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Mohenjodaro, Chanhudaro tiger seals signify pattar 'goldsmith/artisan guild' of pattaṇa 'maritime port town'

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https://tinyurl.com/y8237zk9

On one seal, a feeding trough is shown in front of a tiger; on another seal, a kneeling adorant is shown in front of a tiger.

Both fronting hieroglyphs are hypertexts which signify: pattar  బత్తుడు 'feeding trough'; భక్తుడు. 'adorant, worshipper' rebus:  బత్తుడు battuḍu The caste title of all the five castes of artificers as వడ్లబత్తుడు a carpenter. 

Image result for mohenjodaro seal onagerm290 Mohenjo-daro seal. Decipherment: kola 'tiger' Rebus; kolle 'blacksmith' kol 'working in iron' kole.l 'smithy, temple' kolimi 'smithy, forge' PLUS pattar 'trough' Rebus: pattar 'guild of goldsmiths'. panja 'feline paw' rebus: panja 'kiln, furnace'
ṭāṅka ʻleg, thighʼ (Oriya) rebus:  ṭaṅka 'mint'
khar 'ass, onager' (Kashmiri) rebus: khār खार् 'blacksmith' khāra-- basta f. ʻ blacksmith's skin bellows ʼ (Kashmiri)(CDIAL 9424)
kharedo a currycomb (Gujarati) rebus: kharādī ‘ turner’ (Gujarati) Rebus: kharada खरडें daybook.(Marathi)

pāṭroṛo 'feeding trough' (Sindhi) on Indus Script Corpora rebus బత్తుడు battuḍu 'artificer' pattar 'goldsmith guild' https://tinyurl.com/y6vhrwsa which suggests a rebus reading of
pāṭroṛo 'feeding trough' (Sindhi) rebus: பத்தர்² pattarn. < T. battuḍu. A guild or title of goldsmiths.பத்தர்pattar, n. perh. vartaka. Merchants; வியாபாரிகள். (W.) Vikalpa rebus readings may be: paṭṭī 'inventory'; పట్ర  paṭra, patta 'village, hamlet, town'.

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

Rebus 2: పట్ర  paṭra . [Tel.] n. A village, a hamlet. పల్లెపట్ర villages and hamlets. H. iv. 108. పట్రవాండ్లు paṭra-vānḍlu. n. plu. A certain caste skin to the Boyas. Also called ఏకరివాండ్లు. பட்டி¹ paṭṭi, n. prob. படு¹-. 1. [K. M. paṭṭi.] Cow-stall; பசுக்கொட்டில். (பிங்.) 2. [K. M. paṭṭi.] Sheep-fold; ஆட்டுக்கிடை. (W.) 3. A measure of land, as sufficient for a sheep-fold; நிலவளவு வகை. (J.) 4. [K. paṭṭi.] Cattle-pound; கொண் டித்தொழ. 5. [T. paṭra, K. paṭṭi.] Hamlet, village; சிற்றூர். (நாமதீப. 486). 6. Place; இடம். (பிங்.) Ta. paṭṭi cow-stall, sheepfold, hamlet, village; paṭṭam sleeping place for animals; paṭṭu hamlet, small town or village; paṭṭiṉam maritime town, small town; paṭappu enclosed garden; paṭappai id., backyard, cowstall. Ma. paṭṭi fold for cattle or sheep. Ko. paṭy Badaga village. To. oṭy id. (< Badaga haṭṭi). Ka.paṭṭi pen or fold, abode, hamlet; paṭṭa city, town, village. Tu. paṭṭů nest. Te. paṭṭu abode, dwelling place. / Cf. Turner, CDIAL, no. 7705, paṭṭana-.(DEDR 3868) paṭṭana n. ʻ town ʼ Kauṭ., °nī -- f. lex. 2. páttana -- n. MBh. [Prob. ← Drav. T. Burrow BSOAS xii 383 and EWA ii 192 with ṭṭ replaced by IA. tt. But its specific meaning as ʻ ferry ʼ in S. L. P. B. H. does lend support to its derivation by R. A. Hall in Language 12, 133 from *partana -- (√pr̥ ~ Lat. portus, &c.). Poss. MIA. pattana -- , paṭṭana -- ʻ *ferry ʼ has collided with Drav. loanword for ʻ town ʼ]1. Pa. paṭṭana -- n. ʻ city ʼ, °aka -- n. ʻ a kind of village ʼ; Pk. paṭṭaṇa -- n. ʻ city ʼ; K. paṭan m. ʻ quarter of a town, name of a village 14 miles NW of Śrinagar ʼ; N. pāṭan ʻ name of a town in the Nepal Valley ʼ; B. pāṭan ʻ town, market ʼ; Or. pāṭaṇā°anā ʻ town, village, hamlet on outskirts of a big village ʼ; Bi. paṭnā ʻ name of a town ʼ; H. pāṭan m. ʻ town ʼ, G. pāṭaṇ n.; M. pāṭaṇ ʻ name of a town ʼ; Si. paṭuna ʻ town ʼ. -- Pa. paṭṭana -- n. ʻ harbour, port ʼ, Pk. paṭṭaṇa -- n.; H. paṭnīpā̆ṭaunīpāṭūnī m. ʻ ferryman ʼ; Si. paṭuna ʻ harbour, seaport ʼ.2. Pk. pattaṇa -- n. ʻ town ʼ, Si. patana. -- S. pataṇu m. ʻ ferry ʼ (whence pātaṇī m. ʻ ferryman ʼ, f. ʻ ferry boat ʼ); L. pattan, (Ju.) pataṇ m. ʻ ferry ʼ; P. pattaṇ ʻ ferry, landing -- place ʼ, pattaṇī°tuṇī m. ʻ ferryman, one who lives near a ferry ʼ; B. pātanī ʻ ferryman ʼ. (CDIAL 7705) பட்டிகை¹ paṭṭikain. cf. id. 1. Raft, float; தெப்பம். (திவா.) 2. Boat, dhoney; தோணி. (யாழ்அக.)

FS 72 Fig. 108 Chanhudaro seal. Person kneeling under a tree facing a tiger[Chanhudaro Excavations, Pl. LI, 18] 6118  Seal T-A-T ID 1743

Decipherment of Chanhudaro seal

Kneeling adorant: భక్తుడు. 'adorant, worshipper' rebus:  బత్తుడు battuḍu The caste title of all the five castes of artificers as వడ్లబత్తుడు a carpenter. కడుపుబత్తుడు one who makes a god of his belly. L. xvi. 230.  Five categories of artificers: పాంచాలము pāñcālamu pānchālamu. [Skt.] पंचाळ  pañcāḷa m (पांचाल S q. v.) A common term for five castes--सोनार, सुतार, लोहार, कांसार, पाथरवट. These all wear the जानवें.  (Marathi) பஞ்சகம்மாளர் pañca-kammāḷarn. < pañcantaṭṭāṉ, kaṉṉāṉ, ciṟpaṉ, taccaṉ, kollaṉதட்டான், கன்னான், சிற்பன், தச்சன் கொல்லன் என்ற ஐவகைப் பட்ட கம்மாளர். (சங். அக.) அஞ்சுபஞ்சலத்தார் añcu-pañcalattār, n. < அஞ்சு + பஞ்சாளத்தார். Pañca-kammāḷar, the five artisan classes; பஞ்சகம்மாளர். (I. M. P. Cg. 371.) Rebus:phaḍa फड 'manufactory, company, guild' 


Feeding trough in front of cattle (even wild animals)  pattar 'feeding trough' rebus: pattar, బత్తుడు battuḍu 'a guild, title of goldsmiths'. Ta. paṭṭai painted stripe (as on a temple wall), piebald colour, dapple.Ma. paṭṭa stripe. Ka. paṭṭe, paṭṭi id. Koḍ. paṭṭe striped or spotted (as tiger or leopard); paṭṭati n.pr. of dappled cow. Tu. paṭṭè stripe. Te. paṭṭe stripe or streak of paint; paḍita stripe, streak, wale.(DEDR 3877) Ta. pātti bathing tub, watering trough or basin, spout, drain; pattal wooden bucket; pattar id., wooden trough for feeding animals. Ka. pāti basin for water round the foot of a tree. Tu. pāti trough or bathing tub, spout, drain. Te. pādi, pādu basin for water round the foot of a tree(DEDR 4079)

Rebus 1: pāṭaṇ maritime town, port: పట్ర paṭra paṭra. [Tel.] n. A village, a hamlet. పల్లెపట్ర villages and hamlets. H. iv. 108. P. pattaṇ ʻ ferry, landing -- place ʼ, pattaṇī°tuṇī m. ʻ ferryman, one who lives near a ferry ʼ; B. pātanī ʻ ferryman ʼ.(CDIAL 7705)

maṇḍi 'kneeling position' Rebus: maṇḍā 'warehouse, workshop' (Konkani) māa'shrine; mandil 'temple' (Santali).

kola, kolum = a jackal (G.) kolhuyo (Dh.Des.); kulho, kolhuo (Hem.Des.); kroṣṭṛ (Skt.) kul seren = the tiger’s son, a species of lizard (Santali) kolo, koleā jackal (Kon.lex.) Rebus: kol metal (Ta.) kol = pan~calokam (five metals) (Ta.lex.) kol = pan~calokam (five metals); kol metal (Ta.lex.) pan~caloha =  a metallic alloy containing five metals: copper, brass, tin, lead and iron (Skt.); an alternative list of five metals: gold, silver, copper, tin (lead), and iron (dhātu; Nānārtharatnākara. 82; Man:garāja’s Nighan.t.u. 498)(Ka.) kol, kolhe, ‘the koles, an aboriginal tribe if iron smelters speaking a language akin to that of Santals’ (Santali) kol = kollan-, kamma_l.an- (blacksmith or smith in general)(Ta.lex.) kollar = those who guard the treasure (Ta.lex.) cf. golla (Telugu) khol, kholi_ = a metal covering; a loose covering of metal or cloth (G.) [The semant. expansions to kollāpuri or kolhāpur and also to 'kollāppan.t.i' a type of cart have to be investigated further]. kol ‘working in iron, blacksmith (Ta.); kollan- blacksmith (Ta.);kollan blacksmith, artificer (Ma.)(DEDR 2133)

dã̄ṭu = cross over; daṭ- (da.ṭ-t-) to cross (Kol.)(DEDR 3158) Rebus: dhātu ‘mineral’; rebus: dhatu = a mineral, metal (Santali)   

gaṇḍe ‘to place at a right angle to something else, cross, transverse’; gaṇḍ gaṇḍ ‘across, at right angles, transversely’ (Santali) [Note: A slanted line Lahn.d.a writing of accounts connotes a quarter; a straight line connotes ‘one’.] Rebus: kaṇḍa ‘fire-altar’ (Santali) kāṇḍa ‘iron’ as in ayaskāṇḍa ‘excellent iron’ (Pan.Skt.) kolmo ‘three’ (Mu.); rebus: kolimi ‘smithy’ (Te.)

kuṭī 'tree', 'water carrier' (Semantic determinative) rebus: kuṭhī 'smelter'


Indus Script inscriptions are a celebration of Yajña Varāha, deified artisans, seafaring Meluhha merchants, scribes of wealth accounting ledgers

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Commonwealth of Bhāratam Janam (RV 3.53.12) of Bronze Age is posited 

Indus Script inscriptions are a celebration of Yajña Varāha, deified artisans, seafaring Meluhha merchants, scribes of wealth accounting ledgers of Sarasvati Civilization


I suggest that the orthography of an 'kneeling adorant' on Indus Script Corpora signifies: 

Signs 45, 46 (ASI 1977 Corpus, Mahadevan)


In Bhāratīya Itihāsa, the tradition of celebrating the role of artificers in community economic activities is exemplified by the expression: बारा बलुते bārā balutē m pl The body of officers or public servants of a village. बलोतें, बलोतेदार, बलोता or त्या  balōtē, mbalōtēdāra, balōtā or tyā Commonly बलुतें &c.  Most of these 12 artificers trace their roots in the traditions evolved in Sarasvati Civilization during the days of Tin-Bronze revolution of the Bronze Age.


The most remarkable feature of the organization of economic activity in a community is that the wealth of the community is common wealth and equitably shared with the artisans who produce the wealth. This one feature alone explains the remarkable statistic that Ancient Indian in 1 CE accounted for 33% of global wealth (Gross Domestic Product, pace Angus Maddison's report to OECD to consider the formation of European Union). Most of the artificers were organized as guilds called śreṇi governed by śreṇi dharma, 'social responsibility' governed by the global ethic: tena tyaktena bhunjīthā'satisfaction of consumer preference through sacrifice, i.e. sharing.'

See: Bhāratam Janam of Rigveda (RV 3.53) mean 'metalcaster folk' in transition from chalcolithic to metals age 

http://tinyurl.com/pgt4le4 It is submitted that the expression भारतम् जनम् Bhāratam janam used in Rigveda (RV 3.53.12) may be interpreted as a reference to 'metalcaster folk'. This semantic (attested in etyma of Indian sprachbund) is explained in the context of the entire sukta with metaphors and references related to metalwork, chariots (perhaps even to war-trumpet, vāksasarparī). The full text of the sukta is appended with translation based on Sayana (and Wilson). It should be underscored that the expression भारतम् जनम् Bhāratam janam is the self-designation in Rigveda RV 3.53.12 indicating the life activities of the people of a maritime tract, seafaring merchants, as they were transiting from chalcolithic phase to metals age in urban living. 

Bhāratam Janam are seafaring people.

பாரதி² pārati , n. cf. பரதர்¹. Sailing vessel; மரக்கலம். (திவா.) பவப்புணரி நீந்தியாடப் பாரதிநூல் செய்த சிவப்பிரகாசக் குரவன் (சிவப். பிர. சோண. சிறப். பாயி.).பரதவர் paratavar, n. < bharata. 1. Inhabitants of maritime tract, fishing tribes; நெய்தனில மாக்கள். மீன்விலைப் பரதவர் (சிலப். 5, 25). 2. A dynasty of rulers of the Tamil country; தென் றிசைக்கணாண்ட ஒருசார் குறுநிலமன்னர். தென்பரத வர் போரேறே (மதுரைக். 144). 3. Vaišyas; வைசி யர். பரதவர் கோத்திரத் தமைந்தான் (உபதேசகா. சிவத்துரோ. 189) பாரதம்¹ pāratamn. < Bhārata. 1. India; இந்தியா தேசம். இமயகிரிக்குந் தென்கடற்கு மிடைப் பாகம் பாரதமே (சிவதரு. கோபுர. 51)

ससर्परी [p= 1192,3] f. (prob. fr. √ सृप् , of unknown meaning , accord. to Sa1y. 
वाच् ; accord. to others = " war-trumpet " , or " N. of a mystical cow ") RV.iii , 53 , 15 ; 16.

15 Sasarpari, the gift of Jamadagnis, hath lowed with mighty voice dispelling famine.
16 Sasarpari brought glory speedily to these, over the generations of the Fivefold Race. (Trans.Griffith)

The prayer of Vis'vāmitra protects Bharata ,'metalcaster' people (rica 12) is preceded by the following expression in the sukta: 

vajriṇe 'wielder of the thunderbolt, Indra'(rica 13)

Apart from references to Soma and pressing of Soma with adri (stones), the following references link to work of artisans (metalworkers, in particular):

bṛhatā rathena 'spacious chariot' (rica 1)
yatrā rathasya bṛhato nidhānaṃ 'standing in vast chariot' (rica 5, repeated in rica 6)

parazu...ukhA 'axe...cauldron' (rica 22)

The expression referring to kIkata: kiṃ te kṛṇvanti kīkaṭeṣu gāvo nāśiraṃ duhre na tapanti gharmam (rica 14) is explained in Nirukta 6.32 as people who do not perform worship, who are nAstika and in regions inhabited by anArya (See translation and Sayana's commentary on RV 3.53.14 appended). This expression includes a reference to gharma which is a synonym of the vessel called MahAvIra. gharma is a cauldron , boiler , esp. the vessel in which the milk-offering to the अश्विन्s is boiled RV. AV. vii VS. viii , 61 AitBr. i SBr. xiv La1t2y.(Monier-Williams). This gharma, mahAvIra vessel is shown with a face engraving.

Urn from Zarif Karuna, near Peshawar, with a human-like face including a big nose. Gandhara grave culture (Ghalegay V Period). Islamabad museum.

Hieroglyph: múkha n. ʻ mouth, face ʼ RV., ʻ entrance ʼ MBh.Pa. mukha -- m.; Aś.shah. man. gir. mukhato, kāl. dh. jau. °te ʻ by word of mouth ʼ; Pk. muha -- n. ʻ mouth, face ʼ, Gy. gr. hung. muy m., boh. muy, span. muí, wel. mūīf., arm. muc̦, pal. mu', mi', pers. mu; Tir.  ʻ face ʼ; Woṭ.  m. ʻ face, sight ʼ; Kho. mux ʻ face ʼ; Tor.  ʻ mouth ʼ, Mai. mũ; K. in cmpds. mu -- ganḍ m. ʻ cheek, upper jaw ʼ, mū -- kāla ʻ having one's face blackened ʼ, rām. mūī˜, pog. mūī, ḍoḍ. mū̃h ʻ mouth ʼ; S. mũhũ m. ʻ face, mouth, opening ʼ; L. mũh m. ʻ face ʼ, awāṇ. mū̃ with descending tone, mult. mũhã m. ʻ head of a canal ʼ; P. mū̃h m. ʻ face, mouth ʼ, mū̃hã̄ m. ʻ head of a canal ʼ; WPah.śeu. mùtilde; ʻ mouth, ʼ cur. mū̃h; A. muh ʻ face ʼ, in cmpds. -- muwā ʻ facing ʼ; B. mu ʻ face ʼ; Or. muhã ʻ face, mouth, head, person ʼ; Bi. mũh ʻ opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing) ʼ; Mth. Bhoj. mũh ʻ mouth, face ʼ, Aw.lakh. muh, H. muhmũh m.; OG. muha, G. mɔ̃h n. ʻ mouth ʼ, Si. muyamuva. -- Ext. -- l<-> or -- ll -- : Pk. muhala -- , muhulla -- n. ʻ mouth, face ʼ; S. muhuro m. ʻ face ʼ (or < mukhará -- ); Ku. do -- maulo ʻ confluence of two streams ʼ; Si. muhulmuhunamūṇa ʻ face ʼ H. Smith JA 1950, 179.; -- --  -- : S. muhaṛo m. ʻ front, van ʼ; Bi. (Shahabad) mohṛā ʻ feeding channel of handmill ʼ. -- Forms poss. with expressive -- kkh -- : seemúkhya -- . -- X gōcchā -- s.v. *mucchā -- .mukhará -- , múkhya -- , maukhya -- ; *mukhakāṣṭha -- , *mukhaghāṭā -- , mukhacandra -- , *mukhajāla -- , *mukhanātha -- , mukhatuṇḍaka -- , *mukhatuttikā -- , *mukhadhara -- , mukhaśuddhi -- , *mukhahāra -- , mukhāgra -- , *mukhāñcala -- , *mukhānta -- , *mukhāyana -- ; amukhá -- , abhimukhá -- , āmukha -- , unmukha -- , *nirmukha -- ; adhōmukha -- , ūrdhvamukha -- , kālamukha -- , gṓmukha -- , caturmukha -- , *paścamukha -- , valīmukha -- , śilīmukha -- , saṁmukhá -- , *sāṁmukha -- , sumukha -- .Addenda: múkha -- : WPah.kṭg. (kc.) mū̃ (with high level tone) m. (obl. -- a) ʻ mouth, face ʼ; OMarw. muhaṛaü ʻ face ʼ.(CDIAL 10158)

Rebus: mũh ‘ingot’ (Munda) mũh ʻ opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing) ʼ (Bihari)(CDIAL 10158)mleccha-mukha (Skt.) = copper; milakkha (Pali) mu~hu~ = face (S.); rebus: mu_ha ‘smelted ingot’ [mũh opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing)(Bi.)] 
Given the contextual references to artisanal work (metalwork, in particular), it is reasonable to infer that the expression Bhāratam Janam may be a reference to 'metalcaster people' as inferred from the following etyma of Indian sprachbund. The expression ima indra bharatasya putrā 'sons of bharata'(rica 24) need NOT refer to a particular person named 'bharata' but to a metalcaster, bharata, in general, as a collective designation.

Roots of Bhāratam Janam have to be traced from the banks of Rivers Sarasvati and Sindhu identifying their life-activity as metalworkers, metalcasters who made 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. (Marathi. Moleworth).

Cognate etyma (semantics of alloy) of Indian sprachbund: bhāraṇ = to bring out from a kiln (G.)  bāraṇiyo = one whose profession it is to sift ashes or dust in a goldsmith’s workshop (G.lex.) In the Punjab, the mixed alloys were generally called, bharat (5 copper, 4 zinc and 1 tin). In Bengal, an alloy called bharan or toul was created by adding some brass or zinc into pure bronze. bharata = casting metals in moulds; bharavum = to fill in; to put in; to pour into (G.lex.) Bengali. ভরন [ bharana ] n an inferior metal obtained from an alloy of coper, zinc and tin. baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)


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 or मधली 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 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.) (Marathi).       


బత్తుడు battuḍu Rebus: báḍḍhi वर्धकि, vaḍlaṅgi, baṛhaï, baḍaga, baḍhi, bāṛaï, varāha, 'title of five artisans' working in phaḍa फड, paṭṭaḍa 'metals manufactory'. A remarkable celebration and a tribute to the artificers ('five artisans') who created the wealth of the nation occurs in the tradition of veneration of  Yajña Varāha. I submit that Yajña Varāha is not only a Yajña Puruṣa exemplifying the knowledge system of the Veda tradition, but also a rebus Meluhha signifier of 'artificers': báḍhi 'castratedboar' rebus: báḍhi 'worker in iron and wood'. The pronunciation variants of the expression báḍhi in Bharatiya sprachbund (speech union) are seen in the semantics of cognate etyma across the sub-continent--báḍḍhi वर्धकि, vaḍlaṅgi, baṛhaï, baḍaga, baḍhi -- all words meaning 'artificers'.


See: బత్తుడు battuu báḍḍhi वर्धकि, valagi, bahaï, baaga, bahi, bāaï, varāha, 'title of five artisans' phaफड, paṭṭaa 'metals manufactory' venerated in Indus Script https://tinyurl.com/yct26xc6   

    Image result for endless knot bharatkalyan97m478a FS 34 Fig. 77 Kino tree. generally within a railing or on a platform.

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


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

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

 

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

 

khareḍo = a currycomb (G.) Rebus: kharādī ‘turner’ (Gujarati) kharada खरडें daybook of (Products out of) Iron furnace


Image result for shaft-hole axe bharatkalyan97

kambha 'wing' rebus: kammaṭa 'mint' PLUS kola 'tiger' rebus; kol 'working in iron' PLUS baḍhia = a castrated boar, a hog; rebus: baḍhi 'artisans who work both in iron and wood' PLUS śyena, 'eagle' rebus 1) śeṇvi 'general', 2) sena 'thunderbolt'. (i.e. gaṇḍa 'hero' PLUS भेरुण्ड 'formidable').

"Bronze Ax Head from Bactria, ca. 2000 BCE.....Bird-headed , boar and dragon, c.2300-1900 BCE.....A Magnificent and Highly Important Bactrian Silver and Gold Foil Shaft.....This shaft-hole axhead is a masterpiece of three-dimensional and relief sculpture. Expertly cast in silver and gilded with gold foil, it depicts a bird-headed hero grappling with a wild boar and a winged dragon. The idea of the heroic bird-headed creature probably came from western Iran, where it is first documented on a cylinder seal impression. The hero's muscular body is human except for the bird talons that replace the hands and feet. He is represented twice, once on each side of the ax, and consequently appears to have two heads. On one side, he grasps the boar by the belly and on the other, by the tusks. The posture of the boar is contorted so that its bristly back forms the shape of the blade. With his other talon, the bird-headed hero grasps the winged dragon by the neck. The dragon, probably originating in Mesopotamia or Iran, is represented with folded wings, a feline body, and the talons of a bird of prey.......Source: Shaft-hole axhead with a bird-headed demon, boar, and dragon [Central Asia (Bactria-Margiana)] (1982.5) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art"

http://balkhandshambhala.blogspot.in/2012/12/bactrian-seals.html

KSP_3901caṣāla,'snout' of Yajña Varāha is the embodiment of knowledge system signified by Devi Sarasvati, Vedic divinity vāk. 
Sculptural friezes of 
1. Sarasvati standing on the protruding tongue on Eran pratimā to signify Devi Sarasvati, Vedic divinity vāk; and 
2. Sarasvati seated, playing the Veena, on Khajuraho pratimā centred on caṣāla,'snout' 
caṣāla is godhuma 'wheat chaff' as a ring mounted on the yupa -- the fiery pillar of light and flame, skambha of Skambha Sukta AV X,7,8 -- of a Soma samsthā Yajña to infuse carbon element into molten metal to harden the alloy.


The mahout atop Yajña Varāha pratimā is a sculptural frieze signifying a śilpi, artificer holding out a fan of sippi,'molluscs'. On the cheek of the boar, next to the eye, is shown a Gandharva carrying amr̥tam pot, to signify wealth-producing activities of the artisans.























sīpī, बढई baḍhī, bāḍhi, baḍaga 'artificer, expert in iron, woodwork';  oḍ 'mason', oṛiyā 'navvy', signified as mollusc, boar, cobra-hood, adorant hypertexts on Indus Script.

Yajña Varāha is the quintessential pratimā  -- a continuum in Indus Script Cipher tradition of hypertexts -- to signify the contributions made by the artificers of the civilization to the wealth of the nation during Tin-Boonze revolution of the Bronze Age.



Rebus: 



बढई baḍhī m ( H) A carpenter. वाढया vāḍhayā m (वर्द्धकि S through H) A carpenter. 2 An affix of honor to the names of carpenters. (Marathi) వడ్రంగి, వడ్లంగి, వడ్లవాడు (vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్రంగిపిట్ట or వడ్లంగిపిట్ట vaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటము. వడ్లకంకణము vaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదము. వడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste.బత్తుడు battuḍu. n. A worshipper. భక్తుడు. The caste title of all the five castes of artificers as వడ్లబత్తుడు a carpenter. కడుపుబత్తుడు one who makes a god of his belly. L. xvi. 230. (Telugu) பத்தர்² pattar, n. < T. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று.  ōḍra1 m. ʻ a tribe of Śūdras ʼ Mn., ʻ name of a people ʼ MBh., uḍra -- , auḍ°. 2. *auḍrika -- ʻ of that people ʼ. [S. Lévi JA 1923, 20 ff., EWA i 132] 1. Pk. oḍḍa -- , uḍ° m. ʻ the land of Utkala ʼ, uḍḍa -- m. ʻ a caste of well -- diggers ʼ; S. oḍru m. ʻ a caste that make mud walls, blockhead ʼ, L. oḍ̠ m.; P. oḍ m. ʻ a tribe that clear out watercourses or build houses ʼ; Ku. oṛwoṛ ʻ mason ʼ, N. oṛ; Or. oṛa ʻ an aboriginal inhabitant of Orissa ʼ; G. oḍ m. ʻ a caste of Hindus who dig and carry earth and build mud houses ʼ.2. oḍḍia -- ʻ pertaining to Utkala ʼ; B. oṛiyāuṛ° ʻ an inhabitant of Orissa ʼ, Or. oṛiā, Bhoj. oṛiyā; EH. (Chattisgarh) oṛiyā m. ʻ navvy ʼ.ōḍradēśa -- .Addenda: ōḍra -- 1 ʻ a tribe of Śūdras ʼ Mn.: WPak.kṭg. ōḍ m. ʻ carpenter, name of a caste ʼ; Garh. oḍ ʻ mason ʼ.(CDIAL 2549)  ōḍradēśa ʻ land of the Oḍras ʼ MW. [ōḍra -- 1, dēśá -- ]Or. oṛisā ʻ Orissa ʼ, H. uṛīsā m.(CDIAL 2551)

śilpin ʻ skilled in art ʼ, m. ʻ artificer ʼ Gaut., śilpika<-> ʻ skilled ʼ MBh. [śílpa -- ]Pa. sippika -- m. ʻ craftsman ʼ, NiDoc. śilpiǵa, Pk. sippi -- , °ia -- m.; A. xipini ʻ woman clever at spinning and weaving ʼ; OAw. sīpī m. ʻ artisan ʼ; M. śĩpī m. ʻ a caste of tailors ʼ; Si. sipi -- yā ʻ craftsman ʼ.(CDIAL 12471)

 *sippī ʻ shell ʼ. [← Drav. Tam. cippi DED 2089] Pa. sippī -- , sippikā -- f. ʻ pearl oyster ʼ, Pk. sippī -- f., S. sipa f.; L. sipp ʻ shell ʼ, sippī f. ʻ shell, spathe of date palm ʼ, (Ju.) sip m., sippī f. ʻ bivalve shell ʼ; P. sipp m., sippī f. ʻ shell, conch ʼ; Ku. sīpsīpi ʻ shell ʼ; N. sipi ʻ shell, snail shell ʼ; B. sip ʻ libation pot ʼ, chip ʻ a kind of swift canoe ʼ S. K. Chatterji CR 1936, 290 (or < kṣiprá -- ?); Or. sipa ʻ oyster shell, mother -- of -- pearl, shells burnt for lime ʼ; Bi. sīpī ʻ mussel shells for lime ʼ; OAw. sīpa f. ʻ bivalve shell ʼ, H. sīp f.; G. sīp f. ʻ half an oyster shell ʼ, chīp f. ʻ shell ʼ; M. śīpśĩp f. ʻ a half shell ʼ, śĩpā m. ʻ oyster shell ʼ; -- Si. sippiya ʻ oyster shell ʼ ← Tam.(CDIAL 13417) 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)



Vishnu temple mandapa at Eran, Madhya Pradesh.jpgImage result for eran varaha

Eran. Vidiśa Coins (2nd cent. BCE).Coin of Buddhagupta Malwa (476-495 CE); John Faithfull Fleet (1847 –1917), 1888, Corpus Inscriptionum Indicarum Vol.3 (inscriptions Of The Early Gupta Kings) p.20 Eran inscription of Samudragupta; Eran Budhagupta inscription (5th cent. CE); 

A sketch made in 1850 of 5th century Bhima pillar Eran.Maisey, Frederick Charles (1825-1892) - http://www.bl.uk/onlinegallery/onlineex/apac/other/019wdz000000546u00026b00.html From the source Water-colour drawing by Frederick Charles Maisey of the pillar at Eran, taken from an album of 60 drawings, dated 1847-1854. Eran is an important Hindu site occupied from the second-first centuries BC onwards which attained importance during the Gupta period in the fourth-sixth centuries AD. The sandstone column at this site is more than 13 metres high and dates from AD 484. It has an inscription on its shaft from the reign of the ruler Budhagupta. The fluted capital supports a square block with seated lions at the corners and the figures of Vishnu and Garuda standing back to back and a wheel positioned behind their heads. The column is a symbol of the cosmic pillar, the axis mundi which links the human world with the world of the gods. It is therefore considered a symbol of the 'staff of Bhima'. Bhima is a hero of the epic of the Mahabharata who is worshipped for his terrible strength; his attribute is the mace (gada) which is also symbol of the cosmic pillar.
Eran. Ruins with broken pillars in 1892.
Paramātman Viṣṇu-- YajñVarāha rescues Pr̥thivī, Bhū, the Mother-earth.
5th century Varāha boar statue with Pr̥thivī, personification of Earth divinity, R̥gveda devatā and i reliefs (over 720) on its body Henry Cousens (1893) - 
From the source, Photograph of the statue of Varaha, standing amongst the ruins of the Varaha Temple at Eran, taken by Henry Cousens in c.1892-94. The town of Eran has been occupied from the second century BCE onwards. It is located in a naturally defensible position, in a bend in the Bina river. Eran was an important site during the Gupta period and the pieces shown in this photograph were sculpted at that time. In the background there is a statue of Viṣṇu. This colossal boar statue dates to the 5th century. It is completely covered with minature carved figures. It represents Viṣṇu in his boar incarnation lifting the earth, represented as the goddess Bhu, on one of his tusks. The demon Hiraṇyākṣa had pushed the earth under the waters and Viṣṇu saved it from being submerged.
Varāha temple, Eran mint. Dimensions:  I13.83 feet (4.22 m) long, 11.17 feet (3.40 m) high and 5.125 feet (1.562 m) wide. Erakina is the capital of Erakina (Airikina) Pradeśor Airkina Viaya, is an administrative division of the Gupta empire. (Raychaudhuri, Hemchandra (1972) Political History of Ancient India, University of Calcutta, Calcutta, p.495).

Catherine Becker (2010), Not Your Average Boar: The Colossal Varaha at Eran, An Iconographic InnovationArtibus Asiae, Vol. 70, No. 1, "To My Mind": Studies in South Asian Art History in Honor of Joanna Gottfried Williams. Part II (2010), pp. 123-149

*ōḍā ʻ furrow ʼ. [Conn. with ṓḍha -- ʻ driven near ʼ ŚBr. very doubtful] S. oṛa f. ʻ drawn line, furrow ʼ; L. ōṛ, pl. ōṛã f. ʻ furrow ʼ, P. oṛ f., Or. oṛibā ʻ to plough a field once ʼ, oṛe cāsa ʻ one ploughing ʼ.(CDIAL 2545) 

ஓடாவி ōṭāvi , n. prob. ஓடம்¹ + ஆள்வி. 1. Shipwright, boat builder; மரக்கலஞ்செய்வோன். (W.) 2. Carpenter; தச்சன். Ta. ōṭam boat, raft, float, vessel; ōṭāvi shipwright, boatbuilder. Ma. ōṭam boat;
ōṭāyi shipbuilders; ōṭi a large seaboat (long and narrow, chiefly from the Laccadives). Ka. ōḍa boat. Tu. 
ōḍa id. Te. ōḍa ship, vessel. Pa. ōḍa boat, trough. Go. (M.) ōḍa, (Ko. S.) ōṛa boat (Voc. 437); (Pat.) oda (i.e. ōḍa) donga. / Cf. Skt. hoḍa- boat, raft; Turner, CDIAL, no. 14174. (DEDR 1039) hōḍa m. ʻ raft, boat ʼ lex. [← Drav., Kan. ōḍa., &c. DED 876]H. hoṛī f., holā m. ʻ canoe, raft ʼ; G. hoṛī f. ʻ boat ʼ; M. hoḍī f. ʻ canoe made of hollowed log ʼ. -- See uḍupa -- .Addenda: hōḍa -- : Md. oḍi ʻ large kind of boat ʼ ← Drav. (CDIAL 14174)

பத்தர்¹ pattar, n. 1. See பத்தல், 1, 4, 5. 2. Wooden trough for feeding animals; தொட்டி. பன்றிக் கூழ்ப்பத்தரில் (நாலடி, 257). 3. Cocoanut shell or gourd used as a vessel; குடுக்கை. கொடிக்காய்ப்பத்தர் (கல்லா. 40, 3).பத்தல் pattal, n. 1. A wooden bucket; மரத்தாலான நீரிறைக்குங் கருவி. தீம்பிழி யெந்திரம் பத்தல் வருந்த (பதிற்றுப். 19, 23). 2. See பத்தர்¹, 2. 3. See பத்தர்¹, 3. 4. Ditch, depression; குழி. ஆன்வழிப்படுநர் தோண்டிய பத்தல் (நற். 240). 5. A part of the stem of the palmyra leaf, out of which fibre is extracted; நாருரித்தற்கு ஏற்ற பனைமட்டையின் ஓருறுப்பு. (G. Tn. D. I, 221.)

பத்தர்³ pattar, n. < bhakta. 1. Devotees, votaries; அடியார். பத்தர் சிக்கெனப் பிடித்த செல் வமே (திருவாச. 37, 8). 2. Persons who are loyal to God, king or country; அன்புடையார். தேசபத்தர். 3. A caste of Vīrašaiva vegetarians; வீரசைவரில் புலாலுண்ணாத வகுப்பினர். Loc.பத்தர்&sup4; pattar, n. < baddha. Persons subject to bondage, and pursuing worldly pleasures; இருவினைப்பந்தமுள்ள ஆன்மாக்கள். (அஷ்டா தச. தத்வத். பக். 16.)

பத்தர்&sup5; pattar, n. perh. vartaka. Merchants; வியாபாரிகள். (W.) 



பத்தராய்ப்பணிவார் pattar-āy-p-paṇi- vār, n. < பத்தர்³ +. Pious persons who render service to Šiva and His devotees, one of tokai-y-aṭiyār, q.v.; தொகையடியாருள் சிவபிரானுக்கும் சிவனடியாருக்கும் தொண்டுபுரியும் ஒருசாரார். (தேவா. 738, 10.)



