. figure 7. "Fish Gods at the Tree pf Life; Assyria, c. 700 BC." Joseph Campbell. The Masks of God: Creative Mythology. New York. Viking Penguin. 1968. Reprinted 1976)
Medallion 01Medallion. Makara, fishes. kara 'crocodile' rebus: khara 'blacksmith' ibha 'elephant' rebus: ib 'iron'; ayo 'fish' rebus: aya 'metal alloy'.

 

Mirror: http://tinyurl.com/ofmxt4j

In Indus Script Corpora which is catalogus catalogorum of metalwork of Meluhha artisans, a hieroglyph is displayed on 26+ objects shaped like fish (all found at Harappa) and with a high frequency of 1241 as a 'sign' in Mahadevan corpus of about 2000 inscriptions. Variants of fish hieroglyhph occur within this set:

अयस् áyas n. ʻ metal, iron ʼ RV.Pa. ayō nom. sg. n. and m., aya -- n. ʻ iron ʼ, Pk. aya -- n., Si. ya. ayaścūrṇa -- , ayaskāṇḍa -- , *ayaskūṭa -- .Addenda: áyas -- : Md. da ʻ iron ʼ, dafat ʻ piece of iron ʼ. (CDIAL 590) Ayo & Aya (nt.) [Sk. ayaḥ nt. iron & ore, Idg. *ajes -- , cp. Av. ayah, Lat. aes, Goth. aiz, Ohg. ēr (= Ger. Erz.), Ags. ār (= E. ore).] iron. The nom.ayo found only in set of 5 metals forming an alloy of gold (jātarūpa), viz. ayo, loha (copper), tipu (tin), sīsa (lead), sajjha (silver) A iii.16 = Sv.92; of obl. cases only the instr. ayasā occurs Dh 240 (= ayato DhA iii.344); Pv i.1013 (paṭikujjita, of Niraya). -- Iron is the material usedkat)e)coxh/n in the outfit & construction of Purgatory or Niraya (see niraya & Avīci & cp. Vism 56 sq.). -- In compn. both ayo˚ & aya˚ occur as bases. I. ayo˚: -- kapāla an iron pot A iv.70 (v. l. ˚guhala); Nd2 304 iii. d 2 (of Niraya). -- kūṭa an iron hammer PvA 284. -- khīla an iron stake Sv.444; M iii.183 = Nd2 304 iii. c; SnA 479. -- guḷa an iron ball S v.283; Dh 308; It 43 = 90; Th 2, 489; DA i.84. -- ghana an iron club Ud 93; VvA 20. -- ghara an iron house J iv.492. -- paṭala an iron roof or ceiling (of Niraya) PvA 52. -- pākāra an iron fence Pv i.1013 = Nd2 304 iii. d1-- maya made of iron Sn 669 (kūṭa); J iv.492 (nāvā); Pv i.1014 (bhūmi of N.); PvA 43, 52. -- muggara an iron club PvA 55. -- sanku an iron spike S iv.168; Sn 667.  II. aya˚: -- kapāla = ayo˚ DhA i.148 (v. l. ayo˚). -kāra a worker in iron Miln 331. -- kūṭa = ayo˚ J i.108; DhA ii.69 (v. l.). -- nangala an iron plough DhA i.223; iii.67. -- paṭṭaka an iron plate or sheet (cp. loha˚) J v.359. -- paṭhavi an iron floor (of Avīci) DhA i.148. -- sanghāṭaka an iron (door) post DhA iv.104. -- sūla an iron stake Sn 667; DhA i.148. (Pali)



Fish                                            381
Fish + four gills (short strokes) 279
Fish + inverted 'V' superscript   216
Fish + oblique cross line            188
Fish + circumgraph of 4 notches  29
Fish shaped objects                       26
Fish + notch (See hieroglyph multiplex on Harappa h-73 seal)

I agree with CJ Gadd that parenthesis ( ) hieroglyph component can be seen as split oval or lozenge. This split oval or lozenge is an ingot. Using ( ) as parenthesis, the circumscripted bird (quail, partridge) + fish hieroglyph multiplex can be seen as a descriptive pictorial motif of types of metal ingots: aya 'iron' + bharatI 'alloy of copper, pewter, tin'. Thus, the hieroglyph multiplex of parenthesis + fish + bird may signify the plain text: ingot of iron, alloy of copper, pewter, tin. This makes the portion of the text a descriptive metalwork catalogue of the metals turner (alloy mixer) from sangaR 'fortification'.
m495G

m1278

m107m1169m82m446m10

It is submitted that it is consistent to read the bird hierolyph as bharatI 'quail, partridge' Rebus: bharat 'alloy of copper, pewter, tin'. Together with aya 'fish' Rebus: ayas 'metal alloy', the descriptive nature of the metalwork catalogue compiled on Indus inscription becomes a precise delineation of the artisan's competence in metallurgy.

Rebus-metonymy cipher of hieroglyph-multiplexes with 'fish' hierolyph component:
Fish + scales, aya ã̄s (amśu) ‘metallic stalks of stone ore’. Vikalpa: badho ‘a species of fish with many bones’ (Santali) Rebus: bahoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali)khambhaā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint.
Fish + splinteraya aduru ‘smelted native metal
Fish + sloping stroke, aya  ‘metal ingot

This may explain the occurrence of three fish hieroglyph multiplexes in sequence in a hypertext, as metalwork descriptive determinants on Mohenjodro 0304 seal impression:

Image result for indus script sign bird fish parenthesis

Text. Reading of glyphs on m0314 Seal impression. A notable featue of the sequencing of glyphs is the use of three variants of 'fish' glyphs on line 1 of the inscription. Each variant 'fish' glyph has been distinctively decoded as working with ore, metalwork (forging, turning) and casting.

Rebus decoding of glyphs on the seal impression:

Three lines of the inscription with glyphs can be read rebus from right to left -- listing the metallurgical competence of the artisans' guild:

Line 1: Turner workshop; forge, stone ore, ingot; excellent cast metal
Line 2: Metal workshop, ingot furnace, casting, riveting smithy,forge; Furnace scribe
Line 3: Smithy, lump of silver (forging metal); Mint, gold furnace; Smithy/forge; Turner small workshop

Text 1623/Text 2847
 Sign 81

The bharatI bird (quail, partridge) within parenthesis denotes: ingot of bharat 'alloy of copper, pewter, tin'


Decoding the identical inscription on Prism tablets m0494 and m0495

Line 1 Turner, mint, brass-work, furnace scribe, smelter, gridiron smithy, smithy/forge
Line 2 Mineral (ore), furnace/altar, furnace scribe workshop; metal (a kind of iron), casting furnace; cast metal ingot; casting workshop
Line 3 Furnace scribe workshop; cast bronze; kiln; gridiron; casting workshop; smithy (with) furnace; cast bronze; native metal; metal turner; furnace scribe.

http://bharatkalyan97.blogspot.in/2011/11/decoding-longest-inscription-of-indus.html
This indication of the occurrence, together, of two or more 'fish' hieroglyphs with modifiers is an assurance that the modifiers ar semantic indicators of how aya 'metal' is worked on by the artisans.

ayakāṇḍa ‘’large quantity of stone (ore) metal’ or aya kaṇḍa ‘metal fire-altar’. ayo, hako 'fish'; = scales of fish (Santali); rebusaya ‘metal, iron’ (G.); ayah, ayas = metal (Skt.) Santali lexeme, hako ‘fish’ is concordant with a proto-Indic form which can be identified as ayo in many glosses, Munda, Sora glosses in particular, of the Indian linguistic area.

Ayo ‘fish’; kaṇḍa ‘arrow’ See: अयस्कांत [ ayaskānta ] m S (The iron gem.) The loadstone. (Molesworth. Marathi)

Fish + circumgraph of 4 (gaNDa) notches: ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) The gloss kāṇḍa may also signify 'metal implements'. A cognate compound in Santali has: me~r.he~t khaNDa 'iron implements'.


Mohenjo-daro Seals m1118 and Kalibangan 032, glyphs used are: Zebu (bos taurus indicus), fish, four-strokes (allograph: arrow).ayo ‘fish’ (Mu.) + kaṇḍa ‘arrow’ (Skt.) ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ) aya = iron (G.); ayah, ayas = metal (Skt.) gaṆḌa, ‘four’ (Santali); Rebus: kaṇḍ ‘fire-altar’, ‘furnace’), arrow read rebus in mleccha (Meluhhan) as a reference to a guild of artisans working with ayaskāṇḍa ‘excellent quantity of iron’ (Pāṇini) is consistent with the primacy of economic activities which resulted in the invention of a writing system, now referred to as Indus Writing. poLa 'zebu' Rebus: poLa 'magnetite'.

‘Dotted circle’ is a sacred glyph. It is a hieroglyph.

Text 5477 Dotted circles + circumscribed fish + 'comb' motif. aya ‘fish’ (Mu.); rebus: aya ‘metal’ (Skt.)
gaṇḍa set of four (Santali) kaṇḍa ‘fire-altar’ khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.)
 Alternative: Hindi kãgherā m. ʻ caste of comb -- makers ʼ, °rī f. ʻa woman of this casteʼ. kāmsako, kāmsiyo = a large sized comb (Gujarati); Rebus: kã̄sāri  ʻpewterer’ (Bengali) 
Comb motif + fish + arrow on Text 4604

Fish + notch: Sign 15 occurs togethe with a notch-in-fixed fish hieroglyph on Harappa 73 seal:
Harappa seal (H-73)[Note: the hieroglyph ‘water carrier’ pictorial of Ur Seal Impression becomes a hieroglyph sign] Hieroglyph: fish + notch: aya 'fish' + khāṇḍā m  A jag, notch Rebus: aya 'metal'+  khāṇḍā ‘tools, pots and pans, metal-ware’. kuṭi 'water-carrier' Rebus: kuṭhi 'smelter'. खोंड (p. 216) [khōṇḍam A young bull, a bullcalf; खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl (Marathi); kōḍe dūḍa bull calf (Telugu); kōṛe 'young bullock' (Konda) rebus: kõdā ‘to turn in a lathe’ (Bengali) [The characteristic pannier which is ligatured to the young bull pictorial hieroglyph is a synonym खोंडा 'cowl' or 'pannier').खोंडी [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) ] खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf.(Marathi) खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl.खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडी [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.)

Hieroglyph: kōḍ 'horn' Rebus: kōḍ 'place where artisans work, workshop' কুঁদন, কোঁদন [ kun̐dana, kōn̐dana ] n act of turning (a thing) on a lathe; act of carving (Bengali) कातारी or कांतारी (p. 154) [ kātārī or kāntārī ] m (कातणें) A turner.(Marathi)

Rebus: खोदकाम [ khōdakāma ] n Sculpture; carved work or work for the carver.
खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving: also sculptured or carved work.खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engraveखोदींव [ khōdīṃva ] p of खोदणें Dug. 2 Engraved, carved, sculptured. http://bharatkalyan97.blogspot.in/2015/04/excavations-at-dholavifra-1989-2005-rs.html
The intimations of a metals turner as a scribe are also gleaned from the gloss: खोडाखोड or डी [ khōḍākhōḍa or ḍī ] f (खोडणें) Erasing, altering, interlining &c. in numerous places: also the scratched, scrawled, and disfigured state of the paper so operated upon; खोडींव [ khōḍīṃva ] p of खोडणें v c Erased or crossed out.Marathi). खोडपत्र [ khōḍapatra ] n Commonly खोटपत्र.खोटपत्र [ khōṭapatra ] n In law or in caste-adjudication. A written acknowledgment taken from an offender of his falseness or guilt: also, in disputations, from the person confuted. (Marathi) Thus, khond 'turner' is also an engraver, scribe.

That a metals turner is engaged in metal alloying is evident from the gloss: खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. Hence 2 A lump or solid bit (as of phlegm, gore, curds, inspissated milk); any concretion or clot. खोटीचाComposed or made of खोट, as खोटीचें भांडें.
In addition, hierolyph multiplexes include 'fish': fish + bird within parenthesis; bird + fish within parenthesis. In the context of the water-carrier hieroglyph PLUS stars enclosed within parenthesis, CJ Gadd had rightly noted that these are determinatives that the writing system was hieroglyphic.

By ligaturing hieroglyph components and by creating hieroglyph multiplexes such as fish + bird, the messaging system seeks to convey semantics of the technical specifications of metalwork catalogues.

With curved horns, the ’anthropomorph’ is a ligature of a mountain goat or markhor (makara) and a fish incised between the horns. Typical find of Gangetic Copper Hoards.  At Sheorajpur, three anthropomorphs in metal were found. (Sheorajpur, Dt. Kanpur. Three anthropomorphic figures of copper. AI, 7, 1951, pp. 20, 29).
One anthropomorph had fish hieroglyph incised on the chest of  the copper object, Sheorajpur, upper Ganges valley,   ca. 2nd millennium BCE,   4 kg; 47.7 X 39 X 2.1 cm. State Museum,   Lucknow (O.37) Typical find of Gangetic Copper Hoards. miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍh ‘helper of merchant’ (Gujarati) meḍ iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) ayo ‘fish’ Rebus: ayo, ayas ‘metal. Thus, together read rebus: ayo meḍh ‘iron stone ore, metal merchant.’
See: http://bharatkalyan97.blogspot.in/2015/05/composite-copper-alloy-anthropomorphic.html

miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍh ‘helper of merchant’ (Gujarati) meḍ iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) ayo ‘fish’ Rebus: ayo, ayas ‘metal. Thus, together read rebus: ayo meḍh  ‘iron stone ore, metal merchant.’

ayo ‘fish’ (Mu.); rebus: ayo ‘metal’ (Gujarati); ayas ‘alloy’ (Sanskrit) ayo kanka ‘fish+ rim-of-jar’ rebus: metal (alloy) account (kaṇakku) scribe. karNaka 'rim of jar' karava 'narrow neck jar' Rebus: karNI 'supercargo' karNIka 'scribe' karba 'iron' kharva 'nidhi, wealth'. kāruvu  'artisan' (Telugu) khār 'blacksmith' (Kashmiri)

Seal National Museum, Delhi. barad, barat 'ox' Rebus: bharat 'alloy of copper, pewter, tin'(Marathbaruth बरुथ् । संसृष्टद्रावितधातुमयः m. (sg. dat. baratas बरतस्), a dish or other vessel made of an alloy of several metals melted together. (Kashmiri) L. bhāraṇ ʻ to spread or bring out from a kiln ʼ; G. bhārvũ ʻ to keep live coals buried in ashes ʼ(CDIAL 9463)


On a Mohenjo-daro seal, ayo 'fish' read rebus ayas 'metal'; ḍangar 'bull' read rebus ḍhangar 'blacksmith'; koṭ 'horn; red rebus: khoṭ 'alloy'; khoṇḍ 'young bull-calf' read rebus khuṇḍ '(metal) turner'. The ayo 'fish' hieroglyph thus adequately categorizes the metalware contents of a pot discovered in Susa.
Kalibangan 37, 34

Two Kalibangan seals show an antelope and fish glyphs as the inscription. Mẽḍha ‘antelope’; rebus: ‘iron’ (Ho.) ayo ‘fish’; rebs: ayo ‘metal’ (G.) [These are examples which clearly demonstrate that Indus script is a glyptic writing system and hence, all glyphs and glyptic elements have to be decoded.] miṇḍālmarkhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) meḍ ‘iron’.

Matsya avatara in Hindu tradition, Fish hieroglyph ligatured to a man from Nimrud, Khorsabad artefacts and a Babylonian seal




Source for images: http://alternatewars.com/Mythology/Reliquary/Reliquary_Mermaid_Symbolism.htm

m1429C

ayo ‘fish’ (Mu.); rebus: aya ‘(alloyed) metal’ (G.) kāru  a wild crocodile or alligator (Te.) Rebus: khār  a blacksmith, an iron worker (cf. bandūka-khār) (Kashmiri)  ayakāra ‘blacksmith’ (Pali) khambhaṛā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint

One side of a triangular terracotta tablet (Md 013); surface find at Mohenjo-daro in 1936. Dept. of Eastern Art, Ashmolean Museum, Oxford. 


Hieroglyph: kamaḍha 'penance' (Prakrit) kamaḍha, kamaṭha, kamaḍhaka, kamaḍhaga, kamaḍhaya = a type of penance (Prakrit)

Rebus: kamaṭamu, kammaṭamu = a portable furnace for melting precious metals; kammaṭīḍu = a goldsmith, a silversmith (Telugu) kãpauṭ  jeweller's crucible made of rags and clay (Bi.); kampaṭṭam coinage, coin, mint (Tamil)
kamaṭhāyo = a learned carpenter or mason, working on scientific principles; kamaṭhāṇa [cf. karma, kām, business + sthāna, thāṇam, a place fr. Skt. sthā to stand] arrangement of one’s business; putting into order or managing one’s business (Gujarati)  

The composition of two hieroglyphs: kāru 'crocodile' (Telugu) + kamaḍha 'a person seated in penance' (Prakrit) denote rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi) + kamaṭa 'portable furnace'; kampaṭṭam 'coinage, coin, mint'. Thus, what the tablet conveys is the mint of a blacksmith. A copulating crocodile hieroglyph -- kāru 'crocodile' (Telugu) + kamḍa, khamḍa 'copulation' (Santali) -- conveys the same message: mint of a blacksmith kāru kampaṭṭa 'mint artisan'.


m1429B and two other tablets showing the typical composite hieroglyph of fish + crocodile. Glyphs: crocodile + fish ayakāra ‘blacksmith’ (Pali) kāru a wild crocodile or alligator (Telugu) aya 'fish' (Munda) The method of ligaturing enables creation of compound messages through Indus writing inscriptions. kārua wild crocodile or alligator (Telugu) Rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi).
Pali: ayakāra ‘iron-smith’. ] Both ayaskāma and ayaskāra are attested in Panini (Pan. viii.3.46; ii.4.10). WPah. bhal. kamīṇ m.f.  labourer (man or woman) ; MB. kāmiṇā  labourer (CDIAL 2902) N. kāmi  blacksmith (CDIAL 2900). 

Kashmiri glosses:
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 khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji or -güjü - लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), 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 - लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu  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 । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wānवान् । 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.

Thus, kharvaṭ may refer to an anvil. Meluhha kāru may refer to a crocodile; this rebus reading of the hieroglyph is.consistent with ayakāra ‘ironsmith’ (Pali) [fish = aya (G.); crocodile = kāru (Telugu)]


Lothal seal. L048 ibex

A fragment of a relief 'The spinner' made of bitumen mastic of Neo-Elamite period (8th cent. BCE-mid 6th cent. BCE) was found in Susa. This fragment displayed a well-coiffured woman being fanned by an attendant while the woman wearing bangles on both arms -- seated on a stool with feline legs -- held what may be a spinning device before a table with feline legs with a bowl containing a whole fish with six blobs assembled on top of the fish.