தக்ஷகன் takṣakaṉ
, n. < takṣaka. 1. A divine serpent. See தக்கன்². 2. Artificer, carpenter; தச்சன். தச்சாசாரியம் taccācāriyam, n. < id. +. Status or position of a master-carpenter; தச் சத் தலைமை. (S. I. I. ii, 278, 17.) ترکانړ tarkāṟṟṉ, s.m. (5th) A carpenter. Pl. ترکانړان tarkāṟṟṉān. (Panjābī).(Pashto)chān 1 छान् । तक्षा m. a carpenter, a house carpenter (El., Śiv. 337, K.Pr. 41, 178, W. 14). His wife is chöñü 2 छा&above;ञू&below;, chāna-kŏlay छान-क्वलय् or chāna-bāy छान-बाय्. Of these the first is generally used as a kind of surname, added to the woman's proper name. Regarding the other two see below. As a title (e.g. Yēkar chān, Yēkar, the carpenter) the gen. of this word is chānunu छानुनु&below;. chāna-bāy chāna-bāy छान-बाय् । तक्षस्त्री f. a carpenter's wife. The word is honorific, cf. chāna-kŏlay bel. -kijü -किजू&below; or -kījü कीजू&below; । कार्यावशेषणम्् f. a carpenter's nail; the last and final nail put into a house by the builder, thus completing the work; met. in any work nearly completed the small amount remaining to be done. Kāshmīrī carpenters are constantly omitting a nail here or some work there in order that they may be recalled and get another job; this is called 'the carpenter's nail' (K.Pr. 41). -kŏlay क्वलय् । तक्षस्त्रीf. a carpenter's wife. This word is non-honorific. Cf. chāna-bāy ab. and Gr.Gr. 34. -koṭu -क&above;टु&below; । तक्षपुत्रः m. a carpenter's son; met. a real carpenter's son, a good carpenter (Gr.Gr. 132). -ṭhas ठस् । तक्षशब्दः m. carpenter's bang, the noise made by a carpenter when he hits a piece of wood with the back of his adze. -ṭŏkh ट्वख् । तक्षशब्दः m. (sg. dat. -ṭŏkas ट्वकस्), carpenter's hammering, the noise made by a carpenter when he hits an iron wedge or other similar article employed in splitting wood. (Kashmiri)

*baddhi ʻ act of tying ʼ. [√bandh]S. ḇadhī f. ʻ unanimity, an even number ʼ.(CDIAL 9128)


  



Pa. pathavi -- vaḍḍhanaka -- kamma -- n. ʻ work of sweeping the earth ʼ; Pk. vaḍḍhaṇī -- , °ṇiā -- f. ʻ broom ʼ, A. bārni, B. bāṛhan, Or. baṛhaṇibaṛhiṇā, (Gaṛjād) bāṛhuṇī, (Sambhalpur) bāṛhni (whence banneibā ʻ to sweep ʼ), Bi. baṛhanī, Mth. bāṛhan, Bhoj. bāṛhanī, H. baṛhnī, M. vāḍhṇīvāḍhvaṇ f.; -- N. baṛārnu ʻ to sweep ʼ, baṛār ʻ broom ʼ < Ap. vaḍḍhāraï ʻ causes to increase ʼ. -- Connexion, if any, is not clear with Paš. chil. barwṓṛ, kuṛ. bārwṓ ʻ broom ʼ, Shum. bóroṛ, Woṭ. byār f., Gaw. ḍaṇḍ -- bār ʻ large broom with handle ʼ, bāˊrik ʻ small broom ʼ Buddruss Woṭ 94.(CDIAL 11378)

bāḍhi vaḍḍhaï 'carpenter': vardhaki m. ʻ carpenter ʼ MBh. [√vardh]Pa. vaḍḍhaki -- m. ʻ carpenter, building mason ʼ; Pk. vaḍḍhaï -- m. ʻ carpenter ʼ, °aïa -- m. ʻ shoemaker ʼ; WPah. jaun. bāḍhōī ʻ carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaïbaṛahi, A. bārai, B. bāṛaï°ṛui, Or. baṛhaï°ṛhāi, (Gaṛjād) bāṛhoi, Bi. baṛa, Bhoj. H. baṛhaī m., M. vāḍhāyā m., Si. vaḍu -- vā.*vārdhaka -- .Addenda: vardhaki -- : WPah.kṭg. báḍḍhi m. ʻ carpenter ʼ; kṭg. bəṛhe\ibáṛhi, kc. baṛhe ← H. beside genuine báḍḍhi Him.I 135), J. bāḍhi, Garh. baṛhai, A. also bāṛhai AFD 94; Md. vaḍīnvaḍin pl.†*vardhakikarman -- .†*vardhakikarman -- ʻ carpentry ʼ. [vardhaki -- , kár- man -- ]Md. vaḍām ʻ carpentry ʼ.(CDIAL 11375)*vārdhaka ʻ pertaining to a carpenter ʼ. [vardhaki -- ]S. vāḍho m. ʻ carpenter ʼ, P. vāḍḍhībā° m. (< *vārdhika -- ?); Si. vaḍu ʻ pertaining to carpentry ʼ.vārdhanī -- see vardhanī -- .Addenda: *vārdhaka -- [Dial. a ~ ā < IE. o T. Burrow BSOAS xxxviii 73](CDIAL 11568)*varddhr̥ ʻ cutter, knife ʼ. [√vardh]*varddhrī -- : N. bāṛ ʻ blade of khukri ʼ; Bi. bāṛh ʻ bookbinder's papercutter ʼ; H. bāṛhbāṛ f. ʻ edge of knife ʼ, G. vāḍh f.; -- P. vāḍhbāḍh f. ʻ cutting edge ʼ poss. < *vārddhrī -- . Bi. badhrī°riyā°rābadhārū ʻ knife with a heavy blade for reaping with ʼ; <-> WPah.bhad. bardhāṇū ʻ to shear sheep ʼ < *badhār -- ṇūVARDH ʻ cut ʼ(CDIAL 11371) vardha1 m. ʻ a cutting ʼ W. [√vardh]S. vaḍhu m. ʻ a cut ʼ; L. vaḍḍh m. ʻ ears of corn remaining in a field after sheaves have been removed ʼ; P. vaḍḍhba° m. ʻ a cut in a piece of wood, chip, stubble of grain (wheat, maize, &c.) ʼ, vaḍḍhāba° m. ʻ cut, mark ʼ; G. vāḍh m. ʻ cut, wound, reaping a field ʼ; Si. vaḍa -- ya ʻ act of cutting off ʼ; -- K. broḍu m. ʻ septum of nose ʼ?(CDIAL 11372)  vardhaka in cmpd. ʻ cutting ʼ, m. ʻ carpenter ʼ R. [√vardh]Pa. cīvara -- vaḍḍhaka -- m. ʻ tailor ʼ; Kho. bardog°ox ʻ axe ʼ (early → Kal. wadók before v -- > b -- in Kho.); <-> Wg. wāṭ ʻ axe ʼ, Paš.dar. wāˊṭak(?).(CDIAL 11374)  vardhana1 n. ʻ cutting, slaughter ʼ Mn. [√vardh]S. vaḍhiṇī f. ʻ cutting ʼ, Si. väḍun.(CDIAL 11377) vardhayati1 ʻ cuts, divides ʼ Dhātup., vardhāpayati1 Weber. [√vardh]Pa. vaḍḍhāpēti ʻ cuts (moustache) ʼ; Kal.rumb. badhém ʻ I cut, shear ʼ; Kho. (Lor.) sōr -- bərdēk ʻ custom of cutting an infant's original hair ʼ; K.ḍoḍ. baḍṇō ʻ to cut ʼ, S. vaḍhaṇu; L. vaḍḍhaṇ ʻ to cut, reap ʼ; P. vaḍḍhṇāba° ʻ to cut, kill, bite ʼ; WPah. (Joshi) bāḍhṇu ʻ to cut ʼ; B. bāṛā ʻ to cut, mend, distribute food ʼ; Or. bāṛhibā ʻ to serve out food ʼ; H. bāḍhnā ʻ to cut, shear, divide ʼ; G. vāḍhvũ ʻ to cut ʼ, vadhervũ ʻ to cut, sacrifice ʼ; M. vāḍhṇẽ ʻ to serve out (food) ʼ (in sense ʻ to fill (a lamp with oil) ʼ rather < vardháyati2).(CDIAL 11381)

बढ्या

*vardhira ʻ axe, hammer ʼ. [Cf. *varddhr̥ -- . - √vardh]Kho. bəḍīˊr ʻ sledgehammer (?) ʼ (→ Gaw. bäḍíl), Bshk. baḍīˊr; Phal. baḍhīˊr ʻ axe (?), sledgehammer ʼ AO xviii 227: very doubtful.(CDIAL 11385)


  







































KSP_3844The inscription is written under the neck of the boar, in 8 lines of Sanskrit in Brahmi script. Translation:
Image result for eran varaha
Inscription below the neck of Yajña Varāha pratimā
Portrait of Toramana.

Triumphant is the God who, in the likeness of a Boar, lifted up the earth; who, by blows of his hard snout, tossed the mountains aloft; the upholding pillar of that vast mansion, the threefold world.

In the first year that the auspicious Toramana, sovereign of great kings, of extended fame and wide-spread effulgence, is governing the earth; on the tenth day of Phalguna; even so, in the year and month and on the day of his reign before mentioned, during the first watch of the said lunar day as circumstantiated of the great grandson of Indra Vishnu, —a Brahman saint, of the illustrious Maitrayaniya monarchs, who took delight in his duties, celebrated solemn sacrifices, and well read in the scriptures; grandson of Varuna Vishnu, who imitated the excellencies of his father; son of Hari Vishnu, who was the counterpart of his sire,
and derived prosperity to his race, that is to say, of the great king Matrivishnu, who was departed to  elysium a most devout worshipper of Bhagavat, who, by the will of the Ordainer, acquired, like as a maiden sometimes elects her husband, the splendour of royalty; of fame recognized as far as the four oceans; of unimperfect wealth; victorious in many a battle over his enemies, — the younger brother, Dhanyavishnu, who did him due obeisance, and was revered because of his favour; whose righteous deeds have been notably unintermitted;— with purpose to advance the merit of his mother and father, in his dominions, in this town of Erakaina [Eran] has caused this substantial temple of the adorable Narayana, in form a boar, affectionately attached to the world, to be constructed. May happiness attend the kine, the Brahmans, the magnates, and all the subjects.
— Eran boar inscription, Archaeological Survey Report, Translator: Hall
Source: A. Cunningham (1880), Report of Tours in Bundelkhand and Malwa, Archaeological Survey of India, Volume 10, Calcutta, pages 84-85.

हूण name of a people living in भारत-वर्ष (Monier-Williams) hunati (opt. hunēt Pañcar.) ʻ offers libation ʼ. [From pp. *huna -- ~ hutá -- (see prāhuṇa -- ). -- √hu]Pa. hunitabba -- ʻ to be sacrificed ʼ; Pk. huṇaï ʻ offers oblation ʼ, huṇia -- pp., huṇaṇa -- n.; MB. hune ʻ sacrifices ʼ ODBL 553, H. hunnā. (CDIAL 14139) hūṇa m. ʻ name of a barbarous people ʼ MBh.Pk. hūṇa -- , hōṇa -- m. ʻ a non -- Aryan people ʼ; Ku. huṇiyā ʻ Tibetan ʼ, A. hun.(CDIAL 14145) prāhuṇa -- , °aka -- m. ʻ guest ʼ Kathās., prāhuṇī -- , °ṇikā -- f., prāghuṇa -- , °ṇaka -- , °ṇika -- m. Kathās., prāghūrṇa -- , °ṇaka -- , °ṇika -- m. Pañcat. [Vṛddhi to *prahuṇa -- = prahuta -- n. ʻ hospitality ʼ Mn., i.e. ʻ one who receives hospitality ʼ (J. C. W.). -- Forms with -- gh -- infl. by ghūˊrṇati, cf. prāghūrṇa -- m. ʻ wanderer ʼ Pañcat. <-> √huPa. pāhuna -- , °aka -- m. ʻ guest ʼ, n. ʻ guest meal ʼ (pāhuneyya -- ʻ deserving to be a guest ʼ sanskritized as prāhavaṇīya -- BHSk.); Pk. pahuṇa -- , pāhuṇa -- , °ṇaya -- , °ṇia -- m. ʻ guest ʼ, L. parāhṇā, (Shahpur) parāhnapir° m.,P. parāhuṇā
parauhṇāpāhuṇā m., WPah.jaun. pāŏṇā, (Joshi) prāwṇā, Ku. pauṇoN. pāhun -- sāl ʻ guest house ʼ, pāhunu ʻ guest ʼ, MB. pāhuna, Or. (Lariā) pahanā; Mth. pahunā ʻ guest, bridegroom ʼ; Bhoj. pāhun ʻ guest ʼ, Aw.lakh. pāhunā; H. pāhun m. ʻ guest ʼ (°nī f.), °nā m. ʻ guest, daughter's husband ʼ; Marw. pāhuṇo m. ʻ guest ʼ, °ṇī f., G. parɔṇɔ m., °ṇī f., parāṇɔ m., M. pāhuṇā°hoṇā m. -- Poss. X pathya -- see prārthya -- . *pricu -- ʻ flea ʼ see plúṣi -- . Addenda: prāhuṇa -- : WPah.kṭg. prauṇɔ m. ʻ guest ʼ, pauṇɔ, kc. °ṇo m., J. prāwṇā m., jaun. pāoṇā, Garh. pɔṇu.(CDIAL 8973) प्राघुण m. (Prakrit for प्रा*-घूर्ण ; cf. प्रहुण) a visitor , guest Katha1s.प्राहुण m. (fr. प्राघुण q.v.) a guest Katha1s. (Monier-Williams)

Toramana and Mihirakula were the best known Hun kings in India, and a great deal of epigraphic evidence for both can be found there. Their coinage identifies them without a doubt as belonging to the Alkhan; yet their coinage is distanced stylistically from that of the Alkhan at the time of Khingila.
Inscriptions show that the Huns under Toramana pushed from Punjab into Central India; the southernmost point with an inscription from Toramana (Fig. B) was Eran in Malwa (540 km south of New Delhi), a region that brought the Alkhan into contention with the Gupta emperors.
In an inscription set at Gwalior (on the edge of the Ganges plain, 280 km south of New Delhi) Mihirakula is identified as the son of Toramana. The coinage corroborates this, as the numerous overstrikes prove that Mihirakula at least ruled after Toramana (Nr. 5).
In 520 CE on his journey to the Buddhist sites of India (Fig. C), the Chinese pilgrim Song Yun encountered a Hun king in Punjab who had been at war with the king of Kashmir for three years and who might be identifiable as Mihirakula. Before 532 CE Mihirakula suffered a devastating defeat against Yasodharman, king of Malwa, signaling the demise of the Alkhan in India (Fig. D).
Around the middle of the 6th century CE, the Alkhan successively pulled out of Punjab and Gandhara and back to Kabulistan, where they encountered the Nezak kings (showcase 11). A political or dynastic connection between the Alkhan and the Nezak is made evident in a series of drachms produced in Gandhara which show the Alkhan king with the bull-head crown of the Nezak (Nos. 9–11).
Nearly parallel to the Alkhan in Gandhara and India, the Hephthalites in Bactria met their demise when they were defeated by the allied Sasanian and Western Turks in around 560 CE (showcase 10).

COINS
Bust with deformed skull and crescent moon crown; Brahmi inscription "King Lakhana Udayaditya" (= rising sun)
Lakhana Udayaditya

(End of the 5th / beginning of the 6th c. CE)
DENOMINATION
Drachm

(Silver)
MINT
Gandhara
OBVERSE
Bust with deformed skull and crescent moon crown; Brahmi inscription "King Lakhana Udayaditya" (= rising sun)
REVERSE
Fire altar with two attendants
Bust with deformed skull and crescent moon crown
RULER
Toramana

(around 490 – 515 CE)
DENOMINATION
Copper coin
MINT
Punjab
OBVERSE
Bust with deformed skull and crescent moon crown
REVERSE
Cakra (wheel); below Brahmi inscription "Tora"
Bust with deformed skull and crescent moon crown, left umbrella, right trident; Brahmi inscription "Mihirakula should be victorious"Fire altar with two attendants
RULER
Mihirakula

(around 515 – 540 CE)
DENOMINATION
Drachm

(Silver)
MINT
Punjab
OBVERSE
Bust with deformed skull and crescent moon crown, left umbrella, right trident; Brahmi inscription "Mihirakula should be victorious"
REVERSE
Fire altar with two attendants
Bust with deformed skull and crescent moon crown (?); Brahmi inscription "His Excellence Mihirakula"Bull; Brahmi inscription "The bull should be victorious"
RULER
Mihirakula

(around 515 – 540 CE)
DENOMINATION
Copper coin
MINT
Punjab
OBVERSE
Bust with deformed skull and crescent moon crown (?); Brahmi inscription "His Excellence Mihirakula"
REVERSE
Bull; Brahmi inscription "The bull should be victorious"
Bust with deformed skull and crescent moon crown (?); Brahmi inscription "His Excellence Mihirakula"Bull; Brahmi inscription "The bull should be victorious"
RULER
Mihirakula

(around 515 – 540 CE)
DENOMINATION
Copper coin
MINT
Punjab
OBVERSE
Bust with deformed skull and crescent moon crown (?); Brahmi inscription "His Excellence Mihirakula"
REVERSE
Bull; Brahmi inscription "The bull should be victorious"
NOTES
Overstruck on a coin of Toramana (see Nr. 2)
Bust with deformed skull and winged crescent moon crown, points of a crescent moon behind the shoulders, left swastika with crescent moon, right fire altar; Brahmi inscription "Baysira Khotalika should be victorious"Fire altar with two attendants
RULER
Baysira Khotalika

(1st half of the 6th c. CE)
DENOMINATION
Drachm

(Silver)
MINT
Punjab
OBVERSE
Bust with deformed skull and winged crescent moon crown, points of a crescent moon behind the shoulders, left swastika with crescent moon, right fire altar; Brahmi inscription "Baysira Khotalika should be victorious"
REVERSE
Fire altar with two attendants
Bust with winged crescent moon crown, left shell, right lotus; Brahmi inscription "His Excellence Narendra should be victorious"Fire altar with two attendants
RULER
Narendra

(Mid-6th c. CE)
DENOMINATION
Drachm

(Billon)
MINT
Punjab
OBVERSE
Bust with winged crescent moon crown, left shell, right lotus; Brahmi inscription "His Excellence Narendra should be victorious"
REVERSE
Fire altar with two attendants
http://pro.geo.univie.ac.at/projects/khm/coins/coin158?ref=showcases/showcase9&language=en

Image result for eran varaha


RV_3,053.01a indrāparvatā bṛhatā rathena vāmīr iṣa ā vahataṃ suvīrāḥ |
RV_3,053.01c vītaṃ havyāny adhvareṣu devā vardhethāṃ gīrbhir iḷayā madantā ||
RV_3,053.02a tiṣṭhā su kam maghavan mā parā gāḥ somasya nu tvā suṣutasya yakṣi |
RV_3,053.02c pitur na putraḥ sicam ā rabhe ta indra svādiṣṭhayā girā śacīvaḥ ||
RV_3,053.03a śaṃsāvādhvaryo prati me gṛṇīhīndrāya vāhaḥ kṛṇavāva juṣṭam |
RV_3,053.03c edam barhir yajamānasya sīdāthā ca bhūd uktham indrāya śastam ||
RV_3,053.04a jāyed astam maghavan sed u yonis tad it tvā yuktā harayo vahantu |
RV_3,053.04c yadā kadā ca sunavāma somam agniṣ ṭvā dūto dhanvāty accha ||
RV_3,053.05a parā yāhi maghavann ā ca yāhīndra bhrātar ubhayatrā te artham |
RV_3,053.05c yatrā rathasya bṛhato nidhānaṃ vimocanaṃ vājino rāsabhasya ||
RV_3,053.06a apāḥ somam astam indra pra yāhi kalyāṇīr jāyā suraṇaṃ gṛhe te |
RV_3,053.06c yatrā rathasya bṛhato nidhānaṃ vimocanaṃ vājino dakṣiṇāvat ||
RV_3,053.07a ime bhojā aṅgiraso virūpā divas putrāso asurasya vīrāḥ |
RV_3,053.07c viśvāmitrāya dadato maghāni sahasrasāve pra tiranta āyuḥ ||
RV_3,053.08a rūpaṃ-rūpam maghavā bobhavīti māyāḥ kṛṇvānas tanvam pari svām |
RV_3,053.08c trir yad divaḥ pari muhūrtam āgāt svair mantrair anṛtupā ṛtāvā ||
RV_3,053.09a mahāṃ ṛṣir devajā devajūto 'stabhnāt sindhum arṇavaṃ nṛcakṣāḥ |
RV_3,053.09c viśvāmitro yad avahat sudāsam apriyāyata kuśikebhir indraḥ ||
RV_3,053.10a haṃsā iva kṛṇutha ślokam adribhir madanto gīrbhir adhvare sute sacā |
RV_3,053.10c devebhir viprā ṛṣayo nṛcakṣaso vi pibadhvaṃ kuśikāḥ somyam madhu ||
RV_3,053.11a upa preta kuśikāś cetayadhvam aśvaṃ rāye pra muñcatā sudāsaḥ |
RV_3,053.11c rājā vṛtraṃ jaṅghanat prāg apāg udag athā yajāte vara ā pṛthivyāḥ ||
RV_3,053.12a ya ime rodasī ubhe aham indram atuṣṭavam |
RV_3,053.12c viśvāmitrasya rakṣati brahmedam bhārataṃ janam ||
RV_3,053.13a viśvāmitrā arāsata brahmendrāya vajriṇe |
RV_3,053.13c karad in naḥ surādhasaḥ ||
RV_3,053.14a kiṃ te kṛṇvanti kīkaṭeṣu gāvo nāśiraṃ duhre na tapanti gharmam |
RV_3,053.14c ā no bhara pramagandasya vedo naicāśākham maghavan randhayā naḥ ||
RV_3,053.15a sasarparīr amatim bādhamānā bṛhan mimāya jamadagnidattā |
RV_3,053.15c ā sūryasya duhitā tatāna śravo deveṣv amṛtam ajuryam ||
RV_3,053.16a sasarparīr abharat tūyam ebhyo 'dhi śravaḥ pāñcajanyāsu kṛṣṭiṣu |
RV_3,053.16c sā pakṣyā navyam āyur dadhānā yām me palastijamadagnayo daduḥ ||
RV_3,053.17a sthirau gāvau bhavatāṃ vīḷur akṣo meṣā vi varhi mā yugaṃ vi śāri |
RV_3,053.17c indraḥ pātalye dadatāṃ śarītor ariṣṭaneme abhi naḥ sacasva ||
RV_3,053.18a balaṃ dhehi tanūṣu no balam indrānaḷutsu naḥ |
RV_3,053.18c balaṃ tokāya tanayāya jīvase tvaṃ hi baladā asi ||
RV_3,053.19a abhi vyayasva khadirasya sāram ojo dhehi spandane śiṃśapāyām |
RV_3,053.19c akṣa vīḷo vīḷita vīḷayasva mā yāmād asmād ava jīhipo naḥ ||
RV_3,053.20a ayam asmān vanaspatir mā ca hā mā ca rīriṣat |
RV_3,053.20c svasty ā gṛhebhya āvasā ā vimocanāt ||
RV_3,053.21a indrotibhir bahulābhir no adya yācchreṣṭhābhir maghavañ chūra jinva |
RV_3,053.21c yo no dveṣṭy adharaḥ sas padīṣṭa yam u dviṣmas tam u prāṇo jahātu ||
RV_3,053.22a paraśuṃ cid vi tapati śimbalaṃ cid vi vṛścati |
RV_3,053.22c ukhā cid indra yeṣantī prayastā phenam asyati ||
RV_3,053.23a na sāyakasya cikite janāso lodhaṃ nayanti paśu manyamānāḥ |
RV_3,053.23c nāvājinaṃ vājinā hāsayanti na gardabham puro aśvān nayanti ||
RV_3,053.24a ima indra bharatasya putrā apapitvaṃ cikitur na prapitvam |
RV_3,053.24c hinvanty aśvam araṇaṃ na nityaṃ jyāvājam pari ṇayanty ājau ||

3.053.01 Indra and Parvata, bring hither, in a spacious car, delightful viands (generative of) good progeny; partake, deities, of the oblations (offered)at (our) sacrifices, and gratified by the (sacrificial) food, be elevated by our praises. 

3.053.02 Tarry a while contentedly, Maghavan (at our rite); go not away; for I offer to you (the libation) of the copiously-effused Soma; powerful Indra, I lay hold of the skirts (of your robe) with sweet-flavoured commendations, as a son (clings to the garment) of a father. 

3.053.03 Adhvaryu, let us two offer praise; do you concur with me; let us address pleasing praise to Indra; sit down, Indra, on the sacred grass (prepared by) the institutor of the rite; and may our commendations be most acceptable to Indra. [Do you concur with me: prati me gr.n.i_hi; the Hota_ is supposed to speak to Adhvaryu to direct their joint performance of some part of the ceremony]. 

3.053.04 A man's wife, Maghavan, is his dwelling; verily she is his place of birth; thither let your horses, harnessed (to your car), convey you; we prepare the Soma at the fit season; may Agni come as our messenger befor eyou. [His place of birth: ja_ya_ id astam sedu yonih: astam = gr.ham (gr.hin.i_ gr.ham ucyate iti smr.teh; na gr.ham gr.hamisya_hurgr.hi.n.o gr.hamucyate)]. 

3.053.05 Depart, Maghavan; come Indra; both ways, protector, there is a motive for you whether it be standing in your vast chariot, or liberating your neighing steed. [Both ways: ubhayatra te artham: Indra's wife awaits his return, the Soma libation invites his stay; protectorL bhra_ta_ = lit., brother; but here explained as pos.aka, nourisher]. 

3.053.06 When you have drunk the Soma, then, Indra, go home; an auspicious life (abides) pleasantly in your dwelling; in either (case) there is the standing in your car or liberating the steeds for provender. 

3.053.07 These (sacrificers) are the Bhojas, of whom the diversified An:girasas (are the priests); and the heroic sons of the expeller (of the foes of the gods) from heaven, bestowing riches upon Vis'va_mitra at the sacrifice of a thousand (victims), prolong (his) life. [These sacrificers are the Bhojas: ime bhoja_ an:giraso viru_pa_: bhoja_ = ks.atriya descendants of Suda_s, suda_sah ks.atriya, ya_gam kurva_n.ah, instituting the sacrifice at which the latter, Medha_tithi, and the rest of the race of an:giras were their ya_jakas, or officiating priests; the expeller: rudra, his sons are the maruts; sacrifice of a thousand victims: sahasrasave = the as'vamedha]. 

3.053.08 Maghavan becomes repeatedly (manifest) in various forms, practising delusions with respect to his own peculiar person; and invoked by his appropriate prayers, he comes in a moment from heaven to the three (daily rites), and, although observant of seasons, is the drinker (of the Soma) irrespective of season. 

3.053.09 The great r.s.i the generator of the gods, the attracted by the deities, the overlooker of the leaders (at holy rites), Vis'va_mitra attested the watery stream when he sacrificed for Suda_s; Indra, with the Kus'ikas was pleased. [The generator of the gods: devaja_h = the generator of radiances or energies, tejasa_m janayita_; arrested the watery stream: astabhna_t sindhum arn.avam: he is said to have stopped the current of the confluence of the vipa_s/a_ and s'utudri rivers; indra with the kus'ikas was pleased: apriyayata kus'ikebhir Indra = kus'ikagotrotpannair r.s.ibhih saha, with the r.s.is of the kus'ika lineage, or it might be rendered, pleased by the Kus'ikas]. 

3.053.10 Sages and saints overlookers of the leaders (of sacred rites), Kus'ikas, when the Soma is expressed with stones at the sacrifice, then exhilarating (the gods) with praises, sing the holy strain (aloud) like (screaming) swans, and, together with the gods, drink the sweet juice of the Soma. 

3.053.11 Approach, Kus'ikas, the steed of Suda_s; animate (him), and let him loose to (win) riches (for the raja); for the king (of the gods) has slain Vr.tra in the East, in the West, in the North, therefore let (Suda_s) worship him in the best (regions) of the earth. 

3.053.12 I have made Indra glorified by these two, heaven and earth, and this prayer of Vis'va_mitra protects the race of Bharata. [Made Indra glorified: indram atus.t.avam-- the verb is the third preterite of the casual, I have caused to be praised; it may mean: I praise Indra, abiding between heaven and earth, i.e. in the firmament]. 

3.053.13 The Vis'va_mitras have addressed the prayer to Indra, the wielder of the thunderbolt; may he therefore render us very opulent. [The Vis'va_mitras: The bharatas, or descendants of Bharata, are descendants of Vis'va_mitra; Bharata is the son of S'akuntala_, the daughter of the sage, Visva_mitra (Maha_bha_rata A_diparva); Vasis.t.ha is the family priest of the Bharats and was the restorer to dominion from which they had been expelled by the Pan~ca_las]. 

3.053.14 What do the cattle for you among the Ki_kat.as; they yield no milk to mix with the Soma, they need not the vessel (for the libation); bring them to us; (bring also) the wealth of the son of the usurer, and give us Maghavan, (the possessions) of the low branches (of the community). [The Ki_kat.as: (Nirukta 6.32) are people who do not perform worship, who are infidels, na_stikas; in countries inhabited by ana_ryas (ki_kat.a_ na_ma des'ona_ryaniva_sah); na tapanti gharma_n.i: harmyam = a house; gharma_n.i = a vessel termed maha_vi_ra used at the rite called pragr.hya: pragr.h ya_khya_ karmopa yuktam maha_vi_rapa_tram, which the cattle do not warm by yielding their milk to it; usurer: a_ bhara pramagandasya vedas: maganda = kusidin, or usurer, one who says to himself, the money that goes from me will come back doubled, and pra = a patronymic; low branches of the community: naica_s'a_kham, that which belongs to a low (ni_ca) branch, or class (s'a_kha); the posterity born of S'u_dras and the like]. 

3.053.15 The daughter of Su_rya given by Jamadagni gliding everywhere and dissipating ignorance, has emitted a mighty (sound), and has diffused ambrosial imperishable food among the gods. [Given by Jamadagni: jamadagni datta_ = given by the r.s;is maintaining a blazing jamat-jvalat, fire, agni; mighty sound: the sound of thunder or the like in the sky; food among the gods: as the prayers or exclamation which accompanies the burnt offering]. 

3.053.16 May she, gliding everywhere, quickly bring us food (suited) to the five races of men; may she, the daughter of the sun whom the grey-haired jamadagnis gave to me, (be) the bestower of new life. [Five races of men: pan~cajanya_su kr.s.t.is.u: five distinctions are restricted to human beings; hence, the reference may be to four castes and barbarians; daughter of the sun: paks.ya_, the daughter of Paks.a: paks.a nirva_hakasya, the distributor of the parts (of the year?), i.e. su_ryasya, of the sun; bestower of new life: navyam a_yur dadha_na, having new life or food: mama kurvan.a_ bhavatu]. 

3.053.17 May the horse be steady, the axle be strong, the pole be not defective, the yoke not be rotten; may Indra preserve the two yoke-pins from decay; car with uninjured felloes, be ready for us. [The horses: ga_vau gaccheta iti ga_vau as'vau: ga_va_ implies those who go, or, in this place, horses; car be ready for us: Vis'va_mitra being about to depart from the sacrifice of Suda_s, invokes good fortune for his conveyance]. 

3.053.18 Give strength, Indra, to our bodies; give strength to our vehicles; (give) strength to our sons and grandsons; that they may live (long); for you are giver of strength. 

3.053.19 Fix firmly the substance of the khayar (axle), give solidity to the s'is'u (floor) of the car; strong axle, strongly fixed by us, be strong; cast us not from out of our conveyance. [khayar and s'is'u: khadirasya sa_ram is the text; khadira = mimosa catechu of which the bolt of the axle is made; while the s'im.s'apa, dalbergia sisu furnishes wood for the floor; these are still timber-trees in common use]. 

3.053.20 May this lord of the forest never desert us nor do us harm; may we travel prosperously home until the stopping (of the car), until the unharnessing (of the steeds). [This lord of the forest: vanaspati, i.e. the timber of which the car is made]. 

3.053.21 Indra, hero,possessor of wealth, protect us this day against our foes with many and excellent defences; may the vile wretch who hates us fall (before us); may the breath of life depart from him whom we hate. 

3.053.22 As (the tree) suffers pain from the axe, as the s'imbal flower is (easily) cut off, as the injured cauldron leaking scatters foam, so may mine enemy perish. [The ellipse: as the tree is cut down by the axe, so may the enemy be cut down; as one cuts off without difficulty the flower of the s'imbal, so may he be destroyed; as the ukha_ (cauldron) when struck (prahata), and thence leaking (yes.anti_, sravanti_), scatters foam or breath from its mouth, so (dves.t.a madi_ya, mantra sa_marthyena prahatah san, phenam mukha_d udgirtu), may that hater, struck by the power of my prayer vomit foam fromhis mouth]. 

3.053.23 Men, (the might) of the destroyer is not known to you; regarding him as a mere animal, they lead him away desirous (silently to complete his devotions); the wise condescend not to turn the foolish into ridicule, they do not lead the ass before the horse. [Legend: Vis'va_mitra was seized and bound by the followers of Vasis.t.ha, when observing a vow of silence. These were the reflections of the sage on the occasion: disparaging the rivalry of Vasis.t.ha with himself, as if between an ass and a horse: sa_yakasya = of an arrow;here explained, to destroy, avasa_naka_rin.ah; lodham nayanti = they lead the sage; lodha = fr. lubdham, desirous that his penance might not be frustrated, tapasah ks.ayo ma_ bhu_d iti, lobhena tus.n.i_m sthitam r.s.im pas'um manyama_na, thinking the r.s.i silent through his desire, to be an animal, i.e., stupid; another interpretation in Nirukta:lubdham r.s.im nayanti pas'um manyama_nah, they take away the desiring r.s.i, thinking him an animal; na ava_jinam va_jina_ ha_sayanti: va_jina = fr. vac, speed, with ina affix; interpreted as srvajn~a, all knowing; the contrary avajina = mu_rkha, a fool]. 

3.053.24 These sons of Bharata, Indra, understand severance (from the Vasis.t.has), not association (with them); they urge their steeds (against them) as against a constant foe; they bear a stout bow (for their destruction) in battle. [Sons of Bharata: descendants of Vis'va_mitra whose enmity to the lineage of Vasis.t.ha is here expressed; the enmity reportedly occurred  on account of Vis'va_mitra's disciple the Ra_ja_ suda_s; Anukraman.ika_ states that Vasis.t.has hear not the  inimical imprecations: antya abhis'aparthas ta vasis.t.adevas.in.yah na vasis.t.hah s'r.n.vanti; Niruktam: sa vasis.t.hadves.i_ r.k-aham ca kapis.thalo vasi.s.hah atas tana nirbravi_mi, this and the previous verse are inimical to the Vasis.t.has and he is of the race of Vasis.t.ha, of the Kapis.t.hala branch]. 
TORAMANA AND MIHIRAKULA - THE RISE AND FALL OF THE ALKHAN IN INDIA





Corpus of Rongorongo texts and a compendium of views on links with Indus Script

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https://tinyurl.com/y8nzcmsk

Prologue

At the outset, the possibility of survival of Indus Script Cipher in the Rongorongo script cannot be ruled out, considering the following:

1. Indus Script hypertexts continue to be used on tens of thousands of punch-marked and cast coins of mints (dated from ca. 6th cent. BCE) from Taxila to Anurdhapura.
2. The position analyses of 'sign clusters', 'pictorial motif clusters', the use of 'numeral signs' as words, the close connection between 'pictorial motifs' and 'signs' as seen on over 200 copper plate inscriptions of Indus Script point the writing system as rebus renderings of metalwork catalogues detailing resources such as minerals, metals, alloys, cire perdue casting, ingot casting, casting of metalware in moulds, work with smelters, furnaces, smithy/forge.
3. The Kabul mss. with a string of over 200 signs seems to be consistent with the 'sign' strings on Indus Script inscriptions, pointing to the mss as a catalogue of catalogues.

The possibility of Rongorongo writing system with a similar structure comparable to the Kabul mss, form, and function cannot be ruled out given the apparent orthographic parallels between 'rongorongo' hieroglyphs and 'Indus Script Hypertexts'. As suggested by Mayank Vahia, a good start will be to analyze the Rongorongo Script Corpus to identify 'hieroglyph' clusters and draw a venn diagram of relationships, if any, with preceding and succeeding 'hieroglyph' clusters. Such a cluster analysis may yield some semantic pointers, assuming that there is underlying language words may be rebus signifiers of 'hypertexts' and 'meanings' as was shown for Indus Script Corpora of now over 8000 inscriptions.

The toughest part of the research effort will be to authenticate the orthography of each 'hieroglyph' of Rongorongo script, in comparison with the Indus Script hypertexts to indicate possible identical deployment of comparable 'hieroglyphs/hypertexts'. (Note: An example of a hypertext is a 'fish' hieroglyph superscripted with an inverted V or ^ glyph. This ^ glyph signifies in Indus Script a lid of a pot read as ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article' PLUS aya 'fish' rebus: aya 'iron' ayas 'alloy metal' (gveda).

I agree with Dr.V. Ramachandran. The Rongorongo script should be investigated by researchers of civilization studies.

S. Kalyanaraman
Sarasvati Research Centre

The Rongorongo of Easter Island

The Indus Valley Hypothesis



"This hypothesis is due to Guillaume de Hevesy, a Hungarian living in Paris, who dabbled in comparative linguistics, and who noticed some resemblance between the Indus Valley seal inscriptions and the rongorongo. Hevesy jumped to the conclusion: the rongorongo originated in the Indus Valley civilization. The hypothesis, first published in 1932, was generally well received, and caused such a flurry of interest that as late as 1939 the Journal of the Polynesian Society would publish, under the title "The Panis of the Rig Veda and Script of Mohenjo Daro and Easter Island," a piece against which A. Carroll's decipherments are a model of sober, restrained scholarship."

http://kohaumotu.org/rongorongo_org/theories/indus/intro.html

The Easter Island Tablets: The Indus Valley Hypothesis

H.D. Skinner on Hevesy


Journal of the Polynesian Society, Vol.41 (1932)


NOTES AND QUERIES.