Hieroroglyph: aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda)
kola 'tiger' Rebus: kolle 'blacksmith' kol 'working in iron'; kolhe 'smelter' kole.l 'smithy, temple'; kolimi 'smithy, forge' Hieroglyph: bhaTa 'six' Rebus: baTa 'furnace'. kAtI 'spinner' Rebus: kAtI 'wheelwright'
Jasper 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'. 
1. Pk. kamaḍha -- , °aya -- m. ʻ bamboo ʼ; Bhoj. kōro ʻ bamboo poles ʼ. 2. N. kāmro ʻ bamboo, lath, piece of wood ʼ, OAw.  kāṁvari ʻ bamboo pole with slings at each end for carrying things ʼ, H. kã̄waṛ°arkāwaṛ°ar f., G. 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,  kāmṭhīkāmāṭhī 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).


 


The imperative of decipherment of Indus Script Corpora is not merely to fill out a cross-word puzzle but to understand the roots of Indian civilization, the language the people spoke and the messages documented with extraordinary fidelity in the Corpora. 

While breaking away from polemical excursus, it is essential to underscore that these documents constitute structured literary evidence of the civilization.

Indus Script decipherment is, in effect, an imperative for scholars engaged in civilization studies, an essential contribution to the Itihāsa of Bhāratam Janam, an expression used by Rishi Visvamitra in Rigveda (RV 3.53.12).

It is unfortunate that the scholarly contributions have tended to become faith-based polemical exercises.

Witzel's claim was that Indus Script was not based on language and that Harappans were illiterate. To the best of my knowledge, no arguments have been advanced by Witzel to justify his incidental remark (obiter dictum) in response to the following reasoned critiques which rebut the 'illiteracy' arument and claim that Indus Script is a proto-writing system. 

Instead, only a polemical exchange with postings occurred in 2011 on an e-group (see "Appendix on Indus Script polemics " for the thread of postings).

Asko Parpola's point-by-point rebuttal of Farmer, Sproat, and Witzel:

o  Parpola A (2008) Is the Indus script indeed not a writing system? in Airavati: Felicitation volume in honor of Iravatham Mahadevan(Varalaaru.com publishers, ChennaiIndia) pp. 111-131.http://www.harappa.com/script/indus-writing.pdf

Massimo Vidale's "The collapse melts down: a reply to Farmer, Sproat and Witzel":


Iravatham Mahadevan's "The Indus non-script is a non-issue":


I suggest that Indus Script was a writing system based on Proto-Prakritam (called Meluhha/mleccha) to create Indus Script Corpora of about 7000 inscriptions as catalogus catalogorum of metalwork.

That a catalogue is a writing system should be obvious in the context of the story of evolution of writing during the Bronze Age in various cultures.

Here are some catalogue entries with hieroglyph-multiplexes as hypertexts.

aya 'fish' Rebus: aya, ayas 'iron, metal'
aya dhAL, 'fish+slanted stroke' Rebus: aya DhALako 'iron/metal ingot'
aya aDaren,'fish+superscript lid' Rebus: aya aduru 'iron/metal native unsmelted metal'
aya khANDa, 'fish+notch' Rebus: aya khaNDa 'iron/metal implements'
 aya kolom 'fish+ numeral 3' Rebus:aya kolimi 'iron/metal smithy/forge'
aya baTa 'fish+numeral 6' Rebus: aya bhaTa 'iron/metal furnace'
aya gaNDa kolom'fish+numeral4+numeral3' Rebus: aya khaNDa kolimi 'metal/iron implements smithy/forge'
aya dula 'fish+two' Rebus: aya dul 'metal/iron cast metal or metalcasting' aya tridhAtu 'fish+three strands of rope' Rebus: aya kolom dhatu 'metal/iron , three mineral ores'
 dula tridhAtu 'two+three strands of rope' Rebus: dul kolom dhatu 'cast metal of three mineral ores'
Ayo ‘fish’; kaṇḍa ‘arrow’ See: अयस्कांत [ ayaskānta ] m S (The iron gem.) The loadstone. (Molesworth. Marathi) Fish + circumgraph of 4 (gaNDa) notches: ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) The gloss kāṇḍa may also signify 'metal implements'. A cognate compound in Santali has: me~r.he~t khaNDa 'iron implements'.

Mohenjo-daro Seals m1118 and Kalibangan 032, glyphs used are: Zebu (bos taurus indicus), fish, four-strokes (allograph: arrow).ayo ‘fish’ (Mu.) + kaṇḍa ‘arrow’ (Skt.) ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ) aya = iron (G.); ayah, ayas = metal (Skt.) gaṆḌa, ‘four’ (Santali); Rebus: kaṇḍ ‘fire-altar’, ‘furnace’), arrow read rebus in mleccha (Meluhhan) as a reference to a guild of artisans working with ayaskāṇḍa ‘excellent quantity of iron’ (Pāṇini) is consistent with the primacy of economic activities which resulted in the invention of a writing system, now referred to as Indus Writing. poLa 'zebu' Rebus: poLa 'magnetite'.
Harappa seal (H-73)[Note: the hieroglyph ‘water carrier’ pictorial of Ur Seal Impression becomes a hieroglyph sign] Hieroglyph: fish + notch: aya 'fish' + khāṇḍā m  A jag, notch Rebus: aya 'metal'+  khāṇḍā ‘tools, pots and pans, metal-ware’. kuṭi 'water-carrier' Rebus: kuṭhi 'smelter'. खोंड (p. 216) [khōṇḍam A young bull, a bullcalf; खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl (Marathi); kōḍe dūḍa bull calf (Telugu); kōṛe 'young bullock' (Konda) rebus: kõdā ‘to turn in a lathe’ (Bengali) [The characteristic pannier which is ligatured to the young bull pictorial hieroglyph is a synonym खोंडा 'cowl' or 'pannier').खोंडी [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) ] खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf.(Marathi) खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl.खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडी [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.)

Hieroglyph: kōḍ 'horn' Rebus: kōḍ 'place where artisans work, workshop' কুঁদন, কোঁদন [ kun̐dana, kōn̐dana ] n act of turning (a thing) on a lathe; act of carving (Bengali) कातारी or कांतारी (p. 154) [ kātārī or kāntārī ] m (कातणें) A turner.(Marathi)

Rebus: खोदकाम [ khōdakāma ] n Sculpture; carved work or work for the carver.
खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving: also sculptured or carved work.खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engraveखोदींव [ khōdīṃva ] p of खोदणें Dug. 2 Engraved, carved, sculptured. http://bharatkalyan97.blogspot.in/2015/04/excavations-at-dholavifra-1989-2005-rs.html
The intimations of a metals turner as a scribe are also gleaned from the gloss: खोडाखोड or डी [ khōḍākhōḍa or ḍī ] f (खोडणें) Erasing, altering, interlining &c. in numerous places: also the scratched, scrawled, and disfigured state of the paper so operated upon; खोडींव [ khōḍīṃva ] p of खोडणें v c Erased or crossed out.Marathi). खोडपत्र [ khōḍapatra ] n Commonly खोटपत्र.खोटपत्र [ khōṭapatra ] n In law or in caste-adjudication. A written acknowledgment taken from an offender of his falseness or guilt: also, in disputations, from the person confuted. (Marathi) Thus, khond 'turner' is also an engraver, scribe.

That a metals turner is engaged in metal alloying is evident from the gloss: खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. Hence 2 A lump or solid bit (as of phlegm, gore, curds, inspissated milk); any concretion or clot. खोटीचाComposed or made of खोट, as खोटीचें भांडें.

Fish, fish-fin hieroglyph-multiplexes (hypertexts) on pottery inscriptions and on seals/tablets

The Susa ritual basin decipherment demonstrates the possibility that some 'fish' hieroglyphs read as aya 'fish' rebus: aya 'iron' may also signify khambhaṛā 'fin' rebus: kammaTa 'mint'.




A Susa ritual basin dated to ca. 12th or 13th century BCE depicts goat and fish ligatured into a 'fabulous' or 'composite' animal representation, clearly intended to connote the underlying hieroglyphic meaning. Susa ritual basin dates from 13th or 12th cent. BCE. The hieroglyph-multiplex flanks reedposts, spathes, molluscs. http://www.louvre.fr/en/oeuvre-notices/ritual-basin-decorated-goatfish-figures aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda) meḷh ‘goat’ (Br. mr̤eka (Te.); mēṭam (Ta.); meṣam (Samskritam) Te. mr̤eka (DEDR 5087)  (DEDR 5087) Rebus: meluh.h.a (Akkadian) mleccha (Samskritam) milakkhu 'copper' (Pali)  An alternative reading for the composite animal: goat PLUS fish-fin. mr̤eka 'copper' rebus: milakkhu 'copper' PLUS khamba 'wing' fish-fin 'khambhaṛā' (Lahnda) rebus: kammaTa 'mint' (Kannada) eruvai 'reed' rebus: eruvai 'copper' sippi 'mollusc' rebus: sippi 'artificer, sculptor'. Thus, the hieroglyph-multiplex (hypertext) signifies a copper metalwork sculptor. The basin is for purification by Potr. 'purifier' who is also dhā̆vaḍ 'smelter', derived from dhāˊtu n. ʻ substance ʼ RV; dhāu -- m. ʻ metal, red chalk ʼ (Prakrtam)
Harappa: Fish +fins on one side of a four-sided tablet

khambhaṛā 'fin' (Lahnda) rebus: kammaTa 'mint'

A Munda gloss for fish is 'aya'. Read rebus: aya 'iron' (Gujarati) ayas 'metal' (Vedic). 
The script inscriptions indicate a set of modifiers or ligatures to the hieroglyph indicating that the metal, aya, was worked on during the early Bronze Age metallurgical processes -- to produce aya ingots, aya metalware,aya hard alloys.
Fish hieroglyph in its vivid orthographic form is shown in a Susa pot which contained metalware -- weapons and vessels. 
Context for use of ‘fish’ glyph. This photograph of a fish and the ‘fish’ glyph on Susa pot are comparable to the ‘fish’ glyph on Indus inscriptions.
The modifiers to the 'fish' hieroglyph which commonly occur together are: slanted stroke, notch, fins, lid-of-pot ligatured as superfix:For determining the semantics of the messages conveyed by the script. Positional analysis of ‘fish’ glyphs has also been presented in: The Indus Script: A Positional-statistical Approach By Michael Korvink2007, Gilund Press.

Table from: The Indus Script: A Positional-statistical Approach By Michael Korvink2007, Gilund Press. Mahadevan notes (Para 6.5 opcit.) that ‘a unique feature of the FISH signs is their tendency to form clusters, often as pairs, and rarely as triplets also. This pattern has fascinated and baffled scholars from the days of Hunter posing problems in interpretation.’ One way to resolve the problem is to interpret the glyptic elements creating ligatured fish signs and read the glyptic elements rebus to define the semantics of the message of an inscription.

karaṇḍa ‘duck’ (Sanskrit) karaṛa ‘a very large aquatic bird’ (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) Rebus: fire-god: @B27990.  #16671. Remo <karandi>E155  {N} ``^fire-^god''.(Munda) Rebus:. kharādī ‘ turner’ (Gujarati)
The 'parenthesis' modifier is a circumfix for both 'fish' and 'duck' hieroglyphs, the semantics of () two parenthetical modifiers are: kuṭilá— ‘bent, crooked’ KātyŚr., °aka— Pañcat., n. ‘a partic. plant’  [√kuṭ 1] Pa. kuṭila— ‘bent’, n. ‘bend’; Pk. kuḍila— ‘crooked’, °illa— ‘humpbacked’, °illaya— ‘bent’DEDR 2054 (a) Ta. koṭu curved, bent, crooked; koṭumai crookedness, obliquity; koṭukki hooked bar for fastening doors, clasp of an ornament. A pair of curved lines: dol ‘likeness, picture, form’ [e.g., two tigers, two bulls, sign-pair.] Kashmiri. dula दुल । युग्मम् m. a pair, a couple, esp. of two similar things (Rām. 966). Rebus: dul meṛeḍ  cast iron (Mundari. Santali) dul ‘to cast metal in a mould’ (Santali) pasra meṛed, pasāra meṛed = syn. of koṭe meṛed = forged iron, in contrast to dul meṛed, cast iron (Mundari.) Thus, dul kuila ‘cast bronze’.
The parenthetically ligatured fish+duck hieroglyphs thus read rebus: dul kuila ayas karaḍā 'cast bronze ayasor cast alloy metal with ayas as component to create karaḍā ''hard alloy with ayas'.
Ligatures to fish: parentheses + snout dul kuila ayas 'cast bronze ayas alloy with tuttha, copper sulphate

Modifier hieroglyph: 'snout' Hieroglyph: WPah.kṭg. ṭōṭ ʻ mouth ʼ.WPah.kṭg. thótti f., thótthəṛ m. ʻ snout, mouth ʼ, A. ṭhõt(phonet. thõt) (CDIAL 5853). Semantics, 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. tūtātūtiyā m., M. tutiyā m.
4. M. totā m.(CDIAL 5855) Ka. tukku rust of iron; tutta, tuttu, tutte blue vitriol. Tu. tukků rust; mair(ů)suttu, (Eng.-Tu. Dict.) mairůtuttu blue vitriol. Te. t(r)uppu rust; (SAN) trukku id., verdigris. / Cf. Skt. tuttha- blue vitriol (DEDR 3343).
Fish + corner, aya koṇḍa, ‘metal turned or forged’
Fish, aya ‘metal
Fish + scales, aya ã̄s (amśu) ‘metallic stalks of stone ore’. Vikalpa: badho ‘a species of fish with many bones’ (Santali) Rebus: bahoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali)
Fish + splinteraya aduru ‘smelted native metal
Fish + sloping stroke, aya  ‘metal ingot
Fish + arrow or allograph, Fish + circumscribed four short strokes
aya 'fish' Rebus: aya, ayas 'iron, metal'
With curved horns, the ’anthropomorph’ is a ligature of a mountain goat or markhor (makara) and a fish incised between the horns. Typical find of Gangetic Copper Hoards.  At Sheorajpur, three anthropomorphs in metal were found. (Sheorajpur, Dt. Kanpur. Three anthropomorphic figures of copper. AI, 7, 1951, pp. 20, 29).
One anthropomorph had fish hieroglyph incised on the chest of  the copper object, Sheorajpur, upper Ganges valley,   ca. 2nd millennium BCE,   4 kg; 47.7 X 39 X 2.1 cm. State Museum,   Lucknow (O.37) Typical find of Gangetic Copper Hoards. miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍh ‘helper of merchant’ (Gujarati) meḍ iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) ayo ‘fish’ Rebus: ayo, ayas ‘metal. Thus, together read rebus: ayo meḍh ‘iron stone ore, metal merchant.’
Seal. Harappa.

Text: aya khaNDa kolimi 'metal/iron implements smithy/forge' 

Pictorial motifs or hieroglyph-multiplexes: sangaDa 'lathe, portable furnace' Rebus: sangar 'fortification' sanghAta 'adamantine glue' (Varahamihira) samghAta 'collection of articles (i.e. cargo)' PLUS khōṇḍa m A young bull, a bullcalf (Marathi) kōḍe dūḍa bull calf (Telugu); kōṛe 'young bullock' (Konda)Rebus: kõdā 'to turn in a lathe' (Bengali)
Seal. Harappa.
Text: aya bhaTa 'iron/metal furnace' kaNDa 'arrow' Rebus: khaNDa 'metal implements' kuTi 'curve' Rebus: kuTila 'bronze' kanac 'corner' Rebus: kancu 'bronze' 
Pictorial motif or hieroglyph-multiplex: sangaDa 'lathe, portable furnace' Rebus: sangar 'fortification' sanghAta 'adamantine glue' (Varahamihira) samghAta 'collection of articles (i.e. cargo)'

 Seal.
kuTi 'curve' Rebus: kuTila 'bronze' (8 parts copper, 2 parts tin)
dATu 'cross' Rebus: dhatu 'mineral ore'
aya dul 'metal/iron cast metal or metalcasting'
aya aduru 'iron/metal native unsmelted metal'
  mū̃h ‘ingot’ (Santali) PLUS (infixed) kolom 'sprout, rice plant' Rebus: kolimi 'smithy, forge' Thus, ingot smithy 
kuTi 'curve' Rebus: kuTila 'bronze'
ranku 'liquid measure' Rebus: ranku 'tin' (Santali)
  kolom 'rice-plant, sprout' Rebus: kolimi 'smithy, forge' (Alternative: kuTi 'tree' Rebus: kuThi 'smelter')
rimofjar.jpg

kaṇḍa kanka ‘rim of jar’ Rebus: karṇīka ‘account (scribe)’karṇī‘supercargo’.
kaṇḍa ‘fire-altar’.
 loa 'ficus' +kolom 'three' Rebus: loh kolimi 'copper smithy/forge'

A painted goblet. Ficus leaves. Nausharo ID. c. 2600-2550 BCE (After Samzun. Anaick, 1992, Observations on the characteristisc of the Pre-Harappan remains, pottery, and artifacts at Nausharo, Pakistan (2700-2500 BCE), pp. 245-252 in: Catherine Jarrige ed. South Asian Archaeology 1989 (Monographs in World Archaeology 14, Madison, Wisconsin, Prehistory Press: 250, fig. 29.4 no.2)


Inscribed pots. Mundigak IV, 1 (eastern Afghanistan), after Casal 1961: II, fig. 64, nos. 167, 169, 172. Courtesy: Delegation archeologique francaise en Afghanistan. Ficus leaves. 

h598
Harappa seal. Harappa excavation no. 13751. Harappa museum. Courtesy: Dept. of Archaeology and Museums, Govt. of Pakistan

लोह--कार [p= 908,3] m. a worker in iron , smith , blacksmith R. Hit. Hieroglyph component: loa 'ficus glomerata' Rebus: loha 'copper, iron' Hieroglyph component: kāru pincers, tongs. Rebus: khār खार् । लोहकारः 'blacksmith' (Kashmiri)

rimless pot: baTa 'rimless pot' Rebus: bhaTa 'furnace'
tri-dhAtu, three minerals: tridhAtu 'three strands of rope' Rebus: dhatu 'mineral ore' (three ores)
oval ingot: DhALako 'large ingot'

kamaṭh a crab (Skt.) kamāṭhiyo=archer;kāmaṭhum =a bow; kāmaḍī ,kāmaḍum=a chip of bamboo (G.) kāmaṭhiyo bowman; an archer(Skt.lex.) kamaṛkom= fig leaf (Santali.lex.)kamarmaṛā(Has.), kamaṛkom(Nag.); the petiole or stalk of a leaf (Mundari.lex.)kamaṭha= fig leaf, religiosa(Skt.) dula‘tw' Rebus: dul 'cast metal ’Thus, cast loh ‘copper casting’ infurnace:baṭa= wide-mouthed pot; baṭa= kiln (Te.) kammaṭa=portable furnace(Te.) kampaṭṭam 'coiner,mint' (Tamil) kammaṭa (Malayalam)
The hieroglyph-multiplex (Sign 124 Parpola conconcordance), thus orthographically signifies two ficus leaves ligatured to the top edge of a wide rimless pot and a pincers/tongs hieroglyph is inscripted. In this hieroglyph-multiplex three hieroglyph components are signified: 1. rimless pot, 2. two ficus leaves, 3. pincers. baTa 'rimless pot' Rebus: bhaTa 'furnace'; loa 'ficus' Rebus: loha 'copper, iron'; kAru 'pincers' Rebus: khAra 'blacksmith'

Mohenjo-daro. Copper plate. obverse. Excavation no. E 214-215. Courtesy. ASI. Purana Qila, New Delhi.
large mineral ingots from smithy/forge-furnace
rimless pot: baTa 'rimless pot' Rebus: bhaTa 'furnace'
tri-dhAtu, three minerals: tridhAtu 'three strands of rope' Rebus: dhatu 'mineral ore' (three ores)
kolmo 'three' Rebus: kolimi 'smithy, forge'.
Mohenjodaro. Tablet. Crocodile + fish DK 8037. E 2500 Purana Qila, New Delhi. ASI.