____

[471] The Easter Island Script.
    In Nature [October lst, 1932, p. 502] appears the following note: "According to a letter from Sir Denison Ross in the Times of September 21st, M. Guillame Hevesy, a Hungarian resident in Paris, has discovered that a number of the signs of the pre-historic Indian script on seals from Mahenjo-daro also appear in the script of the Easter Island inscribed wooden tablets, while some of the Easter Island signs, not present on the Indian seals, are to be found in the proto-Elamic of Susa. It would now be interesting to hear whether there is any coincidence in the interpretation of the pre-historic Indian signs suggested by Sir Flinders Petrie (see Nature, September 17th, p. 429), and those suggested for the Easter Island script in the Report of the Committee of the Royal Anthropological Institute of which Mr. Sidney Ray was Chairman. The suggestion of a connexion between the two scripts is not the only attempt to find an affinity between Easter Island and this part of Asia. M. J. Hackin, of the Musée Guimet, has recently directed attention to the resemblance which has now been noted between the wooden statues, probably ancestral, which were objects of reverence among the Kafirs of Afghanistan before they were overwhelmed by Islam, of which examples are preserved in the Kabul Museum, and the well-known statues of Easter Island. The resemblances certainly are strong, although it might be argued that they do not go beyond what may be due to the limitations of all undeveloped technique. It must also be admitted that when the material which it is sought to bring into relation is so widely separated in date as in these instances, the comparison, in default of intervening links, carries more interest than conviction."
    A number of problems are raised in this paragraph. I can only say that the parallels figured in Sir Denison Ross's letter carry no conviction whatever.__H. D. SKINNER.

Journal of the Polynesian Society, 1932, vol.41, p.323.

The Easter Island Tablets: The Indus Valley Hypothesis

N.M. Billimoria


Journal of the Polynesian Society, Vol.48 (1939)

92

THE PANIS OF THE RIG VEDA AND SCRIPT OF MOHENJO DARO AND EASTER ISLAND.

___
BY N. M. BILLIMORIA

Karachi, India.
___
Read before the Sind Historical Society, on August lst, 1937, and extracted, with acknowledgements, front their Journal for January, 1938, vol. 3, part 2.
___
    THERE is no doubt that the script on seals at Mohenjo Daro and Harappa and the tablets found at Easter island are similar. An authority on archaeology says it is fortuitous. But Prof. M. G. Hevesy in a paper "Sur une Ecriture Oceanienne paraissant d'origine Neolethique" read before the Societe Prehistorique Francaise, has shown that 130 signs are similar__he has put several signs side by side to support his statement__that cannot have happened by chance.
    No two learned persons have agreed as to the use of the seals__much less has the script been read. Some assign the seals as mercantile marks__some say they are letters, bills of lading, I.O.Us.; Prof. Hevesy says as the seals were found in houses they were offerings to the deity, and the script, the name of the person making the gift to his animal deity.
    The seals have been studied by several savants like Prof. Langdon and Dr. Hunter of the Oxford University without success. They have agreed that it can be read from right to left, in many cases it was "boustrophedon"__manner of writing alternatively from right to left, and from the left to the right__or as the French Dictionary gives, "maniere d'ecrire alternativement de droite a gauche, et de gauche a droite sans discontinuer la ligne."
    I have prepared a thesis on "the Panis of the Rig Veda and the script of Mohenjo Daro and the Easter island" which may or may not be published__however, I give a precis of it.

The Easter Island Tablets: Decipherments

A. Carroll, M.A., M.D.


In a long letter to the Journal of the Polynesian Society, dated 6 October 1892, A. Carroll, a medical practitioner of Sydney (Australia), explains how he deciphered the Easter Island writing, and gives his translation of a tablet given as "No.1, Long Tablet." The partial drawing of it which accompanies Carroll's letter identifies it as Tablet A (also known as Tahua or The Oar). Carroll's translation of side b starts on page 246, of side a onpage 249. This letter follows an earlier article by him, apparently written at the request of the Journal of the Polynesian Society, much shorter, in which he gave a partial translation of "a copy of the inscriptions kindly forwarded... by S. Percy Smith." What Carroll translated is uncertain. He refers to an "accompanying Plate" (p.104), but there is no accompanying plate in the reprint from which these texts were scanned. There is, however, a clear tracing of part of the Santiago Staff accompanying Carroll's explanatory letter of October 1892 (pp.233-253).
Eventually, in 1897, Carroll was asked how his work was progressing. His lengthy answer is reproduced here.
These texts are presented here as a curiosity, an interesting case in the pathology of decipherment, as Carroll's explanations of his method, of the structure of the writing, were fundamentally reasonable, until put to the test: the promised grammar and hieroglyphic dictionary never eventuated.


Today, only 26 examples of Rongorongo text remain (with 3 disputed), each with letter codes inscribed on wooden objects, containing between 2 and 2320 simple and compound glyphs, with over 15,000 in all. Two of the tablets, C and S (above), have a documented pre-missionary provenance, though others may be as old or older. (1)


Two Indus Valley seals with corresponding Rapa Nui symbols to illustrate the similarity between characters.
(Extracted from Wikipedia May, 2013)
This set of characters, extracted from the full set of Rongorongo glyphs is said to account for over 90% of all the known texts.


Is there any reason to believe now that there might be a connection between the IVC script and the Easter Island Rongorongo?
Some similarities have been found in the glyphs between Rongorongo and Indus writing. As well, the direction of writing (boustrophedon) might be the same/similar to Indus. In addition to the correlation of glyphs found by de Hevesy that I've seen so far, I wonder if there might be other correlations in glyphs - (upright) fish, fish with wings/arms, bearer, the epicene plural glyph, etc.
Asked by Elango Cheran
Asko Parpola
There is no historical connection, only imaginary.
Massimo Vidale
No.
Mayank Vahia
I am not sure. Many of the signs that are common seem to be generic strokes and I am not convinced they are greatly similar. Also, causality of how the script reached there is also a big question. One needs to set up standards of comparison using parameters such as the statistical distribution of number of strokes per sign, stylistic similarity etc. and then compare it with environment and likely similarity of words etc. But this has not been done by us for want of time. The problem can be reasonably defined.
Nisha Yadav
Based on the discrepancy in the time period of existence of these two scripts and the vast distance between their places of occurrences the connection seems highly unlikely. However, further research can shed more light on this.
Above: Easter Island Rapa Nui Rongorongo Mama Script 2 Sided Wooden Tablet. Image courtesy of J.S. Tribal.



Despite the fact that both scripts were undeciphered (as they are to this day), separated by half the world and half of history (19,000 km (12,000 mi) and 4000 years), and had no known intermediate stages, Hevesy's ideas were taken seriously enough in academic circles to prompt a 1934 Franco–Belgian expedition to Easter Island led by Lavachery and Métraux to debunk them (Métraux 1939). The Indus Valley connection was published as late as 1938 in such respected anthropological journals as Man.

You can see the original 1928 claims here: The_Eas ter_Island_script_and_the_Middle-Indus_seals 

I do notice that any time this is debated, the same images are used for the comparison: the images made in the 1920's that have been since refuted for the inclusion of those spurious glyphs.
There is a short book (21 paes) by Egbert Richter-Ushanas. The title is: ‘The inscribed tablets of easter island in the reading of Metoro and Ure  Publisher: Cuviller Verlag Gottingen.

Issue 84 Summer 2017 Language at the end of the world by Jacob Mikanowski

About the author: Jacob Mikanowski is a writer and critic based in Berkeley, California. His work has appeared in publications including Aeon, the Atlantic, the Guardian, the Los Angeles Review of Books, the New York Times, and Slate. Previously, he studied and taught European history and anthropology at the University of California, Berkeley.
A crescent-shaped, wooden neck ornament from Easter Island made some time in the first half of the nineteenth century. The artifact, decorated with two bearded male heads on either end, contains a line of rongorongo glyphs along its bottom edge. Courtesy British Museum.

"Of all the literatures in the world, the smallest and most enigmatic belongs without question to the people of Easter Island. It is written in a script—rongorongo—that no one can decipher. Experts cannot even agree whether it is an alphabet, a syllabary, a mnemonic, or a rebus. Its entire corpus consists of two dozen texts. The longest, consisting of a few thousand signs, winds its way around a magnificent ceremonial staff. The shortest texts—if they can even be called that—consist of barely more than a single sign. One took the form of a tattoo on a man’s back. Another was carved onto a human skull..."

"A tablet with rongorongo inscription. The British Museum, which owns the object, dates it to the eighteenth or early nineteenth century. Courtesy British Museum."
...
[quote]Guillaume de Hevesy, a Hungarian engineer resident in Paris, sparked an uproar in the 1930s when he discerned a genetic link between rongorongo and the equally undecipherable Indus script found at Mohenjo Daro. An industrious, though confused, Argentine professor tried to fit it into a graphic system spanning the entire Indo-Pacific. A German paleontologist found traces of rongorongo glyphs in the patterns of Sumatran ship fabrics. Peter Lanyon-Orgill, a polyglot and possibly insane Cornishman, found hints of them everywhere from Land’s End to Zimbabwe, and created his own journal to publicize his findings. One Swiss scholar believed they represented the remains of a Pacific empire that had sunk into the sea. A psychologist at Bard was convinced it arrived in Easter Island from Egypt, via the “Asiatic Script Bridge.” [unquote]
...
"Page of diagrams of various motifs and glyphs observed by Katherine and Scoresby Routledge on their 1913–1915 Mana Expedition to Easter Island, during which they also visited Chile and the Juan Fernandez Islands. The bottom two rows depict sixteen glyphs from rongorongo boards. The page is signed by Henry Balfour, an archaeologist who accompanied them on their voyage; it is believed that the drawings are his. Courtesy British Museum."


Igor Pozdniakov, Konstantin Pozdniakov "Rapanui Writing and the Rapanui Language: Preliminary Results of a Statistical Analysis" (2007)

Waipi’O ValleyA Polynesian Journey from Eden to Eden


Front Cover
Xlibris Corporation25-Aug-2016













“Prof. Spears! Look at this inscription!” Rongorongo makes an appearance in “The Stone Sentinels of Giant Island,” which initially appeared in April 1959 in the “House of Mystery” series published by DC Comics. In the comic, seen here in its 1971 reissue, Spears solves the riddle of rongorongo and saves the day.
TheJournal of the Polynesian Society Volume 48 1939 > Volume 48, No. 189 > The Easter Island script and the Middle-Indus seals, p 60-69
THE EASTER ISLAND SCRIPT AND THE MIDDLE-INDUS SEALS
In the September 1938 number of our Journal, page 138 and on, was published a review of an article on the above subject in Anthropos, 1938, pages 218-239, by M. Métraux. As Sr. J. Imbelloni of the Museo Argentino de Ciencias Naturelles was referred to in the review, a copy was sent to him, in consequence of which a letter on the subject has been received from him, enclosing copy of a letter from Mr. G. R. Hunter to M. de Hevesy traversing the findings of M. Métraux, together with an article by himself dealing with those findings. As the gist of the letter from Mr. Hunter is included in the article, it has been thought necessary to publish here only the article, such publication seeming due not only to M. de Hevesy but also to M. Métraux.
By the same mail which brought Sr. Imbelloni's letter I received also a letter from the Honorary Secretary of the Sind Historical Society, which, as it bears on the subject under consideration, it has been thought well to include following Sr. Imbelloni's article. The question asked in this letter has been answered, definitely though of necessity unsatisfactorily.
The review in the September number referred to concludes with the words: “So closes, or opens, another chapter on the mystery of the Easter island tablets”; the indications are for an opening; not a closing.
—Editor.
RECENT DISCOVERIES IN THE MIDDLE-INDUS AREA AND THEIR RELATION TO THE EASTER ISLAND SCRIPT.
RENEWED interest is being taken today in questions connected with the discovery by Sir John Marshall, shortly before 1928, of mysterious inscriptions, belonging to the late stone or early bronze period, in the ruins of- 61 Mohengio, Daro, and Harappa, the three most remote cities of the middle Indus.
This discovery, and still more the other discovery that followed it in 1932, when Guillaume de Hevesy connected the script of these inscriptions with that of the mysterious tablets of Easter island—or as I prefer to call it by its native name, Rapanui—seemed so important in European scientific circles that the idea of an expedition to the island was mooted immediately, and very soon realized. The members were the archaeologist H. Lavachery, the ethnologist A. Métraux, and the physician I. Drapkin. Louis Watelin, originally chosen as leader of the expedition, unfortunately died on the voyage, in 1934, in Chilian waters.
I need not here repeat what I have stated on various occasions about this discovery and the resulting controversies among ethnologists and epigraphers, starting from the 4th October, 1933, when I submitted this question to the Historical Committee. As my readers will easily remember, especially those who saw the large mural placards on which I gave large-scale reproductions of the series of inscriptions correlated by C. de Hevesy, I described in my lectures at Buenos Aires and Santiago the effect of the first sight of these discoveries on the South American public.
The publications referred to discuss practically all the little we know about the famous “singing” or “rhythmic recitations” of the ancient hierophants of Rapanui during the annual festivals of the village of Anakena; about the genealogies of the island kings or ariki, which they were shown reading with the tablet in hand; about the school of wood-engravers or inscription-writers that formerly flourished on the north coast of Rapanui, and about many other topics which, today as yesterday, would furnish material for an interesting article.
But my present purpose is to let my old friends know whether there is anything new to be said about the Proto-Hindu or Easter island inscriptions.
In the Punjab the investigations show a slow but steady progress, in the sense that new collections of inscribed seals and amulets, mostly steatite, have been added to the many thousands already known. The epigrapher cannot in- 62 practice keep pace with the excavator, because years elapse between the discovery of the material and the publication of the symbols.
Thus for instance the book of Sir John Marshall dated 1931 publishes only the seals known up to 1927, and Hunter's list issued in 1932 only those known up to April, 1931. The latter is the latest repository and is to be regarded as a supplement to Hunter's own book which bears the date 1934, although it was actually completed in 1929 and held up for five years awaiting the imprimatur of the Archaelogical Department of the Government of India. Persons not aware of this chronological anomaly, and starting with the fixed idea that Hevesy's notion was an absurdity, a purely subjective conviction, somewhat hastily accused Hevesy of reproducing symbols not to be found in Hunter's original plates. It has now been clearly established by Baron Heine-Geldern, as well as by Professor G. R. Hunter himself, that these critics based their conjectures on the 1934 book, without knowing that that collection is incomplete and out of date, and that there should be included in it the inscriptions of the article by Hunter published by the Asiatic Society of London in 1932.
Now as regards the Indus inscriptions. Here the mystery remains impenetrable. In know of only one attempted interpretation, and that is unscientific, and better described as a “fervent improvisation.” Father H. Heras, S.J. has just published in the Journal of the University of Bombay a long article dedicated to the “Religion of Mohenjo Daro through its Inscriptions,” in which he offers an explanation of several texts without for the time being revealing the basis or methods used in deciphering. The little it is possible to discover about these methods from the article itself leaves us very sceptical. In support of the contention that these inscriptions are about things divine, Father Heras starts from the assumption that, of figures reproduced by him,
- 63 
the first, in as much as it has arms and legs detached from the torso in a dynamic attitude, signifies “man”; the second, in which the limbs are dropped and without vital force, signifies “superior being, god”; the third, with four arms, signifies “supreme being”; the fourth, “goddess mother”; the fifth, “hermaphrodite goddess,” etc. Here is an example of his translations: according to Heras the following inscription
means: “The trees of the united canalized region of the Kavals (dedicated) to all the gods, whence came Minas, who was in the house.” It is not so much the queerness of the sentence that is noteworthy as the crudely ideographic intuition of the interpretation. There is another yet more absurd:
which is supposed to mean “Enmai is to the fish and to the acacia as 8 is to 2,” a mathematical formula in which Heras recognizes an appellative of Siva “of the eight bodies.”
These attempts of Father Heras are comparable to those of another learned jesuit, Father Anastasius Kircher, who during the Renaissance period made guesses at the Egyptian hieroglyphs which have since been satisfactorily deciphered.
On the Pacific side also there is nothing new to report. The tablets of Rapanui remain undeciphered; some people even refuse to admit that they represent a script. That is the gist of the arguments put forward by Dr. Alfred Métraux in an article published in the review Anthropos, of which he has just sent me a separate copy from Honolulu, with a very friendly dedication. Interesting summaries of the same article have recently appeared at Buenos Aires.
The arguments of Dr. Métraux comprise three distinct aspects. First, the statement that most of the analogies- 64 exist only in Hevesy's reproductions, whereas they disappear when compared with those of the original series, “this gentleman, moved by his enthusiasm, having slightly modified the original symbols, and accentuated similitudes which otherwise might perhaps never have suggested themselves.” Secondly, the statement that the tablets of Rapanui do not contain a script, but a certain number of “sacred symbols representing gods of the island and equally sacred things.” Thirdly, the statement that the civilization of Rapanui, which became extinct in the 19th century, can have no connection historically with that of the Punjab that flourished in 3,000 B.C. and is separated from it by 20,000 kilometres of ocean.
I do not propose here to discuss fully these three central propositions of Dr. Métraux. I shall only point out that they are open to objection both from an internal and from an external point of view, i.e., in respect of their methods of proof, and in respect of the present state of the sciences of epigraphy, history, and ethnology.
But there is a point in which a friendly intervention may be helpful both to Dr. Métraux and to M. de Hevesy, both of them friends of mine of long standing. Nor am I now thinking of the recognition of analogies in the two graphic systems. Every one has the right to refuse that; I partly did so myself before 1935. It is something more serious than that.
In disputes of this kind one often says more than one means. Dr. Métraux devotes many paragraphs of both his articles to showing that Hevesy has altered some symbols and imagined others non-existent in Hunter's plates, also omitting to give precise references to those plates “by what may have been a prudent lapse of memory.” I am sure that Dr. Métraux never meant to bring an accusation of falsification, only to point out the scientific blindness that results from the effort to prove a preconceived theory.
I regret having to say that accusers as well as accused can be struck with this brand of critical blindness. In short, in order to vindicate the moral and scientific integrity of Guillaume de Hevesy I feel obliged to publish the following facts:
- 65 
1. In a manuscript letter signed by Professor Hunter and addressed to M. de Hevesy, of which I possess a photographic copy, he says that, having carefully re-examined the list of symbols reproduced by the latter, “I have verified that in every case in which you have taken the symbols of my work, you have reproduced them with scrupulous and indeed remarkable exactitude.” (Italic words are in English in the original.)
2. In the same letter Professor Hunter, who is at present at Ngapura, in India, remarks that Dr. Métraux has not taken the trouble to read the work from which the symbols were taken, i.e., his article in the Journal of the Asiatic Society, 1932, except for a foot-note to Anthropos, p. 222. In that foot-note he shows that he was under the misapprehension that the book of 1934 contained everything discovered up to that date.
3. The well-known sinologist Baron Heine-Geldern has written from New York a postscript of several pages to his article in the same review (Anthropos), in which the chief accusations of Dr. Métraux are shown to be unfounded. The clear and careful analysis of Heine-Geldern constitutes not only a complete vindication of Guillaume de Hevesy, but also a proof of correlation between the two scripts. As regards the former point, the original unpublished MS. of Hevesy as read before the Paris Academy by Professor Pelliot is accompanied by full references to sources. Heine-Geldern, who has seen it, declares in so many words: “I can testify that in this MS. all the references to the sources from which Hevesy drew the Indus symbols and the Easter island symbols are given by him with scrupulous care.”
After giving this strictly objective statement of the facts, I have a wish to add. I hope that the wish of the distinguished Viennese sinologist may soon be fulfilled, when he says: “I have no doubt that Dr. Métraux, after a more careful examination of the sources, will himself be the first to admit that his accusation are unjust, and spontaneously make the public apology to which M. de Hevesy is fully entitled.”
One can find excuses for this unfortunate business in the fervour with which we all pursue the investigation of- 66 scientific novelties. I am sorry it has occupied so much of my space that I cannot now, with the modesty and caution necessary to the preservation of one's clarity of vision, formulate my own standpoint in regard to the questions raised by this article, that is to say: the transformation of the human figure into a bird profile, which is typical of the Easter Islanders; the proof that the tablets of Rapanui can contain nothing other than a script; the strong probability that that script cannot be dissociated from the canons of the scripts of antiquity; the illustration of the essential characteristics of boustrophedonic writing; and the inadequacy, in ethnological questions, of simplified arguments resting on mechanical “space and time” considerations.
On some other occasion I may tackle these suggestive themes in conjunction with my readers, bearing in mind the misleading character of an absolute denial of ancient Melanesian populations whether in Easter island or in the rest of Polynesia.
FROM N. M. BILLIMORIA, HON. SECRETARY, SIND HISTORICAL SOCIETY.
Marston Road, Karachi, India, 12th December, 1938.
You may be aware that the script on tablets found at Easter island is very similar to the script on seals found at Mohenjo Daro in Sind, India. I enclose two illustrations for comparison.
In vol. 1, 1892, of the Journal of the Polynesian Society, Dr. A. Carrol has written an article on Easter island inscriptions, and on page 236 of that article he writes: “When I am printing the grammars and vocabularies, I will have each of the characters, and the separate parts of these characters, clearly shown, with the equivalent or value of each in the language in which it was intended to be written and read, and also with its equivalent or interpretation in English.”
- 67 
Will you please let me know if the Doctor has printed such grammar and vocabularies, and if they are available. Possibly they must have been printed in the Journal of your Society … If you can kindly give me all particulars on this point, viz. the script of tablets of the Easter island, I shall be really grateful.
I am yours truly,
(Sd) N. M. BILLIMORIA,
Hon. Secretary and Treasurer Sind Historical Society.
“All the particulars”—alas! no more could be given him than what had appeared in the Journal he evidently has seen. The accompanying are the two pages of signs sent by him.—Lever le rideau.
—Editor.
- 68 
FIG. 1.
- 69 
FIG. 2.
Corpus of Rongorongo texts                                                                       
Surviving Rongorongo Corpus: The following images contain the complete known corpus of Rongorongo scripts. They have been named after the letters of the alphabet for ease, but each has its own individual name too.
Text 'A' - 'Tahua'

Text 'B' - 'Aruku Kurenda'.

Text 'C' - 'Mamari'
(Lunar calendar suspected from end of line 6 to beginning of line 9).

Text 'D' - Échancrée (Notched)

Text 'E' - 'Keiti'

Text 'F' - 'Chauvet Tablet'

Text 'G' - 'Small Santiago Tablet'

Text 'H' - 'Large Santiago Tablet'

Text 'I' - The Santiago Staff. Over 120cm long.

Text 'J' - 'London (reimiro 1)'

Text 'K' - Near Duplicate of 'G'

Text 'L' - 'London (reimiro 2)'

Text 'M' - 'Large Vienna Tablet'

Text 'N' - 'Small Vienna Tablet'

Text 'O' - 'The Berlin Tablet'

Text 'P' - 'Large St Petersburg Tablet'

Text 'Q' - 'Small St Petersburg Tablet'

Text 'R' - 'Small Washington Tablet'

Text 'S' - 'Large Washington Tablet'

Text 'T' - 'Honolulu tablet 1' or 'Honolulu 3629'

Text 'U' - 'Honolulu tablet 2 or Honolulu 3628'

Text 'V' - 'Honolulu tablet 3 or Honolulu 3622'


Text 'W' - Image Missing.


Text 'X' - 'The Birdman'

Text 'Y' - 'The Paris Snuffbox'

Text 'Z' - 'Poike'

See:  https://tinyurl.com/y9xnqm6d
NUMERALS AND PHONETIC COMPLEMENTS IN THE KOHAU RONGORONGO SCRIPT OF EASTER ISLAND ALBERT DAVLETSHIN Russian State University for the Humanities Institute for Oriental and Classical Studies, Moscow
https://swarajyamag.com/magazine/any-ape-can-reach-for-a-banana-but-only-a-human-can-reach-for-the-starsVS Ramachandran: The Sherlock Holmes of Neuroscience, April 4, 2017 “I am also interested in Indus script. Neurosurgeon Eric Altschuler and I were struck by the similarity between Indus script and the script of Easter Island called Rongorongo. About 20 of the signs are almost identical – but brushed aside as mere coincidence by scholars. I published an essay in the Indian Express suggesting an approach to decipherment. One could use a computer to see if the probability of two signs occurring in tandem is similar across the scripts. The scripts must be related despite being on opposite sides of the planet and separated by four millennia. Unfortunately, there is some evidence that about six of the most convincing examples in De Hevesy were fabricated. Someone should investigate.

Rongorongo-Indus Scripts & neural networks. A search for meaning endowed in Ahu ritual platforms of Moai. Living archaeology of Rapa Nui (Easter Island)

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https://tinyurl.com/ybed473f

This is an addendum to:

Corpus of Rongorongo texts and a compendium of views on links with Indus Script https://tinyurl.com/y8nzcmsk

Moai, Ahu, Hotu are evocative words which enthrall a researcher into the human condition wonder how a group of human beings express themselves through 'sculptures' and 'hieroglyphs'. We do not know what the words mean. 

Could these words be remembered phonemes from antiquity, lost in the mists of time? 

Maybe, neuroscience researches related to sensory perceptions of vision and hearing -- e.g., 'documenting' meanings by linking 'images' and 'sounds' in the brain neural networks may provide some leads.

There are cognate words in ancient languages of India, for e.g. 

म a magic formula; N. of various gods (of ब्रह्मा , विष्णु , शिव , and यम)
मा to measure out , apportion , grant RV.  ; 
to help any one (acc.) to anything (dat.) ib. , i , 120 , 9  ; 
to prepare , arrange , fashion , form , build , make RV.  ; 
to show , display , exhibit (अमिमीत , " he displayed or developed himself " , iii , 29 , 11) ib.  ;  to be measured &c RV. &c &c Caus. , मापयति , °ते (aor. अमीमपत् Pa1n2. 7-4 , 93 Va1rtt. 2 Pat. ) , to cause to be measured or built , measure , build , erect Up. Gr2S.MBh. &c Desid. मित्सति , °ते Pa1n2. 7-4 , 54 ; 58 (cf. निर्- √मा): Intens. मेमीयते Pa1n2. 6-4 , 66. [cf. Zd. ma1 ; Lat. me1tior , mensus , mensura ; Slav. me8ra ; Lith. me3ra4.]

hotr̥ होतृ m. (fr. √1. हु) an offerer of an oblation or burnt-offering (with fire) , sacrificer , priest , (esp.) a priest who at a sacrifice invokes the gods or recites the ऋग्-वेद , a ऋग्-वेद priest (one of the 4 kinds of officiating priest » ऋत्विज् , p.224; properly the होतृ priest has 3 assistants , sometimes called पुरुषs , viz. the मैत्रा-वरुण , अच्छा-वाक , and ग्रावस्तुत् ; to these are sometimes added three others , the ब्राह्मणाच्छंसिन् , अग्नीध्र or अग्नीध् , and पोतृ , though these last are properly assigned to the Brahman priest ; sometimes the नेष्टृ is substituted for the ग्राव-स्तुत्RV. &c.
आ- √ हु  P. A1. -जुहोति , -जुहुते (p. -ज्/उह्वान) to sacrifice , offer an oblation  ; 
to sprinkle (with butter) RV. AV. TS. Hariv. (Monier-Williams)

S. Kalyanaraman, Sarasvati Research Centre

Manchester Museum had an exhibition which provides a way to organize and recreate the ancient lives of Moai. See photographs of 2015 exhibition. "Almost a year after it was first mooted and after six months’ hard work Making Monuments on Rapa Nui the Statues from Easter Island opened with a Private View on Tuesday evening. About 300 people attended the official opening to hear speeches from Dr Nick Merriman, Director of Manchester Museum, Prof Colin Richards, from the Department of Archaeology, and Mathias Francke, Chilean Deputy Ambassador, and to see the exhibition for the first time."

https://ancientworldsmanchester.wordpress.com/tag/pukao/

Abstract. This article explores the spatial, architectural and conceptual relationships between landscape places, stone quarrying, and stone moving and building during Rapa Nui’s statue-building period. These are central themes of the ‘Rapa Nui Landscapes of Construction Project’ and are discussed using aspects of the findings of our recent fieldwork. The different scales of expression, from the detail of the domestic sphere to the monumental working of quarries, are considered. It is suggested that the impressiveness of Rapa Nui’s stone architecture is its conceptual coherence at the small scale as much as at the large scale.

How to Cite: Hamilton, S., (2013). Rapa Nui (Easter Island)’s Stone Worlds. Archaeology International. 16, pp.96–109. DOI: http://doi.org/10.5334/ai.1613"

https://www.ai-journal.com/articles/10.5334/ai.1613/ (UCL Inst. of Archaeogy, Article by Sue Hamilton of 24 October 2013, embedded for ready reference)

Ahu are stone platforms...Of the 313 known ahu, 125 carried moai... Ahu Tongariki, one kilometre (0.62 miles) from Rano Raraku, had the most and tallest moai, 15 in total...A paved plaza before the ahu. This was called marae...When a ceremony took place, "eyes" were placed on the statues. The whites of the eyes were made of coral, the iris was made of obsidian or red scoria. 

https://en.wikipedia.org/wiki/Easter_Island#Stone_platforms

Image result for moai eye obsidian polynesian

Legend of Hotu Matua

Hotu Matu'a was the legendary first settler and ariki mau ("supreme chief" or "king") of Easter Island. Hotu Matu'a and his two canoe (or one double hulled canoe) colonising party were Polynesians from the now unknown land of Hiva (probably the Marquesas). They landed at Anakena beach and his people spread out across the island, sub-divided it between clans claiming descent from his sons, and lived for more than a thousand years in their isolated island home at the southeastern tip of the Polynesian Triangle.
Polynesians first came to Rapa Nui/Easter Island sometime between 300 CE and 800 CE. These are the common elements of oral history that have been extracted from island legends. Linguistic, DNA and Pollen analysis all point to a Polynesian first settlement of the island at that time, but it is unlikely that other details can be verified. During this era the Polynesians were colonizing islands across a vast expanse of the Pacific Ocean. Hotu Matua led his people from Hiva; linguistic analysis comparing Rapanui to other Polynesian languages suggests this was the Marquesas Islands.
It is said that Hau-Maka had a dream in which his spirit travelled to a far country, to help look for new land for King Hotu Matu'a. In the dream, his spirit travelled to the Mata ki te Rangi (Eyes that look to the Sky). The island has also been called "Te Pito 'o te Kainga", which means "the Center of the Earth." Both islands are commonly said to be Easter Island.
When Hau-Maka woke, he told the King. The King then ordered seven men to travel to the island from Hiva (a mythical land) to investigate. After they found the land, they returned to Hiva. The King and many more travelled to this new island.
There are only 21 known tablets in existence, scattered in museums and private collections. Tiny, remarkably regular glyphs, about one centimeter high, highly stylized and formalized, are carved in shallow grooves running the length of the tablets. Oral tradition has it that scribes used obsidian flakes or shark teeth to cut the glyphs and that writing was brought by the first colonists led by Hotu Matua. Last but not least, of the twenty-one surviving tablets three bear the same text in slightly different "spellings", a fact discovered by three schoolboys of St Petersburg (then Leningrad), just before World War II.
In 1868 newly converted Easter Islanders send to Tepano Jaussen, Bishop of Tahiti, as a token of respect, a long twine of human hair, wound around an ancient piece of wood. Tepano Jaussen examines the gift, and, lifting the twine, discovers that the small board is covered in hieroglyphs.
The bishop, elated at the discovery, writes to Father Hippolyte Roussel on Easter Island, exhorting him to gather all the tablets he can and to seek out natives able to translate them. But only a handful remain of the hundreds of tablets mentioned by Brother Eyraud only a few years earlier in a report to the Father Superior of the Congregation of the Sacred Heart.
Some say they were burnt to please the missionaries who saw in them evil relics of pagan times. Some say they were hidden to save them from destruction. Which side should we believe? Brother Eyraud had died in 1868 without having ever mentioned the tablets to anyone else, not even to his friend Father Zumbohm, who is astounded at the bishop's discovery. Monsignor Jaussen soon locates in Tahiti a laborer from Easter Island, Metoro, who claims to be able to read the tablets. He describes in his notes how Metoro turns each tablet around and around to find its beginning, then starts chanting its contents.
The direction of writing is unique. Starting from the left-hand bottom corner, you proceed from left to right and, at the end of the line, you turn the tablet around before you start reading the next line. Indeed, the orientation of the hieroglyphs is reversed every other line. Imagine a book in which every other line is printed back-to-front and upside-down. That is how the tablets are written! Jaussen was not able to decipher the tablets.

There are also many zoomorphic figures, birds especially, fish and lizards less often. The most frequent figure looks very much like the frigate bird, which happens to have been the object of a cult, as it was associated with Make-Make, the supreme god.
When you compare the tablets which bear the same text, when you analyze repeated groups of signs, you realize that writing must have followed rules. The scribe could choose to link a sign to the next, but not in any old way. You could either carve a mannikin standing, arms dangling, followed by some other sign, or the same mannikin holding that sign with one hand. You could either carve a simple sign (a leg, a crescent) separate from the next, or rotate it 90 degrees counterclockwise and carve the next sign on top of it.
All we can reasonably hope to decipher some day is some two to three lines of the tablet commonly called Mamari. You can clearly see that they have to do with the moon. There are several versions of the ancient lunar calendar of Easter Island.





Petroglyphs

On Easter Island, petroglyphs are located in every sector of the island where there are suitable surfaces. Favored locations are smooth areas of lava flow (called "papa" in Rapanui), or on smooth basalt boulders. Most of these surfaces occur along coastal areas and often are associated with major ceremonial centers. Some important ahu have, as part of their structure, elegantly carved basalt stones (pa'enga), with petroglyphs on them. Paintings survive in caves or in some of the stone houses at 'Orongo where they are protected against the weathering process.
Thousands of petroglyphs, rock carvings, can be found on Easter Island. Many represent animals, notably birds or anthropomorphic birdmen. One of the most famous motifs on Easter Island is that of birdman - half-man, half bird image that was connected to cult events at the sacred site of 'Orongo. A bit of background on the culture is necessary to explain this unusual cult.
After the demise of the statue building, in the last days before the invasion by Peruvian slave traders, there arose a cult of the Birdman (Tangata Manu). The birdman was seen as the representative on earth of the creator god Makemake, and eventually, this cult surpassed the traditional power of the king ariki.
Once a year, representatives from each clan would gather at the ceremonial village of Orongo and swim to Motu Nui, a nearby Islet to search for the egg of the Sooty Tern. On his return, the competitor presented the egg to his representative who was then invested with the title of Tangata Manu. He then went down to Mataveri and from there was led in procession to the southwest exterior slope of Rano Raraku, where he remained in seclusion for a year. The Birdman ritual was still in existence when Europeans arrived on Easter Island - therefore historically documented. It was also featured quite prominently in Kevin Costner's film "Rapa Nui".
In Hanga Roa -a sprawling and pleasant community where the island's 2,775 residents live because it's the only area on the island with electricity and running water. The most interesting souvenirs are miniature wood and stone carvings of moais, though some stone samples up to 6 feet tall are available.


Stone fish hook from Rapa Nui (Horniman Museum and Gardens).Stone fish hook from Rapa Nui (Horniman Museum and Gardens).
Obsidian mataa from Easter Island in Manchester Museum
Obsidian mata’a from Easter Island in Manchester Museum
"The final section of the exhibition explores the reasons for the decline of Rapanui culture. It skirts contentious explanations such as the eco-disaster theory. According to this theory the Rapanui chopped down all their trees or introduced deliberately or inadvertently rats which gnawed the seeds of nuts of the palm trees and ate seedlings and thereby prevented the palm forest regenerating. Some researchers have pointed to the large numbers of stone enclosures or manavai on the island as evidence that the Rapanui adapted to their new circumstances. However, if the large numbers of obsidian implements or weapons called mata’a are anything to go by, this later period in the island’s history following contact with Europeans was characterised by increasingly bitter warfare. The statues were toppled and there were fewer and fewer standing each time visits were made to the island. It’s been suggested that this happened at least in part because of lack of maintenance but the fact that statues were toppled and their heads broken off in the process suggests this was done intentionally by other clans on the island. Toppling and destroying a community’s stone statues would rob it of power and authority. Not everyone would agree with this reading, nor the suggestion that the Birdman race, only touched upon here, is a late innovation but then the main focus of this temporary exhibition is ‘monu-mentality’ and incidental topics such as RongoRongo script and the Birdman cult, however fascinating, are only mentioned in passing."

All fifteen standing moai at Ahu Tongariki
Fish petroglyph found near Ahu Tongariki
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de Isla de Pascua, Moai at Anakena Beach. 
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Ahu. Ceremonial shrine.
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Ahu Akivi Isla de Pascua.

Related imageImage result for easter island dnaEaster Island map showing Terevaka, Poike, Rano Kau, Motu Nui, Orongo, and Mataveri; major ahus are marked with moai

Easter Island map showing Terevaka, Poike, Rano Kau, Motu Nui, Orongo, and Mataveri; major ahus are marked with moai. Easter Island is famous for its 887 extant monumental statues, called moai, created by the early Rapa Nui people.

The island is dominated by hawaiite and basalt flows which are rich in iron and show affinity with igneous rocks found in the Galápagos Islands.( Baker, P. E.; Buckley, F.; Holland, J. G. (1974). "Petrology and geochemistry of Easter Island". Contributions to Mineralogy and Petrology. 44 (2): 85–100.)
The northwest sector of Rano Raraku contains reddish ash.[51] According to Bandy, "...all of the great images of Easter Island are carved from" the light and porous tuff from Rano Raraku crater. A carving was abandoned when a large, dense and hard lithic fragment was encountered. However, these lithics became the basis for stone hammers and chisels. The Puna Pau crater contains an extremely porous pumice, from which was carved the Pukao "hats". The Maunga Orito (name of a dome of a volcano) obsidian was used to make the "mataa" spearheads.(Bandy, Mark (1937). "Geology and Petrology of Easter Island". Bulletin of the Geological Society of America48 (11): 1599–1602, 1605–1606, Plate 4.) Obsidian is a hard, dark, glass-like volcanic rock formed by the rapid solidification of lava without crystallization. "...moai were carved from compressed, easily worked solidified volcanic ash or tuff found at a single site on the side of the extinct volcano Rano Raraku. The native islanders who carved them used only stone hand chisels, mainly basalt toki, which lie in place all over the quarry. The stone chisels were sharpened by chipping off a new edge when dulled. While sculpting was going on, the volcanic stone was splashed with water to soften it. While many teams worked on different statues at the same time, a single moai took a team of five or six men approximately a year to complete. Each statue represented the deceased head of a lineage...The statues found mounted on ahu do not have wide bases and stone chips found at the sites suggest they were further modified on placement.https://en.wikipedia.org/wiki/Easter_Island#cite_ref-52
 signature-stoneSignature stone.
"There have been many, many centuries or millenniums of silt buildup around the earliest and most finely carved of the Easter Island statues, attesting to their very great-age. The statue shown to the left portrays a very refined belt and buckler arrangement at the waist, indicating a civilisation with advanced manufacturing and artistic skills. The centre picture shows silt buildup of somewhere in the vicinity of 20 to 24-feet. Such general depositing of blown sand, subsiding gravel, clay silts and humus over a vast surrounding area would have taken an incredibly long period of time to occur. The ancient statue to the right shows a three-masted sailing vessel design on its stomach. The Phoenicians of the Mediterranean (circa 1500 BC) used huge "round ship" cargo vessels that were larger than the sailing ships used by Christopher Columbus (1492 AD) when he sailed to the New World (the Americas). Expert commentary related to the advanced shipwright skills displayed by the Phoenicians and other contemporary civilisations states that there is no technical reason why they could not have sailed to the Americas 2000-years before Columbus. The additional fact that Phoenician writing, as well as Scandinavian Rune writing, etc., has been found in Peru, as elsewhere in the Americas, or that South American substances like tobacco and cocaine were used in large quantities by the Egyptians for medicinal purposes or embalming processes, shows that there was thriving ancient trade between the continents. Photos from Aku Aku, by Thor Heyerdahl, 1957."

For Heyerdahl's observations about Easter Island: CLICK HERE  

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Image result for easter island dna

Today's research clears up some of the backstory of the first residents of Rapa Nui...backstory...get it? (Credit Terry Hunt)The massive carved Moai of Rapa Nui, or Easter Island, are as mysterious as the people who made them. (Credit Terry Hunt)

Easter Island, or Rapa Nui, is best known for its giant carved moai. (Credit Terry Hunt)
Science: DNA shows how Thor Heyerdahl got it wrong
·         Charles Arthur 
·         Thursday 8 January 1998 00:02 GMT

Fifty years ago, Thor Heyerdahl and the Kon-Tiki expedition appeared to prove that ancient humans could have sailed west from South American to colonise the Pacific islands. But DNA evidence now shows that his theory was wrong. Charles Arthur, Science Editor, on the molecules that have upset a great adventure.

In The Voyage of the `Kon-Tiki', the Norwegian archaeologist Thor Heyerdahl famously proved that early humans could have used the trade winds to sail from Peru to Easter Island - and thus be its first settlers. But although the tale of his replica raft and the voyage westward across the Pacific in August 1947 makes a stirring tale, his idea has now been proved to be wrong. Sorry, Thor: DNA analysis of the remains of the original settlers of islands all around the Pacific, including Easter Island, demonstrates that they actually came from South-East Asia.
Dr Erika Hagelberg, of the department of genetics at Cambridge University, has spent the past eight years studying the mitochondrial DNA - passed down through the maternal line - of Polynesians, who moved into the western Pacific about 1,500 years ago, and the Melanesians, who were the first to migrate there during the Pleistocene era about 60,000 years ago.
"There are two groups of populations which moved into the area, but both ultimately came from Asia," Dr Hagelberg said yesterday. "The Melanesians could have been one of the first migrations of modern humans out of Africa." They appear to have reached New Guinea, where they settled. The Polynesians then followed, and colonised New Zealand, Hawaii and Easter Island itself.
Determining the origins of populations by analysing mitochondrial DNA is done by first assuming that mutations in the sequence of the DNA arise at a specific rate but differently for different people. So two populations which evolve apart will have dissimilar sequences of mitochondrial DNA. That means you can distinguish where the DNA found in skeletons originated from, by comparing it with that from modern-day populations and also ancient DNA of known origins. And in the case of Easter Island's original settlers, it turns out that their common ancestor comes from South-East Asia - not South America.
Professor Heyerdahl has counter-claimed that the real first settlers cremated their dead, which would destroy any potential evidence. But Dr Hagelberg disputes this. "I can look at the DNA in the bones. I've examined a couple of hundred skeletons. It just takes patience and attention to detail."
Her work was done in collaboration with teams in Oxford, Holland and Australia and presented yesterday at a seminar at the Natural History Museum, organised by the Natural Environment Research Council, looking at "ancient biomolecules".

UCLA archaeologist digs deep to reveal Easter Island torsos

 | May 30, 2012

Easter Island statue
© Easter Island Statue Project
Jo Anne Van Tilburg with two workers from her Rapa Nui team of diggers. © Easter Island Statue Project.
There’s more to the world-famous heads of Easter Island than meets the eye.
Ask archaeologist Jo Anne Van Tilburg, a research associate at the UCLA Cotsen Institute of Archaeology and director of its Rock Art Archive, who has been lecturing and writing about Easter Island’s iconic monolithic statues for years.
As the director of the Easter Island Statue Project — the longest-continuous collaborative artifact inventory ever conducted on the Polynesian island that belongs to Chile — Van Tilburg has opened a window on one of the greatest achievements of Pacific prehistory on one of the most remote inhabited islands in the world.
She and her team of resident Rapa Nui have spent nine years locating and meticulously documenting the nearly 1,000 statues on the island, determining their symbolic meaning and function, and conserving them using state-of-the-art techniques.
After spending four months over the last two years excavating two of the statues and posting the results of their digs on the project’s website, Van Tilburg was surprised to discover that a large segment of the general public hadn’t realized that what they knew only as the Easter Island "heads" actually had bodies.
The two "heads" in the quarry where Van Tilburg’s team dug are standing figures with torsos, truncated at the waist, that have become partially buried by eroded dirt and detritus over centuries.
When Van Tilburg posted photos of the excavated statues on the project’s website about four months ago, the blogosphere lit up with surprise, generating a mass flurry of emails. Three million hits later, the Easter Island Statues Project (EISP) website crashed.
"I was completely blindsided," said Van Tilburg, who is back in Los Angeles, but will return to Easter Island in October to continue excavating. "But now I quite understand it, because most of the photographs that are widely available on the Internet, and certainly in books, deal only with the very photogenic statues that are located on the slopes of the quarry in which they were carved."
Buried to mid-torso, she said, the statues (which the Rapa Nui call moai, pronounced MO-eye) "do appear to be heads only. And, indeed, over the years, the statues were usually referred to as the Easter Island heads. But now people are aware they have bodies. I think that’s fabulous. I love it when good science can be turned into public information so quickly."
While many of the statues were moved by their creators to ceremonial sites, about half of the statues remain in and around the quarry, the Rano Raraku volcano crater. Attempts have been made to excavate more than 90 of the 149 statues that are upright and buried to their torsos there. But the EISP’s two excavations are the first in that location to be methodically done and documented according to archaeological standards, Van Tilburg said. The excavations, which began in 2009, are funded by the Cotsen Institute, the Archaeological Institute of America and EISP.
From her studies of these two statues, the archaeologist is convinced that the statues were partially buried naturally by eroded dirt, not by the Rapa Nui. She found approximately the same amount of dirt that partially buried the statues also filled the quarries located near where they stood.
The excavations also revealed other facts about these megaton behemoths.
While petroglyphs have been seen before on parts of the statues that were above ground, Van Tilburg’s excavations extended down to the base of the statues and revealed etched petroglyphs on the backs of the figures. She was especially intrigued by the repetition of crescent shapes that represent Polynesian canoes, she said.
"What we found underneath the base of one of the statues was a signature stone, a basalt rock with an incised drawing of a crescent, or canoe motif" she said. Van Tilburg believes this was the mark of its carver or the family group to which the carver belonged.
"Over time, it seems, more of these canoes were etched onto the statue in a constant repetition of identity reasserting who they were. As the community lost a sense of identity over time, perhaps they wanted to mark these statues as their own," she said.

"Easter Island: The Mystery Solved"
Explorer Thor Heyerdahl excavated this Easter Island statue in 1954-55. The UCLA project is the first, legally permitted archaeological project in the quarry since Heyerdahl's dig. Photo is from Heyerdahl's book, "Easter Island: The Mystery Solved."
Between the two statues, the diggers also uncovered evidence of the technology that was used to move the large statues upright — one of the statues Van Tilburg worked on stood 21 feet (about two stories ) tall.
"We found a round, deep post hole into which the Rapa Nui had inserted a tree trunk," she said. Van Tilburg said ropes were attached to the tree trunk and to the partially carved statue. "We found a rope guide that was actually carved into the bedrock near the statue." The Rapa Nui then used the tree trunk to raise the statue upright. Before the statue was upright, they carved its front. Once it stood erect, they finished the back, Van Tilburg explained.
The excavation team also found about 800 grams of natural red pigment — nearly two pounds — in the burial hole, along with a human burial. Van Tilburg believes the pigment was used to paint the statues, just as the Rapa Nui used pigment to paint their bodies for certain ceremonies. The unusually large amount of pigment found indicates that it might have been used by a priest or chief, perhaps as part of mortuary practice, she said. Human bones were found throughout the dig, indicating that people buried their dead around the statues.
To protect the statues from water damage, Van Tilburg’s team, which included Monica Bahamondez, director of Chile’s National Center of Conservation and Restoration, applied a chemical solution to the surface and then refilled the hole they had dug. Cotsen Research Associate Christian Fischer, working with the UCLA/Getty Master’s Program on the Conservation of Ethnographic and Archaeological Materials, aided in this effort.
"Conservation is a really important part of what we’re doing," the archaeologist said. She said she hoped that Rapa Nui young people can be trained and employed to treat the remaining statues standing in the quarry. The Rapa Nui National Park, the agency in charge of this World Heritage site, and Van Tilburg and her team are planning together to make that a reality.
"The entire staff that I work with on Easter Island are from Rapa Nui. I’m very proud of that," said Van Tilberg.
To learn more about the Easter Island Statue Project and see more photos, including those of the Rapa Nui excavation team, go here. A 2009 story in Backdirt, a magazine from the UCLA Cotsen Archaeological Institute, focuses on the project to save the moai.

Rapa Nui (Easter Island)’s Stone Worlds

Author:


Sue Hamilton 



Abstract


This article explores the spatial, architectural and conceptual relationships between landscape places, stone quarrying, and stone moving and building during Rapa Nui’s statue-building period. These are central themes of the ‘Rapa Nui Landscapes of Construction Project’ and are discussed using aspects of the findings of our recent fieldwork. The different scales of expression, from the detail of the domestic sphere to the monumental working of quarries, are considered. It is suggested that the impressiveness of Rapa Nui’s stone architecture is its conceptual coherence at the small scale as much as at the large scale.
How to Cite: Hamilton, S., (2013). Rapa Nui (Easter Island)’s Stone Worlds. Archaeology International. 16, pp.96–109. DOI: http://doi.org/10.5334/ai.1613
The remarkable nature of Rapa Nui (Easter Island) is so much more than its renowned colossal statues, known as moai. The moai are indisputably monumental; those set up on stone ceremonial platforms (ahu) are up to 10m in height (Fig. 1), while even larger statues, up to a vast 22m, remain at the statue quarry of Rano Raraku. However, what is most impressive and intellectually stimulating is the island-wide scale and interconnectivity of the architectural outcomes and meaning endowed in its prehistoric stone garnering, quarrying and construction activities (Hamilton et al., 2011). The ‘Rapa Nui Landscapes of Construction Project’ (LOC) is particularly concerned with the social and conceptual meanings of these construction undertakings and stone use. The Project was first reported in Archaeology International, when it was initially supported by a small grant from the British Academy (Hamilton, 2007). We are now two field seasons into a 4-year programme of AHRC-funded research. This AHRC project is based at UCL, in conjunction with co-investigators Colin Richards (University of Manchester) and Kate Welham (Bournemouth University), and our Project Partner, the University of the Highlands and Islands (led by Jane Downes). On the Island, the Project works with Rapa Nui elders and students and in close cooperation with CONAF (Chilean National Parks Authority, Rapa Nui) and MAPSE (the Island’s Museo Antropologico Padre Sebastian Englert).

Fig. 1 



Ahu Nau Nau, showing the canoe-shaped ahu platform, its poro (sea boulder) ramp and partly poro-paved plaza on the landward side, and Rano Raraku statues with pukao (‘hats’) in place.

Living archaeology



No archaeological fieldwork can or should be independent of the particular locale in which it takes place. Rapa Nui has a uniquely marooned island location, a difficult history and, today, a dynamic living community of c.5,000 persons. These three elements are at the core of any archaeological undertakings on the Island.
Rapa Nui is a small South Pacific island of 164 square kilometres (Fig. 2) at the south-easternmost point of the Polynesian Triangle made between Hawai’i, Aukland Island and Rapa Nui. It is surrounded by an infinity of sea, lying some 2,000km from its nearest neighbour, Pitcairn Island, and 3,700km from the mainland, Central Chile. Language characteristics, material culture and genetic analysis of mitochondrial DNA of prehistoric skeletons (Hagelberg, 1995) all indicate that Rapa Nui was first colonised by eastward voyaging Polynesians. The debated origin point includes an island in the Marquesas group, and Mangareva amongst the possibilities (Flenley and Bahn, 2003: chapter 2). The arrival date of the founder population has been much disputed. Traditionally, on the basis of glottochronology, dated stratified finds and palaeo-environmental sequences, a ‘start’ date as early as c.AD 800 has been advanced. More recent radiocarbon dates, and a critique of the pre-existing sequences and dates, suggest a later date of around the 11th century AD for the arrival of Polynesian colonists (Flenley and Bahn, 2007a2007bHunt and Lipo, 2006Wilmhurst et al., 2010). Either way, the construction of Rapa Nui’s iconic monuments appears to have been fully established by AD 1200.
 


Fig. 2 
Map of Rapa Nui, showing the places mentioned in the text, including the statue roads; the area of red shading is the present-day town of Hanga Roa. The locations of some of the major image ahu (ahu with statues) around the coast are marked by black dots; >100 of the ahu around the coast may originally have had statues, but these are too numerous to depict here (Martinsson-Wallin, 1994).
The Island’s extreme isolation, the suggested fragility of its fossil volcanic landscape and its low biodiversity, Polynesian-introduced rats and, following its discovery by Europeans in 1772, the imported diseases/epidemics that the outside world brought to the Island in the mid-late 19th century, have all variously been used to account for Rapa Nui’s cultural heights and troughs (Diamond, 2005Hunt and Lipo, 2007Sahlins, 1955). These include Rapa Nui’s remarkable cultural efflorescence during the statue-building period, the cessation of statue quarrying c.AD1650, with associated profound changes in the political system, and the disastrous plummet in population size, down from estimates of up to c.6,000 persons by the first European visitors to the 111 inhabitants recorded in the 1872 census (Flenley and Bahn, 2003: 169).
Today, Rapa Nui is part of Chile, having been annexed in 1888. From 1903 until 1953 the island was rented for intensive sheep rearing. This resulted in the Rapa Nui population being forced off the land and being contained within the Island’s only settlement of Hanga Roa (Fig. 2). Paradoxically, this also resulted in the preservation of the Island’s remarkably continuous landscapes of stone archaeological features that are the mainstay of its tourist economy today. This landscape includes: ahu (Fig. 1); houses (including canoe-shaped houses: hare paenga); earthern cooking ovens with stone surrounds (umu); rock gardens and walled enclosures for plantings (manavai); chicken houses (hare moai); quarries and statue roads; and a substantial repertoire of petroglyphs. The great importance of this archaeological landscape was recognised by Chile in declaring Rapa Nui as a National Park in 1935. Since 1996 Rapa Nui has been designated a UNESCO Cultural Landscape. The first commercial air-flights to Rapa Nui began in the 1960s and have greatly increased in recent times. Approximately 70,000 tourists now visit Rapa Nui each year. Concurrently, there has been a major revival of interest in indigenous traditions and in fostering and maintaining Rapa Nui identity and independence. The Chilean government is now returning land to the Rapa Nui – and there is an urgent need to understand how the integrity of the archaeology across the Rapa Nui landscape can best be maintained as part of this important process.
Rapa Nui thus has a living archaeology that is meaningful and integral to the present-day Rapa Nui community, their sense of identity and their understanding and use of the Island. LOC aims to work with the Rapa Nui community to provide training and help to record, investigate and conserve their own remarkable archaeological past. In doing so LOC hopes to build a framework of knowledge that concurrently elucidates research questions and works collaboratively with the Rapa Nui community and authorities to provide resources and information for presenting Rapa Nui’s pre-contact past. Several Rapa Nui students, supervised by Sorobael Fati, a Rapa Nui elder (Fig. 3), have worked regularly with us on our excavations, and last summer the Project set up a Bursary with UCL to bring a Rapa Nui university student studying archaeology to the UK, to join the Institute of Archaeology’s field training course at West Dean, West Sussex. Francisca Pakomio was the first recipient of this award (Fig. 3).
Fig. 3 
Rapa Nui colleagues. Clockwise from left: Sorobael Fati overlooking the 2013 excavations in the interior of Puna Pau (Colin Richards and Jane Downes are planning the deeply stratified quarry tip lines); Francisca Pakomio on the UCL Institute of Archaeology training excavation at West Dean, West Sussex; and Susana Nahoe, Archaeologist for CONAF Rapa Nui participating in our umu ceremony at the end of a Puna Pau excavation season (photos: M. Seager Thomas).
In a similar ethos we are working with CONAF to assist monitoring and managing Rapa Nui’s archaeological landscape. In January/February 2013, we undertook a survey for CONAF of the south-west branch of the ‘statue road’ (Ara Moai), from Rano Raraku to Ahu Tetenga (Fig. 2): to verify and assess the archaeological context of its route; to study the state of preservation of the so-called ‘in transport statues’ along the route; and to make suggestions as to how best develop a tourist ‘Ara Moai’ trekking trail while protecting the archaeology of the route. This work has allowed us to consider the role and function of the ‘statue roads’ as connectors of the communities associated with the ahuat the coastline with Rano Raraku quarry.
Some of LOC’s recent fieldwork work, its interpretative framework and how it is being developed to provide an integrated, island-wide understanding of the sites and monuments of the statue-building period, is discussed below.

Landscape boundaries with other worlds



Rapa Nui is triangular in shape and consists mainly of three extinct coalesced volcanoes: Terevaka, at an altitude of 507m, forms the bulk of the island, with two other volcanoes, Poike and Rano Kau, forming the eastern and southern tips (Fig. 2). Lesser cones and other volcanic features include the crater Rano Raraku, where the majority of the statues were carved, and the cinder cone of Puna Pau, where the red scoria statue ‘topknots’ or ‘hats’ (pukao) were quarried and also facing stones for the ahu platforms. There are three rano (freshwater crater lakes), at Rano Kau, Rano Raraku and Rano Aroi, near the summit of Terevaka, and a spring (puna) near Puna Pau. There are no permanent streams or rivers so that these sources of freshwater are exceptional in an otherwise waterless landscape; hence they have distinct phenomenological, as well as practical, qualities. There are also numerous volcanic caves, many below ground, that were used by the inhabitants for a range of activities and uses, including burial.
The founder population may have transferred the conceptual importance of certain landscape places in Polynesian societies to Rapa Nui. In Polynesian cosmologies recurrent themes are: the importance of volcanoes and their crater vents as conduits between above-ground and interior worlds; concerns with boundaries between ‘outer’ and ‘inner’ worlds; and the idea that the spirits of the dead travelled homeward across the sea, westward to a point of ancestral origin (Williamson, 1933). We discuss these concerns in a Rapa Nui context below.




The Puna Pau red ‘topknots’

The Project’s focus of excavation has been in the Puna Pau quarry (Figs 3 and 4), which is situated in the south-west of the Island. More than 100 pukao (‘topknots’ or ‘hats’) of red scoria are known either from the Puna Pau quarry and its outer slopes or from ahu. They are all made of the coarse, porous, dark red lava that comes from Puna Pau and are monumental in their own right, being large squat cylinders up to 2.5m tall and likewise in diameter. Ours are the first ever excavations at Puna Pau and are important for dating and defining activity at the quarry. The obsidian hydration dates that we obtained from our excavations on the outside of the crater indicate quarrying activity there from the 14th-17th centuries AD. This is in line with the established and later periods of statue use at the ahu. Quarrying inside the crater may have started earlier, and we await obsidian hydration dates and radiocarbon dates for LOC’s recent (2012/13) excavations in Puna Pau’s interior.


Fig. 4 
Fieldwork at Puna Pau. Clockwise from top left: exterior of the Puna Pau crater, with the line of pukaomarking the main route out of the quarry (photo: M. Seager Thomas); tomography analysis of the exterior of Puna Pau (image: S. Ovenden); excavation of a pukao and associated ‘road surface’ on the exterior of Puna Pau (photo: A. Stanford); and laser scanned topography of Puna Pau (image: K. Welham).
We have used laser scanning and Global Position Satellite survey to map the complex present-day topography of Puna Pau (Fig. 4). This complexity is the outcome of the reconfiguration of the exterior and interior of the cone by the major prehistoric quarrying activities that took place. Clearly, evidence of the earliest quarrying activities lies very deep below the present-day surface. We have used tomography (Fig. 4), a form of geophysical prospecting that provides sections through deeply accumulated strata, together with electro-conductivity and fluxgate magnetometry survey, to investigate the existence of both short-lived and more formalised routes through and out of the quarry for the roughed-out pukao.
LOC’s first excavation trench was located on the quarry exterior where a line of quarried pukao runs down the side of the cone. This was where our tomography survey had previously isolated the possibility of a compact ‘road’ surface adjacent to the line of pukao (Hamilton, 2007: fig. 6). Excavation in the vicinity of one of these pukao did uncover an ancient road surface, with evidence that the pukao had been deliberately placed to the side of it, in a ramped hollow (Fig. 4). A finely-flaked obsidian adze had been placed, perhaps symbolically, underneath the base of this pukao. This suggests that the pukao running down the exterior of the Puna Pau cone were formally positioned as a monumental row marking a road/formal route-way into the quarry interior. The implication of this is that the quarry crater was meaningful in its own right – and that this was signalled by monumentally enhancing entry into it.
Today, within Puna Pau’s interior, there are few remaining visible outcrops of workable scoria, the most pronounced of which form part of the southern slope, where a ‘rock-face’ revealing different bands of red scoria is visible. It appeared that some bands or strata had been exploited for pukao production and so this location was selected for one of the 2012/13 excavation trenches. This revealed the remains of bays from which the pukao were quarried and a carved pair of large ‘eyes’ above an emptied quarry bay (Fig. 5). The eyes have a diameter of c.0.18m, with slightly protruding eyeballs, and are 0.3m apart. They are of a size that means they can be seen from the lip of the crater prior to entering the quarry. These eyes add further to the idea that symbolism/sacred meaning was attached to the cinder cone and its associated quarrying activities.
Fig. 5 
Carved eyes at the Puna Pau and Rano Raraku quarries. Clockwise from top left: 3D-photogrammetry image of a single eye and pairs of lenticular and round carved eyes at Rano Raraku (A. Stanford); the pair of carved circular eyes in the interior of the Puna Pau crater; and a pair of carved lenticular eyes on the side of a Rano Raraku quarry bay (photos: M. Seager Thomas).
Excavation of a second trench in the quarry interior, proximate to one of a group of pukaorough-outs lying on the present-day quarry surface, located a multi-surfaced road through the quarry that had already been picked up by our resistivity survey. Excavations there, and associated with the quarry face, have produced the first stratified assemblages of quarrying and working tools associated with pukao production. These tools comprise stone types from many locales across the Island and are indicative of island-wide networks of stone use.
LOC’s recent work at Puna Pau therefore suggests several themes that we are exploring in other foci of our work on Rapa Nui. These include: the importance of eyes in Rapa Nui belief systems; the idea that quarry locales were potentially special places – to be travelled to, as much as being utilitarian places from which to garner products; and the interconnectivity of stone acquisition, use and meanings attached to Rapa Nui’s prehistoric stone architecture and its locations.

The ‘eyes’ of Rano Raraku



More than 1,000 moai are known, many of which remain at Rano Raraku, the statue quarry, either still attached to the rock or set up upright within the quarry (Fig. 6). Many others may have been completely buried by subsequent quarrying activities. This suggests that Rano Raraku, with its crater lake, was important not just as a source of freshwater and of stone for moai creation, but also as a place that connected with above-ground and below-ground ‘worlds’ (Hamilton et al., 2008Richards et al., 2011).


Fig. 6 
Rano Raraku statue quarry. Clockwise from left: statues remaining attached to the quarry rock on the crater exterior; the interior of Rano Raraku showing the crater lake and (at the right-hand bottom) the head and upper torso of a large in situ statue; and view of the exterior (photos: M. Seager Thomas).
Rano Raraku has ‘eyes’ carved in association with its quarry bays and, in 2013, we undertook a review of these to see if they had any similarity in location or style to our Puna Pau ‘eyes’. We found one similar pair of circular, protruding eyes carved in a quarry face (Fig. 5), but the c.25 others that we noted were lenticular in shape and similar to the eyes of the Rano Raraku statues when placed on the ahu (Fig. 7). Adam Stanford of Aerialcam has documented these eyes using 3D photogrammetry. This provides a record for CONAF and, importantly, has identified eroded carvings of eyes that are no longer readily visible to the naked eye (Fig. 5). Both single examples and pairs of these lenticular eyes occur immediately above or on the sides of many of the Rano Raraku quarry bays, both inside and outside the quarry.
Fig. 7 
Detail of a Rano Raraku statue at Ahu Nau Nau, showing eye sockets and pukao ‘hat’ (photo: A. Stanford).

This concern with eyes is interesting. It evokes ideas of the ‘living rock’ that are noted in Polynesian ethnography: for example, the red scoria of the Marquesas, quarried for stone for ceremonial platforms, was considered to be living and able to replenish itself (Linton, 1925: 165). The watching eyes in the rock faces of the Puna Pau and Rano Raraku craters may point to a conceptual relationship with the eyes of the statues. The Rano Raraku statues are ‘blind’ while remaining at the quarry – and during transport from the quarry (Fig. 8). It is only those set up on the ahu that have been given eye sockets (Fig. 7); occasional finds in their vicinity of lenticular coral irises, with scoria or obsidian pupils, suggest that the eyes of these moai were periodically activated by their insertion into the sockets (Martinsson-Wallin, 2007: 46–47). The statues on the ahu were placed looking inland – away from the sea – and thus towards their source where ‘seeing’ eyes are carved in the quarry faces. This suggests that there was a spatially integrated activation of places and material culture, through the ascription of sentinel attributes, to exert influences on the living.
Fig. 8 
Geophysical prospection of ‘road’ statues (top and centre); and (bottom) conservation survey of a ‘road’ moai showing ‘blind’ eye with a weathering pattern suggesting that it was once standing (photos: A. Stanford).

Follow the statue roads

Carl Lipo and Terry Hunt have used satellite imagery to map the so-called ‘statue roads’, with their recumbent roadside ‘in-transit’ statues, and describe them as emanating like ‘spokes from Rano Raraku’ (2005:7; Fig. 2). The first recorded sighting was of the south-west statue road by Katherine Routledge (1919:194), who suggested the likelihood of an arrangement of roads over the Island to account for the many Rano Raraku moai across it. Routledge provided an account of an approach to Rano Raraku with ‘at least five magnificent avenues on each of which the pilgrim was greeted at intervals by a stone giant guarding the way to the sacred mountain’ (1919:196). This idea was later superseded by the still popular view that the recumbent statues along the roads were abandoned in transit. Lipo and Hunt (2005) suggest that the bifurcating pattern of roads, as they run out from Rano Raraku, reflects the routes that the statues were taken along to different ahu. An alternative perspective is that the routes to Routledge’s ‘sacred mountain’ were as important as the transport of some statues away from Rano Raraku. There are indications from past fieldwork that some of the statues were set up along the roadside. One of Routledge’s (1919) excavations proximate to the road revealed a pit in which perhaps a moai once stood. Excavations by Thor Heyerdahl and Arne Skjølsvold of two moai along the south-west road (Heyerdahl et al., 1989) suggested the presence of a ‘statue platform’ behind each of two recumbent moai.
Preliminary geophysical work by LOC in the vicinity of the recumbent moai along the south-west moai road suggests further evidence for stone plinths, congruent with the idea that the statues were originally set up as monuments beside it (Fig. 8). LOC’s conservation survey for CONAF, along 2km of the same road, systematically considered the weathering patterns of 16 ‘road-side’ moai and the weathering features that might be expected on statues that were originally set upright and had stood for some time before toppling (Hamilton et al., 2013). The weathering patterns on several of these moaisuggested that they had indeed been in an upright position for a prolonged period (Fig. 8); this analysis is on-going. This is suggested by such features as having minimal weathering under the chin, a weathered upper belly and a less weathered under belly, and weathering on the under-eye area due to water drip from the overhanging brow. Such weathering patterns would have been unlikely to occur on statues that were in a recumbent position from early on in their history beyond the quarry.
LOC’s fieldwork therefore suggests that the roads were monumentalised as much for journeys to Rano Raraku as for the transport of statues from Rano Raraku. Our archaeological survey for CONAF, on an approximate 20m-wide strip either side of the south-west statue road, produced numerous architectural features of a more domestic nature: chicken houses; canoe-shaped houses; cooking ovens; manavai complexes; and numerous minor quarries for building stone. This denotes that the sacred and everyday worlds were in close physical proximity and that the constant or periodic demarcation between the two was the course of the road itself and its monumentalisation, rather than through an exclusion zone proximate to the road.






































































Architectural metaphors at different scales

Monumentality in stone on Rapa Nui is not restricted to the statues, the statue roads and the ahu on which the statues were set up. Its architecture of the statue-building period suggests a complex intertwining of themes of origin, ancestry and conceptually dangerous boundaries between different worlds that are expressed within the imprints of the smallest to the largest of Rapa Nui’s stone structures, and recur spatially from the ahu at the coast to the houses and rock gardens of the interior. LOC’s on-going research is exploring the interconnection between these places and their architecture. Here, an example of the repetition of shared themes at different architectural scales and formats is briefly outlined using ahu and hare paenga, and this will be developed in our future work.
The island’s coastline is ringed with image ahu and the statues on the ahu are traditionally believed to represent the ancestors. The backs of the ahu platforms face the sea and have crematoria on their seaward side, and the statues on these platforms likewise have their backs to the sea. A few image ahu occur inland, but it is notable that the majority are located at the interface between land and sea. Many of the ahu platforms have canoe-shaped bases and all had a poro-paved (beach boulder) ramp at their front (Fig. 1). In front of the ahu were plazas, which are presumed to have been places for ceremonies. Near the ahu these plazas were paved with poro, and beyond, landward, they were cleared of land stone and levelled (Fig. 1). Ahu thus physically link land and sea with two sea metaphors: boat and sea boulders (Hamilton et al., 2011). The positioning of these ahu concurrently monumentalised, blocked and controlled the boundary between land and sea, with sea access being via a poro-paved ramp that is often located on one side of the ahu (Hamilton, 2010). Conceptually, ahu are located at the interface between the world of the living and that of the dead/ancestors, who were processed, deposited and monumentalised at the ahu. This land-edge location aligns with the Polynesian concept that on death the soul travels westward across the sea to the point of ancestral origin of the voyaging colonisers (Hamilton, 2010).
We have likewise explored concepts of boundaries and interfaces between conceptual worlds for Rapa Nui’s hare paenga (Hamilton and Richards, in press). The hare paengaare often located just beyond and overlooking the ahu plaza, at the juncture with landscapes of the Island’s interior that are packed with domestic architecture and rock gardens. The hare paenga share the same visual, sea-related metaphors as the ahu in being boat-shaped in plan with poro pavements in front. Exceptionally, examples up to c.9m long and 1.6m high existed, as reported on during a brief visit by HMS Portland in 1853 (Richards, 2008: 86). In general, however, they have excessively substantial stone foundations with holes drilled at regular intervals to take light, stake superstructures. John Gilbert, Master of the Resolution, described them in 1774 as being covered with combinations of plantain and other leaves with rush and grass thatch, and as being from c.3.5m long and 1.2m in height at their centre (Richards, 2008: 17). Interestingly, the hare paenga foundations are made of the stones from many preceding houses, often five or six, and this can be tracked quite precisely via the mismatched combinations of stone widths, half pu (hole/s) and entrance stones reused in the main sections of the house foundations (Fig. 9). Hare paenga can thus be considered to be conceptually and physically ancestral houses with foundations of lineages of stone, just as ahu were places associated with lineages of ancestors.
 
Hare paenga (canoe-shaped houses). Clockwise from top left: lay-out of the stone base of hare paenga(photo: A. Stanford); Mike Seager Thomas with one of the ‘house gods’ in the Island’s museum (MAPSE) store; and two hare paenga foundations comprising the foundation stones of several former hare paenga (photos: M. Seager Thomas).
The hare paenga encountered by Pierre Loti in 1872 (2004: 69–73) are described as darkened/dim inside with – at certain times – sunbeams penetrating the ‘hole that serves as a door’. The entrance gaps of hare paenga are less than 50cm wide and entry required crawling on hands and knees to get through the diminished height of the entry point. Several accounts suggest that the hare paenga were used primarily for sleeping (e.g. Loti, 1872 [2004]: 73), but the larger ones may have been community/assembly houses (Metraux, 1971: 200). The excessive bulkiness of the foundation stones suggests that this curbing also had a conceptual role in protecting a key boundary between the exterior worlds of the living and the interior worlds of the sleeping/assembly (Hamilton and Richards, in press). Just as the seaward ramp down the side of an ahu was a conduit between the real and conceptual worlds of land and sea, with the last sight on going down the ramp being the eyes of the statues, entering and exiting a hare paenga appears to have been a graded and controlled transition. For the hare paenga this included a phenomenological transition from light to dark and from upright position to scrabbling on all fours – and vice versa on exit. The hare paenga entrance also appears to have been symbolically guarded. An illustration by Loti in (1872) shows two small statues either side of a hare paenga entrance and he describes one house entrance as being ‘guarded by two granite divinities with sinister expressions’ (Loti, 1872 [2004]: 69). Metraux (1940 [1971]: fig. 17) illustrates two small pillars on either side of a house entrance at Ahu Te Peu, which may have served a similar purpose, and mentions the existence of ‘small stone images’ of a similar size. This has led us to search for small stone statues of which there turn out to be a substantial number in the Island’s museum stores (Fig. 9).
Thus, albeit at a different scale to the configuration of an ahu, or monumentalisation of the vents and cones and entry/exit routes of fossil volcanoes, the hare paenga may have shared a common, Island-wide cosmology in which the boundaries between different conceptual works were considered to be dangerous to the extent that they required to be marked and strengthened through architectural devices.
Conclusion

The above but touches upon some of the themes, findings and interpretative trails of LOC’s recent work on Rapa Nui. It is an interim observation with a number of samples waiting dating and further analysis/fieldwork to come. For the moment what this article hopes to express is an exemplification of the complexity of Rapa Nui’s archaeology and its ingenuity of expression that can only be fully revealed when studies have been carried out across multiple categories of architecture and activity. ‘Understanding’ this ingenuity benefits from its consideration within a Polynesian framework of cosmology. An integrated perspective on Rapa Nui’s archaeology and its use of stone par excellence is where the revelation of the weight of its exceptionality must surely lie.


















Excavations and fieldwork were undertaken under a Permit issued by the Chilean Ministry of Culture (ORN No 1699 CARTA 720 DEL 31 del 01.2008), and with the support of the Rapa Nui Council of Elders, CONAF and MAPSE.
We would like to thank the Island’s Governor, Carmen Cardinali Paoa, and Sonia Haoa Cardinali and Lili Gonzales, for their advice and guidance.
Susanna Nahoe, CONAF’s archaeologist, and Francisco Torres H, Director of MAPSE, are Co-Directors of our project and have greatly assisted and advised us in undertaking work on the island. We would also like to thank Enrique Tucki of CONAF for his generous advice and assistance.
The LOC Core Team comprises: Sue Hamilton (Principal Investigator), Colin Richards (Co-Investigator), Kate Welham (Co-Investigator), Jago Cooper (for 2012), Jane Downes, David Govantes, Mike Seager Thomas, Lawrence Shaw, Adam Stanford and Ruth Whitehouse.
On Rapa Nui we would like to thank the following people who worked with us: Sorababel Fati (Excavation Supervisor) and Rapanui students: Joaquin Soler Hoti, Isaias Hey Gonzalez, Francisa Pakomio Villanueva, Tiki Paoa and Alejandro Tucki Castro.





























































































































References

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7.             Hamilton, S (2010). Back to the sea: Rapa Nui’s ahu seascapes In: Wallin, P and Martinsson-Wallin, H eds.  Migration, Identity and Culture. Gotland University Press, 11pp. 167–182.  
8.           Hamilton, SNahoe, SRichards, C and Torres, H F (2008). Quarried away In: David, B and Tomas, J eds.  Handbook of Landscape Archaeology. Walnut Creek CA: Left Coast Press, pp. 176–186.  
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10.     Hamilton, SSeager Thomas, M and Whitehouse, R (2011). Say it with stone: constructing with stones on Easter Island. World Archaeology 43(2): 167–190, DOI: https://doi.org/10.1080/00438243.2011.586273 
11.        Hamilton, SSeager Thomas, MStanford, AShaw, LWelham, K and Whitehouse, R(2013). LOC Preliminary Multi-scalar Survey of the South-west Section of the Ara Moai: including an assessment of conservation priorities and proposals for the establishment of a trekking route. Conducted for and report submitted to CONAF, Rapa Nui: February 2013 
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13.      Hunt, T L and Lipo, C P (2006). Late colonization of Easter Island. Science 311: 1603–1606, DOI: https://doi.org/10.1126/science.1121879 
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15.      Linton, R (1925). Archaeology of the Marquesas Islands. Honolulu, Hawi,i: Bernice P. Bishop Museum Bulletin. 23 
16.     Lipo, C and Hunt, T (2005). Mapping prehistoric statue roads on Easter Island. Antiquity79(303): 158–168.  
17.      Loti, P (1872). Diary of a cadet on the warship La Flore In: Altman, A M trans.  Easter Island 1864–1877, The Reports of Eugene Eyraud, Hippolyte Roussel, Pierre Loti, and Alphonse Pinart. Los Osos: Easter Island Foundation, pp. 63–103. (Julien Viaud) [2004]. 
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A tribute to Thomas Wilson. Svastika is zinc in Indus Script, added to copper to harden it and produce brass

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This monograph demonstrates that the sacred symbol 'svastika' is traceable to Sarasvati Civilization of the Bronze Age 3rd millennium BCE attesting the production and use of zinc mineral to create metal alloys such as brass.