Hieroglyph-multiplex: aya 'fish' + kara 'crocodile' Rebus:  ayakara 'metalsmith' 
khambhaṛā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint

Potsherd. Amri. Fish. Stars. 

aya 'fish' Rebus: aya, ayas 'iron, metal' PLUS meḍha 'polar star' (Marathi). meḍ 'iron' (Ho.Mu.) 

Cylinder seal. Water flowing from the shoulder. Stars.
Santali glosses. Lexis.

meḍha 'polar star' (Marathi). meḍ 'iron' (Ho.Mu.) lo 'pot to overflow' kāṇḍa 'water'. Rebus: lokhaṇḍ Thus, meḍ or me~r.he~khaNDa 'iron metal implements'. (See the Santali gloss with semantics: iron implements).

Inscribed pot. Fish. Nal. South Baluchistan. aya 'fish' Rebus: aya, ayas 'iron, metal'

m 305 Seal. Mohenjo-daro. 

Fish + scales, aya ã̄s (amśu) ‘metallic stalks of stone ore’. Vikalpa: badho ‘a species of fish with many bones’ (Santali) Rebus: bahoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali)khambhaā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint.

gaNDa 'four' Rebus: khaNDa 'metal implements' Together with cognate ancu 'iron' the message is: native metal implements.
aya 'fish' Rebus: aya, ayas 'iron, metal'

Pictorial hieroglyph-multiplex: kuThi 'twig' Rebus: kuThi 'smelter' thattAr 'buffalo horn' Rebus: taTThAr 'brass worker' meḍha 'polar star' (Marathi). meḍ 'iron' (Ho.Mu.) karA~ 'arms with bracelets' Rebus: khAr 'blacksmith' (Kashmiri) Thus, blacksmith working with iron smelter and metal implements of native metal.

Cylinder seal. Ancient Near East.

Triangula tablet. Horned seated person. crocodile. Split ellipse (parenthesis)

Cylinder seal. Akkadian.


Seal. Mohenjo-daro

Seal. Mohenjo-daro

Copper tablet. Mohenjo-daro


Seal. Harappa.

m478A, m479 Mohenjo-daro seal. 


After Fig. 2. Asko Parpola. http://www.harappa.com/script/indus-writing.pdf Texts of inscriptions from different sites, demonstrating ordering sequence of 'signs' (Parpola, Asko, 2008, Is the Indus script indeed not a writing system? in: AirAvati, Felicitation volume in honour of Iravatham Mahadevan, Chennai, Varalaru, pp.111-131

Appendix on Indus Script decipherment polemics

Those interested can follow the thread (URL cited): 

The Indus script as proto-writing

Asko Parpola (July 14, 2011)

It is widely agreed that the Archaic Sumerian script or "Proto-Cuneiform" is the world's oldest writing system, used in the Late Uruk Period (Uruk strata IV and III, c. 3400-3000 BCE). It was used as an administrative tool to record on clay tablets such matters as grain distribution, land, animal and personnel management, and the processing of fruits and cereals. "The script can be 'understood' in some sense, but it cannot be fully read; although there has been some doubt concerning the language that was the basis for this written
expression, there is clear evidence that it was Sumerian" (Michalowski
1996: 33). Archaic Sumerian was logosyllabic writing because its signs stood for elements of a spoken language, words and morphemes, with initially rare phonetization. It was not from the beginning able to record everything: it took many centuries of ever increasing phonetization for this "nuclear writing" to develop into a "full writing" where all grammatical elements were written. Yet it is considered "true writing", because it was a language-based system of
visual aigns.

The Egyptian Hieroglyphic writing was certainly used in Pre-Dynastic times. The royal tomb U-j at Umm el-Qa'ab near Abydos in Upper Egypt, dated to c 3200 BCE, contained 150 inscribed bone tags originally attached to grave goods recording the places of origin of these goods, as well as pottery inscriptions and sealings. These were excavated in 1988 and published ten years later (Dreyer 1998). This earliest form of Egyptian script was already a well-formed logophonic writing system, which can be partially understood on the basis of later Egyptian writing. "By the early 1st Dynasty, almost all the uniconsonantal signs are attested, as well as the use of classifiers or determinatives, so that the writing system was in essence fully formed even though a very limited range of material was written." (Baines 1999: 882). "Many inscribed artifacts are preserved from the first two Dynasties, the most numerous categories being cylinder seals and sealings, cursive annotations on pottery, and tags originally attached to tomb equipment, especially of the 1st Dynasty kings.
Continuous language was still not recorded" (Baines 1999: 883). Thus until the beginning of the Old Kingdom starting with the 3rd Dynasty in 2686 BCE — for about 600 years equalling the duration of the Indus Civilization — the Egyptians used a language-based, phoneticized writing system, but did not write full sentences, only very short texts fully comparable to the surviving texts in the Indus script.  

Early administrative documents are assumed to have existed but have  not survived (cf. Baines 1999: 884). 

When defining the Indus script as logosyllabic, I noted several  constraints to be observed in its analysis: "the linguistic elements  that are expected to correspond to the signs are morphemes rather than  phonemes. Secondly, all of the morphemes pronounced in the spoken  Indus language may not, and are not even likely to, have a counterpart  in its written form. In the third place, all preserved Indus  inscriptions are very short, appearing on objects like seals, which  are not so likely to contain even normal sentences, with such basic  
constituents as a verbal predicate or an object, let alone complex sentences." (Parpola 1994: 89). This was before Damerow (1999) suggested the term 'proto-writing' for the earliest, linguistically incomplete notations (cf. Houston ed. 2004: 11); on these earliest writing systems see especially Houston ed. 2004.

In my opinion Farmer, Sproat and Witzel (2004: 19 and 33) err when they suggest that "the Indus system cannot be categorized as 'script' ... capable of systematically encoding speech", and that it "cannot even be comfortably labeled as a 'proto-script', but apparently belonged to a different class of symbols." Their principal arguments, the shortness of Indus texts, their restriction to only a few text types, and the long duration (c 600 years) of this stage of script evolution, are effectively annulled by what is said above about the early Sumerian and Egyptian scripts. For their other arguments I refer
to an earlier paper of mine (Parpola 2008).

George Hart wrote yesterday (13 July 2011): "None of this proves or disproves that the fish symbol might have been pronounced [in Dravidian] mīṉ. Steve Farmer wrote in reply (13 July 2011): Probably one of the silliest claims ever made about the symbols, with no evidence whatsoever to back it. My reply: there is actually a lot of evidence to back it (see Parpola 1994: 179-272; and new evidence in Parpola 2009). Due to a complete lack of bilinguals, it is very
difficult to verify sign interpretations, but not altogether impossible. Perhaps the most important test stone is supplied by the nominal compounds actually existing in languages that are historically likely to be related to the Harappan language: these can be compared to Harappan sign sequences that can be pictorially interpreted and perhaps deciphered with the help of linguistically acceptable homophonies (used in all early scripts for phonetication: the rebus
puns). The accumulation of iconically acceptable, systematic and interconnected interpretations can eliminate chance coincidences in a process comparable to filling cross-word puzzles.

References:

Baines, John, 1999. Writing: invention and early development. Pp.882-885 in: Kathryn A. Bard (ed.), Encyclopedia of the archaeology of ancient Egypt. London and New York: Routledge.

Dreyer, Günter, 1998. Umm el-Qaab I: Das prädynastische Königsgrab U-j
und seine frühen Schriftzeugnisse. (Archäologische Veröffentlichungen 86.) Mainz: Verlag Philipp von Zabern.

Farmer, Steve, Richard Sproat and Michael Witzel, 2004. The collapse
of the Indus-scrpt thesis: The myth of a literate Harappan civilization: Electronic Journal of Vedic Studies 11 (2): 19-57.

Houston, Stephen (ed.), 2004. The first writing: Script invention as history and process. Cambridge: Cambridge University Press.

Michalowski, Piotr, 1996. Mesopotamian cuneiform: Origins. Pp. 33-36 in: Peter T. Danies & William Bright (eds.), The world's writing systems. New York: Oxford University Press.

Parpola, Asko, 1994. Deciphering the Indus script. Cambridge: Cambridge University Press.

Parpola, Asko, 2008. Is the Indus script indeed not a writing system? (Pp. 111-131 in: Airavati: Felicitation volume in honour of Iravatham Mahadevan, Chennai: Varalaaru.com. Downloadable from www.harappa.com

Parpola, Asko, 2009. 'Hind leg' + 'fish': Towards further understanding of the Indus script. Scripta 1: 37-76. (Downloadable at www.harappa.com)

http://list.indology.info/pipermail/indology_list.indology.info/2011-July/035749.html

http://bharatkalyan97.blogspot.in/2015/08/indus-script-fish-ficus-hieroglyph.html

Below a picture of a fisherman (?) with four fish from the the so-called "Standard of Ur "(circa 2600-2400 B.C.). 



As Ur is near Eridu (12 miles north of Eridu) perhaps Adapa the fisherman looked "somewhat" like this individual?








dula 'pair' rebus: dul 'cast metal' PLUS ayo, ayu 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint.




S. Kalyanaraman


Sarasvati Research Centre


May 6, 2016









Manohar Parrikar in LS on Agusta scam: speech and action extraordinaire. Nation's defence is in safe hands. Kudos, Manohar ji

$
0
0
Manohar Parrikar's speech AND reply on Agusta scam discussion is the performance of a Defence Minister about which every Bharatiya should feel proud. A performance and action report which could only come from NaMo's team and NaMo and all Bharatiya are fortunate to have such an outstanding Defence Minister taking care of the nation's defence. A contribution to Lok Sabha deliberations which will stand out for generations to come as a tribute to the temple of democracy which NaMo prayed to as he walked the steps into the Parliament in 2014.

Superlative performance and brilliant action report.  Jeevema s'aradah s'atam, Manohar Parrikar ji, NaMo ji.

Kalyanaraman


What we could not do in Bofors, may be we can do it in AgustaWestland, says Defence Minister Manohar Parrikar.

https://www.youtube.com/watch?v=5iECYkmWo1c (31:24)

https://www.youtube.com/watch?v=vyhIRDDL19Q (31:02) Mirror

https://www.youtube.com/watch?v=bdmtdRvCbg4

Manohar Parrikar On AgustaWestland Scam | It Could Have Been Stopped In 2012 | Lok Sabha
Published on May 6, 2016
Union Defence Minister Manohar Parrikar today in Lok Sabha continued his new revelations in the Parliament. He said the Agusta scam could have been stopped in 2012. Speaking to the House he said that Congress has created single vendor situation in the Agusta deal as benchmark cost given by contract negotiations committee was 6 times greater that acceptance of necessity.



UPA Tweaked Tender For Agusta : Manohar Parrikar In Lok Sabha

Parrikar reveals shocking facts on Agusta scam: Full stt and reply to lies (43:53). NaMo, restitute kaalaadhan.

NaMo addresses public meeting in Hosur, Tamil Nadu : 6.5.2016. Listen to his determination on Augusta scam

Today's Pradarshan was basically a Sonia Rahul Parivar Bachao Abhiyan: BJP (14:41). NaMo, restitute kaalaadhan.

Parivaar Bachao Abhiyan. 'They don't know what we are made of' -- SoniaG ? Kanchan Gupta proves the equations.

$
0
0
  1. Congress''Prajatantra Bachao' is actually 'Parivaar Bachao' Abhigyan. That's why daamaadsri also figures in d posters
  2. 51 minutes agoCongress''Prajatantra Bachao' is actually 'Parivaar Bachao' Abhigyan. That's why daamaadsri also figures in d posters
     56 minutes ago
    On Bofors, we heard this. On National Herald we heard this. On Agusta she says this. So what is Dynasty made of?
  1. On Bofors, we heard this. On National Herald we heard this. On Agusta she says this. So what is Dynasty made of?
  2. Yes, protest is a passing fad. More so when media is in command of news cycle.
  3. Reminiscent of 2013-14 rallies. ABCD... of corruption, etc. So what prevented expeditious action for two years?
  4. Dynasty=Democracy. Dynasty ka Damad=Democracy ka Damad. Save Democracy=Save Dynasty=Save Democracy's Damad. QED.

Enforcement Directorate raids in Bikaner over Robert Vadra land deals

$
0
0

Enforcement Directorate raids in Bikaner over Robert Vadra land deals

PTI | 



Top Comment

Let the truth come out as fast as possible. Culprits must be punished. It is the disgrace of our country is that our talks crosses borders but feet does not move out of office doors. It is not test f... Read More



http://timesofindia.indiatimes.com/india/Enforcement-Directorate-raids-in-Bikaner-over-Robert-Vadra-land-deals/articleshow/52154023.cms

Primadonna SoniaG Agusta scam: ED questions senior journalist. NaMo, nationalise kaalaadhan.

$
0
0
Published: May 7, 2016 02:39 IST | Updated: May 7, 2016 02:39 IST  

VVIP chopper deal. ED to question senior journalist

  • Special Correspondent
The Enforcement Directorate plans to question a senior defence journalist on whose foreign travels British middleman Christian Michel had spent over Rs.28 lakh. The agency is trying to ascertain the nature of his relationship with the prime accused in the AgustaWestland VVIP chopper deal.

The journalist, former head of a Hindi news channel and an editor with an English daily, came under the scanner when the Directorate found that he and his wife were among the dozen and more persons for whose overseas trips Mr. Michel had made payments.
“We need to ascertain the purpose for which the accused funded the foreign travels and stay of the journalist and his wife. As part of the probe, some others, whose travel tickets were purchased by Mr. Michel, have already been examined,” said an official. The journalist was also summoned last year.

The Directorate accessed the travel details from computer records of a Delhi-based tour and travel agency, run by an associate of the middleman, who was also a director in his shell company Media Exim. Between 2007 and 2013, tickets worth over Rs.4 crore were allegedly bought on behalf of Mr. Michel and his local contacts. There were at least two retired Air Force officers in the list.

Printable version | May 7, 2016 5:38:28 AM | http://www.thehindu.com/news/national/vvip-chopper-deal-ed-to-question-senior-journalist/article8567197.ece

CSDS Commie wolves -- Ravinar

$
0
0

Brilliant abt Commie CSDS-Until &unless all Commie institutions in Delhi r closed no Vimochanam for our society


SATURDAY, MAY 7, 2016

CSDS Commie Wolves

Recently, the issue of Shaheed Bhagat Singh being termed a “terrorist” in some Delhi University books came up in the media. This is nothing new and many have known about it for long. When asked about it the Commie Boss of CPM Sitaram Yechury stated “It is just colonial legacy” which needs correction. Really? That is all? Just colonial legacy? Truth is, the Commies have dominated the misinformation and distortion of history in our school books and other publications and carried on this crime for over 60 years. Just check how Mughal criminals were glorified in Bengal text books. Almost all institutions that deal with Indian History has been infested like Wolves with Commies, thanks to Nehru and the fake Gandhis. They have systematically tarred our heroes, especially Hindu heroes and glorified mass murderers and villains. These are the Wolves that now whine about “Intellectuals” being under threat under ModiSarkar.

Madhu Kishwar (MK), a prominent critic of Narendra Modi-turned-fact-finder-turned-admirer, was recently at the receiving end of discrimination by such Commie Wolves that infest the organisation called CSDS (Centre for Study of Developing Societies). This CSDS grandly claims they are commonly popular as “The Centre” on their website. You know, you get down at Delhi station and ask the auto or taxi guy to take you to “The Centre” they will take you to CSDS. Okay? We’ll get to this in a bit. Through a web article of MK I came to learn about a Commie whining more about intolerance and how historians are suffering under ModiSarkar. On the page I saw a pic of Karl Marx and I knew where the article was headed. But wait! The guy wasn’t Karl Marx; his name is Sanjay Subrahmanyam. I had never heard of him but my education about Commie jerks is a never-ending agony. Here are some of the questions he was asked in a TOI article called “Real people are censored” (Don’t laugh, that is seriously the title):

Is history being used in India today for political purposes?
When you see what happened to Wendy Doniger's book, are you worried about the fate of intellectuals today?
How do you react to historian Ramachandra Guha's recent statement that this is the most anti-intellectual government India has ever had?
Is this government failing to protect Indian pluralism?
Does the Indian public discourse today worry you?

I was laughing and wondering who concocts such fallacies and idiotic questions. I had made a rare mistake in my reading-life. I forgot to read the name of the writer of this garbage. It had to be the extreme C5M Sagarika Ghose. After that, all my joy of wide-eyed surprise simply disappeared. These Commies who call themselves intellectuals and berate everyone who challenges them are in reality justScaredy-Chicks. I remember Arun Shourie, who challenged these Commies, had a hard time publishing his first book. Such is the grip on public discourse and publishing by the Commies and yet they whine like pigs because the corrupt party that kept their bottoms warm has lost power. In “Eminent Historians” Shourie narrates how a guy flares up and throws tantrums just because he was asked to account for his travel expenses properly. We all remember Amartya Sen throwing tantrums and threatening to quit Nalanda because he was asked about financial accountability. These are the Commie intellectuals! Want to live on public money but don’t want accountability.

In the TOI article I just mentioned, this Sanjay Marx refers to Madhu Kishwar as a “BJP” intellectual. She maybe an intellectual but why a BJP intellectual? Are these Scardy-Chicks then Congress Intellectuals or Maoist Intellectuals? Their whining is eternal. Here’s how and why MK became an untouchable in the very Commie circles that she had worked relentlessly for years:

It’s that interview with Modi followed by a book – all prior to LS2014 – that marked MK as “Unacceptable” and “Untouchable” in the very circles she worked for ages. Here’s the problem her organisation called “The Centre” also known as CSDS heaped on her with ignominy (excerpts from MK’s legal notice to CSDS):

That on 03.12.2015, my client received a communication from the Indian Council for Social Science Research (ICSSR) informing her that she has been awarded the prestigious Mahatma Gandhi National Fellowship for two years period starting 2016; as a “recognition” of her “pre-eminent scholarship… That before my client, Prof Ashis Nandy and Prof DL Sheth as recipients of the same fellowship in the years 2006 and 2009 respectively, were granted CSDS affiliation without the least fuss by the CSDS. Prof D L Sheth, Prof Ashis Nandy and Prof V B Singh continue to be provided affiliation as well as office space and other support systems at CSDS even though they have retired in May 2001, 2002 and 2005 respectively. The presence and guidance of these seniors is a huge asset for CSDS.

The CSDS has over the years granted affiliation to countless scholars, including those from outside the Centre. Even in 2014-15, the following ICSSR and UGC scholars were given affiliation: That to her utter shock and dismay, on 11.01.2016, my client learnt from you the noticee, that grant of her affiliation will depend on the approval of the Faculty Standing Committee. It is noteworthy that the existing Rules neither envisaged the placing of the applications for affiliation before the Faculty Standing Committee nor mandated the approval of the said Committee”.

In short, MK, who retired from CSDS on April 30 was denied Affiliation by CSDS despite their funders ICSSR granting her such status. This is nothing short of brazen Commie discrimination. Such affiliation has been granted to hundreds of persons (including foreigners) by CSDS and MK is the first one to be denied this citing some fraudulent internal committee on such decisions. The reasons are quite obvious. The CSDS grandly puts up this disclaimer on its website:

I don’t see any reason or need for such a disclaimer but the fact is most of the CSDS operators are political pimps of either the Congress or the Commies – both same in meaning. That MK chose to dig into facts over Gujarat and the campaign against Modi is the reason she is being discriminated against and penalised. She has a natural and moral right to her affiliation, her right to work and be funded for it the same way many redundant political-activists do at CSDS. This organisation proudly boasts of political hacks like Yogendra Yadav and Ashis Nandy among others. Nandy had to recently apologise to SC for his bogus tirade against Modi and Gujarat. For long the Commies have carried out a systematic campaign against BJP and Modi with fraudulent issues and here’s a show where MK brilliantly nails the lies of MonkeyBalancer and StreetThug Rajdeep Sardesai on his campaign of lies (Video 4.3o mins):

Rajdeep is not the only one. The entire Commie gang that calls itself “Intellectuals” indulged in this fraudulent campaign, gave themselves awards and truck-loads of money. Now they whine about being targeted under ModiSarkar. Again a fraudulent whine – Non-Commies are still being discriminated against and penalised by Commie outfits like CSDS and many others. The public, through the ICSSR, funds the CSDS. Don’t be surprised that it is also funded by the Ford Foundation. Lately, anyone who has heard of FF would know about their evil agenda and their preference for foot-soldiers who will peddle that agenda. Looks like MK refuses to be a part of that political agenda which CSDS so deceptively claims it doesn’t have in its bogus disclaimer. And that is the reason she is being made to pay such a heavy price.

How Commie Pigs destroy truth, tar Hinduism and Hindus and their culture can be seen by how they treated their own scholars. Read this excerpt fromVoiceOfDharma on the Criminal Commie conspiracy. It will stun you how they trash real scholars who have the courage to speak the truth (emphasis mine):

How hostile Communism can be to everything Hindu is proved by an incident in which S.A. Dange and his son-in-law, Deshpande, got involved a few years ago. Deshpande wrote quite a scholarly book in which he propounded that several important principles of modern mathematics and science (including dialectical materialism which is the greatest principle of modern science according to Communism) were first discovered by systems of Hindu philosophy, notably SãMkhya and Vedãnta. Several other Communist savants had earlier indulged in a similar exercise of casting ancient Hindu philosophies into a materialist mould. 

The party had paraded them as expert explorers and authentic interpreters of the revolutionary undercurrents in India’s philosophical heritage. Where Deshpande went wrong was that he took a genuine pride in the ancient Hindu past and expressed it in no mean measure. Dange himself contributed a Preface to the book and presented it as quite an academic achievement. Little did they know the consequences of what they had done. The Party came down upon them like a ton of bricks. It called a seminar, Marxism on Vedanta, in which Dange had to confess his errors and eat crow.  Deshpandes book published by a society in Bombay was withdrawn from circulation”.

For all the ruckus at JNU or FTII or Jadavpur University, the Commies have destroyed all possibilities of any challenge to their bogus ideology and failed political system. So much so that they can’t even stomach a simple movie being screened at some of their Commie lairs and hide-outs:

That’s a movie about a Naxalite Professor brainwashing his students. Little jokers like Sagarika whine about Wendy Doniger or that Sanjay Marx or Distortian Guha rants about intolerance and intellectuals suffering under ModiSarkar. Truth is that the Commies have a history of crying wolf and destroying every factual account in history. The CSDS Commie Wolves just added another chapter to it with their illegitimate decision on Madhu Kishwar. The GOI must intervene and end this nonsense of such discrimination. 

4 comments:

  1. Romila Thapar's views on Somnath temple several times destruction is one more example...
    Reply
  2. This is amusing to say the least. Communism rejects the concept of nation states, so they are acting only in interests of their creed.
    Reply
  3. You are right! That Sanjay guy does look like Karl Marx....I was wondering where had I seen him before! :D
    Reply
  4. I was taught in school that capitalism is a kind of evil and we should wean away from it and embrace socialism. Thanks to social media and Mediacrooks, I now despise socialism. For sure, capitalism has its negatives, but it is far far better compared to socialism which these commies peddle.
http://www.mediacrooks.com/2016/05/csds-commie-wolves.html#.Vy1Ybvl97IU

Supercargo defined by hieroglyphic nature of Indus Script proved by feeding troughs in front of even wild animals

$
0
0

Mirror: http://tinyurl.com/j29jaw2


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'
Image result for daimabad sealDaimabad 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: karNI, '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 karNI, '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 कायस्थW. 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. [√kr̥1Pa. 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. kāraṇikāṇe°ṇi ʻ on account of ʼ, L. awāṇ. kāṇAddenda: 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).
Signs 12 to 15. Indus script: 




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, ka (Ta.) kaṉṉār ‘coppersmiths, blacksmiths’ (Ta.) Thus, the phrase kaṇḍ karṇaka may be decoded rebus as a brassworker, scribe. karṇaka, karNIka ‘scribe,  accountant’.karNi 'supercargo' 
Glyph15 variants (Parpola)
The inscription of this tablet is composed of four glyphs: bison, trough, shoulder (person), ligatured glyph -- Glyph 15(rim-of-jar glyph ligatured to water-carrier glyph). 
Each glyph can be read rebus in mleccha (meluhhan).

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

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

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

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


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 calling card: a blacksmith-precious-stone-merchant with the professional role of copper-miner-smelter-furnace-scribe.
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 (Glyph 15) gestured with the left hand. 

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

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

badhia ‘castrated boar’ (Santali); baḍhi ‘a caste who work both in iron and wood’ (Santali)
kol ‘tiger’; Vikalpa rebus: kolhe ‘smelters of iron’.

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.)

m1521Act m1521Bct
m1523Actm1523Bct
Banawali b-17 Tiger PLUS standard device
m290 tiger PLUS trough
Image result for elephant trough bharatkalyan97m276
h088 Rhinoceros PLUS trough
h1966A h1966B



m1486B Text 1711
Obverse: karibha 'trunk of elephant' ibha 'elephant' rebus: kariba 'iron' ib 'iron' khAr 'blacksmith'. Thus, ironsmith.
Reverse: Inscription of hypertext: 
baTa 'rimless pot' Rebus: bhaTa '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.
 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.), battuu (Te.) goldsmith guild (Tamil.Telugu) khōṭ ‘alloyed ingot’;kolmo ‘rice plant’. Rebus: kolami ‘smithy’. koḍi ‘flag’ (Ta.)(DEDR 2049). Rebus: koḍ ‘workshop’ (Kuwi) Vikalpa: baddī = ox (Nahali); bahi = worker in wood and metal (Santali)ḍāngrā = a wooden trough just enough to feed one animal. cf. iankai = a measure of capacity, 20 iankai make a par-r-a (Ma.lex.) angā = small country boat, dug-out canoe (Or.); õgā trough, canoe, ladle (H.)(CDIAL 5568). Rebus: ḍānro  term of contempt for a blacksmith (N.) (CDIAL 5524)
Stamp seal with a water-buffalo, Mohenjo-daro. “As is usual on Indus Valley seals that show a water buffalo,this animal is standing with upraised head and both hornsclearly visible. (Mackay, 1938b, p. 391). A feeding trough is placed in front of it, and a double row of undecipherable script fills the entire space above. The horns are incised to show the natural growth lines. During the Akkadian period, cylinder seals in Mesopotamia depict water buffaloes in a similar pose that may have been copied from Indus seals (see cat. No.135)(For a Mesopotamian seal with water buffalo, see Parpola1994, p. 252 and Collon 1987, no.529 – Fig. 11).”(JMK –Jonathan Mark Kenoyer, Professor of Anthropology, University of Wisconsin, Madison) (p.405). பத்தர்¹ pattar , n. 1. See பத்தல், 1, 4, 5. 2. Wooden trough for feeding animals; தொட்டி. பன்றிக் கூழ்ப்பத்தரில் (நாலடி, 257).
[Original 1931 text] This animal also rarely appears on the seals, Nos. 341-7 being the only examples that we have as yet. In every case it is the single horned animal that is represented, probably the great Indian rhinoceros which was formerly found along the base of the Himalayas as far as Peshawar, where it was hunted by the Emperor Babar. The animal's thick hide is well represented on Seal 345, where the wrinkles and folds of the skin are very true to life. Rough excrescences on the skin are indicated in some of the examples by means of holes made with a fine drill. In others hatched lines are employed. In every case the animal is rendered with extreme fidelity, even to the wicked pig-like eye. Fom this, I think, it can safely be affirmed that the animal was very well known to the people of Mohenjo-daro; in ancient times it was probably very common in Sind and perhaps still further west. It does not appear on any seals from Elam or Mesopotamia. [Marshal, Vol. II, p. 387]
Other animal motifs appearing on seals found primarily at the largest cities include dangerous wild animals like the rhinoceros, the water buffalo, the gharial (crocodile) and the tiger. All of these animals would have been familiar to people living at the edge of the thick jungles and swampy grasslands of the Indus plain and they were revered as totemic animals, closely associated with important myths and legends. https://www.harappa.com/slide/seals-mohenjo-daro
Although it was surely a wild animal, some of the rhinoceros figurines wear collars. While a collar might indicate domestication, it is unlikely that this is the case with the rhinoceros, although they may have been held as captives.
Approximate dimensions (W x H(L) x D): 3.3 x 8.7 x 4.5 cm.



Tell AsmarCylinder seal modern impression [elephant, rhinoceros and gharial (alligator) on the upper register] bibliography and image source: Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 642. Museum Number: IM14674 3.4 cm. high. Glazed steatite. ca. 2250 - 2200 BCE. ibha 'elephant' Rebus: ib 'iron'.gaṇḍa, kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’.  karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri) Alternative: ghariyal 'crocodile' karibha 'trunk of elephant' rebus: karb 'iron'.

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)
Late Uruk and Jemdet Nasr seal; ca. 3200-3000 BC; serpentine; cat.1; boar and bull in procession; terminal: plant; heavily pitted surface beyond plant.
m0489a,b,c Mohenjo-daro prism tablet

A standing human couple mating (a tergo); one side of a prism tablet from Mohenjo-daro (m489b). Other motifs on the inscribed object are: two goats eating leaves on a platform; a cock or hen (?) and a three-headed animal (perhaps antelope, one-horned bull and a short-horned bull).  The leaf pictorial connotes on the goat composition connotes loa; hence, the reading is of this pictorial component is: lohar kamar = a blacksmith, worker in iron, superior to the ordinary kamar (Santali.)] 
kāruvu ‘crocodile’ Rebus:  ‘artisan, blacksmith’.  pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Telugu) Thus, the depiction of animals in epigraphs is related to, rebus: pasra = smithy (Santali)
pisera_ a small deer brown above and black below (H.)(CDIAL 8365).
ān:gra = wooden trough or manger sufficient to feed one animal (Mundari). iṭan:kārri = a capacity measure (Ma.) Rebus: ḍhan:gar ‘blacksmith’ (Bi.)
pattar ‘goldsmiths’ (Ta.) patra ‘leaf’ (Skt.) 
r-an:ku, ran:ku = fornication, adultery (Telugu); rebus: ranku ‘tin’ (Santali)
Rebus readings of Meluhha hieroglyphs:
Hieroglhyphs: elephant (ibha), boar/rhinoceros[kāṇḍā mṛga 'rhinoceros' (Tamil)], tiger (kol), tiger face turned (krammara), young bull calf (khōṇḍa) [खोंड m A young bull, a bullcalf. (Marathi)], antelope, ḍangur ʻbullockʼ, melh ‘goat’ (Brahui) 

Rebus mleccha glosses: Ib 'iron' ibbo 'merchant'; kāṇḍā, 'tools, pots and pans, metalware'; kol 'worker in iron, smithy'; krammara, kamar 'smith, artisan', kõdā 'lathe-turner' [B. kõdā ‘to turn in a lathe’; Or. kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. kū̃d ‘lathe’) (CDIAL 3295)], khũ ‘guild, community’, ḍāṅro ’blacksmith’ (Nepalese) milakkhu ‘copper’ (Pali) [Meluhha!]
Iron (ib), carpenter (badhi), smithy (kol ‘pancaloha’), alloy-smith (kol kamar)
tam(b)ra copper, milakkhu copper, bali (iron sand ore), native metal (aduru), ḍhangar ‘smith’.
The early glosses signifying crocodile: grābhá m. seizer. (√grabh).(Rigveda) निग्राभ [ nigrābha ] [ ni-grābhá ] m. pressing down , letting sink (Samskritam) In long-a vocalism: grábha- 'action of seizing' vs. grābhá- 'handful, grasp'. ghabh-, 1. ghrebh-gherbh-, root extension ghrebha- 'to take, grab, seize' (IE) ghreib- 'to grip, grab' (IE) The early forms ghrebha, grābhá have yielded கரவு² karavun. < கரா 'alligator' (Tamil). The Khmer word is cognate: krapeh 'crocodile'. Phnom Krapeh means 'Crocodile mountain'. The Vietnamese word is: con sấu. Malay word is: buaya, Javanese


'baya'. Austronesian word for crocodile is: uaea.

Pokorny's dictionary provides the form: grabh 'to capture' which is cognate with the early Tamil form:karavu, karā 'crocodile' and more significantly, the phonetically proximate Khmer form, krapeh 'crocodile'.

karabu is probably, early pronunciation of the Meluhha gloss; the hieroglyph signifying this morphme, which connoted the semantics 'crocodile' presents a rhebus-metonymy-layered gloss: karb 'iron' which can be consistently deciphered on Indus Script -- as demonstrated in this monograph.  karṓti ʻ does ʼ Br̥ĀrUp. [√kr̥1] Pk. karēikaraï, A. kariba, B. karā, Or.karibā, Mth. karab, Bhoj. karal, OAw. karaï, H. karnā, OMarw. karaï, G. karvũ, M. karṇẽ, Ko. koruka, Si. karaṇavā, inscr. 3 pl. pres. karat  Pa. kārēti ʻ constructs, builds ʼ; Pk. kārēi ʻ causes to be made ʼ;Or. karāibā (CDIAL 2814). This set from Indian sprachbund relates the morpheme karab (and variants) to the semantics: 'constructs, builds'. This is as close as possible to the semantics of an artificer, a vis'vakarman

See: http://bharatkalyan97.blogspot.in/2015/06/itihasa-of-bharatam-janam-makara-manda.html The hieroglyph components which create the hieroglyph multiplex of makara include: gavialis gangeticus, elephant, fish, fish-tail, tiger. The components signify: kariba (that is, kar + iba, 'crocodile + elephant), 'artificer, builder' PLUS aya 'fish' + kola 'tiger', xolA 'tail' rebus: aya, ayas 'iron, metal' + kole.l 'smithy'. Thus, the makara hieroglyph multiplex signifies as plain text: kariba aya kole.l 'artificer-builder, iron, metal smithy'.

Makara with fish-tails and emergence of a smith, ivory-carver, artificer. Plaque from Casket V. Begram. Site 2, Chamber 10. Ivory. Inv. no.: MG 1901. Makara, eagle panel. Begram. Site 2, Chamber 13. Ivory. Inv. nos.: MA 209, 210.Musee Guimet. 

In this rendering as mlecchita vikalpa (Meluhha cipher), the hieroglyph sets which appear on Indus Script Corpora gain a new consistent semantic category, guild: 'metalcaster/metalworker/artificer guild'.


H. sainī, senī f. ʻ ladder ʼ rebus: seṇi 'guild'; seṇimokkha the chief of an army (Pali)
The core is a glyphic ‘chain’ or ‘ladder’. Glyph: kaḍī a chain; a hook; a link (G.); kaḍum a bracelet, a ring (G.) Rebus: kaḍiyo [Hem. Des. kaḍaio = Skt. sthapati a mason] a bricklayer; a mason; kaḍiyaṇa, kaḍiyeṇa a woman of the bricklayer caste; a wife of a bricklayer (G.)

The glyphics are:
1.     Glyph: ‘one-horned young bull’: kondh ‘heifer’. kũdār ‘turner, brass-worker’.
2.     barad, barat 'ox' rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c.भरताचें भांडें (p. 603) [ bharatācē mbhāṇḍēṃ ] n A vessel made of the metal भरत. 2 See भरिताचें भांडें.भरती (p. 603) [ bharatī ] a Composed of the metal भरत. (Molesworth Marathi Dictionary).  balad m. ʻox ʼ, gng. bald, (Ku.) barad, id. (Nepali. Tarai) Rebus: bharat (5 copper, 4 zinc and 1 tin)(Punjabi)
3.     Glyph: ‘ram’: meḍh ‘ram’. Rebus: meḍ ‘iron’.
4.     Glyph: ‘antelope’: mr̤eka ‘goat’. Rebus: milakkhu ‘copper’. Vikalpa 1: meluhha ‘mleccha’ ‘copper worker’. Vikalpa 2: meṛh ‘helper of merchant’.
5.    Glyph: ‘zebu’: poL Rebus: poL 'magnetite'.
6.     The sixth animal can only be guessed. Perhaps, a tiger (A reasonable inference, because the glyph ’tiger’ appears in a procession on some Indus script inscriptions. Glyph: ‘tiger?’: kol ‘tiger’. Rebus: kol ’worker in iron’. Vikalpa (alternative): perhaps, rhinoceros. gaṇḍa ‘rhinoceros’; rebus: khaṇḍ ‘tools, pots and pans and metal-ware’. Vikalpa (alternative): perhaps, ghariyal: karabu 'crocodile''ghariyal' rebus: karb 'iron'; karavu 'crocodile' rebus: khar 'blacksmith' (Kashmiri)

(See: http://bharatkalyan97.blogspot.in/2014/09/bharat-name-of-nation-root-bharatiyo.html
http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-bronze-age-legacy_6.html



Tell AsmarCylinder seal modern impression [elephant, rhinoceros and gharial (alligator) on the upper register] bibliography and image source: Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 642. Museum Number: IM14674 3.4 cm. high. Glazed steatite. ca. 2250 - 2200 BCE. ibha 'elephant' Rebus: ib 'iron'.gaṇḍa, kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’.  karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri) Alternative: ghariyal 'crocodile' rebus: karb 'iron'.