This is a tribute to Thomas Wilson whose monuimental work of 1894 is unsurpassed in the history of anthropolotical and prehistoric studies. His work was abou the 'svastika'.

The magnum opus by Thomas Wilson 3 Curator, Department of Prehistoric Anthropology, U.S. National Museum. reviewed the history of this glyph and concluded that it represented an object. 

The glyph has been decoded rebus as representing zinc ore (zinc sulphide or zinc oxide) of 3rd millennium BCE Sarasvati Civilization Bronze Age. As an alloying mineral ore, zinc added luster and shine to the brass alloy giving it the hardness of an alloy and a golden appearance.

Alfta Svani Lothursdottirwho transcribed the work in 2003 as a reprint added the following ‘Transcribers Note’:

“This report presented by Thomas Wilson Curator, Department of Prehistoric Anthropology, US National Museum, in 1894, is here reproduced in the hope of educating our fellow Heathens as well as the general public about the Swastika, one of Heathenism’s oldest and most holy of symbols. Since this report was made long before the misuse of this holy symbol by the Nazi’s you will find an unprejudiced presentation of the Swastika and its history. Read on and learn the true history of this holy symbol.”

Thomas Wilson’s work was written 1894, well before the discoveries reported from Mohenjo-daro and Harappa announcing a civilization of 3rd millennium BCE in ancient India.

The cognate word satuvu has the semantics, 'strength, hardness'. This means, that zinc has the chemical characteristic of hardening soft copper when alloyed with copper to produce brass. So, the ancient word for zinc is likely to be sattva.

kāraṇḍava m. ʻ a kind of duck ʼ MBh. [Cf. kāraṇḍa- m. ʻ id. ʼ R., karēṭu -- m. ʻ Numidian crane ʼ lex.: see karaṭa -- 1Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , °ḍaga -- , °ḍava -- m. ʻ a partic. kind of bird ʼ; S. kānero m. ʻ a partic. kind of water bird ʼ < *kāreno.(CDIAL 3059) Rebus:  करडा karaḍā Hard from alloy--iron, silver &c.

Thus, when zinc is added to copper, the mineral is hardened and becomes copper. This is signified by the following hypertext.
Source: Thomas Wilson, 1894, Swastika, Library of Congress (embeddedd for ready reference)
Two geese are shown, because dula 'two' rebus: dul 'metal casting'. Thus, by casting sattva'zinc' and tamba'copper', the kāraṁḍa 'aquatic bird' rebus: karaḍā 'hard alloy' of brass is produced.




Or. ṭaü ʻ zinc, pewter ʼ(CDIAL 5992). jasta 'zinc' (Hindi) sathya, satva 'zinc' (Kannada) The hieroglyph used on Indus writing consists of two forms: 卍. Considering the phonetic variant of Hindi gloss, it has been suggested for decipherment of Meluhha hieroglyphs in archaeometallurgical context that the early forms for both the hieroglyph and the rebus reading was: sattvaatrápu n. ʻ tin ʼ AV.Pa. tipu -- n. ʻ tin ʼ; Pk. taü -- , taüa -- n. ʻ lead ʼ; P. tū̃ m. ʻ tin ʼ; Or. ṭaü ʻ zinc, pewter ʼ; OG. tarūaüṁ n. ʻ lead ʼ, G. tarvũ n. -- Si. tum̆ba ʻ lead ʼ GS74, but rather X tam̆ba < tāmrá --(CDIAL 5992)

Examples of svastika on Indus Script
Image result for svastika bharatkalyan97
Image result for svastika bharatkalyan97
Pictorial motif

Five svastika explained: The Meluhha gloss for 'five' is: taṭṭal Homonym is:ṭhaṭṭha brass (i.e. alloy of copper + zinc). Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जसथ् ।रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath ् ज़स््थ् ्or zasuth ज़सुथ ्। रप m. (sg. dat. zastas ु ज़्तस),् zinc, spelter, pewter (cf. Hindī jast). jastuvu; । रपू्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter).

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

dhollu 'drummer' rebus: dul 'metal casting'

Text of inscription
Sign 403 is a duplication of  dula 'pair, duplicated' rebus: dul 'metalcasting' PLUS  Sign'oval/lozenge/rhombus' hieoglyph Sign 373. Sign 373 has the shape of oval or lozenge is the shape of a bun ingotmũhã̄ = the quantity of iron produced atone time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed likea four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes andformed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt komūhā akata = the Kolhes have to-day produced pig iron (Santali). Thus, Sign 373 signifies word, mũhã̄ 'bun ingot'. Thus, hypertext Sign 403 reads: dul mũhã̄ 'metalcast ingot'.

Sign 87 dula 'two' rebus; dul 'metal casting' (Semantic determinative)
Sign 342 kaṇḍa kanka'rim of jar' (Santali): karṇaka rim of jar’(Skt.) Rebus: karṇaka‘scribe, accountant’ (Te.); gaṇaka id. (Skt.) (Santali) copper fire-altar scribe (account)(Skt.) Rebus: kaṇḍ‘fire-altar’ (Santali) Thus, the 'rim of jar' ligatured glyph is read rebus: fire-altar (furnace) scribe (account) karṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.'

Thus, the text message is: supercargo of brass metal castings and bun ingots.

The inscription reads: smelter, brass worker working with metal casting (possibly cire perdue technique of lost-wax casting).


Image result for svastika endless knot bharatkalyan97m1356 Copper plate. The endless knot and svastika
sattva 'svastika hieroglyph' rebus: jasta 'zinc' PLUS meḍhā  'twist' rebus: mēdhā 'yajna, dhanam, wealth'.M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.मेढा [ mēḍhā ] meṇḍa A twist or tangle arising in thread or cord, a curl or snarl. (Marathi) (CDIAL 10312).  Rebus: मेधा = धन (नैघण्टुक , commented on by यास्क ii , 10). 

Svastika, fish, scorpion, lizard, dishevelled hair & peacock hieroglyphs, 3rd m BCE Rosetta stones of Indus Script, signify catalogues of zinc ore, metal alloys & calcination of metal

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https://tinyurl.com/ybo3m9eg


This is in continuation of: A tribute to Thomas Wilson. Svastika is zinc in Indus Script, added to copper to harden it and produce brass https://tinyurl.com/ycyjhdzj Meluhha rebus readings have been presented to sattuva 'svastika hieroglyph' rebus: sattuva, jasta'zinc, pewter'.


Alchemists
 burned zinc in air to form what they called "philosopher's wool" or "white snow". 

Image result for svastika indus script


Pictorial motif: crocodile, fish: ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS karā 'crocodile' rebus: khār 'blacksmith'. Thus, ayakāra 'ironsmith'.

Text message ofinscription including svastika:
Sign 387 mũh 'ingot' (oval shape bun ingot) PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'.

rim of jar: Sign 342kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar’(Skt.) Rebus: karṇaka ‘scribe, accountant’ (Te.); gaṇaka id. (Skt.) (Santali) copper fire-altar scribe (account)(Skt.) Rebus: kaṇḍ ‘fire-altar’ (Santali) Thus, the 'rim of jar' ligatured glyph is read rebus: fire-altar (furnace) scribe (account)karṇī  'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.'
khareḍo 'a currycomb' Rebus: खरड kharaḍ 'scribe'करडा [ karaḍā ]Hard from alloy--iron, silver &c. karaḍā खरडें 'daybook'. 
kuṭi 'tree' rebus: kuṭhi 'smelter'
sattuva 'svastika hieroglyph' rebus: jasta 'zinc'.

Thus, the text message is: ingots of smithy, forge with supercargo, accounted in zinc smelter daybook.





A 1898 Yale University study map. Discovery sites of Svastika hieroglyphs.


White lumped powder on a glass plateZinc chloride.

"Brass, an alloy of copper and zinc in various proportions, was used as early as the third millennium BC in the AegeanIraq, the United Arab EmiratesKalmykiaTurkmenistan and Georgia, and the second millennium BCE in West IndiaUzbekistanIranSyria, Iraq, and Israel (Judea). Zinc metal was not produced on a large scale until the 12th century in India, though it was known to the ancient Romans and Greeks. The mines of Rajasthan have given definite evidence of zinc production going back to the 6th century BCE. To date, the oldest evidence of pure zinc comes from Zawar, in Rajasthan, as early as the 9th century CE when a distillation process was employed to make pure zinc.Various isolated examples of the use of impure zinc in ancient times have been discovered. Zinc ores were used to make the zinc–copper alloy brass thousands of years prior to the discovery of zinc as a separate element. Judean brass from the 14th to 10th centuries BC contains 23% zinc. Knowledge of how to produce brass spread to Ancient Greece by the 7th century BCE, but few varieties were made. Ornaments made of alloyscontaining 80–90% zinc, with lead, iron, antimony, and other metals making up the remainder, have been found that are 2,500 years old.A possibly prehistoric statuette containing 87.5% zinc was found in a Dacian archaeological site. The oldest known pills were made of the zinc carbonates hydrozincite and smithsonite. The pills were used for sore eyes and were found aboard the Roman ship Relitto del Pozzino, wrecked in 140 BCE.The manufacture of brass was known to the Romans by about 30 BC.They made brass by heating powdered calamine (zinc silicate or carbonate), charcoal and copper together in a crucible. The resulting calamine brass was then either cast or hammered into shape for use in weaponry.Some coins struck by Romans in the Christian era are made of what is probably calamine brass.Strabo writing in the 1st century BCE (but quoting a now lost work of the 4th century BCE historian Theopompus) mentions "drops of false silver" which when mixed with copper make brass. This may refer to small quantities of zinc that is a by-product of smelting sulfide ores.Zinc in such remnants in smelting ovens was usually discarded as it was thought to be worthless.The Berne zinc tablet is a votive plaque dating to Roman Gaul made of an alloy that is mostly zinc. The Caraka Samhita, thought to have been written between 300 and 500 AD,mentions a metal which, when oxidized, produces pushpanjan, thought to be zinc oxide.Zinc mines at Zawar, near Udaipur in India, have been active since the Mauryan period (c. 322 and 187 BCE). The smelting of metallic zinc here, however, appears to have begun around the 12th century CE. One estimate is that this location produced an estimated million tonnes of metallic zinc and zinc oxide from the 12th to 16th centuries.Another estimate gives a total production of 60,000 tonnes of metallic zinc over this period. The Rasaratna Samuccaya, written in approximately the 13th century AD, mentions two types of zinc-containing ores: one used for metal extraction and another used for medicinal purposes.https://en.wikipedia.org/wiki/Zinc#Alloys


Zinc fragment sublimed and 1cm3 cube.jpgZinc ore.


Harappa. Burial urn. Kenoyer Slide 164

An oven for calcination of limestone

maraka 'peacock' rebus:लोह -मारक  loha māraka a. calcining a metal. "The process of calcination derives its name from the Latin calcinare (to burn lime) due to its most common application, the decomposition of calcium carbonate (limestone) to calcium oxide (lime) and carbon dioxide, in order to create cement. The product of calcination is usually referred to in general as "calcine", regardless of the actual minerals undergoing thermal treatment. Calcination is carried out in furnaces or reactors (sometimes referred to as kilns or calciners) of various designs including shaft furnacesrotary kilnsmultiple hearth furnaces, and fluidized bed reactors.Examples of calcination processes include the following: decomposition of carbonate minerals, as in the calcination of limestone to drive off carbon dioxide; decomposition of hydrated minerals, as in the calcination of bauxite and gypsum, to remove crystalline water as water vapor...In alchemy, calcination was believed to be one of the 12 vital processes required for the transformation of a substance.Alchemists distinguished two kinds of calcination, actual and potential. Actual calcination is that brought about by actual fire, from wood, coals, or other fuel, raised to a certain temperature. Potential calcination is that brought about by potential fire, such as corrosive chemicals; for example, gold was calcined in a reverberatory furnace with mercury and sal ammoniac; silver with common salt and alkali salt; copper with salt and sulfur; iron with sal ammoniac and vinegar; tin with antimony; lead with sulfur; and mercury with aqua fortis.There was also philosophical calcination, which was said to occur when horns, hooves, etc., were hung over boiling water, or other liquor, until they had lost their mucilage, and were easily reducible into powder.

Late Harappan Period dish or lid with perforation at edge for hanging or attaching to large jar. It shows a Blackbuck antelope with trefoil design made of combined circle-and-dot motifs, possibly representing stars. It is associated with burial pottery of the Cemetery H period, dating after 1900 BC. Credit Harappa.com

Peacocks and stars with the image of a person in cartouche. Funerary urn of Late Harappan Cemetery H at Harappa. After Piggott 1950: 234, fig. 29
[ mēḍha ] 'polarstar Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.) med 'copper' (Slavic languages)

Figure of a person is ligatured within the body of the peacock with a wavy plume (first peacock on the right); The person shown within the circle is probably the depiction of the departed a_tman, who has, after cremation, become an ancestor. The stylized depiction of the arms is paralleled by the stylized depiction of arms (or horns?) of the copper anthropomorphs found in Copper Hoard Culture.

The Munda word for peacock *mara'k/mara "cryer > peacock", later Sanskrit ma_ra (and Pali etc) 'death, God Death', the Munda peacock symbol = death, and the Cemetery H peacock pictures on urns with cremated bodies.

Peacock and heaven (marak = peacock; merxa_ = sky, heaven ?may the soul go to heaven); Parji. marp- (mart-)= to lighten; Kurux. merxa_ = sky, heaven; Malto. mergu = sky, heaven; see Te. mer_umu = flash of lightning.

(marak = peacock; sma_raka = remembrance; ji_van-ji_vaka = cry of the peacock, peacock; living, the dead goes with life).

Hieroglyph: मरक [p= 789,3]  m. an epidemic , plague , mortality Var. Sus3r. (Monier-Williams. Samskritam)मारक māraka Any pestilential disease, plague, epidemic.' 


Rebus: लोह -मारक a. calcining a metal. लोह lōha Made of copper, coppery. -3 Made of iron; भ्रमतश्च वराहस्य लोहस्य प्रमुखे समम् Mb.1. 135.23. -हः, -हम् 1 Copper. -2 Iron. -3 Steel. -4 Any metal; वस्तून्योषधयः स्नेहा रसलोहमृदो जलम् Bhāg.2. 6.24. -5 Gold; यथा सौम्यैकेन लोहमणिना Ch. Up.6.1.-(Samskritam)मोरकम् 1 A kind of steel.  मोरक [p= 835,3] n. a kind of steel L. (Samskrtam) Mora [the contracted, regular P. form of *Sk. mayūra, viâ *ma -- ūra>mora. See also Geiger, P.Gr. § 27 & Pischel, Prk. Gr. § 166. -- Vedic only mayūrī f. pea -- hen] a peacock J ii.275 Perhaps also as morakkha "a peacock's eye" at VbhA 63 (morakkhaka loha, a kind of copper, grouped with pisācaloha). It is more likely however that morakkha is distorted fr. *mauryaka, patronymic of mura, a local (tribal) designation (cp. murala), then by pop. etym. connected with mora peacock. With this cp. Sk. moraka "a kind of steel" BR. (Pali) mayūˊra m. ʻ peacock ʼ VS., in cmpds. RV., mayūrīˊ -- f. ʻ peahen ʼ RV. 2. *mōra -- . 3. *majjūra -- (< *mayyūra<-> with early eastern change -- yy -- > -- jj -- ?). [mayūka -- , marūka -- 1 m. lex. -- J. Bloch BSL 76, 16  Drav. (cf. DED 3793); J. Przyluski BSL 79, 100  Austro -- as. (cf. also Savara ˊrā ʻ peacock ʼ Morgenstierne); H. W. Bailey BSOAS xx 59, IL 21, 18 connects with Khot. murāsa -- as orig. an Indo -- ir. colour word. -- EWA ii 587 with lit.]1. Pa. mayūra -- m. ʻ peacock ʼ, Pk. maūra -- , maūla -- m.; Sh. (Lor.) maiyūr m. ʻ cock munāl pheasant ʼ; A. mairā ʻ peacock ʼ, B. maürmaur, Or. maïram., °rī f., Si. mayurāmiyurā.2. Pa. mōra -- m., mōrinī -- f., Aś.gir. mora -- , Pk. mōra<-> m., °rī -- f., K. mōr m., S. moru m., L. P. mōr m., Ku. Mth. Bhoj. mor, OAw. mora m., H. morm., °rī°rin f., OMarw. moraī f., G. M. mor m., Si. mōrā; <-> H. (dial.) mhormurhā m., Ko. mhōru.3. Aś.shah. man. majura -- , kāl. majula -- , jau. majūla -- , N. majurmujur, Or. (Bastar) mañjura, OAw. majūra m., Si. modaramonara.*mayūrapakala -- .Addenda: mayūˊra -- : WPah.kg. (kc.) mōr ʻ peacock ʼ.(CDIAL 9865)



See: Bronze peacocks in the Vatican are made by Bharatam Janam and an Indus Script hieroglyph 'a type of steel'

Related imageThe Samarra Bowl, Mesopotamia, Uruk Period, C. 4000 BCE

http://archaicwonder.tumblr.com/post/140876555146/the-samarra-bowl-mesopotamia-uruk-period-c


Centre-piece pictorial styled like 'svastika'. bica 'scorpion' rebus: bica 'haematite, ferrite ore'.

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

ayo ‘fish’; rebus: ayas ‘metal’

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

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


       Samarra. Iraq. ca. 5000 BCE. A classic from Samarra, Iraq, circa 5000 bce. This neolithic town created a long line of splendid painted ceramics and female figurines (which start back in the pre-pottery era, so old is the tradition there). Here women stand in the quadrants, their hair whirling in the Four Winds, circled by a ring of scorpions. Scorpion Goddess is common in ancient Iraq and Iran as well as Egypt — Serqet, the companion of Auset (Isis) — and also known in Central America.



Harappa, Indus River, Pakistan

The women dancing with streaming hair, this time from Harappa, Pakistan. Also neolithic. As in Iraq and Iran, women in the Indus foothill villages painted many pots showing their ceremonial dances. But here, and also in Iran, the ibex and mountain goat are common themes. A Goddess connected with these animals is still revered by the Kalasha who keep alive very ancient forms of culture of this region.

Kulli, Pakistan, before 3000 bce

The Women’s Dance from Kulli, Pakistan. This image was so commonly repeated that it became highly abstracted into a few strokes over time. Artists emphasized the flowing hair and dynamic movement of the Round Dance, still performed by women in the Punjab and among Adivasi (Aboriginal) women in India. These ancient ceramic paintings, fragmentary as they are, speak of a deep history of neolithic village women that has been obscured and overlaid by so many layers that few ever know that it exists.
http://www.sourcememory.net/veleda/?p=385


Six women, curl in hair, six scorpions


Centre-piece pictorial styled like 'svastika'. bica 'scorpion' rebus: bica 'haematite, ferrite ore'.

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

ayo ‘fish’; rebus: ayas ‘metal’

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

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

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

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

kuṭhi  ‘vagina’; rebus: kuṭhi  ‘smelting furnace bichā 'scorpion' (Assamese). Rebus: bica 'stone ore' as in meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.) dul 'pair, likeness' Rebus: dul 'cast metal' (Santali) Thus the hieroglyphs connote a smelter for smelting and casting metal stone ore.
Seal impession from Ur showing a squatting female. L. Legrain, 1936, Ur excavations, Vol. 3, Archaic Seal Impressions. [cf. Rahmandheri seal with two scorpions flanking a similar glyph with legs apart – also looks like a frog]. kuṭhi ‘pudendum muliebre’ (Mu.) khoḍu m. ‘vulva’ (CDIAL 3947). Rebus: kuṭhi ‘smelter furnace’ (Mu.) khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947),


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) 
kola ‘woman’ Rebus: kol ‘working in iron’
kuṛī f. ʻ girl’ Rebus: kuṭhi ‘smelter’ Brass-worker catalog of implements and repertoire:There are five hieroglyphs on the cylinder seal (Figure 270): ‘dishevelled hair’, ‘pudendum muliebre’, ‘lizard’, ‘scorpion’, ‘woman’. bica 'scorpion' rebus: bica 'haematite, ferrite ore'. A lizard is also shown in the field together with a scorpion (bica). <raca>(D)  {ADJ} ``^dishevelled'' (Mundarasāṇẽ n. ʻglowing embersʼ (Marathi). rabca ‘dishevelled’ Rebus: రాచ rāca (adj.) Pertaining to a stone (ore) (bica).kakra. 'lizard'; kan:gra 'portable furnace'. 
"Faience button seal (H99-3814/8756-01) with swastika motif found on the floor of Room 202 (Trench 43), Harappa, 2000-01"
Source: https://www.harappa.com/indus4/45.html
The swastika on a Harappan tablet (left), and on pottery of the early historical era (top right: Rupar; bottom right: Ahichchhatra). (@ASI)
Seal with swastika, fired quartz, from Mohenjo-daro, Pakistan, Indus Valley Civilisation, 19th century BC : Stock Photo
Seal with swastika, fired quartz, from Mohenjo-daro, Pakistan, Indus Valley Civilisation, 19th century BCE
https://www.gettyimages.in/detail/photo/seal-with-swastika-fired-quartz-from-high-res-stock-photography/150098020
Image result for swastika indus scriptVariation of Svastika hieroglyph.
Sign 148. There are over 50 Indus Script inscriptions in the Corpora using this hieroglyph either as 'sign' or as 'pictorial motif'.

Field Symbol FS 82 Figs. 118, 119 in ASI 1977 Mahadevan Concordance

Image result for swastika indus script
Swastika device from Mongolia found in northwest China.  Dated circa 13th-14th century. Note the crosses also indicating Christian influence--almost certainly Nestorian in character.Svastika device from Mongolia found in northwest China. Dated circa 13th-14th century BCE
https://www.pinterest.com/pin/416442296767078728/. 

m1429 a

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

Side b has two birds, two trees ligatured to a boat, two ox-hide ingots infixed in the central hut on the boat 

The hieroglyphs are: side a: eight sign glyphs including: body, rim of jar, two ingots, rim of jar, fish, three, graft infix ligature in ingot.side b: boat, two trees, two birds; side b: gharial (alligator), fish; Boat: kolam; rebus: kolami 'furnace'
m1429b
Sign 387
The eighth (last glyph) from l. is: kolom = cutting, graft; to graft, engraft, prune; kolom dare kana = it is a grafted tree; kolom ul = grafted mango; kolom gocena = the cutting has died; kolom kat.hi hor.o = a certain variety of the paddy plant (Santali); kolom (B.); kolom mit = to engraft; kolom porena = the cutting has struck root; kolom kat.hi = a reed pen (Santali.lex.) ku_l.e stump (Ka.) [ku_li = paddy (Pe.)] xo_l = rice-sheaf (Kur.) ko_li = stubble of jo_l.a (Ka.); ko_r.a = sprout (Kui.)ko_le = a stub or stump of corn (Te.)(DEDR 2242). kol.ake, kol.ke, the third crop of rice (Ka.); kolake, kol.ake (Tu.)(DEDR 2154)kolma =  a paddy plant; kolma hor.o ‘ a variety of rice plant’ (Santali.lex.) [kural = corn-ear (Ta.)] Rebus: kolami 'smithy, forge'.

m1429a
boat: kola 'boat'; rebus: kol 'pancaloha, alloy of five metals'; bagalo = an Arabian merchant vessel (G.) bagala = an Arab boat of a particular description (Ka.); bagala_ (M.); bagarige, bagarage = a kind of vessel (Ka.); rebus: ban:gala = a portable stove (Te.) =  kumpat.i = an:ga_ra s'akat.i_ = a chafing dish, a portable stove, a goldsmith's portable furnace (Te.) cf. ban:ga_ru, ban:ga_ramu 'gold' (Te.) Two birds: bat.a 'bird'; barea 'two' Rebus: barea 'merchant'
bat.a = a kind of iron (G.lex.) bhat.a = a furnace, a kiln; it.a bhat.a a brick kiln (Santali)
On either end of the central hut on the boat are two tree. kut.i 'tree'; kut.hi 'smelter furnace' (Santali)
Side c
fish + gharial: Hieroglyphs: aya 'fish'; karA 'crocodile; Rebus: ayakara 'blacksmith'
kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace (Ka.); kolimi furnace (Te.); pit (Te.); kolame a very deep pit (Tu.); kulume kanda_ya a tax on blacksmiths (Ka.); kol, kolla a furnace (Ta.) kole.l smithy, temple in Kota village (Ko.); kwala.l Kota smithy (To.); konimi blacksmith; kola id. (Ka.); kolle blacksmith (Kod.); kollusa_na_ to mend implements; kolsta_na, kulsa_na_ to forge; ko_lsta_na_ to repair (of plough-shares); kolmi smithy (Go.); kolhali to forge (Go.)(DEDR 2133).] kolimi-titti = bellows used for a furnace (Te.lex.) kollu- to neutralize metallic properties by oxidation (Ta.) kol = brass or iron bar nailed across a door or gate; kollu-t-tat.i-y-a_n.i large nail for studding doors or gates to add to their strength (Ta.lex.) kollan--kamma_lai < + karmas'a_la_, kollan--pat.t.arai, kollan-ulai-k-ku_t.am blacksmith's workshop, smithy (Ta.lex.) cf. ulai smith's forge or furnace (Na_lat.i, 298); ulai-k-kal.am smith's forge; ulai-k-kur-at.u smith's tongs; ulai-t-turutti smith's bellows; ulai-y-a_n.i-k-ko_l smith's poker, beak-iron (Ta.lex.) [kollulaive_r-kan.alla_r: nait.ata. na_t.t.up.); mitiyulaikkollan- mur-iot.ir.r.an-n-a: perumpa_)(Ta.lex.) Temple; smithy: kol-l-ulai blacksmith's forge (kollulaik ku_t.attin-a_l : Kumara. Pira. Ni_tiner-i. 14)(Ta.lex.) cf. kolhua_r sugarcane milkl and boiling house (Bi.); kolha_r oil factory (P.)(CDIAL 3537). kulhu ‘a hindu caste, mostly oilmen’ (Santali) kolsa_r = sugarcane mill and boiling house (Bi.)(CDIAL 3538).

sattu (Tamil), satta, sattva (Kannada) jasth जसथ् ।रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath ् ज़स््थ् ्or zasuth ज़सुथ ्। रप m. (sg. dat. zastas ु ज़्तस),् zinc, spelter, pewter (cf. Hindī jast). jastuvu; । रपू्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter). *ṭhaṭṭha1 ʻbrassʼ. [Onom. from noise of hammering brass?]N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 1.Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H.ṭhaṭherā m.(CDIAL 5491, 5493).


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)]


Selected images (57) from Thomas Wilson's Swastika which demonstrate association of 'svastika' hieroglyph with
metalwork, equipment, metalware,metal waapons
See also: http://www.metaphysicspirit.com/books/The%20Swastika%20Vol.%20II.pdf Vol 2 of Thomas Wilson'swork.




























































Ancient Greek gold disk with Hindu swastikas, 8th century B.C. At Greece’s Otagon Museum.

Ancient Etruscan vase with Hindu Svastikas, present-day northern Italy.

Hindu Svastika on an Armenian sculpture, along with the Armenian eternity sign- an ancient Armenian national symbol.

9th cent. Viking sword. Inscribed sword. Inscription includes svastika hieroglyph.

Lithuania. 5th cent. BCE

Svastika at Zenkō-ji (善光寺) temple, Nagano, Japan

Indian lady with Svastika tattoos. Image credit:


Greek God Apollo, brother of goddess Artemis, with Svastika, depicted on an ancient Greek vase.


Greek goddess Artemis with Svastika, C. 2600–2250 BC, found in the ruins of the great city of Troy.

Artemis - one of the most venerated ancient Greek goddesses, with Hindu Svastikas. Greece, circa 700 B.C.E

Source credits for images: twitter handle 


Selected images (57) from Thomas Wilson's Swastika which demonstrate association of 'svastika' hieroglyph with
metalwork, equipment, metalware,metal waapons



The subject is Vedic River Sarasvati. Geologists endowed with anti-Hindu phobia provide mythical conjectures camouflaged as geology papers

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The latest kid on the anti-Hindu phobia block is a paper by Geologists A. Singh et al (2017) discussed in this note which lists 12 topics/comments on the paper. The paper has been prepared without objective and scientific rigour.
I may add two more 13th and14th topics for further objective review and evaluation by geologists, apart from suggesting that the presently named Ghaggar River should be called Sarasvati River. 

Call River Sarasvati Vedic River Sarasvati, given the evidence of R̥gveda, an authentic ancient human document. For ready reference, I embed a paper by Ashok Aklujkar (2014). I also invite reference to a comprehensive report in 127 pages by Central Ground Water Board on Palaeo-channels of NorthwestIndia, including River Sarasvati (URL given below).
https://www.scribd.com/document/337811698/Aklujkar-A-Sarasvati-drowned-2014-pdf  Ashok Aklujkar, 2014, Sarasvati drowned, rescuing her from scholarly whirlpools. The paper is a succinct summary of Vedic references to the river.


13. The Himalayan dynamics caused by the ongoing plate tectonics and consequent changes in the patterns of glacial accumulation and outflows in the vast and extensive Himalayan range pictured below:

14. The interlinking of rivers in the perspective plan of NWDA after 25+ years of deliberation include the following links: 4. Ghagra-Yamuna; 5. Sarda - Yamuna; 6. Yamuna-Rajasthan; 7. Rajasthan-Sabarmati. These links have the potential to make the River Sarasvati flow upto Sabarmati using the glacial waters of Sarda river. This National Water Grid Project should be supported, as endorsed by the three-judge of the Hon'ble SC led by the then CJI Kapadia. In my view,this project should be undertaken as a priority National Mission to start a National Water Grid to ensure equitable distribution of Himalayan glacier waters. Mere floodwaters of Brahmaputra alone are enough to double the water flows in all rivers south of Vindhyas, making them all Jeevanadi, perennial rivers to unleash a revolution in water management in Bharat.

There are four geological papers on the subject since 2012 to 2017 on Ghaggar-Hakra River (for those who are shy of mentioning the well-renowned and adored River Sarasvati):
1. 
Singh, A. et al. (2017). Counter-intuitive Influence of Himalayan River Morphodynamics on Indus Civilisation Urban Settlements. Nature Communications 8: 1617.
 2.
Clift, P.D. et al. (2012). U-Pb Zircon Dating Evidence for a Pleistocene Sarasvati River and Capture of the Yamuna River. Geology 40: 211-214.
 3.
Maemoku, H. et al. (2012). Geomorphological Constraints on the Ghaggar River Regime During the Mature Harappan Period. Geophysical Monograph Series 198: 97-106.
4. 
Giosan, L. et al. (2012). Fluvial Landscapes of the Harappan Civilization. PNAS 109: E1688-E1695.

Conclusions of A.Singh et al (2017) paper:

“In conclusion, our results firmly rule out the existence of a Himalayan-fed river that nourished Indus Civilisation settlements along the Ghaggar-Hakra palaeochannel. Instead, the relict Sutlej valley acted to focus monsoon-fed seasonal river flow as evidenced by very fine-grained sediments in the upper part of the valley-fill record. This and the potential to pond flood waters in the topographic depression38 formed by the valley likely offered favourable conditions that led Indus populations to preferentially settle along the incised palaeovalley. We find that river dynamics controlled the distribution of Indus sites in the region, but in the opposite sense to that usually assumed: it was the departure of the river, rather than its arrival, that triggered the growth of Indus urban settlements here. We posit that a stable abandoned valley, still able to serve as a water source but without the risk of devastating floods, is a viable alternative model for how rivers can nucleate the development of ancient urban settlements.”

Some comments gathered from the ubiquitous internet of things, on the paper by A. Singh et al, the new kid on the group of geologists endowed with anti-Hindu phobia:
Under a much camouflaged title the paper has questioned the existence of vedic Saraswati river, that has been proved by many foreign and Indian authors with many references to vedic, archeologic, scientific and latest study of satellite images. It has been proved beyond any doubt that Saraswati had flown as one of the major river systems in the Indian continent, however, the valid question remains how did it disappear and what are the main causes so that we can have a better understanding of paleoclimate, paleogeography and role of geodynamics on development and disappearance of river system that could provide clues to understand present conditions of river channels to manage our water resources and protect embankments in a much better scientific and sustained manner.
This paper is authored by faculty members/researchers engaged at reputed places like IIT Kanpur, Imperial College London, academic institutes/professional organisations in Denmark and England.
The following are the observations:
1.      The paper abstract mentions Sutlej as the third largest Himalayan river; what about Brahmaputra, Ganga, Yamuna, and Indus. What is the criterion to say so.
2.      The paper proves that the so called river Saraswati is actually Sutlej that abandoned its course 8000 years before present (BP) and later after 4000 years, the Indus valley civilization prospered along its paleo channel.
3.      When there was so much of fertile land available around, why did people of Indus valley civilization decide to settle along dry channels of Sutlej after 4000 years.
4.      The authors give a very ridiculous explanation that remaining areas were flood prone, so they decided to settle along dry river bed knowing very well that they are safe from flood.
5.      By the same logic, all the flood prone areas like Kosi and other regions would have been deserted by now, as present civilization is much more skillful/smarter than people of Indus valley civilization.
6.      Secondly when they decided to settle along dry river bed, where did they get water from ?
7.      Normally if people are settling along dry river beds or partially dry river beds, first they will dig up wells along the channel. Numerous such wells can be seen along paleo-channels of Sambhar lake (Mendha river catchment) in Rajasthan.
8.      Alternatively perhaps they had access to water Tanker. Any civilization needs water that is one of the main reason that great civilizations prospered along mega rivers. So the authors must show that Indus valley people had either wells or tankers. Since they have not mentioned about the former, according to them one would interpret they had water Tankers !!! Their explanation of monsoonal flow in patches in the paleo channel is self- contradictory as they have mentioned that Indian Summer Monsoon (ISM) had a declining trend. So they had Tankers !!!
9.      Authors are dealing with river system near Himalaya, which is a world’s best known natural laboratory of active tectonics. However, they are completely silent on this important aspect and offer NO explanation of westward shifting of Sutlej at Ropar.
10.   They have NO regards to vedic literature, perhaps they have not read it or do not have belief in it.
11.  It is extremely painful to see how such paper with Indian authors could be published in a reputed foreign journal like Nature communication contradicting the age old belief, vedic literature, classic findings of reputed geologists like Oldhams (CF and RD in last two centuries), Prof. Dr. K S Valdiya and many other scientists like Prof. Yash Pal and his team from SAC, Dr. Baldev Sahai, Prof. J.R. Sharma, Prof. A.K. Gupta, ISRO CAZRI Centre, Govt. organisations like CGWB, WIHG, GSI, who have provided explanation with help of modern scientific tools. 
12.  This is high time that scientists should not waste their time and energy in proving whether Saraswati was present or absent, they should rather find out the causes of its disappearance which is of paramount importance at the present. Second important aspect is that we must attempt to map all paleo channels of Saraswati and use them to recharge groundwater using flood water/excess water during Monsoon, so that over all there will augmentation of the precious ground water.

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Temple is kole.l ‘smithy, forge’ in Sarasvati Civilization. Evidence of zinc Archaeo-metallurgy from Indus Script Corpora

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This is a tribute to PC Ray, Paul Craddock, JS Kharakwal, Deborah Stein & AK Biswas. Evidence of Zinc in Indus Script inscriptions dates zinc production on an industrial scale to ca. 3rd millennium BCE.

This monograph provides archaeological evidence for the successful decipherment of Indus Script. There are hypertexts of the Corpora which signify kole.l'smithy, forge' is kole.l'temple'.(Kota language)
स्वस्तिक mn. a mansion or temple of a partic. form (वराह-मिहिर's बृहत्-संहिता

svastikḥस्वस्तिकः -कः, -कम्  A mansion or temple of a particular form with a terrace in front. (Apte)

 Archaeo-metallurgical investigations match with literary evidences of early smelting of zinc in Sarasvati Civilization. Evidence from inscriptions with 'svastika' hieroglyph/hypertexts of Indus Script Corpora attesting the use of and trade in zinc by seafaring merchants of Meluhha dates early zinc processing from calamine ores, to 3rd millennium BCE.
[quote]The temples in Jawar have never been the subject of scholarly investigation, perhaps because of the tendency to focus on royal patronage at state religious centers. The town is located along the Gomati River, some forty kilometers from the city of Udaipur. Tribal groups such as the Bhils and the Meenas have traditionally inhabited the area, at the southern reaches of Mewar. Traces of pilgrimage both to and from Jawar mark the site as an important Jain center from the end of the fourteenth century into the seventeenth century. Once settled at Jawar, the Jain community  built temples and installed both Jain and Vaisnavite deities. A prominent Jain named Dhanpal is remembered for sponsoring a lavish pratishta (installation ceremony) in the town in V.E. 1478, replete with multitudes of learned monks. Jawar lay along water routes used for trade with Gujarat, but was bypassed by the land routes that were more often used for the spread of politics and armies, with their foot soldiers, horses, and elephants. Jawar began to grow rapidly as a commercial center with the invention at the site of zinc smelting on a large scale in the fourteenth century. In the medieval period zinc had become a key component in the production of icons, at times comprising up to 30 percent of the metal content of religious icons. (3 For a chart showing the percentage of zinc in icons, see J.S. Kharakwal and L.K. Gurjar, “Zinc and Brass in Archaeological Perspective,” Ancient Asia 1 (2006): 12–13. Kharakwal and Gurjar also report (p. 13) that the Mughals had kharkanas (metal factories) for the production of “utensils, decorative pieces, guns, mortars,” and other items with zinc from Jawar. Finbarr Barry Flood has described the ritualized melting of icons as a measure of conquest in the medieval period across modern-day Iran, Afghanistan, Pakistan, and India; he argues that items were destroyed based on their monetary and symbolic value, not as a result of the indiscriminate destruction of all figural sculpture. Flood, “Gifts, Idolatry, and the Political Economy,” in Objects of Translation: Material Culture and Medieval “Hindu-Muslim” Encounter (Princeton, N.J.: Princeton University Press, 2009), 26–37.)… Jain financiers were the first to profit from this lucrative resource. Over time mining grew beyond a source of metal for luxury goods, household items, and religious icons, and became a way to finance war and provide metal for weapons [unquote]. (Deborah Stein, opcit., p.141)

Zinc smelting is described in four ancient texts which date from 500 BCE to the late thirteenth century CE (D.P. Agrawal dates the texts as follows: Rasarnavam Rastantram (500–100 BCE), Rasratnakar (2nd century CE), Rasprakash Sudhakar (12th century CE), Rasratnasamuchchaya (late 13th century CE). D.P. Agrawal, Ancient Metal Technologyand Archaeology of South Asia: A Pan-Asian Perspective (New Delhi: Aryan Books International, 2000). The date of the earliest text 500 BCE indicates that several centuries should have preceded this date for the metalwork involving zinc attested in Indus Script Corpora with ‘svastika’ hieroglyphs/hypertexts.