Pokorny's dictionary:

Number: 689
Root: ghrebh-1 , gherbh- ; Wurzelweiterung ghrebhā-
English meaning: to grave
German meaning: `take erraffen, rake '
General comments: See. also ghreibh- .
Material: . Ai grabh-, digging `take, take, acquire, capture ', Aor. agrabham , Perf. jagrābha , pass. gr̥hyáte , gr̥bháyant ; grábha- m. `Grasping ', gráha- `cupful '; grápsa- `bush, tuft ', gŕ̥bh-`Take, handle ', gr̥h- `poignant (as 2. Composition member) ', gr̥bhá- m. `Handle ', gŕ̥bhi- `in itself collectively containing ' grābhá- m. `Captors, handful ';    av. digging `grab 'in hǝ̄ngrabǝm ( časmainī ) `I sensed (by eye) ', Perf. jigaurva, gǝurvayeiti (see. ai. gr̥bháyant ) `grabs, holds, receives, perceives', Partiz. .. Perf pass gǝrǝpta- ,digging `version of words, sentence '; . Akk gǝrǝbąm `holding on '; . npers giriftan `take ', GIRAD `take ';
    anord. Grapa `grapsen, per se tear '( p based on Gripa ?), AGS. græppian `take ', Eng. grapple `hold firmly grasp '; next schwed. grabba `pack ', MND. grab, grabbelen `hold fast, gather '(from English. grave , grabble ), MHD. grappeln `keys', Norw. Dial. grafsa, grapsa `scratching, scraping ', German grapsen ; to Swed nasalized. Dial. gramma `grab ', Switzerland.grame `creeping ', Swed. gramsa `handfuls take ', Switzerland. Gramse ds .; . asächs Garva `sheaf ', ahd. Garba `Manipulus' mhd NHG.. Garbe ;
    lit. Grabus, grabnùs `nimble-fingered, turned in stealing ', grabinėti , grabalióti , grabóti `grope for something, grab ', grabstýti `take, pack ', dehnstuf. grėbiu, grėbti `rake, take, steal ';Iterative old. gróbiu , gróbti `take, seize, rob ', Grobis m. `Robbery, loot '; Lett. grebju, grebt also `grab ', Grabas f. . Pl `hoarded ' greblis `small rake ', grâbju, Dig `grab, grasp, Rakes'Grabat Iterative to `to sichgreifen, rake up ';
    . aksl grebǫ , greti `row '., russ Grebu , Gresti . `gather, rake, row ', bulg Greba `raking, scraping, combing, boating, (water) draw ', Greblo `rake, rake, rowing '; . Iterative aksl grabljǫ ,grabiti `steal ', skr. grȁbiti `grab, snatch ', Čech. hrabati `scratch, dig, rake ', etc.
    Root expansion ghrebhā-:
    . Ai gr̥bhnāti, gr̥bhāyáti `grabs, holds, acquires'; New features are: ágrabhīt `took 'Infin. gráhītum , Partiz. gr̥bhītá- `ruled, captured, detained ', grábhītr̥, grahītr̥ `captors'; av. gǝrǝwnāiti, gǝ̄urvāyeiti , Apers. garbāyaiti `take, conquered, receives, perceives, understands'.
References: WP. I 652 f., 95 f .; Trautmann otherwise Kuiper Nasalpräs. 232 interface.
Pages: 455
PIE database

http://starling.rinet.ru/cgi-bin/response.cgi?basename=%5Cdata%5Cie%5Cpokorny&first=681

కరువు [ karuvu ] karuvu. [Tel.] n. Melting: what is melted. The clay mould for a metal image. A crucible. కరుగు. (Telugu) Ta. karai (-v-, -nt-) to dissolve in water, be reduced from solid to liquid form, wear away (as soil by the action of water), become emaciated, become gradually attenuated; (-pp-, -tt-) to dissolve in water (tr.), melt, liquefy, extirpate; karaiyal dissolving, melting, that which is dissolved; karaivu dissolving, tenderness of mind. Ma. karakkuka to melt, dissolve. Ko. karg- (kargy-) to dissolve, melt (intr.), be affected in the heart (by fear); kark- (karky-) to dissolve, melt (tr.). To. karx- (karxy-) to dissolve, melt (intr.); kark- (karky-) id. (tr.). Ka. karagu, karaṅgu, kargu to be dissolved, melt away, decrease in bulk, become softened to pity or love, pine away; karagisu, karigisu, kargisu to cause to be dissolved, melt; (Hav.) karaḍu to melt. Koḍ. kar- (kari-) to be digested; karak- (karaki-) to digest; (Shanmugam) to dissolve; [Shanmugam) karak dissolving. Tu. karaguni
to melt (intr.), dissolve, liquefy, become thin, become affected, softened, melt with pity; karagāvuni, kargāvuni to melt (tr.), liquefy, affect the mind, afflict; karavuni to be dissolved, melted, digested; karapuni to digest. Te. karãgu to melt (intr., tr.), dissolve, liquefy; karãgincu, karãcu to melt (tr.), dissolve, liquefy; karugu what is melted, a crucible; (K.) krã̄gu to be melted away; (K.) krã̄cu to melt (tr.). Ga. (S.3) karŋ-ēr- to be melted. Go. (Ma.) kari-, (W.) kaṛītānā, (Ko.) karŋg- to melt, dissolve (Voc. 530); (Koya Su.)karṅ- to melt. Konḍa (BB 1972) kariŋ- to melt, be dissolved. Kuwi (F.) karangali to be dissolved, be melted; (Su.) karŋg- to melt (intr.).(DEDR 1292) Ta. karu mould, matrix; karukku engraving, carving, embossed work. Ma. karu figure, mould; karukku-paṇi embossed work; karaṭu the original of a copy. Ka. karu embossed work, bas-relief;karuv-iḍu to put bosses or raised figures, mould, model. Tu. karu, garu, karavi a mould. Te. karugu, karuvu id. Kuwi (S.) garra form, mint; ḍālu- gara womb (for ḍālu, see 1123)(DEDR 1280).


Ta. karuvi instrument, tool. Ma. kari, karivi, karuvi, karu tool, plough, weapon.(DEDR 1290)

Ta. karu foetus, embryo, egg, germ, young of animal; karuppai womb;
karuvam foetus, embryo. Ma. karu embryo, yolk; karuntala generation.
Ko. karv foetus of animal, larva of bees; pregnant (of animals). To. kef
pregnant, in: kef ïr pregnant buffalo, kef nïl- to become pregnant, of animals. Ka. kandu foetus of beasts (? or with 1411 Ta. kaṉṟu). Te. karuvu
foetus; (B.) kari uterus of animals;karugu an unopened ear of corn. Pa. kerba (pl. kerbel) egg. Ga. (Oll.) karbe id. Go. (Ko.) garba egg (Voc. 1054); (Koya Su.) garbūm id. ? Malt. káre to form as the stone or seed of a fruit. (DEDR 1279)

Iron: wesi (Javanese), besi (Malay), dek (Khmer), 
Sumerian AN.BAR
Akkadian PAR.ZILLU
Aramaic PAR.ZEL
Hebrew BAR.ZEL
Arabic FIR.ZILun
Lithuanian geležis,
but zalvaris (zhal.varis) 'bronze'
Latvian DZELS "iron"
Latvian zelts (ZEL.TS) "gold"
but zils (ZILs) "blue"

Gavialis is a genus of crocodylians that includes the living gharial Gavialis gangeticus and several extinct species, including Gavialis bengawanicusGavialis brevicepsGavialis browniGavialis curvirostrisGavialis hysudricusGavialis leptodusGavialis lewisi, andGavialis pachyrhynchus. Most species, including G. gangeticus, come from the Indian Subcontinent.(Lull, R. S. (1944). "Fossil gavials from north India". American Journal of Science 242 (8): 417–430.) while G. bengawanicus is known from JavaGavialis likely first appeared in the Indian Subcontinent in the early Miocene around 20 million years ago and dispersed into the Malay Archipelago through a path called the Siva–Malayan route in the Quaternary. Remains attributed to Gavialis have also been found on Sulawesi and Woodlark Island east of the Wallace Line, suggesting a prehistoric lineage of Gavialis was able to traverse marine environments and reach places possibly as far as western Oceania.(Delfino, M.; De Vos, J. (2010). "A revision of the Dubois crocodylians, Gavialis bengawanicus and Crocodylus ossifragus, from the Pleistocene Homo erectus beds of Java". Journal of Vertebrate Paleontology 30 (2): 427.) https://en.wikipedia.org/wiki/Gavialis

The Gharial (Gavialis gangeticus) is a unique species of crocodilian, characterized by its long, thin snout and the bulbous growth at the end of its snout. Though millions of years ago there were several similar species, today the Gharial is the last remaining species of this ancient line, the last surviving species of the family Gavialidae.

The gharial gets its name from the Hindi word “ghara” which means pot. The “ghara” is a bulbous blob begins growing on the nostrils at the tip of the snout as soon as the males reach maturity.  This strange form, called the ghara, turns the hissing noise commonly made by crocodilians into a buzzing noise, as air is forced through the nasal passage. It may also act as a sound amplifier, carrying the produced buzzing sound for great distances across water. The ghara may also help females identify mature males.
A skull of the extinct Gavialis species G. bengawanicus, which lived in the Pleistocene

Males are larger than females and only mature males have a bulbous growth at the end of their snouts.  


கரவு² karavun. < கரா. cf. grāhaAlligator; முதலை. கரவார்தடம் (திவ். திருவாய். 8, 9, 9). கரா karā n. prob. grāha. 1. A species of alligator; முதலை. கராவதன் காலினைக்கதுவ (திவ். பெரியதி. 2, 3, 9). 2. Male alligator; ஆண்முதலை. (பிங்.) கராம் karām n. prob. grāha. 1. A species of alligator; முதலைவகை. முதலையு மிடங்கருங் கராமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.) కారుమొసలి a wild crocodile or alligator. (Telugu) grāh ग्राह् । ग्राहः m. a crocodile.krum कृम्, (Gr.Gr. 21) krümü कृमू&below;, or (Śiv. 855), kṻrm कू&above;र्म् । कूर्मः m. (f. krumiñü कृमिञू&below;, q.v.), a tortoise (Śiv. 1755, 1817; Rām. 599); a crocodile (only El. krím).(Kashmiri) Gaha2 [Sk. graha, gaṇhāti, q. v. for etym.] "seizer," seizing, grasping, a demon, any being or object having a hold upon man. So at S i.208 where Sānu is "seized" by an epileptic fit (see note in K.S. i.267, 268). Used of dosa (anger) Dh 251 (exemplified at DhA iii.362 by ajagara˚ the grip of a boa, kumbhīla˚ of a crocodile, yakkha˚ of a demon). sagaha having crocodiles, full of e. (of the ocean) (+sarakkhasa) It 57. (Pali)  grāhá (grābhá -- m. ʻ seizing ʼ RV.) ʻ seizing ʼ Yājñ., m. ʻ handle of sword ʼ lex. 2. ʻ rapacious animal living in the water ʼ Mn. [√grah]1. Pa. gāha -- n. ʻ grip, eclipse ʼ; Pk. gāha -- m. ʻ seizing, obstinacy ʼ; Kho. grah ʻ eclipse ʼ, Sh. grã̄ m. or < gráha -- ; S. g̠āha f. ʻ hilt of sword ʼ; Bi. gāhī ʻ third smallest sheaf ʼ; OAw. gāhā ʻ one who takes ʼ; H. gāh m. ʻ seizure, plot ʼ; M. gāhīgāvī f. ʻ smith's pincers ʼ; Si. inscr. gahe loc. ʻ with regard to the receipt ʼ.2. Pk. gāha -- m. ʻ rapacious animal such as a crocodile ʼ, Kho. grah ʻ water animal which seizes a man in the river, the animal which swallows moon or sun when eclipsed ʼ; Sh. grã̄ m. ʻ crocodile ʼ, K. grāh m., H. gāh m.(CDIAL 4382)


<maGgar>(AB),,<moGgor>(P)  {NA} ``^crocodile''.  *@.  ??VAR.  #21081.
<moGgo>(P)  {?} ``?''.  Cf. <kumirO>.  *Kh.<moGgor>(P) `crocodile, alligator', Sa.<maGgaR>, H.<mAgArA>, O.<mOgOrO>.  %22401.  #22231. (Munda etyma)

karuvu n. Melting: what is melted (Te.)कारु [ kāru ] m (S) An artificer or artisan. 2 A common term for the twelve बलुतेदार q. v. Also कारुनारु m pl q. v. in नारुकारु. (Marathi) कारिगर, कारिगार, कारागीर, कारेगार, कारागार [ kārigara, kārigāra, kārāgīra, kārēgāra, kārāgāra ] m ( P) A good workman, a clever artificer or artisan. 2 Affixed as an honorary designation to the names of Barbers, and sometimes of सुतार, गवंडी, & चितारी. 3 Used laxly as adj and in the sense of Effectual, availing, effective of the end. बलुतें [ balutēṃ ] n A share of the corn and garden-produce assigned for the subsistence of the twelve public servants of a village, for whom see below. 2 In some districts. A share of the dues of the hereditary officers of a village, such as पाटील, कुळकरणी &c. बलुतेदार or बलुता [ balutēdāra or balutā ] or त्या m (बलुतें &c.) A public servant of a village entitled to बलुतें. There are twelve distinct from the regular Governmentofficers पाटील, कुळकरणी &c.; viz. सुतार, लोहार, महार, मांग (These four constitute पहिली or थोरली कास or वळ the first division. Of three of them each is entitled to चार पाचुंदे, twenty bundles of Holcus or the thrashed corn, and the महार to आठ पाचुंदे); कुंभार, चाम्हार, परीट, न्हावी constitute दुसरी orमधली कास or वळ, and are entitled, each, to तीन पाचुंदे; भट, मुलाणा, गुरव, कोळी form तिसरी or धाकटी कास or वळ, and have, each, दोन पाचुंदे. Likewise there are twelve अलुते or supernumerary public claimants, viz. तेली, तांबोळी, साळी, माळी, जंगम, कळवांत, डवऱ्या, ठाकर, घडशी, तराळ, सोनार, चौगुला. Of these the allowance of corn is not settled. The learner must be prepared to meet with other enumerations of the बलुतेदार (e. g. पाटील, कुळ- करणी, चौधरी, पोतदार, देशपांड्या, न्हावी, परीट, गुरव, सुतार, कुंभार, वेसकर, जोशी; also सुतार, लोहार, चाम्हार, कुंभार as constituting the first-class and claiming the largest division of बलुतें; next न्हावी, परीट, कोळी, गुरव as constituting the middle class and claiming a subdivision of बलुतें; lastly, भट, मुलाणा, सोनार, मांग; and, in the Konkan̤, yet another list); and with other accounts of the assignments of corn; for this and many similar matters, originally determined diversely, have undergone the usual influence of time, place, and ignorance. Of the बलुतेदार in the Indápúr pergunnah the list and description stands thus:--First class, सुतार, लोहार, चाम्हार, महार; Second, परीट, कुंभार, न्हावी, मांग; Third, सोनार, मुलाणा, गुरव, जोशी, कोळी, रामोशी; in all fourteen, but in no one village are the whole fourteen to be found or traced. In the Panḍharpúr districts the order is:--पहिली or थोरली वळ (1st class); महार, सुतार, लोहार, चाम्हार, दुसरी or मधली वळ(2nd class); परीट, कुंभार, न्हावी, मांग, तिसरी or धाकटी वळ (3rd class); कुळकरणी, जोशी, गुरव, पोतदार; twelve बलुते and of अलुते there are eighteen. According to Grant Duff, the बलतेदार are सुतार, लोहार, चाम्हार, मांग, कुंभार, न्हावी, परीट, गुरव, जोशी, भाट, मुलाणा; and the अलुते are सोनार, जंगम, शिंपी, कोळी, तराळ or वेसकर, माळी, डवऱ्यागोसावी, घडशी, रामोशी, तेली, तांबोळी, गोंधळी. In many villages of Northern Dakhan̤ the महार receives the बलुतें of the first, second, and third classes; and, consequently, besides the महार, there are but nine बलुतेदार. The following are the only अलुतेदार or नारू now to be found;--सोनार, मांग, शिंपी, भट गोंधळी, कोर- गू, कोतवाल, तराळ, but of the अलुतेदार & बलुते- दार there is much confused intermixture, the अलुतेदार of one district being the बलुतेदार of another, and vice lls. (The word कास used above, in पहिली कास, मध्यम कास, तिसरी कास requires explanation. It means Udder; and, as the बलुतेदार are, in the phraseology of endearment or fondling, termed वासरें (calves), their allotments or divisions are figured by successive bodies of calves drawing at the कास or under of the गांव under the figure of a गाय or cow.) (Marathi)kruciji ‘smith’ (Old Church Slavic) 


Late Uruk and Jemdet Nasr seal; ca. 3200-3000 BC; serpentine; cat.1; boar and bull in procession; terminal: plant; heavily pitted surface beyond plant.
m1431B

Mohenjo-daro m1431 four-sided tablet. Row of animals in file (a one-horned bull, an elephant and a rhinoceros from right); a gharial with a fish held in its jaw above the animals; a bird (?) at right. Pict-116: From R.—a person holding a vessel; a woman with a platter (?); a kneeling person with a staff in his hands facing the woman; a goat with its forelegs on a platform under a tree. [Or, two antelopes flanking a tree on a platform, with one antelope looking backwards?]

One side (m1431B) of a four-sided tablet shows a procession of a tiger, an elephant and a rhinoceros (with fishes (or perhaps, crocodile) on top?).

koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.)कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya (G.); crocodile = kāru (Te.)] baṭṭai quail (N.Santali) Rebus: bhaṭa = an oven, kiln, furnace (Santali)

koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya (G.); crocodile = kāru (Te.)]baṭṭai quail (N.Santali) Rebus: bhaṭa = an oven, kiln, furnace (Santali) baṭhi furnace for smelting ore (the same as kuṭhi) (Santali) bhaṭa = an oven, kiln, furnace; make an oven, a furnace; iṭa bhaṭa = a brick kiln; kun:kal bhaṭa a potter’s kiln; cun bhaṭa = a lime kiln; cun tehen dobon bhaṭaea = we shall prepare the lime kiln today (Santali); bhaṭṭhā (H.) bhart = a mixed metal of copper and lead; bhartīyā = a barzier, worker in metal; bhaṭ, bhrāṣṭra = oven, furnace (Skt.) mẽhẽt bai = iron (Ore) furnaces. [Synonyms are: mẽt = the eye, rebus for: the dotted circle (Santali.lex) baṭha [H. baṭṭhī (Sad.)] any kiln, except a potter’s kiln, which is called coa; there are four kinds of kiln: cunabat.ha, a lime-kin, it.abat.ha, a brick-kiln, ērēbaṭha, a lac kiln, kuilabaṭha, a charcoal kiln; trs. Or intrs., to make a kiln; cuna rapamente ciminaupe baṭhakeda? How many limekilns did you make? Baṭha-sen:gel = the fire of a kiln; baṭi [H. Sad. baṭṭhi, a furnace for distilling) used alone or in the cmpds. arkibuṭi and baṭiora, all meaning a grog-shop; occurs also in ilibaṭi, a (licensed) rice-beer shop (Mundari.lex.) bhaṭi = liquor from mohwa flowers (Santali)

ayo 'fish' Rebus: ayas 'metal'. kaṇḍa 'arrow' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. ayaskāṇḍa is a compounde word attested in Panini. The compound or glyphs of fish + arrow may denote metalware tools, pots and pans.kola 'tiger' Rebus: kol 'working in iron, alloy of 5 metals - pancaloha'. ibha 'elephant' Rebus ibbo 'merchant'; ib ‘iron'.  Alternative: కరటి [ karaṭi ] karaṭi. [Skt.] n. An elephant. ఏనుగు (Telugu) Rebus: kharādī ‘ turner’ (Gujarati) kāṇḍa  'rhimpceros'   Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’.  The text on m0489 tablet: loa 'ficus religiosa' Rebus: loh 'copper'. kolmo 'rice plant' Rebus: kolami 'smithy, forge'. dula 'pair' Rebus: dul 'cast metal'. Thus the display of the metalware catalog includes the technological competence to work with minerals, metals and alloys and produce tools, pots and pans. The persons involved are krammara 'turn back' Rebus: kamar 'smiths, artisans'. kola 'tiger' Rebus: kol 'working in iron, working in pancaloha alloys'. పంచలోహము pancha-lōnamu. n. A mixed metal, composed of five ingredients, viz., copper, zinc, tin, lead, and iron (Telugu). Thus, when five svastika hieroglyphs are depicted, the depiction is of satthiya 'svastika' Rebus: satthiya 'zinc' and the totality of 5 alloying metals of copper, zinc, tin, lead and iron.

Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi  Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.

m0489A One side of a prism tablet shows: crocodile + fish glyphic on the top register. Glyphs: crocodile + fish Rebus: ayakāra ‘blacksmith’ (Pali)

Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi  Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.

It is possible that the broken portions of set 2 (h1973B and h1974B) showed three animals in procession: tiger looking back and up + rhinoceros + tiger.

Reverse side glyphs:

eraka ‘nave of wheel’. Rebus: era ‘copper’. āra 'spokes' Rebus: āra  'brass'.

Identifying Meluhha gloss for parenthesis hieroglyph or (  ) split ellipse:  
குடிலம்¹ kuṭilam, n. < kuṭila. 1. Bend curve, flexure; வளைவு. (திவா.) (Tamil) In this reading, the Sign 12 signifies a specific smelter for tin metal: kuṭi 'woman water-carrier'  rebus: rebus: kuṭhi 'smelter' furnace for iron/ kuṭila, 'tin (bronze)metal; kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Samskritam) See: http://download.docslide.us/uploads/check_up03/192015/5468918eb4af9f285a8b4c67.pdf

It will be seen from Sign 15 that the basic framework of a water-carrier hieroglyph (Sign 12) is superscripted with another hieroglyph component, Sign 342: 'Rim of jar' to result in Sign 15. Thus, Sign 15 is composed of two hieroglyph components: Sign 12 'water-carrier' hieroglyph; Sign 342: "rim-of-jar' hieroglyph (which constitutes the inscription on Daimabad Seal 1).


kaṇḍ kanka ‘rim of jar’; Rebus: karṇaka ‘scribe’; kaṇḍ ‘furnace, fire-altar’. Thus the ligatured Glyph is decoded: kaṇḍ karṇaka ‘furnace scribe'

Daimabad Seal 1 (Sign 342: Two hieroglyph components: jar with short-neck and rim-of-jar) -- distringuished from broad-mouthed rimless pot which is another Sign hieroglyph.

Each hieroglyph component of Sign 15 is read in rebus-metonymy-layered-meluhha-cipher:  Hieroglyph component 1: 
kuṭi 'woman water-carrier' rebus: kuṭhi 'smelter' furnace for iron/kuṭila, 'tin metal'. Hieroglyph component 2: kanka, kārṇī-ka 'rim-of-jar' rebus: kanka, kārṇī-ka m. ʻsupercargo of a shipʼ 'scribe'.

Ligatured hieroglyph 15 using two ligaturing components: 1. water-carrier; 2. rim-of-jar. The ‘rim-of-jar’ glyph connotes: furnace account (scribe). Together with the glyph showing ‘water-carrier’, the ligatured glyphs of kuṭi ‘water-carrier’ + ‘rim-of-jar’ can thus be read as: kuṭhi kaṇḍa kanka ‘smelting furnace account (scribe)’. 


sāṅgaḍa, patthara 'lathe, trough' hieroglyphs deciphered rebus 1 sangrah, 'catalogue' 2 sangar'fortification' 1 pattharika'merchant', 2 paṭṭaḍa smithy, shop'.


Two characteristic hieroglyphs are often seen in front of one-horned young bull and other animals signified, unambiguously, on Indus Script inscriptions: 1. सांगड sāṅgaḍa lathe, portable furnace 2. patthara feeding trough. A third characteristic feature is animals joined together which is also signified by सांगड sāṅgaḍa.  The lathe, portable furnace hieroglyph-multiplex is

 generally shown in front of a one-horned young bull; whereas, the feeding

trough hieroglyph is shown in front of animals, even wild animals As signifiers, the lathe or feeding trough have to be consistently related to what the associated animals signify.

This note demonstrates that both 1. the animals as well as 2. the devices (lathe or feeding trough) fronting them are related to Bronze Age metalwork cataloguing as descriptions of resources used or products produced.

Rebus readings of सांगड sāṅgaḍa and patthara are central to the 
decipherment of Indus Script cipher in the context of Bronze Age revolution.


sangaDa,lathe, gimlet; portable furnace सांगड That member of a turner's 

apparatus by which the piece to be turned is confined and steadied.सांगड 

(p. 840) [ sāṅgaḍa ] 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. 

f A body formed of two or more (fruits, animals, men) linked or joined 

together. Rebus: 1. sangrah, 'catalogue' 2. sangar 'fortification' 

See: 

http://bharatkalyan97.blogspot.in/2015/08/ancient-near-east-meluhha-metalwork.html

http://bharatkalyan97.blogspot.in/2015/08/set-theory-venn-diagram-set.html

http://bharatkalyan97.blogspot.in/2015/09/most-frequently-occurring-hieroglyph.html


patthara'drinking vessel, feeding trough' Rebus: 1. pattharika 'merchant', 2. paṭṭaḍa 

paṭṭaḍu[Tel.]n. A smithy, a shop.


पात्र [p= 612,3] n. (ifc. f().) a drinking-vessel , goblet , bowl , cup , dish , pot 

utensil &c , any vessel or receptacle RV. &c  RV. i , 121 , 1. pattar 'wooden trough' 

.When will men's guardians hasting hear with favour the song of Aṅgiras's pious
children?
When to the people of the home he cometh he strideth to the sacrifice, the Holy. (Griffith translation)


The word pAtram has two meanings: guardianship and drinking vessel as brought out in S'abdakalpadruma and Vacaspatyam:
पात्रं, क्ली, पाति रक्षति क्रियामाधेयं वा । पिब-न्त्यनेनेति वा । पा रक्षणे पा पाने वा + “सर्व्व-धातुभ्यः ष्ट्रन् ।” उणां ४ । १५८ । इति ष्ट्रन् ।)आधेयधारणवस्तु । तत्पर्य्यायः । अमत्रम् २भाजनम् ३ । इत्यमरः । २ । ९ । ३३ ॥ भाण्डम् ४कोशः ५ कोषः ६ पात्री ७ कोशी ८ कोषी ९कोशिका १० कोषिका ११ । इति शब्दरत्ना-वली ॥ (यथा, देवीभागवते । १ । २ । ४० ।“सकलगुणगणानामेकपात्रं पवित्र-मखिलभुवनमातुर्नाट्यवद्यद्विचित्रम् ॥”)योग्यम् । स्रुवादि । राजमन्त्री । तीरद्वयान्त-रम् । इति मेदिनी ॥ पातार इति भाषा ॥पर्णम् । नाट्यानुकर्त्ता । इति हेमचन्द्रः ॥आढकपरिमाणम् । इति वैद्यकपरिभाषा ॥ * ॥(यथा, चरके कल्पस्थाने १२ अध्याये ।“ -- चतुः प्रस्थमथाढकम् ।पात्रं तदेव विज्ञेयं -- ॥”)पात्राणां विधिर्यथा, --“हेमपात्रेण सर्व्वाणि लभते चेति तान्मुने ! ।अर्घ्यं दत्त्वा तु रौप्येण आयूराज्यसुतान् लभेत् ॥ताम्रपात्रेण सौभाग्यं धर्म्मं मृण्मयसम्भवैः ।वार्क्षपात्राणि रम्याणि नैष्ठिकादिषु कारयेत् ॥शैलानि क्रूरजातीनां रक्तानि सर्व्वकामिनाम् ।धातूत्तमानि पात्राणि नृपराष्ट्रविवृद्धये ॥त्रपुसीसकलौहानि अन्त्यजादिषु कारयेत् ।विवाहयज्ञश्राद्धेषु प्रतिष्ठासु विशेषतः ॥पात्राणाञ्चाद्वरः कार्य्यः पात्राण्येवोत्तमानि च ।पात्रेषु पृथिवी दुग्धा सुधा पात्रेषु धार्य्यते ॥देवाः सोमः क्रतुर्यज्ञः पात्राण्येवं विदुर्बधाः ।बलिहोमक्रियादीनि विना पात्रैर्न सिध्यति ॥तस्माद्यज्ञाङ्गमेवातः पात्रञ्चाग्र्यं महामुने ! ॥”तत्परिमाणादिर्यथा, --“षट्त्रिंशदङ्गुलं पात्रञ्चोत्तमं परिकीर्त्तितम् ।मध्यमं तत्त्रिभागेण भागं न्यसमीरितम् ॥वस्वङ्गुलप्रमाणन्तु तत् पात्रं कारयेत् क्वचित् ।नानाविचित्ररूपाणि पौण्डरीकाकृतीनि च ॥शङ्खनीलोत्पलाकारपात्राणि परिकल्पयेत् ।रत्नादिरचितान् कुर्य्यात् काञ्चीमूलसुसञ्चितान् ॥यथाशोभं यथालाभं तथा पात्राणि कारयेत् ।विना पात्रेण यः कुर्य्यात् प्रतिष्ठायाज्ञिकींक्रियाम् ।विफला भवते सर्व्वा वाहनादिधनापहा ॥”इति देवीपुराणम् ॥ * ॥भोजनपात्राणि भोजनशब्दे द्रष्टव्यानि ॥

पात्र पु० न० अर्द्धर्च्चा० प्राति रक्षत्याधेयं पिबत्यनेन वापाष्ट्रन् । १ जलाद्याधारे भोजनयोग्ये २ अमत्रे अमरः ।अस्य स्त्रीत्वमपि षित्त्वात् ङीष् । विद्यादियुक्तेदानयोग्ये ३ ब्राह्मणे न० “ब्राह्मणं पात्रमाहुः” इति स्मृतिः ।४ यज्ञिये स्रुवादौ, तीरद्वयमध्यवर्त्तिनि ५जलाधारस्थाने ६ राजामात्ये च मेदि० । नाटकेऽभिनेये७ नायकादौ च न० हेमच० ८ मानभेदे वैद्यकम् । यज्ञियहोमादिसाधनपात्रलक्षणम् कात्या० श्रौ० भाष्ये ।“अथ पात्राणां लक्षणमुच्यते खादिरः स्रुवोऽङ्गुष्ठपर्ववृत्त पुष्करो नासिकावत् पर्वार्द्धखातो भवति । स्प्यश्च खादिरः खडगाकृतिररत्निमात्रः । खुचो बाहुमात्र्यो मूलदण्डास्त्वग्विला हंसमुखसदृशैकप्रणालिकायुक्ताः । पाणिमात्रपुष्कराधस्तात्खातयुक्ताश्च कार्य्याः । पालाशीजुहूः, उपभृदाश्वत्थी, वैकङ्कतीध्रुवा “एतेषां वृक्षाणामे-कस्य वा सर्वाः स्रुचः कारयेत्, बाहुमात्र्योऽरत्रिमा-त्र्यी वाग्राग्रास्त्वक्तोविला हंसमुख्यः” इत्यापस्तम्बः ।अग्निहोत्रहवणी वैकङ्कती, अग्निहोत्रस्रुवो वैकङ्कतः ।यैः पात्रैर्होमी न क्रियते तानि सर्वाणि वारणानिभवन्ति तानि चोलूखलमूषलकूर्चेडापात्रीपिष्टपात्रीपुरो-डाशपात्रीशम्याशृतावदानाभ्यूपवेषान्तर्द्धानकटप्राशित्रह-रणषड्यत्तब्रह्मासनादीनि । तत्रोत्रूखलादीनि वा-र्क्षाणि । कूर्चो बाहुमात्रः पीठाकारः । इड़ापात्रीपिष्टपात्रयौ अरत्निमात्र्यौ मध्यसंगृहीते । पुरोडाशपात्री प्रादेशमात्री समचतुरस्रा षड़ङ्गुलवृत्तखातवती ।शम्या प्रादेशद्वादशाङ्गुला प्राशित्रहरणं वृत्तमादर्शाकारंचतुरस्रं चमसाकारं वा तथैव द्वितीयमपिधानपात्रम्षडवत्तं चोभयत्र खातवत् । आसनानि चारत्निमात्रदीर्थाणि प्रादेशमात्रविपुलानि सर्वेषु पात्रेषु मूलाभि-ज्ञानार्थं वृन्तानि कार्य्याणि अनादेशे होमसाधनभूतानिपात्राणि वैकङ्कतानि भवन्ति यथा सोमयागे ग्रहचमस-द्रीणकलशादीनि तत्रापि हविर्धानाधिषवणफलकस-म्भरणीपरिप्लवादीन्यहोमसंयुक्तानि वारणान्येव षोड़-शिनः पात्रं खादिरं चतुरस्नम् अंश्वदाभ्यपात्रमौदु-म्बरं वचनात् बाजपेये सप्तदशानां सोमग्रहाणांपात्राणि वारणानि अहोमसंयुक्तत्वात् । सुराग्रहपात्रा-ण्यपि वारणानि शाखान्वरान्मृण्मयानि वा इत्येव-मादि सर्वमूहनीयम् । मूलं कात्या० श्रौ० १ । ३ । ३१ सूत्रादौदृश्यम् । कर्मप्रदीपे च “आज्यस्थाली च कर्त्तव्यातैजसद्रव्यसम्भवा । महीमयी वा कर्त्तव्या सर्वास्वा-ज्याहुतीषु च । आज्यस्थाल्याः प्रमाणं तु यथाकामन्तुकारयेत् । सुदृढ़ामव्रणां भद्रामाज्यस्थालीं प्रचक्षते ।तिर्य्यगूर्द्धं समिन्मात्रा दृढ़ा नातिवृहन्मुखी । मृण्-मय्यौड़म्बरी वापि चरुस्थाली प्रशस्यते । स्वशाखोक्तःप्रसुखिन्नो ह्यदग्धोऽकठिनः शुमः । न तिशिथिलःपाच्यो न चरुश्चारसस्तथा । इध्मजातीयमिघ्मार्द्धप्रमाणंमेक्षणं भवेत् । वृत्तं चाङ्गष्ठपृथ्वग्रमवदानक्रियाक्ष-मम् । एषैव दर्वी यस्तत्र विशेषस्तमहं ब्रुवे । दर्वी द्व्य-ङ्गुलपृथ्वग्रा तुरीयोऽनन्तमेक्षणम् । मूषलोलूखले वार्क्षेस्वायते सुदृढ़े तथा । इच्छाप्रमाणे भवतः शूर्पं वैणवमेव च । दक्षिणं वामतो बाह्यमात्माभिसुखमेव च ।बाहुमात्राः बरिधय ऋजवः सत्वचोऽव्रणाः । त्रयोभवन्ति शीर्णाग्रा एकेषान्तु चतुर्दिशम् । प्रागग्रावभितःपश्चादुदग्रमथवा परम् । न्यसेत् परिधिमन्यञ्चेदुदगग्रःस पूर्वतः” देवपूजाङ्गपात्रमानं देवीपु० उक्तं यथा“षट्त्रिंशदङ्गुलं पात्रञ्चोत्तम परिकीर्त्तितम् । मध्यमंतत्त्रिभागेण हीनं कन्यसमीरितम् । वस्वङ्गलप्रमाणन्तुतत्षात्रं कारयेत् क्वचित् । नानाविचित्ररूपाणि पौण्डरीकाकृतीनि च । शङ्खनीलोत्पलाकारपात्राणिपरिकल्पयेत् । रत्नादिरचितान् कुर्य्यात् काञ्चीमूलसुञ्च-ञ्चितान् । यथाशोभं यथालाभं तथा पात्राणिकारयेत् । विना पात्रेण यः कुर्य्यात् प्रतिष्ठा याज्ञिकीं क्रि-याम् । विफला भवते सर्वावाहनादिधनापहा”दानशब्दे दानपात्रलक्षणादिकं ३५२० पृ० उक्तम् ।पाकपात्रलक्षणादिकं पाकशब्दे ४२८३ पृ० दृश्यम् ।
https://sa.wikisource.org/wiki/वाचस्पत्यम्


కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు.
[An allograph pattara 'trough' is a glyph used in front of many types of animals including wild animals and composite animal glyphs. pātra ‘trough’; patthar ‘merchant’. It also connotes a 'guild'.]

पात्र pātra, (l.) s. Vessel, cup, plate; receptacle. [lw. Sk. id.] (Nepali) pātramu A utensil, ఉపకరణము. Hardware. metal vessels. (Telugu) பத்தல் pattal, n. பத்தர்¹ pattar 1. A wooden bucket; மரத்தாலான நீரிறைக்குங் கருவி. தீம்பிழி யெந்திரம் பத்தல் வருந்த (பதிற்றுப். 19, 23).
பத்தல் pattal , n. 1. A wooden bucket; மரத்தாலான நீரிறைக்குங் கருவி. தீம்பிழி யெந்திரம் பத்தல் வருந்த (பதிற்றுப். 19, 23). பத்தர்¹ pattar , n. 1. See பத்தல், 1, 4, 5. 2. Wooden trough for feeding animals; தொட்டி. பன்றிக் கூழ்ப்பத்தரில் (நாலடி, 257). paṭṭar-ai community; guild as of workmen (Ta.); pattar merchants; perh. vartaka (Skt.) Patthara [cp. late Sk. prastara. 

Ku. pathrauṭī f. ʻ pavement of slates and stones ʼ.(CDIAL 8858) Ta. paṭṭaṭai, paṭṭaṟai anvil, smithy, forge. Ka. paṭṭaḍe, paṭṭaḍi anvil, workshop. Te. paṭṭika, paṭṭeḍa anvil; paṭṭaḍa workshop.(DEDR 3865). pathürü f. ʻ level piece of ground, plateau, small village ʼ; S. patharu m. ʻ rug, mat ʼ; Or. athuripathuri ʻ bag and baggage ʼ; M. pāthar f. ʻ flat stone ʼ; OMarw. pātharī ʻ precious stone ʼ.(CDIAL 8857) Allograph Indus script glyph: pātra 'trough' in front of wild/domesticated/composite animals. pattar 'trough' (DEDR 4079) 4080 Ta. cavity, hollow, deep hole; pattar (DEDR 4080) Rebus: பத்தர்² pattar , n. < T. battuḍu. A caste title of goldsmiths. It was a smiths' guild at work on circular platforms of Harappa using tablets as category 'tallies' for the final shipment of package with a seal impression.