The thirteenth-century text Rasa-ratna-samuccaya, written by Vagabhatacarya, “gives two de tailed accounts of zinc distillation. In one the zinc ore was mixed with turmeric, Chebulic myrobalan (cherry-plum), resins, salts, soot, borax, marking nuts (cashew family), and acid juices. In the other recipe the ore was mixed with lac treacle, white mustard, the myrobalans, natron, borax, boiled with milk, clarified butter, and made into balls.” (The Rasa-ratna-samuccaya is the primary alchemical source for Jawar, since its date parallels the rise of industrial zinc production and the ensuing efflorescence of multi-sectarian temple production. The Rasa-ratna-samuccaya lists three different forms of distilling zinc, including the most complex with bays of inverted retorts. The Craddock mission in Jawar dated honeycomb-like clusters, each comprising thirty-six inverted retorts, as far back as the second century BCE in Jawar. Arun Kumar Biswas, “Brass and Zinc Metallurgy in the Ancient and Medieval World: India’s Primacy and the Technology Transfer to the West,” IJHS 41.2 (2006): 159–74; Arun Kumar Biswas, “Rasa-Ratna- Samuccaya and Mineral Processing State-of-Art in the 13th Century A.D. India,” IJHS 22.1 (1987): 29–46.; Craddock, Gurjar, and Hegde, “Zinc Production in Medieval India,” 211–17.)

Craddock et al note: “The scale of production at Zawar [Jawar],” according to Craddock and others, “was enormous. The many hundreds of thousands of tons of debris suggest production of many tens of thousands of tons of zinc.” Perhaps, “a million tons of ore was exploited” at Jawar roughly during the thirteenth through the seventeenth century. (Craddock, Gurjar, and Hegde, “Zinc Production in Medieval India,” 215; Willies, Craddock, Gurjar, and Hegde, “Ancient Lead and Zinc Mining in Rajastan,”)
Samoli inscription of 646 CE, records: “The Mahajana community, headed by Jentaka who had migrated from Vatanagara [modern Vasantgadh is in Sirohi State, sixteen miles from Samoli], started an agara, or mine, in Aranyakupagiri. Jentaka founded at this place a temple (devakulas) of Aranyavasini, which was noted for its eighteen vaitalikas [bards], hailing from different parts of the country, and was always crowded with rich and wealthy people.” (R.R. Halder, “Samoli Inscription of the Time of Siladitya, [Vikrama-Samvat] 703,” Epigraphia Indica 19 (1929): 97.

“The Jain community produced at least five temples in Jawar. These structures closely skirt a long hill littered with zinc retorts still ensconced in neat rows and grids denoting large-scale production (fig. 4). At the base of the ridge with the zinc retorts lie two ruined temples which date to the early fifteenth century (Jain temple 3 and Jain temple 5).” “The surviving remnants of zinc production and the temples of Jawar provide tangible evidence for the negotiation of economic relationships – relationships initially built between mercantile Jains and the landed gentry, and later between Rajput kings and their Jain finance ministers.”(ibid., p.144, p.158)

Deborah Stein presents a map of the temple layout comparing it to an industrial processing centre for zinc processing. "“In examining temples, scholars often focus on the historical processes – military victories, the devel-opment of new cultic centers, the evolution of dynastic styles – that led to their creation. Yet temple construction was often related to expanding economic networks and the development of new technologies. The site of Jawar, in southern Rajasthan, is a case in point. Jawar contains a number of templesthat were built between the fifteenth and seventeenth centuriesCE.” . What makes these temples inter-esting is that their emergence coincided with Jawar’s increasing importance as a site for the mining and smelting of zinc… Carbon-14dating has revealed Jawar as the site of“the earliest dated zinc mines in the world,” (P.T.Craddock,L.K.Gurjar, andK.T.M.Hegde, “Zinc Production in Medieval India,”
World Archaeology15, 2,Indus-trial Archaeology(October 1983): 216), esti-mating that mining took place there as early as two thousand years ago.( Lynn Willies in association withP.T.Craddock,
L.J.Gurjar, andK.T.M.Hegde, “Ancient Lead and Zinc Miningin Rajasthan, India,”World Archaeology
16, 2(1984): 231.)… The thirteenth-century text Rasa-ratna-samuccaya, written by Vagabhatacarya,
9“gives two detail-ed accounts of zinc distillation. In one the zinc ore was mixed with turmeric, Chebulic myrobalan (cherry-plum), resins, salts, soot, borax, marking nuts (cashew family), and acid juices. In the otherrecipe the ore was mixed with lac treacle, white mustard, the myrobalans, natron, borax, boiled withmilk, clarified butter, and made into balls.”( Craddock, Gurjar, and Hegde, “Zinc Production in Medieval India,” 211–17).” 


“The Rasa-ratna-samuccaya …provides a plan for an alchemical laboratory (fig. 2) that demonstrates an interweaving of geomancy and the architectural placement of deities with directionality akin to that seen in a Hindu temple. The rectangular structure has two east-west rows of equipment. In the exact center of the four directions, a ·iva liπgam is placed. On one side of the liπgamis the raw materials and products storage area and beyond that a transmutation bay. On the other side of the liπgam is a station for sharp instruments, another for stone instruments, and finally a furnace bay. The entrance on the western wall is flanked by a washing bay and a drying bay. The eastern wall is left for Bhairava, a malevolent form of ·iva. This deity, beloved of the lohar, or iron-workers caste, and the tribal Bhils who still live in the Chhapan region today, is not only on axis with the central · śiva  liπgam but also adjacent to the transmutation bay on the north wall and the furnace bay on the south wall. Does the placement of the most fearsome aspect of · Śiva in between the transmutation bay and the furnace suggest something about his liminal role in the fiery transformation of metals in thirteenth-century Jawar? …To produce zinc in kilns such as those at Jawar – with banks of between three and seven furnaces, each with thirty-six retorts (vessels that hold the substances being subjected to distillation or decomposition by heat) – it was essential to maintain a consistent temperature range of 1,100 to 1,250 degrees Celsius for five hours straight. Metallurgists here developed a process by which the zinc oxide could be retained successfully for the first time. An organic material such as cow dung was used to bind the ground and calcined ore into balls so it wouldn’t fall out of the retort when inverted. A clay condenser was sealed to the retort with more clay. Then a stick was placed through the condenser into the sticky ball and allowed to burn away during the heating process. A pyramid  of retorts was inverted towards a cooler chamber below, where the condensed zinc would drip into collection vessels. (Agrawal, Ancient Metal Technology, 220-211.) These retorts still litter the hills adjacent to the first cluster of Jain temples built in Jawar (fig. 3).” (Deborah Stein, opcit., p. 143).



Specimen of calamine from mine at Granby, Missouri. "Calamine is a historic name for an ore of zinc. The name calamine was derived from lapis calaminaris, a Latin corruption of Greek cadmia (καδμία), the old name for zinc ores in general...In mineralogy calamine is no longer considered a valid term. It has been replaced by smithsonite and hemimorphite in order to distinguish it from the pinkish mixture of zinc oxide (ZnO) and iron(III) oxide (Fe2O3) used in calamine lotion.https://en.wikipedia.org/wiki/Calamine_(mineral)

The smelting processes on an industrial scale using calamine mineral from Zawar mines are perhaps dateable to 3rd millennium BCE, attested by the evidence of Indus Script Corpora which use extensively the hieroglyph which signifies zinc: svastika. स्वस्तिक is any lucky or auspicious object. svastika ʻ *auspicious ʼ, m. ʻ auspicious mark ʼ R. [svastí -- ]Pa. sotthika -- , °iya -- ʻ auspicious ʼ; Pk. satthia -- , sot° m. ʻ auspicious mark ʼ; H. sathiyāsati° m. ʻ mystical mark of good luck ʼ; G. sāthiyɔ m. ʻ auspicious mark painted on the front of a house ʼ.(CDIAL 13916) The roots are found in Kannada phonetic speech form sattuva 'hardness, hieroglyph svastika, zinc, pewter'.  సత్తువ sattuva or సత్తువు sattuva. [from Skt. సత్వం.] n. Strength, vigour, force, power, energy, capability. బలము, శక్తి. సత్తువగల భూమి a rich soil. The semantics point to the characteristic feature of zinc: to harden metal alloy, say, of copper and zinc to produce brass alloy. सत्-त्व material or elementary substance , entity , matter , a thing (निरुक्त , by यास्क, प्रातिशाख्य).sattvá n. ʻ existence, reality ʼ TS., ʻ true character ʼ MBh. 2. n. (m. lex.) ʻ living being, creature ʼ MBh. [sánt -- ] 1. Pk. satta -- n. ʻ strength, essence ʼ; K. sath, dat. °tas m. ʻ truth, essence ʼ; S. satu m. ʻ courage ʼ; P. satt m. ʻ truth ʼ; Or. satā ʻ strength ʼ, H. sattā m. -- H. sat m. ʻ essence ʼ, G. M. sat n. ← Sk.2. Pa. Pk. satta -- m. ʻ living being ʼ, KharI. satva; Si. sata ʻ being, animal ʼ. (CDIAL 13111)
సత్తు sattu sattu. [from Skt. సత్వం.] n. Essence, sap, strength. సారము, బలము. సారాంశము. Pewter, తగరము. Sediment, refuse. [from Skt. సత్యం.] Truth, సత్యము, తిప్పసత్తు the extract of the heart-leaved moon-seed. సత్తుతపెల a vessel made of pewter. సత్తురూపాయి a counterfeit rupee. సత్తు [Skt. సత్.] n. Being, existence, ఉండుట, ఉనికి. adj. Existing, ఉన్న. Excellent, శ్రేష్ఠము. True, సత్యము. Meek, பித்தளை pittaḷai , n. < pittalā. [K. hittaḷē.] Brass, Aurichalcum; செம்பும்நாகமுங்கலந்தஉலோகவகை. ஈயம்செம்பிரும்பிரசிதமென்பவும்புணர்ப்பாற்றோயும்பித்தளை (திருவிளை. இரசவாத. 23).துத்தநாகபற்பம்tutta-nāka-paṟpam, n. < tutthanāgabhasman. Flowers of zinc, Lana philosophica; துத்தநாகத்தைநீற்றிக்கொண்டபஸ்மம்நாகம்² nākamn. < nāga Black lead; காரீயம். (பிங்.) 9. Zinc; துத்தநாகம். (பிங்.) The synonym of zinc is துத்தநாகம்.; hence, the depiction of cobra-hoods in temples of Zawar.

I have extracted 21 pages of sheer brilliance by PC Ray in his magnum opusHistory of Hindu Chemistry from the earliest times to the middle of the sixteenth century CE (AD) (1903), Calcutta, Bengal Chemicals and Pharmaceutical Works Ltd. This extract from PC Ray cites from the ancient Hindu chemistry works: Rasendrasārasamgraha, Sārngadhara and Rasārṇava and  includes an extensive reproduction of the French scientist, Baron de Sacy's note on the history of  tutiaतुत्थ n. (m. L. ) blue vitriol (used as an eye-ointment) Sus3r.; fire; a collyrium (Monier-Williams) 


PC Ray, History of Hindu Chemistry, p. 71, p.88, p.126, p.156 to p.173

A 1898 Yale University study map. Discovery sites of Svastika hieroglyphs.


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Over 50 seals with svastika hieroglyph are attested in Indus Script Corpora. The decipherment of the svastika hieroglyph has been established as an ancient phonetic form attested in Kannada: sattuva 'svastika hieroglyph' rebus: sattuva, jasta, trapu 'zinc'.

For details of decipherment of inscriptions from Indus Script Corpora containing svastika 'zinc' hieroglyphs/hypertexts, see:


 


Pictorial motif: crocodile, fish: ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS karā 'crocodile' rebus: khār 'blacksmith'. Thus, ayakāra 'ironsmith'.

Text message ofinscription including svastika:
Sign 387 mũh 'ingot' (oval shape bun ingot) PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'.

rim of jar: Sign 342kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar’(Skt.) Rebus: karṇaka ‘scribe, accountant’ (Te.); gaṇaka id. (Skt.) (Santali) copper fire-altar scribe (account)(Skt.) Rebus: kaṇḍ ‘fire-altar’ (Santali) Thus, the 'rim of jar' ligatured glyph is read rebus: fire-altar (furnace) scribe (account)karṇī  'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.'
khareḍo 'a currycomb' Rebus: खरड kharaḍ 'scribe'करडा [ karaḍā ]Hard from alloy--iron, silver &c. karaḍā खरडें 'daybook'. 
kuṭi 'tree' rebus: kuṭhi 'smelter'

Sign 148 sattuva 'svastika hieroglyph' rebus: jasta 'zinc'.

Thus, the text message is: ingots of smithy, forge with supercargo, accounted in zinc smelter daybook.
"Faience button seal (H99-3814/8756-01) with swastika motif found on the floor of Room 202 (Trench 43), Harappa, 2000-01"
Source: https://www.harappa.com/indus4/45.html
The swastika on a Harappan tablet (left), and on pottery of the early historical era (top right: Rupar; bottom right: Ahichchhatra). (@ASI)
Seal with swastika, fired quartz, from Mohenjo-daro, Pakistan, Indus Valley Civilisation, 19th century BC : Stock Photo
Seal with swastika, fired quartz, from Mohenjo-daro, Pakistan, Indus Valley Civilisation, 19th century BCE
https://www.gettyimages.in/detail/photo/seal-with-swastika-fired-quartz-from-high-res-stock-photography/150098020
Image result for swastika indus scriptVariation of Svastika hieroglyph.
Sign 148. There are over 50 Indus Script inscriptions in the Corpora using this hieroglyph either as 'sign' or as 'pictorial motif'.

Field Symbol FS 82 Figs. 118, 119 in ASI 1977 Mahadevan Concordance

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Swastika device from Mongolia found in northwest China.  Dated circa 13th-14th century. Note the crosses also indicating Christian influence--almost certainly Nestorian in character.Svastika device from Mongolia found in northwest China. Dated circa 13th-14th century BCE
https://www.pinterest.com/pin/416442296767078728/. The cognate word satuvu has the semantics, 'strength, hardness'. This means, that zinc has the chemical characteristic of hardening soft copper when alloyed with copper to produce brass. So, the ancient word for zinc is likely to be sattva.

kāraṇḍava m. ʻ a kind of duck ʼ MBh. [Cf. kāraṇḍa- m. ʻ id. ʼ R., karēṭu -- m. ʻ Numidian crane ʼ lex.: see karaṭa -- 1Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , °ḍaga -- , °ḍava -- m. ʻ a partic. kind of bird ʼ; S. kānero m. ʻ a partic. kind of water bird ʼ < *kāreno.(CDIAL 3059) Rebus:  करडा karaḍā Hard from alloy--iron, silver &c.

Thus, when zinc is added to copper, the mineral is hardened and becomes copper. This is signified by the following hypertext.
Source: Thomas Wilson, 1894, Swastika, Library of Congress (embeddedd for ready reference)
Two geese are shown, because dula 'two' rebus: dul 'metal casting'. Thus, by casting sattva 'zinc' and tamba 'copper', the kāraṁḍa 'aquatic bird' rebus: karaḍā 'hard alloy' of brass is produced.




Or. ṭaü ʻ zinc, pewter ʼ(CDIAL 5992). jasta 'zinc' (Hindi) sathya, satva 'zinc' (Kannada) The hieroglyph used on Indus writing consists of two forms: 卍. Considering the phonetic variant of Hindi gloss, it has been suggested for decipherment of Meluhha hieroglyphs in archaeometallurgical context that the early forms for both the hieroglyph and the rebus reading was: sattvaatrápu n. ʻ tin ʼ AV.Pa. tipu -- n. ʻ tin ʼ; Pk. taü -- , taüa -- n. ʻ lead ʼ; P. tū̃ m. ʻ tin ʼ; Or. ṭaü ʻ zinc, pewter ʼ; OG. tarūaüṁ n. ʻ lead ʼ, G. tarvũ n. -- Si. tum̆ba ʻ lead ʼ GS74, but rather X tam̆ba < tāmrá --(CDIAL 5992)

Examples of svastika on Indus Script

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Image result for svastika bharatkalyan97
Pictorial motif

Five svastika explained: The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha brass (i.e. alloy of copper + zinc). Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जसथ् ।रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath ् ज़स््थ् ्or zasuth ज़सुथ ्। रप m. (sg. dat. zastas ु ज़्तस),् zinc, spelter, pewter (cf. Hindī jast). jastuvu; । रपू्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter).

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

dhollu 'drummer' rebus: dul 'metal casting'

Text of inscription
Sign 403 is a duplication of  dula 'pair, duplicated' rebus: dul 'metalcasting' PLUS  Sign'oval/lozenge/rhombus' hieoglyph Sign 373. Sign 373 has the shape of oval or lozenge is the shape of a bun ingotmũhã̄ = the quantity of iron produced atone time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed likea four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes andformed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt komūhā akata = the Kolhes have to-day produced pig iron (Santali). Thus, Sign 373 signifies word, mũhã̄ 'bun ingot'. Thus, hypertext Sign 403 reads: dul mũhã̄ 'metalcast ingot'.

Sign 87 dula 'two' rebus; dul 'metal casting' (Semantic determinative)
Sign 342 kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar’(Skt.) Rebus: karṇaka ‘scribe, accountant’ (Te.); gaṇaka id. (Skt.) (Santali) copper fire-altar scribe (account)(Skt.) Rebus: kaṇḍ ‘fire-altar’ (Santali) Thus, the 'rim of jar' ligatured glyph is read rebus: fire-altar (furnace) scribe (account)karṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.'

Thus, the text message is: supercargo of brass metal castings and bun ingots.

The inscription reads: smelter, brass worker working with metal casting (possibly cire perdue technique of lost-wax casting).
Image result for svastika endless knot bharatkalyan97m1356 Copper plate. The endless knot and svastika
sattva 'svastika hieroglyph' rebus: jasta 'zinc' PLUS meḍhā  'twist' rebus: mēdhā 'yajna, dhanam, wealth'.M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.मेढा [ mēḍhā ] meṇḍa A twist or tangle arising in thread or cord, a curl or snarl. (Marathi) (CDIAL 10312).  Rebus: मेधा = धन (नैघण्टुक , commented on by यास्क ii , 10). 

Ligatures to fish: parentheses + snout dul kuila ayas 'cast bronze ayas alloy with tuttha, copper sulphate'  PLUS circumscript of split parenthesis is derived from breaking out a bun-shaped ingot: mh 'face' rebus: mh'ingot' mhā 'quantity of metal taken out of furnace'
  Sign'oval/lozenge/rhombus' hieoglyph Sign 373. Sign 373 has the shape of oval or lozenge is the shape of a bun ingotmũhã̄ = the quantity of iron produced atone time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes andformed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali). Thus, Sign 373 signifies word, mũhã̄ 'bun ingot'. Thus, hypertext Sign 403 reads: dul mũhã̄ 'metalcast ingot'. Inclined stroke is a semantic determinant to signify ingot: ḍhāḷ = a slope; the inclination of a plane (G.) Rebus: : ḍhāḷako = a large metal ingot (Gujarati)

Modifier hieroglyph component: '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).


Calamine is mixed with either zinc oxide (ZnO) with about 0.5% ferric oxide (Fe2O3)or a zinc carbonate compound.


https://www.scribd.com/document/376853320/Minerals-and-their-Exploitation-in-Ancient-and-Pre-modern-India-AK-Biswas-2001                                                                                                              
Minerals and their Exploitation in Ancient and Pre-modern India (AK Biswas, 2001) by Srini Kalyanaraman on Scribd

Evidence of temple (smithy) hypertexts in Indus Script. Pratiṣṭhā of rasaśālā, artisans' mandiram; ಕಾಯಕವೇ ಕೈಲಾಸ -- Basava: work is worship.-- Rasa ratna samuccaya

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Evidence of temple (smithy) hypertexts in Indus Script is presented in this monograph. Pratiṣṭhā of rasaśālā, artisans' mandiram is elucidated. ಕಾಯಕವೇ ಕೈಲಾಸ  -- Basava: work is worship, which is a precis of Rasa ratna samuccaya, a text of 13th cent.

I submit that Indus Script Corpora with over 8000 inscriptions is evidence of pratiṣṭhā of rasaśālā, as artisans' mandiram, 'temple' and of the wealth produced in these temples. This is emphasised in the exhortation by Basava: ಕಾಯಕವೇ ಕೈಲಾಸ 'work is worship' and attested in the 13th cent. text Rasa ratna samuccaya. This metaphor of a metals workshop as a temple is exemplified by extraordinary pictorial motifs in Indus Script Corpora. svastikḥस्वस्तिकः -कः, -कम्  A mansion or temple of a particular form with a terrace in front. (Apte) I suggest that Signs 242, 243 are layout diagrams of a temple of svastika form, of a temple with a terrace in front. On Sign 243, the terrace in front is infixed with hieroglyph 'rimless pot'. A devakula is a temple. The expression has -kula suffix which is cognate with kole.l 'temple'. देव--कुल deva kula n. " deity-house " , a temple (शाङ्खायन-गृह्य-सूत्र; वराह-मिहिर). The layout of Signs 242, 243 is comprable to the mandirm design of  rasaśālā 'metals workshop' described in Rasa ratna samuccaya.

 Signs 242, 243 signify kole.l'temple' which is kole.l 'smithy, forge' (Kota langauge). Sign 243 has an infixed 'rimless pot': baa'rimless pot' rebus: bhaa'furnace'. Thus, a smithy/forge with a furnace. It is remarkable that the orthography of Signs 242, 243 provide a design which matches with the description of a mandiram detailed in Rasa ratna samuccaya.

 Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith; (Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge (DEDR 2133) கொல்² kol Working in iron; கொற்றொழில். Blacksmith; கொல்லன். (Tamil)

The kneeling adorant shown on the following Indus Script seals is: బత్తుడు battuḍu 'worshipper'బత్తుడు battuḍu, baḍaga 'a professional title of five artificers' of Sarasvati Civilization presented on Indus Script Corpora · https://tinyurl.com/yafd8or2. baḍaga, baḍhi, varāha is venerated, worshipped as Veda puruṣayajñapuruṣa.

The animal fronting the worshipper is a signifier of the adorant's professional expertise. For e.g. mẽḍhā m. 'markhor'.(CDIAL 10310) Rebus: mẽḍh 'iron' (Mu.), med 'copper' (Slavic languages) mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron

The person worshipped in an arbour of ficus glomerala leaves is a blacksmith: dhatu 'scarf' rebus: dhatu 'mineral ore' PLUS dhangar 'bull' rebus:dhangar 'blacksmith' PLUS loa 'ficus glomerata' rebus: loh 'metal, iron, copper'. Thus, the worshippers offers prayers to the  lōhakāra m. ʻ iron -- worker ʼ, °rī -- f., °raka -- m. lex., lauhakāra -- m. Hit. [lōhá -- , kāra -- 1Pa. lōhakāra -- m. ʻ coppersmith, ironsmith ʼ; Pk. lōhāra -- m. ʻ blacksmith ʼ, S. luhā̆ru m., L. lohār m., °rī f., awāṇ. luhār, P. WPah.khaś. bhal. luhār m., Ku. lwār, N. B. lohār, Or. lohaḷa, Bi.Bhoj. Aw.lakh. lohār, H. lohārluh° m., G. lavār m., M. lohār m.; Si. lōvaru ʻ coppersmith ʼ. Addenda: lōhakāra -- : WPah.kṭg. (kc.) lhwāˋr m. ʻ blacksmith ʼ, lhwàri f. ʻ his wife ʼ, Garh. lwār m.(CDIAL 11159) *lōhaśālā ʻsmithyʼ. [lōhá -- , śāˊlā -- ]Bi. lohsārī ʻ smithy ʼ.(CDIAL 11162).  The person wearing scarf also has his head adorned with horns: koḍ 'horn' rebus: koḍ 'workshop'.. Hence, the arbour of ficus glomerala leaves and pratima of a blacksmith signifies a workshop, a lōhaśālā ʻsmithyʼ.

 Sign 243 PLUS lōhakāra. The wristlets worn on his hands signify: karã̄ 'wristlets, bangles', khãr 'ironsmith' (Kashmiri).

bāhula बाहुल, 'pleiades' are shown in the top or bottom registers to signify rebus: bāhula बाहुल a. Manifold.bahulā f. pl. ʻ the Pleiades ʼ VarBr̥S., °likā -- f. pl. lex. [bahulá -- ]
Kal. bahul ʻ the Pleiades ʼ, Kho. ból, (Lor.) boulbolh, Sh. (Lor.) b*lle.(CDIAL 9195) बहुला f. of one of the मातृs attending on स्कन्द MBh.Rebus: bahulá ʻ large, thick ʼ RV. [~ bahura -- . -- bahú -- ]
Pa. Pk. bahula -- ʻ much, abundant ʼ; Gy. germ. buxlo ʻ wide ʼ, pal. bōlbṓli ʻ much, great ʼ; A. bahul ʻ much, abundant ʼ; Or. bahuḷa ʻ much, thick ʼ; Si. bahulabola ʻ thick, solid ʼ.(CDIAL 9194) बहुल mf(/आ)n. thick , dense , broad , wide , spacious , ample , large RV. &c Rebus: bagalo = an Arabian merchant vessel (G.) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Ka.)

 


Image result for indus seal pleiadesHR 4161
Related image
Seal depicting a deity with horned headdress and bangles on both arms, standing in a pipal (sacred fig) tree and looking down on a kneeling worshiper. A human head rests on a small stool. A giant ram and seven figures in procession complete the narrative. The figures wear a single plumed headdress, bangles on both arms and long skirts.
Several script signs are interspersed with the figures along the top of the seal and a single sign is placed at the base of the tree. This scene may represent a special ritual sacrifice to a deity with seven figures in procession. The seal has a grooved and perforated boss and the edges are worn and rounded from repeated use.
Material: fired tan steatite with traces of glaze
Dimensions: 4.06 x 3.95 cm, 0.8 cm thickness.
Mohenjo-daro DK 6847
Islamabad Museum, NMP 50.295
Mackay 1938: pl. XCIV, 430; pl. XCIX, 686a.

The 13th cent. treatise of Vāgbhaṭa  ācārya called Rasa ratna samuccaya, demonstrates expertise of ancient artisans, in the disciplines of of minerals and their properties, purification of minerals, extraction of metals, cruciblesand furnaces, metals, alloys, metal salts,  and their properties.

Rasa ratna samuccaya (RSS) is a detailed manual of metallurgy in 30 chapters. A remarkable diagram is presented by Anil Kumar Biswas on the architectural layout of rasaśālā.

·    In RSS 2.1, it is noted: Abhraka (mica), vaikrānta (tourmaline), mākika (chalcopyrite), vimala (iron pyrite), śilajātu, saśyaka (copper sulphate), capala (bismuth selenium) and rasaka (catalime) are the eight mahārasa.

I submit that the expression rasaśālā signifies lōhaśālā 'smithy, forge' workshop -- working with iron and other metallic minerals to produce wealth. This is a temple where śivalinga and Bhairava pratimā are installed together with organized warehouses for equipment used in processing minerals and metals. 

The ancient text, Rasa ratna samuccaya (RSS) 6.11 to 6.58 confirms the architectural form and function of the temple and wealth-producing activitries in this temple, which is a metals workshop producing the wealth of the nation. (Indian J Hist Sci. 1989 Jul; 24(3 Suppl):267-301.) Chapter 6 of the text details location and establishment of rasaśālā, preparation of Rasaliṅga, method of worship of Rasaliṅga and the initiation ceremony for metallurgists are mentioned in detail

RRS 6.11 to 6.13







·       Iron Age and Bronze Age overlap at Mundigak dated to ca. 2300 BCE

  “There was certainly an overlap between the bronze age and the iron age.Mundigak IV in Afghanistan shows iron buttons and specular hematite nodules as early as 2300 BCE. The megalithic site of Tadakanahalli in Karnataka (1000 BCE) shows iron objects composed of several layers – some carburized and heat-treated.” (AK Biswas, 1987, opcit., p.30; Shaffer, JG, Bronze age iron from Afghanistan, in: Studies in the archaeology and Palaeo-Anthropology of South Asia, editedby Kennedy, KAR and Possehl GL, Oxford & IBH Publishing Co., New Delhi, 1984, pp. 41-62; Agrawal, OP, Harinarain and Bhatia SK, Technical studies of iron implements from the Megalithic Site of Tadakanahalli, Puratattva, 12, 97-100, 1980-81).
      
      रस a metal or mineral in a state of fusion (cf. उप- , महा-र्°); gold;N. of the sacred syllable , "Om"(शाङ्खायन-गृह्य-सूत्र)(Monier-Williams)rasāyana n. ʻ elixir vitae ʼ MBh., °nī -- f. ʻ channel for fluids in the body ʼ Car. [Der. *rasāyati ~ rasāˊyya<-> s.v. rasati2Pk. rasāyaṇa -- n. ʻ a partic. drug ʼ; N. rasāin ʻ substance (e.g. wax or lac) put in the joint of a watervessel to prevent it leaking ʼ; A. rahan ʻ varnish ʼ; B. rasān ʻ ingredients in working metals ʼ; Or. rasāṇa ʻ substances for polishing metals ʼ.(CDIAL 10659)

 karmaśālā f. ʻ workshop ʼ MBh. [kárman -- 1, śāˊlā -- ] Pk.  karmaśālā f. ʻ workshop ʼ MBh. [kárman -- 1, śāˊlā -- ]
Pk. kammasālā -- f.; L. kamhāl f. ʻ hole in the ground for a weaver's feet ʼ; Si. kamhala ʻ workshop ʼ, kammala ʻ smithy  -- f.; L. kamhāl f. ʻ hole in the ground for a weaver's feet ʼ; Si. kamhala ʻ workshop ʼ, kammala ʻ smithy (CDIAL 2896) *lōhaśālā ʻ smithy ʼ. [lōhá -- , śāˊlā -- ] Bi. lohsārī ʻ smithyʼ. (CDIAL 11162) शाला f. (ifc. also n(शाल).) a house , mansion , building , hall , large room , apartment , shed , workshop, stable AV. &c ([cf. Germ. saal; Eng.hall]); m. (also written साल) , an enclosure , court , fence , rampart , wall (Inscriptions(; शाल m. of king शालि-वाहन(Monier-Williams) śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xālxāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed, stable ʼ; Bi. sār f. ʻ cowshed ʼ; H. sāl f. ʻ hall, house, school ʼ, sār f. ʻ cowshed ʼ; M. sāḷ f. ʻ workshop, school ʼ; Si. sal -- aha° ʻ hall, market -- hall ʼ.upaśāla -- , *pariśālā -- Add., *pratiśālā -- , *praśālā -- ; aśvaśālā -- , āpānaśālā -- , *kaṇikaśālā -- , karmaśālā -- , *karmāraśālā -- , *kōlhuśālā -- , *khaṇḍuśālā -- , *gāvaśāla -- , gōśālā -- , catḥuśāla -- , candraśālā -- , citraśālā -- , chāˊttriśālā -- , jyōtiḥśālā -- , dānaśālā -- , *dhānyaśālā -- , *nayaśālā -- , nayaśālin -- , *nītiśālā -- , paṇyaśālā -- , parṇaśālā -- , *pituḥśālā -- , *prapāśālā -- , bhāṇḍaśālā -- , *bhusaśālā -- , *bhrāṣṭraśālikā -- , *yantraśālā -- , lēkhaśālā -- , *lōhaśālā -- , *vaidyaśālā -- , *śvaśuraśālā -- , hastiśālā -- .Addenda: śāˊlā -- : †*āhanaśālā -- , †dharmaśālā -- (CDIAL 12414)


Source:http://www.new.dli.ernet.in/rawdataupload/upload/insa/INSA_1/20005abf_29.pdf IJHS 22 (1) 29-46  (1987) Rasa ratna samuccaya of Vāgbhaṭa  ācārya Mineral processing state of the art in the 13th cent. CE India by Anil Kumar Biswas. 



Chapter 7 describes the rasaśālā, 'Artisans' alchemical workshop'. In mleccha (meluhha), the spoken form synonyms with pronunciation variants in Bhāratiya sprachbund (speech union of ca. 3rd millennium BCE) are: paṭṭaḍa workshop (Telugu) phaḍa फड 'manufactory, company, guild' (Marathi)

The form and function of the workshop including the skills required of metallurgist artisans who work in the workshop are descrbed:
  • ·   ideal loation and lay out of the workshop
  •       prāṇa pratiṣṭhā and sthāpana of divine pratimā in the alchemical workshop which is a mandiram
  •     . arrangement of instruments 
  •       sieves and filtering instruments 
  •       fuels
  •       glassware
  • ·   departmental organization
  • ·   arisan skills required
              RRS 7.1 to 7.36



 
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Source: https://www.scribd.com/document/60320514/rasaratna-samuchchaya Dr. Ashok D. Satpute's translation into English

 http://tinyurl.com/np2hc8q


Unambiguous pictorial narratives of a worshipper, Pleiades, ficus benghalensis canopy or arbour and related hieroglyph-multiplexes of Indus Script Corpora are deciphered as manifold array of metal instruments from iron smelting work.

Indus script hieroglyph-multiplexes associated with 'Pleiades' hieroglyphs and a markhor with a human face, a worshipper in front of an arbour, canopy of ficus benghalensis point to iron smelting work. The specific words in Meluhha (Proto-Prakritam) lexis are the cipher which lead to this decipherment: manifold array of metal instruments and metal castings. 

Hieroglyph: bahulā f. pl. ʻ the Pleiades ʼ Rebus: bāhula बाहुल a. Manifold.






[Pleiades, (twigs as headdress) scarfed, framework,  scarfed person, worshipper, markhor, ficus religiosa] Brief memoranda:

Hieroglyph: మండ [ maṇḍa ] manḍa. [Tel.] n. A twig with leaves on it. Rebus: mã̄ḍ m. ʻ array of instruments &c. (CDIAL 9736) maṇḍa 'iron dross, slag' Sa. <i>mE~R~hE~'d</i> `iron'.  ! <i>mE~RhE~d</i>(M). Ma. <i>mErhE'd</i> `iron'.Mu. <i>mERE'd</i> `iron'.  ~ <i>mE~R~E~'d</i> `iron'.  ! <i>mENhEd</i>(M).Ho <i>meD</i> `iron'.Bj. <i>merhd</i>(Hunter) `iron'.KW <i>mENhEd</i> (Munda)

bahulā f. pl. ʻ the Pleiades ʼ VarBr̥S., °likā -- f. pl. lex. [bahulá -- ]Kal. bahul ʻ the Pleiades ʼ, Kho. ból, (Lor.) boulbolh, Sh. (Lor.) b*lle.(CDIAL 9195) பாகுலம் pākulam n. < bāhula. The month of Kārttikai = November-December; கார்த்திகை மாதம். (W.) పావడము [ pāvaḍamu ] pāvaḍamu. [Tel.] n. A present, gift. కానుక. बाहुल्य [ bāhulya ] n (S) Abundance, copiousness, plenty.

Rebus: Manifold: bāhula बाहुल a. Manifold. -लः Fire; शीतरुजं समये च परस्मिन् बाहुलतो रसिका शमयन्ती Rām. Ch.4.99. -2 The month Kārtika. -लम् 1 Manifoldness. -2 An armour for the arms, vantbrass. -ली The day of full moon in the month of Kārtika.

Rebus: பாகுடம் pākuṭamn. < Pkt. pāuḍa < prābhṛta. [K. pāvuḍa.] 1. Gift, present; கையுறை. நரிப் படைக்கொரு பாகுடம்போலே (திவ். பெரியாழ். 4, 5, 8). 2. Royal revenue, impost, tribute; அரசிறை. (சூடா.)

Hieroglyph: bagala 'Pleiades' Rebus: బంగల [ baṅgala ] bangala. [Tel.] n. An oven. కుంపటి.(Telugu) பங்காரு paṅkāru 
 , n. < T. baṅgāru. [K. baṅgāra.] Gold; பொன். Loc
 
Pa. Pk. bahala-- ʻ dense, thick ʼ(CDIAL 9182)

bhaṭā 'brick kiln' (Assamese) بټ baṯṯ, s.m. (2nd) A large iron pan or cauldron for roasting grain, a furnace, a kiln.(Pashto)

bhuvɔ m. ʻ worshipper in a temple ʼ (Gujarati) rather < bhr̥ta --(CDIAL 9554) Yājñ.com., Rebus: bhaṭā‘kiln, furnace’ Pk. bhuaga -- m. ʻ worshipper in a temple ʼPk. bhayaga -- m. ʻ servant ʼ, bhaḍa -- m. ʻ soldier ʼ(CDIAL 9558)

బత్తుడు battuḍu 'worshipper'బత్తుడు battuḍu, baḍaga 'a professional title of five artificers' of Sarasvati Civilization presented on Indus Script Corpora · https://tinyurl.com/yafd8or2. baḍaga, baḍhi, varāha is venerated, worshipped as Veda puruṣa, yajñapuruṣa.