Kaŋsa [cp. Sk. kaŋsa; of uncertain etym., perhaps of Babylonian origin, cp. hirañña] 1. bronze Miln 2; magnified by late commentators occasionally into silver or gold. Thus J vi.504 (silver) and J i.338; iv.107; vi.509 (gold), considered more suitable to a fairy king. -- 2. a bronze gong Dh 134 (DhA iii.58). -- 3. a bronze dish J i.336; āpānīya˚ a bronze drinking cup, goblet M. i.316. -- 4. a "bronze," i. e. a bronze coin worth 4 kahāpaṇas Vin iv.255, 256. See Rhys Davids, Coins and Measures §§ 12, 22. -- "Golden bronze" in a fairy tale at Vv 54 is explained by Dhammapāla VvA 36 as "bells." -- It is doubtful whether brass was known in the Ganges valley when the earlier books were composed; but kaŋsa may have meant metal as opposed to earthenware. See the compounds. -- pattharika a dealer in bronze ware Vin ii.135 -- loha bronze Miln 267 Pattharika [fr. patthara] a merchant Vin ii.135 (kaŋsa˚).

Glyph (Middle glyph of the three-glyph inscription): Sign 48: kaśēru ‘the backbone’ (Bengali. Skt.); kaśēruka id. (Skt.) Rebus: kasērāʻ metal worker ʼ (Lahnda)(CDIAL 2988, 2989) L. awāṇ. kasērā ʻ metal worker ʼ, P. kaserā m. ʻ worker in pewter ʼ (both ← E with -- s -- ); N. kasero ʻ maker of brass pots ʼ; Bi. H. kaserā m. ʻ worker in pewter ʼ. (CDIAL 2988) கசம்¹ kacam , n. cf. ayas. (அக. நி.) 1. Iron; இரும்பு. 2. Mineral fossil; தாதுப்பொருள் (Tamil) N. kasār ʻ maker of brass pots ʼ; A. kãhār ʻ worker in bell -- metal ʼ; B. kã̄sāri ʻ pewterer, brazier, coppersmith ʼ, Or. kãsārī; H. kasārī m. ʻ maker of brass pots ʼ; G.kãsārɔ, kas m. ʻ coppersmith ʼ; M. kã̄sār, kās m. ʻ worker in white metal ʼ, kāsārḍā m. ʻ contemptuous term for the same ʼ. (CDIAL 2989)


Indus valley mystery. Archaeology and language ... - Bharatkalyan97

bharatkalyan97.blogspot.com/.../indus-valley-mystery-and-use-of-tablets...
Dec 6, 2011 - Pattharika [fr. patthara] a merchant Vin ii.135 (kaŋsa˚). (Pali) [An allograph pattara 'trough' is a glyph used in front of many types of animals ...

Many multiple (duplicated) hypertexts on Harappa ... - Bharatkalyan97

bharatkalyan97.blogspot.com/.../many-multiple-duplicated-hypertexts-o...
4 days ago - pattharika [fr. patthara] a merchant Vin ii.135 (kaŋsa˚).(Pali) cf. Pattharati [pa+tharati] to spread, spread out, extend J i.62; iv.212; vi.279; DhA ...

Dharma saṁjñā Corporate badges of Indus Script ... - Bharatkalyan97

bharatkalyan97.blogspot.com/.../dharma-samjna-corporate-badges-of-in...
Apr 26, 2016 - Pattharika [fr. patthara] a merchant Vin ii.135 (kaŋsa˚).(Pali) battuḍu. n. The caste title of all the five castes of artificers as vaḍla b*, carpenter.

Processions of hieroglyphs are classifiers of ... - Bharatkalyan97

bharatkalyan97.blogspot.in/.../processions-of-hieroglyphs-are_12.html
Apr 12, 2016 - See examples of Sumer Samarra bowls: http://bharatkalyan97.blogspot.in/2013/04/ ...... pattharika [fr. patthara] a merchant Vin ii.135 (kaŋsa˚).
bharatkalyan97.blogspot.in/2015/.../backbone-of-indus-script-corpora-tin.h...
May 10, 2015 - See: http://bharatkalyan97.blogspot.in/2015/02/maritime-meluhha-tin-road-links-far. ...... Pattharika [fr. patthara] a merchant Vin ii.135 (kaŋsa˚).

Ancient Near East bronze-age legacy: Processions ... - Bharatkalyan97

bharatkalyan97.blogspot.in/.../ancient-near-east-bronze-age-legacy_6.ht...
Jun 6, 2013 - pattharika [fr. patthara] a merchant Vin ii.135 (kaŋsa˚). ... See: http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-art-indus-writing.html ...

Bharatkalyan97

bharatkalyan97.blogspot.it/?view=classic
Bharatkalyan97. A homage to ...... http://bharatkalyan97.blogspot.in/2016/05/235- Rebus reading of .... pattharika [fr. patthara] a merchant Vin ii.135 (kaŋsa˚).

Composite animal Meluhha hieroglyph composition as ciphertext ...

www.academia.edu/.../Composite_animal_Meluhha_hieroglyph_compos...
May 3, 2015 - (DEDR 2199) Rebus: kũdār 'turer' (Begali) http://bharatkalyan97.blogspot.in/2015/04/ ...... pattharika [fr. patthara] a merchat Vi ii.135 (kaŋsa˚).

From Being to Becoming, dhātugarbha, dagoba ... - Bharatkalyan97

bharatkalyan97.blogspot.ie/.../from-being-to-becoming-dhatugarbha.html?...
http://bharatkalyan97.blogspot.in/2014/07/locating-aratta-of-ancient-near-east.html ......pattharika [fr. patthara] a merchant Vin ii.135 (kaŋsa˚).(Pali) cf. Pattharati ...


పట్టడ (p. 0699) [ paṭṭaḍa ] paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు.పట్టెడ (p. 0703) [ paṭṭeḍa ] paṭṭeḍaA small anvil. దాగలి.கொல்லன்பட்டரை kollaṉ-paṭṭarai 
n. < id. +. Blacksmith's workshop, smithy; கொல்லன் லைக்கூடம்.கொல்லன் kollaṉ
n. < கொல்². [M. kollan.] Blacksmith; கருமான். மென்றோன் மிதியுலைக் கொல்லன் (பெரும்பாண். 207).பட்டடைப்பலகை paṭṭaṭai-p-palakai
n. < id. +. Wooden seat in a shop, for the shop-keeper; கடையில் வியாபாரிகள் ட்காரும் 
லகை. Loc.பட்டடைவரி paṭṭaṭai-vari
n. perh. id. +. An ancient tax; பழைய வரிவகை. (S. I. I. v, 95.)பட்டறை¹ paṭṭaṟai, n. < பட்டடை¹. 1. See பட்டடை, 1, 3, 5, 7, 8, 12, 14. 2. Machine; யந்திரம். 3. Rice-hulling machine; நெல்லுக் குத்தும் யந்திரம். Mod. 4. Factory; தொழிற்சாலை. Mod. 5. Beam of a house; வீட்டின் உத்திரம். 6. Wall of the required height from the flooring of a house; வீட்டின் தளத்திலிருந்து எழுப்ப வேண்டும் அளவில் எழுப்பிய சுவர். வீடுகளுக்குப் பட்டறை மட்டம் ஒன்பதடி உயரத்துக்குக் குறை யாமல் (சர்வா. சிற். 48).பட்டறை² paṭṭaṟai
n. < K. paṭṭale. 1. Community; சனக்கூட்டம். 2. Guild, as of workmen; தொழிலாளர் சமுதாயம்.

பட்டடை¹ paṭṭaṭain. prob. படு¹- + அடை¹-. 1. [T. paṭṭika, K. paṭṭaḍe.] Anvil; அடைகல். (பிங்.) சீரிடங்காணி னெறிதற்குப் பட்ட டை . 2. [K. paṭṭaḍi.] Smithy, forge; கொல்லன் களரி. 

Ta. paṭṭaṭai, paṭṭaṟai anvil, smithy, forge. Ka. paṭṭaḍe, paṭṭaḍi anvil, workshop. Te. paṭṭika, paṭṭeḍa anvil; paṭṭaḍa workshop. (DEDR 3865) *prastr̥ta ʻ spread out ʼ. [Cf. prástīrṇa -- AV. -- √str̥]
Pa. patthaṭa -- ʻ spread out ʼ, Pk. patthaḍa -- ; Si. pataḷa°tuḷa ʻ diffused ʼ.(CDIAL 8867) *prastarapaṭṭa ʻ stone slab ʼ. [prastará -- , paṭṭa -- 1]
Ku. pathrauṭī f. ʻ pavement of slates and stones ʼ.(CDIAL 8858)
 prastará m. ʻ anything strewn, grass to sit on ʼ RV., ʻ flat surface ʼ Mn., ʻ (v.l. prastāra -- ) plain ʼ Hariv., ʻ rock, stone ʼ Hit. [√str̥]
K. pathur°thuru (dat. °tharas°tharis) m. ʻ levelled area, bare floor ʼ, pathürü f. ʻ level piece of ground, plateau, small village ʼ; S. patharu m. ʻ rug, mat ʼ; Or.athuripathuri ʻ bag and baggage ʼ; Bi. pāthar ʻ outside of edge of felly when flat (not bevelled), sowing wide apart ʼ; G. pāthrɔ m. ʻ cut grass lying in a field ʼ; M.pāthrā m. ʻ a line (of plants &c.) set out to dry ʼ; Si. patara ʻ anything that spreads itself ʼ (or < prastāra -- ); -- Pa. Pk. patthara -- m. ʻ stone ʼ, S. patharu m., L. (Ju.) pathar m., khet. patthar, P. patthar m. (→ forms of Bi. Mth. Bhoj. H. G. below with atth or ath), WPah.jaun. pātthar; Ku. pāthar m. ʻ slates, stones ʼ, gng.pāth*lr ʻ flat stone ʼ; A. B. pāthar ʻ stone ʼ, Or. pathara; Bi. pātharpattharpatthal ʻ hailstone ʼ; Mth. pātharpathal ʻ stone ʼ, Bhoj. pathal, Aw.lakh. pāthar, H.pātharpattharpatharpatthal m., G. pattharpathrɔ m.; M. pāthar f. ʻ flat stone ʼ; Ko. phāttaru ʻ stone ʼ; Si. patura ʻ chip, fragment ʼ; -- S. pathirī f. ʻ stone in the bladder ʼ; P. pathrī f. ʻ small stone ʼ; Ku. patharī ʻ stone cup ʼ; B. pāthri ʻ stone in the bladder, tartar on teeth ʼ; Or. pathurī ʻ stoneware ʼ; H. patthrī f. ʻ grit ʼ, G. pathrī f.
*prastarapaṭṭa -- , *prastaramr̥ttikā -- , *prastarāsa -- .
Addenda: prastará -- : WPah.kṭg. pátthər m. ʻ stone, rock ʼ; pəthreuṇõ ʻ to stone ʼ; J. pāthar m. ʻ stone ʼ; OMarw. pātharī ʻ precious stone ʼ.(CDIAL 8857) *prastarati ʻ spreads out ʼ. [prástr̥ṇōti AV. -- √str̥]
Pa. pattharati tr. ʻ spreads out, scatters ʼ, Pk. pattharaï patthuraï; L. (Ju.) patharaṇ ʻ to spread, turn over ʼ; Mth. pathrab intr. ʻ to lie scattered ʼ; G. pātharvũ tr. ʻ to spread ʼ; Si. paturanavā ʻ to spread abroad, proclaim ʼ (whence caus. paturuvanavā and intr. pätirenavā ʻ to be extended ʼ); Md. faturān ʻ to spread out ʼ; -- Pk. pattharia<-> ʻ spread out ʼ; Si. pätali ʻ flat, level, plain ʼ (rather than < pattralá -- ). -- See *prastārayati, *prastr̥ta -- .
Addenda: *prastarati: S.kcch. pātharṇū ʻ to spread ʼ; caus. Ko. pātlāytā ʻ spreads out (bed, etc.) ʼ S. M. Katre, Md. faturuvanī tr. ʻ spreads ʼ, feturenī intr. (absol.feturi).(CDIAL 8860) *prastaramr̥ttikā ʻ stones and clay ʼ. [prastará -- , mŕ̊ttikā -- ]
Bi. pathrauṭīpathraṭiyā ʻ clay mixed with fine gravel ʼ.(CDIAL 8861)

Three-headed: elephant, buffalo, bottom jaw of a feline. NS 91.02.32.01.LXXXII. Dept. of Archaeology, Karachi. EBK 7712
Hieroglyph: karabha 'trunk of elephant' (Pali) ibha 'elephant' (Samskritam) Rebus: karba 'iron' rango 'buffalo bull' Rebus: ranga 'pewter, solder' kola 'tiger' Rebus: kol 'working in iron'


Ligatured glyph on copper tablet. m571B (serpent-like tail, horns, body of ram, elephant trunk, hindlegs of tiger). Hieroglyph: miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep' Rebus: meD 'iron' poLa 'zebu' Rebus: poLa 'magnetite' paTam 'snake hood' Rebus: padm 'sharpness' karabha 'trunk of elephant' (Pali) Rebus: karba 'iron'

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


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

Material: terra cotta Dimensions: 5.24 height, 4.86 width Harappa Harappa Museum, H93-2093 Meadow and Kenoyer, 1994 On the right is feline figurine with male human face. The ears, eyes and mouth are filled with black pigment and traces of black are visible on the flaring beard that is now broken. The accentuated almond shaped eyes and wide mouth are characteristic of the bearded horned deity figurines found at Harappa and Mohenjo-daro (no. 122, 123). This figurine was found in a sump pit filled with discarded goblets, animal and female figurines and garbage. It dates to the final phase of the Harappan occupation, around 2000 B. C.
Harappa, Lot 5063-1 Harappa Museum, H94-2311 Material: terra cotta Dimensions: 5.5 cm height, 12.4 cm length, 4.3 cm width 
Slide 44. harappa.com Elephant figurine head with painted designs from Harappa. It is unknown whether elephants were domesticated in the Indus Civilization. However, one of the few elephant figurines from Harappa is a head with large stylized ears and red and white stripes painted across the face. This may mirror the custom of decorating domesticated elephants (red and white are common colors) for ceremonies or rituals that is still practiced in South Asia. Elephant bones have also been found at Harappa. Approximate dimensions (W x H(L) x D): 5.4 x 4.8 x 4.6 cm. (Photograph by Richard H. Meadow)". Harappa, Lot 800-01 Harappa Museum, H87-348. "Elephant head with stylized wide spread ears. Traces of red and white paint bands are visible on the face. Painting of elephants for ritual processions is a common practice in traditional India and the main colors are red and white. This figurine may represent a tame elephant or an elephant that is being marked for sacrifice. Hand formed and incised. Material: terra cotta." 


Dürer's Rhinoceros, 1515.jpg
Artist
Year
1515
Type
woodcut
Dimensions
24.8 cm × 31.7 cm (9.8 in × 12.5 in)

S. Kalyanaraman
Sarasvati Research Center
May 7, 2016


































SoniaG National Herald ghotala;FIR filed on illegal allotment of Rs.100 cr. prime Panchkula land to AJL

$
0
0

First FIR in National Herald land deal in Panchkula, trouble for Gandhis

by May 7, 2016
Fresh trouble is brewing for the Gandhi family, with the Haryana state government filing a First Information Report (FIR) for the illegal allotment of prime land in Panchkula, estimated to be worth roughly Rs 100 crore, to the Associated Journals Ltd (AJL). AJL is the parent company of National Herald, the now defunct mouthpiece of the Congress Party.

The move follows a Firstpost expose of 29 December 2015 detailing the file movement that showed how former chief minister Bhupinder Singh Hooda overturned legal and official advice from within his government to first illegally re-allott the plot, then condone delays and defaults, even going so far as to extend additional unwarranted and unprecedented favors, including “camouflage aid to the firm”.
]Rahul and Sonia Gandhi. File photo. PTIRahul and Sonia Gandhi. File photo. PTI
The FIR (No. 3 of 2016) has been registered in the State Vigilance Bureau (SVB) Police Station, Panchkula, against officials of AJL, the then chairman (Hooda himself) of the Haryana Urban Development Authority (HUDA), the then chief administrator of HUDA and others, under Sections 409, 420, 120B of the Indian Penal Code along with Section 13 of the Prevention of Corruption Act 1988. The SVB is the main investigative unit of the Vigilance Department.

However, it is learnt that the state government has decided to refer the case to the CBI rather than investigate it independently. This is because the case requires an expanded jurisdiction as AJL has offices across the country and also because it involves several powerful politicians.

The FIR, which reads like a synopsis of the Firstpost expose translated in Hindi, alleges abuse of power to fraudulently prepare false records to allot the plot at a lower rate, causing a loss of Rs 62 lakh to the state exchequer. The issue of “camouflage aid” has been highlighted. This is the first FIR against land allotment to AJL and its outcome will have a bearing on the case filed by BJP MP Subramanian Swamy in a Delhi court against the Gandhis for allegedly usurping the assets of AJL (details below).

Panchkula plot history

The institutional site No C-17, Sector 6, Panchkula measuring 3,500 square metres, was first allotted to AJL on 24 August 1982 for the purpose of publishing a newspaper but had to be resumed (taken back by the state government) when AJL failed to construct even after 10 years of possession.

Persistent attempts by AJL to restore the allotment failed during the tenure of the Congress regime under chief ministers Bhajan Lal and Bansi Lal because they chose to follow the rule book. However, matters took a favorable turn for AJL after Bhupinder Singh Hooda took over as chief minister and immediately began to throw legal issues to the winds.

The sequence of events recorded in AJL's Panchkula file history with HUDA shows that the intent behind acquiring the institutional plot was purely that of asset acquisition rather than the stated purpose of running a newspaper since construction on the plot - that was acquired in 1982, resumed in 1996 and later illegally re-allotted in 2005 by a the Hooda regime - took place only after 31 years in 2013, and only after exhausting all further leverage options. Even today, though the construction of the building may be complete, Navjivan, the Hindi daily that was supposed to be published from there, is nowhere in sight.

FIR fuels AJL matter

In 2013, economist, lawyer and BJP leader Subramanian Swamy took the Gandhis, their companies and associated persons to court on charges of cheating and breach of trust to grab valuable land assets across Lucknow, New Delhi, Mumbai, Indore, Bhopal and Panchkula under AJL.

As per the complaint filed in the court of the metropolitan magistrate, the Indian National Congress first granted an interest-free loan of Rs 90.25 crore ($13 million) to AJL, owner of the National Herald newspaper which was established in 1938 by Jawaharlal Nehru with the support of 5,000 other freedom fighters who also became shareholders.

Soon after, a closely held company, Young Indian (YI) was incorporated on 23 November, 2010 with a capital of Rs 50 lakh. On 13 December, 2010, Rahul Gandhi was appointed director of YI while Sonia Gandhi joined the board on 12 January, 2011. Sonia and Rahul Gandhi together hold 76 percent equity in Young Indian while the rest is equally held by Congress leaders Motilal Vora and Oscar Fernandes (12 percent each). YI has been described by Rahul Gandhi's office as a "not-for-profit company" which has “commercial” operations.

On 26 February, 2011, AJL allegedly approved the transfer of its Rs 90.25 crore loan along with all its properties (alleged to be now worth up to about Rs 5000 crore ($740 million) to YI. Swamy has alleged that the loan was either not repaid, or repaid in cash, which is in violation of Section 269T of the Income Tax Act, 1961.

Motilal Vora has been the chairman and managing director of AJL since 22 March, 2002. The company had 1,057 shareholders as of 29 September 2010, as per the annual return filed with the Registrar of Companies.

Congress President Sonia Gandhi, her son Rahul Gandhi, party leaders Motilal Vora, Oscar Fernandes, Suman Dubey, Sam Pitroda and YI are all accused in the matter (for which they had to make a personal appearance in the Patiala House courts on 19 December 2015.

Other Hooda probes also connect to Gandhis

Hooda is already under probe by the Justice SN Dhingra Commission for his role in the illegal grants of licences to hundreds of private companies, including Robert Vadra's land case, involving his company Skylight Hospitality and DLF.

A CBI enquiry into 14 other plots allotted in violation of due process by Hooda is already ongoing on the reference of the state government.

The Panchkula land allotment, which records all the persistent, violations committed during the UPA's term at the Centre with a Congress regime in the state, suggests the Congress has a lot of explaining to do for its wanton political patronage of AJL.

Initially, both the Gandhis and Hooda were daring the government to initiate inquiries to establish allegations of wrongdoing. Now that these inquiries are on full swing, both parties have started accusing the BJP governments at the centre and in Haryana of pursuing vendetta politics.
http://www.firstpost.com/printpage.php?idno=2770172&sr_no=0

No guilty will be spared '1st or last family', says Parrikar. NaMo, nationalise kaalaadhan.

$
0
0

AgustaWestland chopper scam: No guilty will be spared ‘1st or last family’, says Parrikar

New Delhi: Defence Minister Manohar Parrikar arrives to attend a cabinet meeting at Parliament Library in New Delhi on Wednesday. PTI Photo by Kamal Kishore (PTI5_4_2016_000253B)Defence Minister Manohar Parrikar (PTI Photo)
Ramping up the attack against the Gandhi family on AgustaWestland issue, Defence Minister Manohar Parrikar Saturday said the government will not hesitate to take action against them if they are proven guilty, asserting no one is above law, whether “first or the last family”.
He also took a dig at Arvind Kejriwal for his remarks that the Modi government does not have “enough courage” to arrest Sonia Gandhi, saying the Delhi Chief Minister was feeling left out because he did not get any media publicity for the last 10 ten days when the focus was on the VVIP chopper scam.
“I feel no one is above the law. So whether it is the last family or the first, I don’t see any reason why anyone should be given a differential treatment, provided you have proper legal evidence,” Parrikar told.
He was replying to a query on whether the government could take on the Gandhi family, which is often referred to as the first family of Indian politics.
The Minister, while referring to his statement in the Lok Sabha in which he hoped to do what could not be done in the Bofors case, said, “We have the intention and seriousness and I will ensure that proper and good attempts are made. So there is every possibility we may be able to (do).”
While the then Prime Minister Rajiv Gandhi’s name had cropped up in the Bofors’ scandal of 1989, subsequent investigations had failed to authentically pinpoint any links.
Parrikar had said former Air chief S P Tyagi and Gautam Khaitan are “small people” who “simply washed their hands in a flowing ganga (of corruption)” and that the government will “find out where the river was going”.
Parrikar trashed Kejriwal’s outburst that Prime Minister Narendra Modi does not have “enough courage” to arrest Sonia Gandhi and that the BJP and Congress have an “alliance in corruption”.

“It is just a publicity stunt. Kejriwal was jumping to the fray to get attention. For the last 10 days, picture of Prime Minister Modi, Sonia Gandhi for wrong reasons, and at times mine were appearing in the media. To stay dry without publicity for ten days is a big thing for him (Kejriwal),” Parrikar added.
Kejriwal had alleged, “The Italian Court order also has names of Sonia Gandhi, Ahmed Patel, certain officers and Congressmen, but Modi is not able to gather enough courage to arrest Sonia Gandhi, to ask her even two questions, to interrogate her.”http://indianexpress.com/article/india/india-news-india/agustawestland-chopper-scam-manohar-parrikar-no-guilty-will-be-spared-1st-or-last-family-2789292/

Parrikar rejects Congress demand for SC probe, says will track payoffs

parrikar, manohar parrikar, agustawestland, congress, congress parliament, parliament, agustawestland parliament, parliament news, india newsDefence Minister Manohar Parrikar speaks in the Lok Sabha in New Delhi on Friday. (PTI Photo/ TV grab)
Rejecting the Congress demand for a Supreme Court-monitored inquiry into the AgustaWestland helicopter deal, Defence Minister Manohar Parrikar Friday vowed to track down the recipients of alleged kickbacks.
Parrikar, responding to a discussion on a calling attention motion in the Lok Sabha on the issue, said: “I will ensure that the CBI and ED do their job.”
“I hope members are satisfied and they will support the Government in finding the truth…The truth may lead to many unwanted realism…What we could not do in Bofors, may be we will do it in AgustaWestland…So, it is basically logical that money has been paid to someone from the other side, not from this side (Treasury benches). That part, I think, has been clearly agreed,” he said.
Sonia Gandhi was seated right across and her son Rahul Gandhi a row behind her, when Parrikar and BJP members Nishikant Dubey and Anurag Thakur mounted a blistering attack on her and the Congress-led UPA regime.
Both led a walkout by the Congress to press for an SC-monitored inquiry. “We want Supreme Court, Supreme Court, Supreme Court,” the Congress members shouted in unison as they trooped out. In the charged atmosphere, ruling NDA members could be seen heckling and gesturing to them to leave with a few using an unparliamentary expression too.
The walkout may have enabled the Congress to make its point but, in the process, it left the field wide open for Parrikar. He was checked by Mohammad Salim of the CPI(M) and Asaduddin Owaisi (MIM) a bit but was able to hold forth.
The Defence Minister said the tender was submitted by AgustaWestland but the contract was given to UK-based Agusta Westland International Ltd (AWIL), which was not Original Equipment Manufacturer (OEM). “Actually, there are so many irregularities,” he said, “ I am shocked and this is the biggest shock for me. How could you have given an order and accepted the tender of a company to whom you have not given the tender? I feel one paper is enough for the CVC. They had lost sense of proportion. They thought that they will be permanently in the ruling. The smell of money or the sight of Euro probably was so attractive or intoxicating that forgot about small little things”.
“We will definitely recover (the) bribe — we will recover something like 398 million Euros, which is the damage we are claiming”, he said, adding, “This process will start now”. Referring to the Italian court proceedings, he said, “With this judgment, the criminal conspiracy is established. We will now get the documents very fast”.
Parrikar kept pointing at Congress benches, mentioned even “AP” (the initials in a handwritten note purportedly written by a middleman which the Opposition allegs refers to Ahmed Patel. Patel has strongly denied this and the middleman Christian Michel has distanced himself from the note).
The Defence Minister maintained that the “entire corruption” in the case took place during the UPA regime. He said while the decision on the contract was taken in 2010, Air chief S P Tyagi had retired in 2007. “Who gave order in 2010?… How much that person has got we have to find that out…. He (Tyagi) was not there then”, the Defence Minister said. Tyagi might “might have got just ‘chillar’ (loose change)”.
Tyagi and Gautam Khaitan, according to him, were “small people” who just happened to wash their hands in a flowing ganga (behti ganga).” However, the Government will “find out where the river was going”, the minister declared.
He said: “An investigation is underway with regard to those who washed hands in the flowing Ganga. Those who wash hands in the Ganga have an idea about temperature of the water, how fast the water is flowing. Based on that, we are assessing whether water was cold or hot, whether the water had Hindi, English, Italian or German and what was the issue”.
Parrikar said the decision to prescribe a higher cabin height of 1.8 m of the helicopter was taken by the UPA regime on May 9, 2005. He placed on the table of the House the minutes of the meeting that was chaired by the then NSA M K Narayanan. Making 1.8 metre height of the cabin mandatory ensured that only AgustaWestland could qualify.
He said the then Defence Minister A K Antony was compelled to send the files to the CBI only when he realised that he would stand “disrobed of sainthood” after a top official of Finmeccanica, the parent company of AgustaWestland, was arrested in Italy in connection with bribery in the deal.
Regarding the Congress claim that the Italian judge had said that there was no evidence against Sonia, the Defence Minister said the judge had said that it was for India to investigate.
Parrikar claimed there was an attempt to destroy evidence — a “mysterious” fire took place at Air Force headquarters on July 3, 2014. He said all files were burnt but three related to the AgustaWestland deal were saved as those had been kept by an official in his locked drawer.
BJP’s Anurag Thakur claimed that “recently, a senior leader of the Congress had gone to meet a middleman who lives in Dubai.”
He alleged that the “then SPG chief, the NSA or the Defence Secretary – they are all occupying constitutional positions today”. They were provided with immunity, he said, so that they cannot be questioned…today, somebody is a governor, somebody the CAG.”
In an apparent reference to Brajesh Mishra, Thakur’s party colleague Nishikant Dubey said one could figure out now why the Congress give Padma Vibhushan to the person who had been the principal secretary in the PMO in 2003. He made it clear, “We did not give Padma Vibhushan to him”.
http://indianexpress.com/article/india/politics/efforts-were-made-by-previous-upa-govt-to-favour-agustawestland-parrikar-in-lok-sabha/

Manohar Parrikar on AgustaWestland probe: Invincible hand guided action or inaction

The political firestorm over alleged payoffs in the AgustaWestland helicopter deal intensified Wednesday when Defence Minister Manohar Parrikar targeted the Congress leadership, saying “it appears that an invincible hand was guiding the action or inaction of CBI and ED… the country wants to know who instigated, who supported and who benefited from the corruption… we cannot let this pass”.
An angry Congress, which repeatedly clashed with the ruling party during a short-duration discussion in Rajya Sabha on the helicopter deal, later staged a walkout after its demand for a Supreme Court-monitored probe was rejected by the government.
A K Antony, who was the UPA Defence Minister, took on the government saying “complete the cases, blacklist the company, take strongest action against whoever has taken money… if you have evidence, take action, prosecute, but don’t threaten us”.
He said he had immediately acted after allegations of corruption surfaced in 2012. He also claimed it was the Vajpayee government which had taken all “major” decisions, including those on the parameters of cabin height and flying altitude of the helicopters.
Replying to the discussion, Parrikar said: “A litany of omissions and commissions at various stages of the decision-making process indicates mala fide and corrupt actions, driven by the goal to favour a particular vendor… the Italy court has said there are omissions in various stages of decision-making. The fact that corruption has occurred has been brought out in extensive details in the recent judgment of the Italy court.”
“As far as the investigation by the CBI and ED is concerned, it is strange that the CBI which registered an FIR in the matter on 12th March, 2013, based on the reference made by the Ministry of Defence on 12th February, 2013, did not bother to forward a copy of the FIR to Enforcement Directorate for nine months… Even more strangely, the Enforcement Directorate did not act on the FIR until July 2014 (after the exit of the UPA),” he said.
Earlier, BJP leader Subramanian Swamy demanded recording of a statement from former Prime Minister Manmohan Singh. This time, he did not name Sonia Gandhi but his remarks alluding to the Congress leadership drew repeated protests from the main Opposition party.
Ahmed Patel of the Congress, who finds himself at the centre of the row because of the initials ‘AP’ on a hand-written note cited in the Milan court judgment, also sought a probe. He declared he would quit Rajya Sabha and public life if any wrongdoing on his part was established.
Objecting to Parrikar reading from a prepared statement in his reply, Leader of Opposition Ghulam Nabi Azad said this was an “insult” and the minister’s reply contained only allegations. When other Congress members too objected, Deputy Chairman P J Kurien said a minister had the right to read from a prepared text.
Reiterating that the government will “leave no stone unturned” to bring the corrupt to justice, Parrikar said the CBI is already on a money trail and they are tracing “where has the money gone”.
http://indianexpress.com/article/india/india-news-india/manohar-parrikar-on-agustawestland-row-invisible-hand-guided-action-or-inaction-of-probe-2784623/

Published: May 7, 2016 11:01 IST | Updated: May 7, 2016 17:14 IST  

VVIP chopper scam: Kejriwal says Modi is scared of arresting Sonia

  • PTI
  • Delhi Chief Minister Arvind Kejriwal addresses an AAP rally at Jantar Mantar in New Delhi on Saturday. Photo: R.V. Moorthy
    The Hindu
    Delhi Chief Minister Arvind Kejriwal addresses an AAP rally at Jantar Mantar in New Delhi on Saturday. Photo: R.V. Moorthy
  • AAP supporters stage a demonstration at Jantar Mantar in New Delhi on Saturday. Photo: R.V. Moorthy
    The Hindu
    AAP supporters stage a demonstration at Jantar Mantar in New Delhi on Saturday. Photo: R.V. Moorthy

“Modi had said that the corrupt will be sent to jail. It has been two years and not a single person has been sent to jail”.

Launching an attack on the Narendra Modi government and the Congress on the AgustaWestland VVIP chopper scam, Delhi Chief Minister Arvind Kejriwal on Saturday said the Prime Minister does not have “enough courage” to arrest Sonia Gandhi and that the two parties have an “alliance in corruption“.
Questioning the Congress on the issue of PM’s alleged “fake” degree, Mr. Kejriwal said the two parties had a “setting” that the BJP government will not arrest Ms. Gandhi in the chopper scam and the Congress will not raise the matter of Mr. Modi’s educational qualification.
“The Italian court order also has names of Sonia Gandhi, Ahmed Patel, certain officers and Congressmen, but Modi is not able to gather enough courage to arrest Sonia Gandhi, to ask her even two questions, to interrogate her...
“Modiji you have been made PM to take action not to leave the task for Italy court...Our chest would also be of 56 inch if you would have sent her to jail...when my PM says that Italy’s court is taking Gandhi’s name and not him....I want to ask Modiji why are you scared of her?” Mr. Kejriwal said, addressing a rally at Jantar Mantar in New Delhi.
Questioning the progress of the investigation in the chopper deal, Mr. Kejriwal alleged that there hasn’t been an “inch” of movement on the probe, despite the Modi government coming to power on the assurances that the corrupt will be taken to task.
“What investigation did they do in AgustaWestland case in two years? The Italian government completed investigation, filed the cases in court, judgment came and those who were involved in paying bribe were sent to jail.”
“When Anna agitation started, people wanted to change the government... they knew that both Congress and BJP are two sides of the same coin, but Modiji gave such wonderful speeches before Lok Sabha polls that people’s hopes were build that corruption will end,” Mr. Kejriwal said.
Noting that during the poll campaigns, Mr. Modi said that he will take action against Congress president’s son-in-law Robert Vadra for alleged irregularities in the land deal, but despite being in power for two years, and having state governments in Haryana and Rajasthan, he (Mr. Vadra) hasn’t been interrogated even once.
“Modi had said that the corrupt will be sent to jail. It has been two years and not a single person has been sent to jail...the country has been cheated and hence we had to again gather against their ‘alliance’ four years after we had gathered at the same place to protest the corruption of these two parties,” he said.
Mr. Kejriwal said while the CBI raided his office, it could not even interrogate Mr. Vadra.
“They got a CBI raid conducted on me but could not get anything beyond four mufflers in a day long raid. But there is no raid on Sonia Gandhi. Why is Modi scared of her? Before elections he used to say Vadra is Congress’ son-in-law, now it looks like even Modi has adopted him.
“The papers of his (Mr. Vadra’s) land scam are lying in Rajasthan. They have government in Haryana, Rajasthan and Centre. What are they waiting for? Why is there no action against him? CBI hasn’t called him even once because Modi doesn’t have courage.
“You arrest her, interrogate her for two days, the truth will come out automatically.
“Amit Shah says Soniaji please you tell us who who all took bribe. Manohar Parrikar says Soniaji you please tell who all have taken bribe. Is any interrogation conducted like this? If you would have told earlier that you both (Congress and BJP) were hand in glove nobody would have voted for you,” Mr. Kejriwal said.
He said that both parties possessed “secrets” of each other and claimed that the details of Mr. Modi’s degrees were given to them by Congress leaders from Gujarat, who were not “permitted” to raise the issue earlier by the Gandhi family.
“There is a very good setting. Modi has assured Congress that he will just abuse them but not arrest Gandhi in Agusta issue and Sonia Gandhi has assured him that his degree’s issue will not be raised by Congress.
“UPA was in power for 10 years and during those years they have kept secrets of Modi’s all scams. Modi knows that if Gandhi is arrested, Vadra is arrested, his secrets will also be in public domain,” he said.
Raising the degree issue once again, Mr. Kejriwal said the country will continue to respect him if he accepted that his degree was “fake”, but people will not tolerate fraud and forged degrees.
He said his party MLAs were arrested over trivial issues and demanded that Mr. Modi should also be treated like former Delhi Law Minister Jitendra Singh Tomar, who was arrested in an alleged fake degree row.
“His one such secret is his degree. He said in his affidavit that he did BA from DU and MA from Gujarat. I am not saying you need to be educated to be PM, people without degrees can also be talented....If he is 12th pass, we have no issues...if he says that the country would still respect him...but if he does cheating and fraud, forged degrees, country will not tolerate,” he said.
Over 300 AAP supporters detained
Over 300 AAP supporters and some party leaders were on Saturday detained as they on Saturday took out a protest march towards the residence of Prime Minister Narendra Modi alleging a BJP-Congress alliance in corruption.
Following a rally at Jantar Mantar, where Mr. Kejriwal and its top brass attacked Mr. Modi and his government, groups led by Sanjay Singh and Kumar Vishwas went to gherao residences of the Prime Minister and the Congress president.
Mr. Kejriwal left the venue before the protest march began.
Several AAP MLAs, including Deputy Speaker of the Delhi Legislative Assembly Bandana Kumar, participated in it.
Police, which had made extensive preparations by putting up three layers of barricades, detained senior AAP leaders Ashutosh, Mr. Sanjay Singh, Dilip Pandey along with party volunteers, and took them to Parliament Street police station.
“Over 300 people were detained from the first layer of barricade in Parliament Street as they started their march from Jantar Mantar. And over 100 were detained in the morning. They were a separate group who had reached near Tughlaq Road police station, which is near the PM’s residence, to protest.
“The protesters were detained under Section 144 of CrPC. They have all been taken to Parliament Street police station,” DCP, New Delhi, Jatin Narwal said.
Printable version | May 7, 2016 8:54:28 PM | http://www.thehindu.com/news/national/aap-protest-in-new-delhi-against-vvip-helicopter-scam/article8569354.ece
Viewing all 11034 articles
Browse latest View live


<script src="https://jsc.adskeeper.com/r/s/rssing.com.1596347.js" async> </script>