*bhr̥tagātu ʻ hero song ʼ. [bhr̥ta -- , gātú -- 2] Ku. bhaṛau ʻ song about the prowess of ancient heroes ʼ.(CDIAL 9590)


m0448 (Framework, tiger, scarfed person, worshipper, twig, horn, markhor, stool, ladle)
kole.l 'temple' Rebu: kole.l 'smithy' (Kota) baTa 'rimless pot' Rebus: bhaTa 'furnace, kiln'.

dhatu + bhaTa 'scarf + worshipper, bard' Rebus: dhatu bhaTa 'iron ore smelter' 

Offering hieroglyph-multiplex: worshipper, scarfed + human face+ markhor: cast iron ingots

Hieroglyph: miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.) Rebus: meḍ (Ho.); mẽṛhet‘iron’ (Munda.Ho.)

Hieroglyph: mũhe ‘face’ (Santali) Rebus: mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali) 

m1186 (DK6847) [Pleiades, scarfed, framework, ficus religiosa , scarfed person, worshipper, twigs (on head), horn, markhor, human face ligatured to markhor, stool, ladle, frame of a building] Brief memoranda:

Ficus benghalensis





Hieroglyph: karã̄ n. pl. wristlets, bangles: kará1 ʻ doing, causing ʼ AV., m. ʻ hand ʼ RV. [√kr̥1]Pa. Pk. kara -- m. ʻ hand ʼ; S. karu m. ʻ arm ʼ; Mth. kar m. ʻ hand ʼ (prob. ← Sk.); Si. kara ʻ hand, shoulder ʼ, inscr. karā ʻ to ʼ < karāya. -- Deriv. S. karāī f. ʻ wrist ʼ; G. karã̄ n. pl. ʻ wristlets, bangles ʼ.(CDIAL 2779)

Hieroglyph: dhatu 'scarf' Rebus: dhatu 'mineral ore' Thus, dhatu + karã̄ Rebus: dhatu khār ' iron ore (mineral) worker'.

Hieroglyph: scarf: *dhaṭa2dhaṭī -- f. ʻ old cloth, loincloth ʼ lex. [Drav., Kan. daṭṭi ʻ waistband ʼ etc., DED 2465]Ku. dhaṛo ʻ piece of cloth ʼ, N. dharo, B. dhaṛā; Or. dhaṛā ʻ rag, loincloth ʼ, dhaṛi ʻ rag ʼ; Mth. dhariā ʻ child's narrow loincloth ʼ.*dhaṭavastra -- .Addenda: *dhaṭa -- 2. 2. †*dhaṭṭa -- : WPah.kṭg. dhàṭṭu m. ʻ woman's headgear, kerchief ʼ, kc. dhaṭu m. (also dhaṭhu m. ʻ scarf ʼ, J. dhāṭ(h)u m. Him.I 105).(CDIAL 6707)

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

khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17).
khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -। लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;जि&below; or -güjü - । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -), a blacksmith's smelting furnace; cf. hāl 5. -kūrü - । लोहकारकन्या f. a blacksmith's daughter. -koṭu  । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -। लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above;च&dotbelow;ू&below; । लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु&below; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.(Kashmiri)

Hieroglyph: vaṭa1 m. ʻ the banyan Ficus indica ʼ MBh.Pa. vaṭa -- m. ʻ banyan ʼ, Pk. vaḍa -- , °aga -- m., K. war in war -- kulu m., S. baṛu m. (← E); P. vaṛbaṛ m., vohṛbohṛ f. ʻ banyan ʼ, vaṛoṭāba° m. ʻ young banyan ʼ (+?); N. A. bar ʻ banyan ʼ, B. baṛ, Bi. bar (→ Or. bara), H. baṛ m. (→ Bhoj. Mth. baṛ), G. vaṛ m., M. vaḍ m., Ko. vaḍu.*vaṭapadra -- , *vaṭapātikā -- .Addenda: vaṭa -- 1: Garh. baṛ ʻ fig tree ʼ.(CDIAL 11211) *vaṭapadra ʻ a place -- name ʼ. [vaṭa -- 1, padrá -- ?] Pk. vaḍavadda -- n. ʻ name of a town in Gujarat ʼ, G. vaṛod ʻ Baroda ʼ ODBL 497. (CDIAL 11214) *vaṭapātikā ʻ falling from banyan ʼ. [vaṭa -- 1, pāta -- ]G. vaṛvāī f. ʻ hanging root of banyan tree ʼ.(CDIAL 11215) Rebus: bhaṭṭhā 'kiln' bhaṭhī 'furnace'.

bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj]Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhībhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh.bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v.
bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- .Addenda: bhráṣṭra -- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ.
*bhraṣṭrapūra ʻ gridiron -- cake ʼ. [Cf. bhrāṣṭraja -- ʻ pro- duced on a gridiron ʼ lex. -- bhráṣṭra -- , pūra -- 2]P. bhaṭhūhar°hrābhaṭhūrā°ṭhorū m. ʻ cake of leavened bread ʼ; -- or < *bhr̥ṣṭapūra -- .*bhraṣṭrāgāra ʻ grain parching house ʼ. [bhráṣṭra -- , agāra -- ]
P. bhaṭhiār°ālā m. ʻ grainparcher's shop ʼ.(CDIAL 9656-9658)

kuire bica duljad.ko talkena, they were feeding the furnace with ore. In this Santali sentence bica denotes the hematite ore. For example, samobica,  'stones containing gold' (Mundari) meṛed-bica 'iron stone-ore' ; bali-bica, iron sand ore (Munda). mẽṛhẽt, meḍ ‘iron’(Munda. Ho.)

Meluhha rebus representations are: bica ‘scorpion’ bica ‘stone ore’.

Santali glosses

Hieroglyph: 'human face': mũhe ‘face’ (Santali) 

Rebus: mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali) 

m1175 Composite animal with a two-glyph inscription (water-carrier, rebus: kuti 'furnace'; road, bata; rebus: bata 'furnace'). m1186A Composite animal hieroglyph. Text of inscription (3 lines).

There are many examples of the depiction of 'human face' ligatured to animals:
Ligatured faces: some close-up images.
The animal is a quadruped: pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Te.)Rebus: pasra ‘smithy’ (Santali) Allograph: panǰā́r ‘ladder, stairs’(Bshk.)(CDIAL 7760) Thus the composite animal connotes a smithy. Details of the smithy are described orthographically by the glyphic elements of the composition.

Rebus reading of the 'face' glyph: mũhe ‘face’ (Santali) mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali)mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.) kaula mengro ‘blacksmith’ (Gypsy) mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) The Sanskrit loss mleccha-mukha should literally mean: copper-ingot absorbing the Santali gloss, mũh, as a suffix.

A remarkable phrase in Sanskrit indicates the link between mleccha and use of camels as trade caravans. This is explained in the lexicon of Apte for the lexeme: auṣṭrika 'belonging to a camel'. The lexicon entry cited Mahābhārata: औष्ट्रिक a. Coming from a camel (as milk); Mb.8. 44.28; -कः An oil-miller; मानुषाणां मलं म्लेच्छा म्लेच्छाना- मौष्ट्रिका मलम् । औष्ट्रिकाणां मलं षण्ढाः षण्ढानां राजयाजकाः ॥ Mb.8.45.25. From the perspective of a person devoted to śāstra and rigid disciplined life, Baudhāyana thus defines the word म्लेच्छः mlēcchḥ : -- गोमांसखादको यस्तु विरुद्धं बहु भाषते । सर्वाचारविहीनश्च म्लेच्छ इत्यभिधीयते ॥ 'A person who eatrs meat, deviates from traditional practices.'

The 'face' glyph is thus read rebus: mleccha mũh 'copper ingot'.

It is significant that Vatsyayana refers to crptography in his lists of 64 arts and calls it mlecchita-vikalpa, lit. 'an alternative representation -- in cryptography or cipher -- of mleccha words.'

The glyphic of the hieroglyph: tail (serpent), face (human), horns (bos indicus, zebu or ram), trunk (elephant), front paw (tiger),

 This hieroglyph appears on Jasper Akkadian cylinder seal. 
paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45.(DEDR 47) Rebus: phaḍa फड'manufactory, company, guild’ ... 
Vikalpa: kulā hood of snake Rebus: kolle'blacksmith'


One Proto-Prakritam word signifies both 'tail' and 'hood of serpent'. The word is: xolā 'tail' of antelope andkulā hooded snake as tail. A similar sounding word signifies a blacksmith or smelter: kolle 'blacksmith' kolhe 'smelter'. These can be cited as 'signature' tunes of the writing system, to convey the semantics of a metalworker -- a smith or a smelter. 
See: 
http://bharatkalyan97.blogspot.in/2015/09/indus-script-corpora-signify-kolhe.html


xolā = tail (Kur.); qoli id. (Malt.)(DEDr 2135). Rebus: kol ‘pañcalōha’ (Ta.)கொல் kol, n. 1. Iron; இரும்பு. மின் வெள்ளி பொன் கொல்லெனச் சொல்லும் (தக்கயாகப். 550). 2. Metal; உலோகம். (நாமதீப. 318.) கொல்லன் kollaṉ, n. < T. golla. Custodian of treasure; கஜானாக்காரன். (P. T. L.) கொல்லிச்சி kollicci, n. Fem. of கொல்லன். Woman of the blacksmith caste; கொல்லச் சாதிப் பெண். (யாழ். அக.) The gloss kollicci is notable. It clearly evidences that kol was a blacksmith. kola ‘blacksmith’ (Ka.); Koḍ. kollë blacksmith (DEDR 2133). Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith; (Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge (DEDR 2133) கொல்² kol Working in iron; கொற்றொழில். Blacksmith; கொல்லன். (Tamil) mũhe ‘face’ (Santali); Rebus: mũh '(copper) ingot' (Santali);mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) கோடு kōṭu : •நடுநிலை நீங்குகை. கோடிறீக் கூற் றம் (நாலடி, 5). 3. [K. kōḍu.] Tusk; யானை பன்றிகளின் தந்தம். மத்த யானையின் கோடும் (தேவா. 39, 1). 4. Horn; விலங்கின் கொம்பு. கோட்டிடை யாடினை கூத்து (திவ். இயற். திருவிருத். 21). Ko. kṛ (obl. kṭ-) horns (one horn is kob), half of hair on each side of parting, side in game, log, section of bamboo used as fuel, line marked out. To. kwṛ (obl. kwṭ-) horn, branch, path across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn (DEDR 2200)Rebus: koḍ = the place where artisans work (G.) kul 'tiger' (Santali); kōlu id. (Te.) kōlupuli = Bengal tiger (Te.)Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H.kolhā, °lā m. ʻ jackal ʼ, adj. ʻ crafty ʼ; G. kohlũ, °lũ n. ʻ jackal ʼ, M. kolhā, °lā m. krōṣṭŕ̊ ʻ crying ʼ BhP., m. ʻ jackal ʼ RV. = krṓṣṭu -- m. Pāṇ. [√kruś] Pa. koṭṭhu -- , °uka -- and kotthu -- , °uka -- m. ʻ jackal ʼ, Pk. koṭṭhu -- m.; Si. koṭa ʻ jackal ʼ, koṭiya ʻ leopard ʼ GS 42 (CDIAL 3615). कोल्हा [ kōlhā ] कोल्हें [ kōlhēṃ ] A jackal (Marathi) Rebus: kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pañcaloha’ (Ta.) Allograph: kōla = woman (Nahali) [The ligature of a woman to a tiger is a phonetic determinant; the scribe clearly conveys that the gloss represented is kōla] karba 'iron' (Ka.)(DEDR 1278) as in ajirda karba 'iron' (Ka.) kari, karu 'black' (Ma.)(DEDR 1278) karbura 'gold' (Ka.) karbon 'black gold, iron' (Ka.) kabbiṇa 'iron' (Ka.) karum pon 'iron' (Ta.); kabin 'iron' (Ko.)(DEDR 1278) Ib 'iron' (Santali) [cf. Toda gloss below: ib ‘needle’.] Ta. Irumpu iron, instrument, weapon. a. irumpu,irimpu iron. Ko. ibid. To. Ib needle. Koḍ. Irïmbï iron. Te. Inumu id. Kol. (Kin.) inum (pl. inmul)iron, sword. Kui (Friend-Pereira) rumba vaḍi ironstone (for vaḍi, see 5285). (DEDR 486) Allograph: karibha -- m. ʻ Ficus religiosa (?) [Semantics of ficus religiosa may be relatable to homonyms used to denote both the sacred tree and rebus gloss: loa, ficus (Santali); loh ‘metal’ (Skt.)]

miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120)bhēḍra -- , bhēṇḍa -- m. ʻ ram ʼ lex. [← Austro -- as. J. Przyluski BSL xxx 200: perh. Austro -- as. *mēḍra ~ bhēḍra collides with Aryan mḗḍhra -- 1 in mēṇḍhra -- m. ʻ penis ʼ BhP., ʻ ram ʼ lex. -- See also bhēḍa -- 1, mēṣá -- , ēḍa -- . -- The similarity between bhēḍa -- 1, bhēḍra -- , bhēṇḍa -- ʻ ram ʼ and *bhēḍa -- 2 ʻ defective ʼ is paralleled by that between mḗḍhra -- 1, mēṇḍha -- 1 ʻ ram ʼ and *mēṇḍa -- 1, *mēṇḍha -- 2 (s.v. *miḍḍa -- ) ʻ defective ʼ](CDIAL 9606) mēṣá m. ʻ ram ʼ, °ṣīˊ -- f. ʻ ewe ʼ RV. 2. mēha -- 2, miha- m. lex. [mēha -- 2 infl. by mḗhati ʻ emits semen ʼ as poss. mēḍhra -- 2 ʻ ram ʼ (~ mēṇḍha -- 2) by mḗḍhra -- 1 ʻ penis ʼ?]1. Pk. mēsa -- m. ʻ sheep ʼ, Ash. mišalá; Kt. məṣe/l ʻ ram ʼ; Pr. məṣé ʻ ram, oorial ʼ; Kal. meṣ, meṣalák ʻ ram ʼ, H. mes m.; -- X bhēḍra -- q.v.2. K. myã̄ -- pūtu m. ʻ the young of sheep or goats ʼ; WPah.bhal. mei f. ʻ wild goat ʼ; H. meh m. ʻ ram ʼ.mēṣāsya -- ʻ sheep -- faced ʼ Suśr. [mēṣá -- , āsyà -- ](CDIAL 10334) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Mu.) Allograph: meḍ ‘body ' (Mu.)

bhaṭā G. bhuvɔ m. ʻ worshipper in a temple ʼ rather < bhr̥ta --(CDIAL 

9554) Yājñ.com., Rebus: bhaṭā‘kiln, furnace’
mū̃h ‘human face’ Rebus: mū̃h‘ingot’ (See human face ligatured to a markhor: Seal m1186) PLUS Dm. mraṅ m. ‘markhor’ Wkh. merg f. ‘ibex’ (CDIAL 9885) Tor. miṇḍ‘ram’,miṇḍā́l‘markhor’ (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet‘iron’ (Munda.Ho.)
lo, no‘nine’ phonetic reinforcement of: loa‘ficus’ Rebus: lo‘copper’
dhaṭu m. (also dhaṭhu) m. ‘scarf’ (Western Pahari) (CDIAL 6707) Rebus: dhatu‘minerals’ (Santali)
maṇḍa m. ʻ ornament ʼ Rebus: meḍ (Ho.); mẽṛhet‘iron’ (Munda.Ho.)

baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) 
dhatu 'scarf' Rebus: dhatu 'mineral ore'

muka ‘ladle’ (Tamil)(DEDR 4887) Rebus: mū̃h ‘ingot’ (Santali) PLUS dula'pair' 

Rebus: dul'cast metal'.  (See two ladles). Thus, the offering on the stool denotes: a metal ingot.
bagala ‘pleiades’ Rebus: bagalo = an Arabian merchant vessel (G.) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Ka.)

Detail of the seal.(Framework, ficus religiosa,  scarfed person, twig, horn) http://huntingtonarchive.osu.edu/resources/downloads/webPresentations/harappanSeals.pdf
m1186 seal. kaula— m. ‘worshipper of Śakti according to left—hand ritual’, khōla—3 ‘lame’; Khot. kūra— ‘crooked’ BSOS ix 72 and poss. Sk. kōra— m. ‘movable joint’ Suśr.] Ash. kṓlƏ ‘curved, crooked’; Dm. kōla ‘crooked’, Tir. kṓolƏ; Paš. kōlā́ ‘curved, crooked’, Shum. kolā́ṇṭa; Kho. koli ‘crooked’, (Lor.) also ‘lefthand, left’; Bshk. kōl ‘crooked’; Phal. kūulo; Sh. kōlu̯ ‘curved, crooked’ (CDIAL 3533). 
Rebus: kol ‘pancaloha’ (Tamil)
The rice plant adorning the curved horn of the person (woman?) with the pig-tail is kolmo; read rebus, kolme ‘smithy’. Smithy of what? Kol ‘pancaloha’. The curving horn is: kod.u = horn; rebus: kod. artisan’s workshop (Kuwi)
The long curving horns may also connote a ram:
clip_image061h177Bclip_image062[4]4316 Pict-115: From R.—a person standing under an ornamental arch; a kneeling adorant; a ram with long curving horns.
The ram read rebus: me~d. ‘iron’; glyph: me_n.d.ha ram; min.d.a_l markhor (Tor.); meh ram (H.); mei wild goat (WPah.) me~r.hwa_ a bullock with curved horns like a ram’s (Bi.) me~r.a_, me~d.a_ ram with curling horns (H.)
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.

Arbour, canopy: మండ [ maṇḍa ] manḍa. [Tel.] n. A twig with leaves on it. చెట్టుకొమ్మ. A small branch, ఉపశాఖ.MAṆḌ ʻ adorn ʼ. [Scarcely < *mr̥ndati ʻ rubs ʼ; nor is P. Thieme's derivation (ZDMG 93, 133) as MIA. < *mr̥ṁṣṭē (√mr̥j) phonet. convincing. Prob. with J. Bloch BSOS v 741 ← Drav. (Tam.maṇṇu ʻ to decorate ʼ  9736 maṇḍa2 m. ʻ ornament ʼ lex. [√maṇḍ]Pk. maṁḍaya -- ʻ adorning ʼ; Ash. mōṇḍamōndamūnda NTS ii 266, mōṇə NTS vii 99 ʻ clothes ʼ; G. mã̄ḍ m. ʻ arrangement, disposition, vessels or pots for decoration ʼ, māṇ f. ʻ beautiful array of household vessels ʼ; Si. maḍa -- ya ʻ adornment, ornament ʼ.(CDIAL 9736) maṇḍa6 ʻ some sort of framework (?) ʼ. [In nau -- maṇḍḗ n. du. ʻ the two sets of poles rising from the thwarts or the two bamboo covers of a boat (?) ʼ ŚBr. (as illustrated in BPL p. 42); and in BHSk. and Pa. bōdhi -- maṇḍa -- n. perh. ʻ thatched cover ʼ rather than ʻ raised platform ʼ (BHS ii 402).(CDIAL 9737) N. maṛhermaṛer ʻ one who carries ornaments &c. in the marriage procession ʼ.(CDIAL 9738) maṇḍana n. ʻ adorning ʼ MBh., maṇḍaná -- adj. Pāṇ. [√maṇḍPa. maṇḍana -- n., Pk. maṁḍaṇa -- n. and adj.; OMarw. māṁḍaṇa m. ʻ ornament ʼ; G. mã̄ḍaṇ n. ʻ decorating foreheads and cheeks of women on festive occasions ʼ.(CDIAL 9739) maṇḍapa m.n. ʻ open temporary shed, pavilion ʼ Hariv., °pikā -- f. ʻ small pavilion, customs house ʼ Kād. 2. maṇṭapa -- m.n. lex. 3. *maṇḍhaka -- . [Variation of ṇḍ with ṇṭsupports supposition of non -- Aryan origin in Wackernagel AiGr ii 2, 212: see EWA ii 557. -- Prob. of same origin as maṭha -- 1 and maṇḍa -- 6 with which NIA. words largely collide in meaning and form] 1. Pa. maṇḍapa -- m. ʻ temporary shed for festive occasions ʼ; Pk. maṁḍava -- m. ʻ temporary erection, booth covered with creepers ʼ, °viā -- f. ʻ small do. ʼ; Phal. maṇḍau m. ʻ wooden gallery outside a house ʼ; K. manḍav m. ʻ a kind of house found in forest villages ʼ; S. manahũ m. ʻ shed, thatched roof ʼ; Ku. mãṛyāmanyā ʻ resthouse ʼ; N. kāṭhmã̄ṛau ʻ the city of Kathmandu ʼ (kāṭh -- < kāṣṭhá -- ); Or. maṇḍuā̆ ʻ raised and shaded pavilion ʼ, paṭā -- maṇḍoi ʻ pavilion laid over with planks below roof ʼ, muṇḍoi°ḍei ʻ raised unroofed platform ʼ; Bi. mã̄ṛo ʻ roof of betel plantation ʼ, mãṛuāmaṛ°malwā ʻ lean -- to thatch against a wall ʼ, maṛaī ʻ watcher's shed on ground without platform ʼ; Mth. māṛab ʻ roof of betel plantation ʼ, maṛwā ʻ open erection in courtyard for festive occasions ʼ; OAw. māṁḍava m. ʻ wedding canopy ʼ; H. mãṛwā m., °wī f., maṇḍwā m., °wī f. ʻ arbour, temporary erection, pavilion ʼ, OMarw. maṁḍavomāḍhivo m.; G.mã̄ḍav m. ʻ thatched open shed ʼ, mã̄ḍvɔ m. ʻ booth ʼ, mã̄ḍvī f. ʻ slightly raised platform before door of a house, customs house ʼ, mã̄ḍaviyɔ m. ʻ member of bride's party ʼ; M. mã̄ḍav m. ʻ pavilion for festivals ʼ, mã̄ḍvī f. ʻ small canopy over an idol ʼ; Si. maḍu -- va ʻ hut ʼ, maḍa ʻ open hall ʼ SigGr ii 452.2. Ko. māṁṭav ʻ open pavilion ʼ.3. H. mã̄ḍhāmāṛhāmãḍhā m. ʻ temporary shed, arbour ʼ (cf. OMarw. māḍhivo in 1); -- Ku. mã̄ṛā m.pl. ʻ shed, resthouse ʼ (or < maṇḍa -- 6?]*chāyāmaṇḍapa -- .Addenda: maṇḍapa -- : S.kcch. māṇḍhvo m. ʻ booth, canopy ʼ.(CDIAL 9740) maṇḍáyati ʻ adorns, decorates ʼ Hariv., máṇḍatē°ti Dhātup. [√maṇḍ]Pa. maṇḍēti ʻ adorns ʼ, Pk. maṁḍēi°ḍaï; Ash. mū˘ṇḍ -- , moṇ -- intr. ʻ to put on clothes, dress ʼ, muṇḍaāˊ -- tr. ʻ to dress ʼ; K. manḍun ʻto adornʼ, H. maṇḍnā
(CDIAL 9741) G. mãḍāṇ n. ʻ wooden frame on a well for irrigation bucket ʼ?(CDIAL 9745) Ta. maṇṇu (maṇṇi-) to do, make, perform, adorn, beautify, decorate, polish, perfect, finish; maṇṇ-uṟu to polish as a gem; maṉai (-v-, -nt-) to make, create, form, fashion, shape. Ma.manayuka, maniyuka to fashion, form earthenware, make as a potter. (DEDR 4685) మండనము [ maṇḍanamu ] manḍanamu. [Skt.] n. Adorning, dressing, decorating, decoration. An ornament, jewel, భూషణము, అలంకరణముమండనుడు manḍanuḍu. n. One who is dressed or ornamented. "ఏకాంతభక్తి మహితమండనుడు" he who is adorned with faith. BD. v. 1.

మండపము [ maṇḍapamu ] manḍapamu. [Skt.] n. A porch, a portico, స్తంభములమీద కట్టిన కట్టడము. A bower, pavilion, చావడి, సభాభేదము, నాలుగు కాళ్లమండపము a four pillared portico. ముఖమండపము a porch of a temple. మండపి or గర్భమండపి manḍapi. n. A shrine, a sanctuary. గర్భగృహము. A small portico. చిన్నమండపము. "గర్భమండపి గడిగిన కలశజలము." A. vi. 7.

మందాడు [ mandāḍu ] manḍ-āḍu. [Tel.] v. a. To beg, beseech, pray. బతిమాలుకొను, గో౛ాడు, దైవ్యముతో యాచించు. "ద్వి ఆవేళభయకంపితాత్ముడైనాడు. చండికి నీశ్వరేశ్వరునకునెరగి. మండాడబోయిన మరియొండుతగిలె. "పండిప్ర. i. మండాటము manḍ-āṭamu. n. The act of begging with great humulity. దైన్యముతో యాచించుట.

మండి [ maṇḍi ] or మండీ manḍi. [Tel.] n. Kneeling down with one leg, an attitude in archery, ఒక కాలితో నేలమీద మోకరించుట, ఆలీఢపాదము.

మండము [ maṇḍamu ] or మండాము manḍamu. [Skt.]An ornament, భూషణము

मंडन (p. 626) [ maṇḍana ] n (S) corruptly मंडण n Ornament or decoration: also the adorning material; jewels, trinkets &c. 2 Adorning, dressing out, bedecking. 3 In disputation; as opp. to खंडन. Establishing, proving, maintaining (of a position). 4 A festive occasion in general. 5 (For मेघमंडन) Overspreading (of clouds); canopy. v घाल. मंडप (p. 626) [ maṇḍapa ] m (S) An open shed or hall adorned with flowers and erected on festive occasions, as at marriages &c.: also an arched way of light sticks for the vine &c. to climb and overspread. 2 An open building consecrated to a god. 3 fig. A canopy of clouds. Ex. पावसानें मं0 घातलामंडपी (p. 626) [ maṇḍapī ] f (Dim. of मंडप) A canopy of light framework (to suspend over an idol &c.) Ku. mã̄ṛā m. pl. ʻ shed, resthouse ʼ(CDIAL 9737)

maṇḍūˊka m. ʻ frog ʼ, maṇḍūkīˊ -- f. RV., °kíkā -- f. Suparṇ., marūka -- m. lex. 2. *maṇḍukka -- . 3. maṇḍūra -- m. lex. 4. maṇḍa -- 5 m. lex. 5. *maṇṭrakka -- or *maṭrakka -- . [The many aberrant forms in NIA. are due to taboo (EWA ii 561 with lit.: see also dardurá -- ) as well as onom. influences (as, e.g., *maṭrakka -- ~ Gk. ba/traxos). P. Thieme's derivation (ZDMG 93, 135) as MIA. < *mr̥ṁṣṭa -- is phonet. unacceptable. -- → Orm. maṛyūg ʻ frog ʼ IIFL i 401]1. Pa. maṇḍūka -- m., °kī -- f. ʻ frog ʼ, Pk. maṁḍū˘ka -- , °ḍūa -- , °ḍuga -- m., WPah.bhiḍ. maḍõ, pl. °ḍū n., bhal. māˊṇū n. (+ go < gōdhāˊ -- in maṇgo f. ʻ large frog ʼ), khaś.mn/aḍū, marm. má̃̄ḍū, Si. maḍu -- vāmän̆ḍimäḍi -- yā (< maṇḍūkīˊ -- ).2. Pk. maṁḍukka -- m., °kiyā -- , °kaliyā -- f., Ḍ. minik m., Ash. muṇḍúk, Wg. āvmeḍákāmə́ṛk (āv -- , ā -- < āˊpaḥ s.v. áp -- ), Kt. muṇúk, (Kamdesh) ṓmaṇuk, Pr. māˊṇḍuxmāṇḍukmã̄ḍək, Paš.kuṛ. chil. marák°rék, Gaw. muṇḍāˊkamiṇ°, Bshk. mänāˊk (< maṇḍ -- or mandr -- AO xviii 244), Sv. miṇḍāˊka, Sh. măṇūˊkṷ m., K. miñĕmŏnḍukh, dat. °dakas m. (see 4), P. mē̃ḍuk°ḍak,mī˜ḍuk°ḍak m., WPah.rudh. mínku, (Joshi) minkā m.; Ku. munki -- ṭaulo ʻ tadpole ʼ; OMarw. mīḍako m. ʻ frog ʼ, mīṁḍakī f. ʻ small frog ʼ, G. me_ḍakmeḍ° m., me_ḍkīmeḍ° f.; M. mẽḍūk -- mukh n. ʻ frog -- like face ʼ.3. Pk. maṁdūra -- m.4. K. mainmön m., miñ f., miñĕ -- mŏnḍukh m. (orig. ʻ female and male frog ʼ?).5. Wg. āwmaṭrakōg, Dm. maṭrak, Paš.lauṛ. máṭrax, uzb. máṭrōkkatrṓx, nir. kch. maṭeṅ, dar. maṭḗx, weg. maṭék, ar. matrek, Shum. maṭərok, Kal.rumb. maṇḍrák, urt. maḍrák, Phal. maṭrōk m..*matíya -- ʻ harrow ʼ see matyà -- .Addenda: maṇḍūˊka -- . 2. *maṇḍukka -- : WPah.kṭg. (kc.) miṇḍkɔ m. ʻ frog ʼ, J. minkā m.3. Read *maṇḍūra -- 1: Pk. maṁḍūra -- m.(CDIAL 9746)
Harpoons used in whale fishery, 1887

மண்டா maṇṭā, n. Harpoon, hog-spear with short barbed prongs; மீன் பன்றி முதலிய வற்றைக் குத்த உதவும் ஈட்டிவகை. (W.) मैंद [ mainda ] m (A rude harrow or clodbreaker; or a machine to draw over a sown field, a drag. (Marathi) matyà n. ʻ club with iron points ʼ AV., ʻ a kind of harrow ʼ TS. 2. *matíya -- . 3. *madya -- 2. [Cf. matīkarōti ʻ harrows ʼ AitBr., Pa. su -- mati -- kata -- ʻ well harrowed ʼ; -- explanation of madi -- , madikā -- f. ʻ a kind of harrow or roller ʼ Kr̥ṣis., madī -- f. ʻ any agricultural implement (e.g. a plough) ʼ lex. as MIA. forms (EWA ii 566) does not account for *madya -- in NIA.]1. WPah.bhal. maċċ n. ʻ implement for levelling a rice -- field ʼ (whence maċċṇū ʻ to level ploughed ground ʼ).2. Pk. maïya -- n. ʻ harrow ʼ; L.awāṇ. may ʻ implement for levelling ʼ; WPah. (Joshi) moī f. ʻ implement for smoothing land after sowing ʼ; Ku. mayo ʻ harrow con<-> sisting of a plank for breaking up clods after ploughing ʼ, gng. me ʻ harrow ʼ; A. mai ʻ harrow ʼ (whence mayāiba ʻ to harrow ʼ), maiṭā ʻ single bamboo with its knot on used as a ladder ʼ; B. maïmoi ʻ harrow, ladder, ladder used as harrow ʼ; Or. maï ʻ ladderlike harrow ʼ; H. maī f. ʻ harrow ʼ; M. maĩd m. ʻ rude harrow or clod breaker ʼ (+ ?).3. K. maj (gender and spelling? for *maz?) ʻ harrow consisting of a log ʼ; P.ḍog. mãj̈ f. ʻ ladder ʼ.*vaṁśamatiya -- .Addenda: matyà -- . 2. *matíya -- : WPah.kṭg. m&tildemacrepsilon; f. (obl. -- i) ʻ a kind of harrow ʼ; J. moī f. ʻ a kind of plough to smoothe land after sowing ʼ.(CDIAL 9755)

Konḍa maṇḍi earthen pan, a covering dish. Pe. manḍi cooking pot. Kui manḍi brass bowl. Kuwi (S.) mandi basin; (Isr.) maṇḍi plate, bowl. Cf. 4682 Ta. maṇṭai.(DEDR 4678) Ta. maṇṭai mendicant's begging bowl, earthen vessel, head, skull, cranium, brain-pan, top portion as of palms, a standard of measure. Ma. maṇṭa skull; similar objects. Ko. maṇḍ  head.To. maḍ id. 
Ka. maṇḍe id.; (Hav.) maṇḍage a big jar. Koḍ. maṇḍe head. Tu. maṇḍè large earthen vessel, skull, head. Kor. (M.) maṇḍa, (O. T.) manḍe head. Cf. 4678 Konḍa maṇḍi. / Cf. Skt. (lex.maṇḍa- head. (DEDR 4682)

Ta. maṇṭu (maṇṭi-) to blaze up, glow; maṭu (-pp-, -tt-) to kindle. Te. maṇḍu to burn, blaze, flame, cause or produce a burning pain, be angry, be in a fury or violent rage, be envious;maṇṭa flame, blaze, burning pain, anger, wrath, fury, envy; maṇḍincu to burn (tr.), inflame, provoke, irritate; maḍḍu great heat, redhot iron, brand; very hot; (K.) mrandu to be consumed by fire, burn. Kol. (Pat., p. 167) manḍeng to burn, scorch (intr.). Nk. manḍ- to burn (intr.). Go. (M.) maṛgānā to blaze; (Ma.) maṛg- to burn (intr.) (Voc. 2745); (Tr.) maṛūstānā to cook in oil (Voc. 2743); (ASu.) maṛū- (curry) to be charred. Kui mṛahpa (mṛaht-) to consume by fire, burn; n. destruction by fire.(DEDR 4680) 

M. mã̄ḍ m. ʻ array of instruments &c. (CDIAL 9736)

மண்டவம் maṇṭavam, n. < Pkt. maṇḍava < maṇḍapa. Custom-house; சுங்கச்சாவடி. (W.)

manḍī मंडी f. an exchange, a place where merchants meet to transact business (Gr.M.).(Kashmiri) మండి [ maṇḍi ] or మండీ manḍi. [Tel.] [H.] n. A wholesale shop, భారీ సరుకులు అమ్మేచోటు. మండీలు manḍīlu. n. A sort of sweet cakes. మండిగండ్రలు manḍi-ganḍralu. n. A sort of grain. "మండిగండ్రలు, నాగమల్లెలు, తీగమల్లెలు." H. iv. 155. 

mã̄ḍ माँड् । मिश्रीकरणम् f. mixing (Gr.Gr. 126), esp. mixing up or kneading (by rubbing with the palms of the hands) of flour or other food with water, buttermilk, etc. (Gr.Gr. 1); cf. mã̄ḍay and namda-mö̃ḍ. -- diñü-- (Kashmiri)

OMarw. māṁḍaï ʻ writes ʼ; OG.māṁḍīiṁ 3 pl. pres. pass. ʻ are written ʼ, G. mã̄ḍvũ ʻ to arrange, dispose, begin ʼ, M. mã̄ḍṇẽ, Ko. mã̄ṇḍtā. (CDIAL 9741)

OP. manūru m. ʻ scrap iron, iron dross, slag ʼ (CDIAL 9754)*maṇḍa -- 4 (maṇḍūra --  ʻ rust of iron ʼ lex. ~ *mandūra -- ʻ iron dross ʼ (CDIAL 9723) मण्डूर [p= 776,2] n. rust of iron L. (Monier-Williams. Samskritam) మండూరము 

``^iron'':
Sa. mE~R~hE~'d `iron'.  ! mE~RhE~d(M).
Ma. mErhE'd `iron'.
Mu. mERE'd `iron'.
  ~ mE~R~E~'d `iron'.  ! mENhEd(M).
Ho meD `iron'.
Bj. merhd (Hunter) `iron'.
KW mENhEd
@(V168,M080)

लोहः The red goat; कालशाकं महाशल्काः खड्गलोहामिषं मधु Ms.3.272. 

<lia>(:)  ??iron  *So.<lOaG>?.  #9851.<sini-lia>(C)  {N} ``^blade of a ^plough''.  @S.  #9862.<lOa>(KM)  {N} ``^iron''.  Syn. <hemRaD>(P), <emRaD>(*).  %20841.  #20681.<loha>(BD)  {NI} ``^iron''.  Syn. <luaG>(D).  *@.  #20131.<luaG>(D),,<luwaG>(B),,<luyaG>(A)  {NI} ``^iron, ^plough-^share''.  ??VAR.  #20371.<luaG>(D),,<luwaG>(B),,<luyaG>(A)  {NI} ``^iron, ^plough-^share''.  Syn. <loha>(BD) `iron'.  ??VAR.  #20381.<luyaG>(A),,<luaG>(D),,<luwaG>(B)  {NI} ``^iron, ^plough-^share''.  ??VAR.  #20421.<lowa>(F)  {N} ``^iron''.  *Loan.  @N501.  #21131.<lua>(B),,<loa>(B)  {N} ``^iron''.  Pl. <-le>.  @B23760.  #21231.<laG>\\<lOaG>,,<loaG>,,<luaG>(L)  {N} ``^iron, ^steel''.  #44072.<A-iDEra-laG>(L)  {N} ``rusty iron or steel''.  #31613.  <asOG-laG>(L)  {N} ``mica''.  #42792.<lOaG>,,<loaG>,,<luaG>//<laG>()  {N} ``^iron''.  #44071.Kh<loha>(BD)  {NI} ``^iron''.  Syn. <luaG>(D).Kh<luaG>(D),,<luwaG>(B),,<luyaG>(A)  {NI} ``^iron, ^plough-^share''.Kh<luaG>(D),,<luwaG>(B),,<luyaG>(A)  {NI} ``^iron, ^plough-^share''.  Syn. <loha>(BD) `iron'.Kh<luyaG>(A),,<luaG>(D),,<luwaG>(B)  {NI} ``^iron, ^plough-^share''.  Syn. <loha>(BD) `iron'.Kh<luyaG>(A),,<luaG>(D),,<luwaG>(B)  {NI} ``^iron, ^plough-^share''.Ju<lOa>(KM)  {N} ``^iron''.  Syn. <hemRaD>(P), <emRaD>(*).So<laG>\\<lOaG>,,<loaG>,,<luaG>(L)  {N} ``^iron, ^steel''.So<lOaG>,,<loaG>,,<luaG>//<laG>()  {N} ``^iron''.Re<lua>(B),,<loa>(B)  {N} ``^iron''.  Pl. <-le>.

लोह a. 1 Red, reddish. -2 Made of copper, coppery. -3 Made of iron; भ्रमतश्च वराहस्य लोहस्य प्रमुखे समम् Mb.1. 135.23. -हः, -हम् 1 Copper. -2 Iron. -3 Steel. -4 Any metal; वस्तून्योषधयः स्नेहा रसलोहमृदो जलम् Bhāg.2. 6.24. -5 Gold; यथा सौम्यैकेन लोहमणिना Ch. Up.6.1.5.7 A weapon; अद्भ्यो$ग्निर्त्रह्मतः क्षत्रमश्मनो लोह- मुत्थितम् Ms.9.321. -8 A fish-hook -उच्छिष्टम्, -उत्थम्, -किट्टम्, -निर्यासम्, -मलम् rust of iron (मण्डूर). -उत्तमम् gold. -कान्तः a loadstone, magnet. -कारः a blacksmith.

kaula-- m. ʻ worshipper of Śakti according to left-- hand ritual ʼ(CDIAL 3533) kúla n. ʻ herd, troop ʼ RV., ʻ race, family ʼ Pāṇ., ʻ noble family ʼ Mn., ʻ house ʼ MBh.Pa. kula -- n. ʻ clan, household ʼ, Pk. kula -- n.m. ʻ family, house ʼ; Dm. kul ʻ house ʼ; Sh. (Lor.) d*lda -- kul ʻ grandfather's relations ʼ; K. kŏl m. ʻ family, race ʼ; S. kuru m. ʻ tribe, family ʼ, L.kull m., P. kul f.; WPah. bhad. kul n. ʻ sub -- caste, family ʼ; N. A. B. kul ʻ clan, caste, family ʼ, Or. kuḷa, OMth. kula; H. kul m. ʻ herd, clan, caste, family ʼ, Marw. kul; G. kuḷ n. ʻ family, tribe ʼ, M. kūḷ n., °ḷī f.; OSi. -- kolaṭ dat. ʻ family ʼ; -- Si. kulaya ʻ family, caste ʼ ← Pa. or Sk. -- Deriv. Or. kuḷā ʻ of good family ʼ, akuḷā ʻ illegitimate (of birth) ʼ.(CDIAL 3330)

bhaṭṭa -- 1 m. ʻ lord ʼ 9402 bhártr̥ -- , acc. bhártāram m. ʻ husband ʼ, bhartŕ̊ -- m. ʻ bearer ʼ RV.: > MIA. bhaṭṭāra -- m. ʻ noble lord ʼ lex., °aka -- m. Hit., bhaṭṭa -- 1 ʻ term of address from lowborn to superior, lord ʼ Daś. [√bhr̥Pa. bhattā nom., bhattāraṁ acc. sg. m. ʻ husband ʼ; NiDoc. bhaṭara
°aǵa ʻ master ʼ, bhaṭariyae gen. sg. f. ʻ mistress ʼ; Pk. bhattu -- , °ti -- , bhaṭṭu -- , °ṭi -- m. ʻ husband, master ʼ, bhaṭṭiṇī -- f. ʻ mistress, non -- anointed queen ʼ, bhaṭṭāraya -- m. ʻ worshipful one, (in drama) king ʼ, bhaḍāraya -- with abnormal change of -- ṭṭ -- in term of address (> K. brôru m. ʻ god, esp. Śiva ʼ, brörü f. ʻ goddess ʼ); K. baṭa m. ʻ a Brahman ʼ; Ḍ. bitṓr, pl. °tāˊra ʻ husband ʼ, S. bhatāru m., Ku. A. bhatār, OB. bhatāra, B. bhātār, Bi. bhatār, Aw.lakh. bhatarā; H. bhatār m. ʻ husband, master ʼ. -- See *bharitr̥ -- s.v. Addenda: bhártr̥ -- : WPah.kṭg. (kc.) bhāˋṭ m. ʻ member of a brahman caste, priest ʼ, J. bhāṭ m. ʻ term for a brahman ʼ; A. bhatarā ʻ uncastrated bull ʼ AFD 204.(CDIAL 9402)

bhaṭṭa2 m. ʻ mixed caste of bards ʼ lex. [Cf. bhaṭa -- m. ʻ mixed caste ʼ lex., bhaḍa -- m. Cat., bhaṇḍa -- m. BrahmavP.Pk. bhaṭṭa -- m. ʻ bard ʼ; K. bāṭh, dat. °ṭhas m. ʻ bard, panegyrist ʼ, S. bhaṭu m., P. bhaṭṭ m., Ku. N. A. B. bhāṭ, Or. bhāṭa, Bhoj. Aw.lakh. H. G. M. bhāṭ m., Si. bäṭṭayā; -- S. bhaṭiṇī f. ʻ woman of this caste ʼ, P. bhaṭṭaṇ°ṇī f., N. bhaṭini, H. bhāṭan f.; -- N. bhaṭyāunu ʻ to lead a chorus ʼ.bhaṭṭāra -- see bhártr̥ -- .Addenda: bhaṭṭa -- 2: WPah.kṭg. (kc.) bhāˋṭ m. ʻ poet and singer ʼ, kṭg. bhāˋṭṭəṇ, kc. bhāṭiṇ f. ʻ his wife ʼ; Garh. bhāṭ ʻ bard ʼ.(CDIAL 9366)

tuṇḍa n. ʻ beak, trunk, snout ʼ TĀr. MBh., ʻ contemp- tuous term for mouth ʼ Bādar., túṇḍika -- ʻ having a trunk ʼ AV. [Cf. trōṭi -- f. ʻ beak, fish's mouth ʼ lex., and further śuṇḍā -- , cañcu -- , *cōṇṭa -- . Cert. non -- Aryan and prob. ← Mu. EWA i 510. Poss. same as tundi -- ʻ navel ʼ and tundá -- 1 ʻ belly ʼ with which it shares several variant forms. Some of these may be due to differences of dialect in the source language, some to phonetic development within IA. (e.g. t -- ṭ > ṭ -- ṭ), some to slang deformation]1. tuṇḍa -- : Pa. tuṇḍa -- , °aka -- n. ʻ beak, mouth, snout ʼ; Pk. tuṁḍa -- n., °ḍī -- f. ʻ mouth, front part ʼ; S. tunī f. ʻ spout ʼ; Or. tuṇḍa ʻ lips, mouth, beak ʼ, tuṇḍi ʻ muzzle ʼ, (Sambhalpur) tũḍ ʻ mouth ʼ, M. tũḍ n.; Si. tuḍa ʻ beak, snout, mouth ʼ. 2. *tuḍa -- : Si. tola (st. tol -- ) ʻ lip ʼ, toḷu gānavā ʻ to graze (lit. rub the lips on) ʼ. 3. *tōṇḍa -- : Pk. toṁḍa -- n. ʻ mouth, front part ʼ; M. tõḍm. ʻ mouth ʼ, Ko. toṁḍa. 4. *tōṭṭa -- 1: Or. toṭi ʻ throat ʼ; M. toṭī f. ʻ spout ʼ. 5. *tōnta -- : K. tō̃th (dat. °ti) f. ʻ beak ʼ (← Ind.?). 6. *tutta -- : K. tutu ʻ long -- faced ʼ; WPah. bhal. tutt n. ʻ face ʼ, bhad. tuttar n. 7. *ṭuṇḍa -- 1: N. ṭũṛo ʻ mouth of animal, beak, point of ploughshare ʼ; Or. (Jāṇpur) ṭuṇḍa ʻ lips, mouth, beak ʼ; Bi. ṭū̃ṛ°ṛā ʻ beard of wheat ʼ (semant. cf. sū̃ṛ s.v. śuṇḍā -- 1). 8. *ṭuṇṭa -- 1: A. ṭũṭli ʻ fleshy protuberance under chin ʼ; B. ṭũṭi ʻ throat ʼ. 9. *ṭōṇṭa -- 3: K. ṭū̃ṭi f. ʻ spout ʼ (← Ind.?); Bi. ṭõṭī ʻ spout of drinking vessel ʼ; H. ṭõṭ f. ʻ beak ʼ, ṭõṭī f. ʻ spout ʼ. 10. *ṭūṭṭa -- : P. ṭūṭī f. ʻ spout ʼ, N. ṭuṭo°ṭi. 11. *ṭōṭṭa -- 3: S. ṭoṭī f. ʻ mouthpiece of hookah ʼ; H. ṭoṭī f. ʻ spout ʼ; G. ṭoṭɔ m. ʻ throat ʼ. 12. *thuṇḍa -- : L. thunn m. ʻ thick lips (opprobrious term) ʼ, awāṇ. thun ʻ lips ʼ. 13 *thuntha -- : A. thũtari ʻ chin ʼ, B. thũtithũtani; Or. thũti ʻ chin, snout ʼ. 14. *thuttha -- : P. thūthṇā m.,thū˘thṇī f. ʻ mouth of horse or camel ʼ; N. thutunu ʻ nose, snout ʼ; A. thutari ʻ chin ʼ; B. thutithutani ʻ chin, mouth of animal ʼ; Or. thuthi°ti ʻ snout, chin, beard ʼ; Bhoj. thuthun ʻ pig's snout ʼ; Mth. thūthun ʻ mouth of animal ʼ; Aw.lakh. thūthun ʻ horse's nostrils ʼ; H. thūthṛāthūthanthūthnā m. ʻ snout, mouth ʼ. 15. *thōḍa -- 1: Or. thoṛi ʻ lower lip, chin, beard ʼ. 16. *thōḍḍa -- :L.mult. thoḍ m. ʻ lip ʼ, (Ju.) thoḍ̠ m., thoḍ̠ī f. 17. *thōttha -- 1: Mth. thothī ʻ mouth ʼ; H. thoth m. ʻ snout ʼ, thotī f. ʻ forepart of animal's face ʼ; M. thotrīthodrī f. ʻ side of cheek ʼ. 18. *thōntha -- 1: B. thõtā ʻ chin ʼ. 19. *thēṇṭha -- 1: Or. theṇṭathaṇṭa ʻ beak ʼ. 20. *ṭhuṇḍa -- : Ku. ṭhūn m. ʻ beak, elephant's trunk ʼ; N. ṭhũṛo ʻ beak ʼ; Or. ṭhuṇḍi ʻ lip, chin ʼ; G. ṭhũḍī f. ʻ chin ʼ. 21. *ṭhuḍḍa -- : P. ṭhuḍḍā m. ʻ beak of a paper kite ʼ; H. ṭhuḍḍī°ḍḍhī f. ʻ chin ʼ. 22. *ṭhōṇḍa -- : H. ṭhõṛī f. ʻ chin ʼ. 23. *ṭhōḍḍa -- : S. ṭhoḍ̠ī f. ʻ chin ʼ, P. ṭhoḍī f., H. ṭhoṛī°ṛhī f. 24. *ṭhōṇṭha --1: A. B. ṭhõṭ ʻ beak ʼ; Or. ṭhuṇṭhi ʻ lip, chin, beak ʼ; Mth. H. ṭhõṭh f. ʻ beak ʼ. 25. *duṇḍa -- : L.mult. dunn, (Ju.) dun m. ʻ wild pig's snout ʼ. 26. *ḍuṇḍa -- 1: K. ḍọ̆nḍu m. ʻ front of face ʼ. 27. *dutta -- : Dm. dut ʻ lip ʼ; Woṭ. dut f. ʻ mouth ʼ; Bshk. dut ʻ lip ʼ (Leech "dùdh"< *duddha -- ?), Tor. dūt; Phal. dut ʻ mouth ʼ (dhut < *dhutta -- ?); Sh.pales. dūt ʻ lip ʼ. -- Forms with -- r -- (cf.trōṭi -- f. ʻ beak ʼ lex.) in Sh.koh. turūṭi ʻ lip ʼ, jij. thurūṭi, gil. thŭrūˊṭŭ m. ʻ beak ʼ.
mukhatuṇḍaka -- ; *mukhatuttikā -- .Addenda: tuṇḍa -- . 1. Md. tun ʻ lip, beak ʼ, tunfat ʻ lip (of humans) ʼ, tun̆ḍi ʻ treeless spit of sand ʼ?11. *ṭōṭṭa -- 3: WPah.kṭg. ṭōṭ ʻ mouth ʼ.
17. *thōttha -- 1: WPah.kṭg. thótti f., thótthəṛ m. ʻ snout, mouth ʼ, A. ṭhõt (phonet. thõt) AFD 94.(CDIAL 5853)

tṓttra n. ʻ goad for cattle or elephants ʼ ŚBr. [√tud]Pa. tutta -- n. (with u from tudáti?), Pk. totta -- , tutta<-> n.; Si. tutta ʻ elephant goad ʼ.(CDIAL 5966)

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)

توتیا totī-yā, s.f. (6th) Tutty, protoxyd of zinc. (E.) Sing. and Pl.); (W.) Pl. توتیاوي totīʿāwīنیل توتیا nīl totī-yā, s.f. (6th) Blue vitriol, sulphate of copper. سبز توتیا sabz totī-yā, s.f. (6th) Green vitriol, or sulphate of iron.(Pashto)


Chanhudaro Excavations, Pl. LI, 18 Text 6118. [kneeling, worshipper, tiger, tree, water-carrier] Brief memoranda:
kui;  ‘water-carrier’ Rebus: kuhi ‘smelter furnace’
ku‘tree’ Rebus: kuhi ‘smelter’
kol ‘tiger’ Rebus: kol‘working in iron’; kolhe ‘smelter’
bhaṭā G. bhuvɔ m. ʻ worshipper in a temple ʼ rather < bhr̥ta --(CDIAL 9554) Yājñ.com., Rebus: bhaṭā‘kiln, furnace’
h097 [Pleiades, twigs (on head), ladle, rimless pot]
Brief memoranda:
baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) 
muka ‘ladle’ (Tamil)(DEDR 4887) Rebus: mū̃h ‘ingot’ (Santali) PLUS dula'pair' Rebus: dul'cast metal'.  (See two ladles). Thus, the offering on the stool denotes: a metal ingot.
bagala ‘pleiades’ Rebus: bagalo = an Arabian merchant vessel (G.) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Ka.)

A Meluhha gloss for hard stone ore or iron stone is mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) which is denoted by the hieroglyph, 'markhor'. miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Meluhha glosses are annexed which indicate association with cire perdue (or lost wax) method of casting metals using beeswax, particularly in the glosses for miedź, med'  'copper' in Northern Slavic and Altaic languages. 

Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:

Sa. <i>mE~R~hE~'d</i> `iron'.  ! <i>mE~RhE~d</i>(M).
Ma. <i>mErhE'd</i> `iron'.
Mu. <i>mERE'd</i> `iron'.
  ~ <i>mE~R~E~'d</i> `iron'.  ! <i>mENhEd</i>(M).
Ho <i>meD</i> `iron'.
Bj. <i>merhd</i>(Hunter) `iron'.
KW <i>mENhEd</i>
@(V168,M080)

— Slavic glosses for 'copper'
Мед [Med]Bulgarian
Bakar Bosnian
Медзь [medz']Belarusian
Měď Czech
Bakar Croatian
KòperKashubian
Бакар [Bakar]Macedonian
Miedź Polish
Медь [Med']Russian
Meď Slovak
BakerSlovenian
Бакар [Bakar]Serbian
Мідь [mid'] Ukrainian[unquote]
Miedź, med' (Northern Slavic, Altaic) 'copper'.  

One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.

Pushing leaping tigers, Indus Script hypertexts signify rasaśālā, 'smelter, smithy, forge' for metal casts, blazing, bright, sacred metallurgical processes

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https://tinyurl.com/y9tcrjhz

This monograph elucidates the association of tiger hieroglyphs with ancient Bronze Age metals workshop as a sacred devakula, 'mandiram', 'temple' and  is an addendum to

Evidence of temple (smithy) hypertexts in Indus Script. Pratiṣṭhā of rasaśālā, artisans' mandiram; ಕಾಯಕವೇ ಕೈಲಾಸ -- Basava: work is worship.-- Rasa ratna samuccaya https://tinyurl.com/yaaagtxo


Two hieroglyph/hypertext vivid, unambiguous narratives are unique in Indus Script Corpora which signify smelting, metal casting (cire perdue) & smithy/forge processes: 
1. leaping tiger;
2. a lady pushing back two leaping tigers. Both narratives of Indus Script are read rebus in Meluhha:
kola'tiger'kola'woman' rebus: kolhe 'smelter'kol'working in iron' PLUS dula'pair' rebus: dul'metal casting' PLUS kola 'woman' rebus: kol 'working in iron' PLUS dhakka 'push' rebus: dhak 'blaze', dhag 'bright (metal)' PLUS śal 'leap' rebus: śāla, sal'workshop' PLUS panja'feline paw' rebus: panja'kiln, smelter'.

Thus, the leap of tigers -- Indus Script Cipher -- signifies a 'smelter workshop' Synonyms: *karmāraśālā ʻ smithy ʼ. [karmāˊra -- , śāˊlā -- ]Mth. kamarsārī; -- Bi. kamarsāyar?(CDIAL 2889)*kōlhuśālā ʻ pressing house for sugarcane or oilseeds ʼ. [*kōlhu -- , śāˊlā -- ]Bi. kolsār ʻ sugarcane mill and boiling house ʼ. (CDIAL 3538) karmaśālā f. ʻ workshop ʼ MBh. [kárman -- 1, śāˊlā -- ]Pk. kammasālā -- f.; L. kamhāl f. ʻ hole in the ground for a weaver's feet ʼ; Si. kamhala ʻ workshop ʼ, kammala ʻ smithy ʼ.2897 *karmāpayati ʻ works, earns ʼ. [kárman -- 1]
NiDoc. kam̄av́eti ʻ causes to work, works ʼ; Pk. kammāvēi ʻ earns, works ʼ; K. kamā̆wun ʻ to work, earn, smelt (metal) ʼ; S. kamāiṇu ʻ to work, earn, slaughter ʼ; L. kamāvaṇ ʻ to work, earn ʼ, P. kamāuṇā, WPah. cam.kumāṇā, khaś. bhal. kamāṇū; Ku. kamūṇo ʻ to work, cultivate ʼ, N. kamāunu; B. kāmāna ʻ to earn, shave ʼ; Or. kamāibā ʻ to work, earn ʼ; Mth. kamāeb ʻ to serve, weed (a field) ʼ; OAw. kamāvaï ʻ earns ʼ, H. kamānā; G.kamāvvũ ʻ to help to earn ʼ, °māvũ ʻ to earn ʼ, M. kamā̆viṇẽ.Addenda: *karmāpayati: S.kcch. kamāyṇū ʻ to earn ʼ, WPah.kṭg. kəmauṇõ.(CDIAL 2896) *jyōtiḥśālā ʻ fire room ʼ. [jyṓtis--, śāˊlā-- ] A. zuhāl ʻ fireplace ʼ(CDIAL 5297) *bhrāṣṭraśālikā ʻ furnace house ʼ. [bhrāṣṭra -- , śāˊlā -- ]H. bharsārī f. ʻ furnace, oven ʼ.(CDIAL 9685) *lōhaśālā ʻ smithy ʼ. [lōhá -- , śāˊlā -- ]Bi. lohsārī ʻ smithy ʼ.(CDIAL 11162)
Image result for leaping tiger bharatkalyan97
FS Fig. 105 Two tigers leap:dula 'pair' rebus: dul 'metal casting' PLUS Tiger leaps: kol kõdā rebus: kolhe kō̃da कोँद 'smelter kiln' PLUS panja 'claw of beast, feline paw' rebus: panja 'kiln' (Semantic determinative). kola 'lady' rebus: kol 'working in iron' The iris of the is plal 'iris of the eye' (Gaw.)(CDIAL 8711) a pronuciation variant is provided by pā̆hār ʻsunshine' in Nepali. If this phonetic form pāhār explains the hieroglyph 'iris of the eye', the rebus reading is: pahārā m. ʻgoldsmith's workshopʼ(Punjabi)(CDIAL 8835).
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Hypertext: semantics: jump, leap: G. jhāl f. ʻ sudden leap ʼ (CDIAL 5351) WPah.kṭg. ċhāˊḷ f. (obl. -- i) ʻ jump, leap ʼ Him.I 65 (CDIAL 5002) G. jhāl f. ʻ sudden leap ʼ(CDIAL 5351) *ut -- śāla ʻ leaping up ʼ. [√śal]L. ucchāl m. ʻ swelling or running over of a river ʼ; P. uchālī f. ʻ vomiting ʼ; Ku. uchāl ʻ leap, stride, vomit ʼ; N. uchār -- in uchār -- pachār ʻ raising and dropping ʼ, (Tarai) uchāl ʻ wave ʼ; B. uchal ʻ flowing over ʼ; Or. uchāḷa ʻ vomiting ʼ; H. uchāl f. ʻ tossing up, motion up ʼ; G. uchāḷɔ m. ʻ leap ʼ; M. usā̆ḷī f. ʻ splashing, spurting up ʼ.Addenda: *ut -- śāla -- : WPah.kṭg. śwáḷɔ m. ʻ great noise (from excitement) ʼ, J. śwāḷā m. ʻ a great cry ʼ. -- WPah.kṭg. ċhāˊḷ f. ʻ leap, jump ʼ rather with Him.I 65 < *chāla<-> or ← H. chāl f. ʻ wave ʼ, K. ċhāl f. ʻ jump ʼ.*ut -- śālana ʻ making leap up ʼ. [√śal]Pk. ucchālaṇa -- n. ʻ causing to jump up ʼ; G. ucchāḷṇī f. ʻ auction at which the bids rise by leaps ʼ; M. usaḷṇī f. ʻ spurting up ʼ. *ut -- śālayati ʻ causes to leap up ʼ. [√śal]Pk. ucchālēi ʻ throws up ʼ; P. uchālṇā ʻ to toss up ʼ; Ku. uchālṇo ʻ to throw up, vomit ʼ; N. uchārnu ʻ to lift up ʼ; Or. uchāḷibā ʻ to vomit, clean out a well ʼ; H. uchālnā ʻ to throw up, dandle ʼ; G. uchāḷvũach° ʻ to throw up, shake up the contents of a pot ʼ. -- See *ut -- śalati. (CDIAL 1846, 1847, 1848) *ut -- śalati ʻ springs up ʼ. 2. ucchalati ʻ flies up, springs up ʼ Śiś. 3. *ucchalyati. [√śal]1. Pk. ūsalaï ʻ rejoices ʼ, ūsalia -- ʻ having the hair stand on end ʼ.2. Pk. ucchalaï ʻ rises, flies up ʼ; Gy. arm. učhel -- ʻ to go on ʼ; L. ucchalaṇ ʻ to jump ʼ, P. ucchalṇā, Ku. uchalṇo; N. uchranu ʻ (a pimple) to come out ʼ (← Bi.?); B. uchalā ʻ to overflow ʼ, Or. uchaḷibāuchuḷ°; OMth. uchalaï ʻ overflows, springs up ʼ; H. uchalnā ʻ to leap ʼ (with metath. ulachnā ʻ to throw up ʼ?); G. uchaḷvũ ʻ to leap ʼ; M. usaḷṇẽ ʻ to dash up (as spray) ʼ.3. Pk. ucchallaï ʻ rises, flies up ʼ, S. uchalaṇuuchil° ʻ to spring up ʼ, tr. ʻ to cast away ʼ.See *ut -- śālayati.Addenda: *ut -- śalati: OMarw. ūchaḷaï ʻ flies up, flutters ʼ.(CDIAL 1843) *jhal2 ʻ sudden movement ʼ. 2. *jhall -- 1. [Cf. jha- lajjhalā -- f. ʻ flapping of elephants' ears ʼ Kām.] 1. N. jhaljhali ʻ repeatedly ʼ, jhalyã̄sse ʻ startled ʼ; B. jhalak ʻ flapping of waves ʼ, jhalās ʻ purblind ʼ (< ʻ *blinking ʼ?); H. jhalnā ʻ to move a fan to and fro ʼ.2. S. jhalaṇu ʻ to seize ʼ, jhalī f. ʻ large fan ʼ; P. jhall m. ʻ swing of a fan ʼ, jhallī f. ʻ cloth used for fanning in winnowing ʼ, jhallṇā ʻ to move a fan ʼ; Or. jhalajhala ʻ flapping ʼ, jhalakibā ʻ to spring up ʼ; H. jhallājhālā m. ʻ shower of rain ʼ; G. jhāl f. ʻ sudden leap ʼ, jhālvũ ʻ to catch hold of ʼ; M. j̈hāl f. ʻ springing forward in anger ʼ.Addenda: *jhal -- 2. 2. *jhall -- 1: S.kcch. jalṇū ʻ to hold ʼ.(CDIAL 5351)

jhaiḷ 'blaze' Semantics: Garh. jhaiḷ ʻ blaze ʼ. شعله s̱ẖuœlaʿh A شعله s̱ẖuœlaʿh, s.f. (3rd) (from شعل) Flame, blaze, light, flash, lustre. Pl. يْ ey. شعله کول s̱ẖuœlaʿh kawul, verb trans. To shine, to flash, to blaze, etc. See شغله (Pashto)jalāv जलाव् or jĕlāv ज्यलाव् । तेज औन्नत्यम् m. blazing (cf. ālav); brilliancy, effulgence; flame, blaze, burning of fire (Rām. 1578, 1582, 1613; K. 884); met. brilliancy of character, gloriousness, glory; dignity, dignified appearance (K.Pr. 261). -- dyunu -- दिनु&below; । तेजस औन्नत्यविधानम् m.inf. to give effulgence or glory (e.g. to a jewel by polishing, to a person by conferring honour, to a business by making it prosper). (Kashmiri) jhalā f. ʻ heat of sun ʼ lex. [*jhal -- 3Pk. jhalā -- f. ʻ mirage ʼ; Or. jhaḷi ʻ wave of light ʼ; H. jhaljhar f. ʻ heat of flame, anger ʼ; M. j̈haḷ°ḷaī f. ʻ sunstroke, hot blast ʼ.*jhall -- 1 ʻ sudden movement ʼ see *jhal -- 2.*jhall -- 2 ʻ flash ʼ see *jhal -- 3.Addenda: jhalā -- [√†*jhal3]: WPah.kṭg. j̈hɔ̄ˋḷ f. (obl. -- i) ʻ heat from a burning hearth ʼ, J. jhauḷ f. ʻ fire ʼ; Garh. jhaiḷ ʻ blaze ʼ.(CDIAL 5354) †*JHAL3 ʻ flame, blaze ʼ: *jhal -- 3, jhalā -- , *jhall -- 2, *jhāla -- 2*jhal3 ʻ flash ʼ. 2. *jhall -- 2jhallikā -- f. ʻ light ʼ lex. [See jhalā -- and *jhil -- . -- Cf. jhalañjhala -- m. ʻ lustre ʼ lex.]1. Pk. jhalajhalaṁta -- ʻ shining ʼ; L. jhalbal m. ʻ glitter ʼ; N. jhaljhaljhalājhaljhallomalla ʻ bright, ablaze ʼ; A. zaliba ʻ to shine, be angry ʼ (or < jválati); B. jhalsā ʻ scorched ʼ; Mth. jhalamala ʻ shining ʼ; Bhoj. jhalmalʻ sparkle ʼ; H. jhaljhalānā ʻ to shine ʼ; OMarw. jhalamalīyo ʻ shining ʼ; G. jhaḷvũ ʻ to be burnt ʼ, jhaḷjhaḷ ʻ resplendently ʼ, jhaḷelɔjhareḷɔ m. ʻ blister caused by scorching ʼ; M. j̈haḷṇẽ ʻ to get warm in the sun (of a liquor) ʼ, j̈haḷj̈haḷ f. ʻ glitter ʼ. -- Pk. jhalahalaṁta -- ʻ shining ʼ, OG. jhalahalataüṁ; M. j̈haḷāḷṇẽ ʻ to shine brightly ʼ. -- Ext. -- kk -- : Ap. jhalakkia -- ʻ burnt ʼ; L. jhalkaṇ ʻ to glitter ʼ; P. jhalkā°ārā m. ʻ flash ʼ, jhalakṇā ʻ to shine ʼ, jhalã̄g m. ʻ morning ʼ; Ku. jhalkaṇo ʻ to glitter ʼ, N. jhalkanu; A. zalak ʻ brilliant light ʼ; B. jhalkā ʻ flash ʼ; Mth. jhalakab ʻ to glitter ʼ; Bhoj. jhalak ʻ flash ʼ; H. jhalaknā ʻ to sparkle ʼ, jhalkā m. ʻ blister ʼ; G. jhaḷakvũ ʻ to shine ʼ; M. j̈haḷakṇẽ ʻ to glitter ʼ, Ko. jhaḷkatā.2. S. jhalkaṇu ʻ to shine ʼ; P. jhall m. ʻ rage ʼ; WPah. bhal. j̈hall f. ʻ flame ʼ; Or. jhalakibā ʻ to glisten ʼ, Aw. lakh. jhalkab ʻ to shine ʼ; H. jhallā ʻ hot ʼ, jhallānā ʻ to burn ʼ, jhālnā ʻ to make hot, polish ʼ; G. jhallāvũ ʻ to be scorched ʼ, jhalakvũ ʻ to shine ʼ; M. j̈halāḷ f. ʻ gleam ʼ.(CDIAL 5352)
cāla3 m. ʻ thatch ʼ lex.A. sāl ʻ roof of a house ʼ; B. cāl ʻ thatch of a house ʼ; Or. cāḷa°ḷā ʻ sloping thatch of a house ʼ, cāḷi ʻ a thatched lean -- to shed ʼ; Mth. cār ʻ thatched roof ʼ; H. cāl m. ʻ thatch or roof of a house ʼ.(CDIAL 4770)

Rebus: śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xālxāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed, stable ʼ; Bi. sār f. ʻ cowshed ʼ; H. sāl f. ʻ hall, house, school ʼ, sār f. ʻ cowshed ʼ; M. sāḷ f. ʻ workshop, school ʼ; Si. sal -- aha° ʻ hall, market -- hall ʼ.upaśāla -- , *pariśālā -- Add., *pratiśālā -- , *praśālā -- ; aśvaśālā -- , āpānaśālā -- , *kaṇikaśālā -- , karmaśālā -- , *karmāraśālā -- , *kōlhuśālā -- , *khaṇḍuśālā -- , *gāvaśāla -- , gōśālā -- , catḥuśāla -- , candraśālā -- , citraśālā -- , chāˊttriśālā -- , jyōtiḥśālā -- , dānaśālā -- , *dhānyaśālā -- , *nayaśālā -- , nayaśālin -- , *nītiśālā -- , paṇyaśālā -- , parṇaśālā -- , *pituḥśālā -- , *prapāśālā -- , bhāṇḍaśālā -- , *bhusaśālā -- , *bhrāṣṭraśālikā -- , *yantraśālā -- , lēkhaśālā -- , *lōhaśālā -- , *vaidyaśālā -- , *śvaśuraśālā -- , hastiśālā -- .Addenda: śāˊlā -- : †*āhanaśālā -- , †dharmaśālā -- .(CDIAL 12414)

Rebus reading of a pair of tigers: dula'two' rebus: dul 'metal casting'

Hypertext: push: *dhakk ʻ push, strike ʼ. [dhakkayati ʻ annihilates ʼ Dhātup.] K. daka m. ʻ a push, blow ʼ, S. dhaku m., L. P. dhakkā m.; Ku. dhakkā ʻ collision ʼ, dhã̄kā ʻ forcibly pushing ʼ; N. dhakkā ʻ collision, push ʼ; B. dhā̆kkā ʻ push ʼ, Or. dhakā; H. dhak m. ʻ shock, sudden terror ʼ, dhakkā m. ʻ push ʼ; OMarw. dhakā -- dhakī f. ʻ rush ʼ; G. dhakkɔ m. ʻ push ʼ, M. dhakāḍhakā m.; -- P. dhakkṇā ʻ to push, oust ʼ; -- S. dhakiṛaṇu ʻ to half -- clean rice by beating it in a mortar ʼ; -- Ku. dhakelṇo ʻ to push ʼ, N. dhakelnu, H. dhakelnāḍha°, G. dhakelvũ.Addenda: *dhakk -- : S.kcch. dhakko ḍeṇo ʻ to push ʼ; WPah.kṭg. dhàkkɔ m. ʻ push, dash ʼ, J. dhākā m.(CDIAL 6701)

Rebus: dhákṣu -- , dákṣu -- , dakṣús -- ʻ flaming, burning ʼ RV. [√dah](CDIAL 6702) dhakka 'excellent, bright, blazing metal article'. *dhagg ʻ throb, glitter ʼ. [Cf. dhagiti ʻ at once ʼ Kād., dhagad -- dhagiti ʻ crack! ʼ HPariś., and *ḍag -- 1]Pk. dhagadhagaï ʻ flares ʼ, dhagadhaggamāṇa -- , dhaggīkaya -- ʻ blazing ʼ; H. dhagdhagānā ʻ to throb, glitter ʼ; G. dhagdhagvũ ʻ to burn fiercely ʼ; M. dhagdhagṇẽ ʻ id., to beat (of heart) ʼ; -- S. dhakdhaki f. ʻ palpitation ʼ; N. dhakāunu ʻ to pant ʼ; B. dhak ʻ sudden blaze ʼ, dhakdhakāna ʻ to throb, glitter ʼ; Or. dhaka ʻ blaze ʼ, dhakadhaka ʻ throbbing, blazing ʼ; H. dhakdhakānādhadhaknā ʻ to blaze ʼ, G. dhakdhakvũ; M. dhakdhakṇẽ ʻ to palpitate ʼ.*dhaṅga -- ʻ defective ʼ see *ḍagga -- 2.Addenda: *dhagg -- : Ko. dhaggu ʻ heat ʼ, dhagdhagu ʻ blazing heat ʼ.(CDIAL 6704) Ta. taka-tak-eṉal, taka-takav-eṉal onom. expr. of dazzling, glowing, glittering. Ko. dag dag in- (iḏ-) (flame) burns brightly; dagdagn with a good light. Ka. daggane with a blazeTu. dagadaga, dagabagabrightly; dagga, dagganè (to blaze) suddenly. Te. dagadaga glitter; 
dagadagam-anu to glitter, shine. Kur. dagnā to light, set fire to, burn (tr.); dagrnā to catch fire, be burned. Malt. dagdagre to glitter, shine (or < IA). / MBE 1969, p. 293, no. 26, for areal etymology, with reference to Turner, CDIAL, no. 6704, *dhagg-, Pkt. dhagadhagaï flares, H. dhagdhagānā to glitter, dhakdhakānā to blaze; add ibid. no. 5522(4) Panj. dagdagāuṇāto shine, no. 5522(1) Ass. ḍagmag sparkle, ḍagmagāiba to glitter, Beng. ḍagḍagiyā glowing, H. ḍagḍagānā, ḍagmagānā to burn brightly.(DEDR 2998)

Hieroglyph: 
 కోలు kōlu kōlu. [Tel.] adj. Big, great, huge పెద్ద. కోలుపులి or కోల్పులి a royal tiger. కోలుపడిగెలు lofty banners. adv. Very. మిక్కిలి. See కోలుమసగు. 
kolhā jackal, tiger: krōṣṭŕ̊ ʻ crying ʼ BhP., m. ʻ jackal ʼ RV. = krṓṣṭu -- m. Pāṇ. [√kruś]Pa. koṭṭhu -- , °uka -- and kotthu -- , °uka -- m. ʻ jackal ʼ, Pk. koṭṭhu -- m.; Si. koṭa ʻ jackal ʼ, koṭiya ʻ leopard ʼ GS 42; -- Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H. kolhā°lā m. ʻ jackal ʼ, adj. ʻ crafty ʼ; G. kohlũ°lũ n. ʻ jackal ʼ, M. kolhā°lā m.(CDIAL 3615)

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

dēvá1 ʻ heavenly ʼ, m. ʻ a god ʼ RV., ʻ devil ʼ AV. [Some NIA. forms for ʻ god ʼ are prob. ← Sk., those for ʻ devil ʼ, though infl. in some cases by Pers., are orig. < Sk., in which a Brāhmaṇa tradition contrasted devas as ʻ bad ʼ with asuras as ʻ good ʼ, cf. daivalaka -- ʻ demon -- worshipper ʼ Hār. -- √div1Pa. dēva -- m. ʻ god, demon, rain -- god, rain (dēvō vassati = dēvṓ var ṣati) ʼ; Aś. devā nom. pl. m. ʻ gods ʼ, NiDoc. deva; Pk. dēva -- , dēa -- , dēvaya -- m. ʻ god, cloud, sky ʼ; Ash. dēi ʻ god ʼ, gen. pl. deã in deã wirečū ʻ the gods ʼ path, i.e the Milky Way ʼ; Wg.  ʻ god, oath ʼ (in latter sense poss. < daíva -- ); Paš.lauṛ. dēw m. ʻ demon ʼ (IIFL iii 3, 61 ← Pers.), kch. dēu ʻ wolf ʼ (semant. cf. Psht. lēwə < Av. daēvya -- EVP 40); Kal.rumb. dēwa ʻ god ʼ; Kho. Sh. dēu ʻ demon, ogre ʼ (→ Ḍ. deu); K. dĭ̄vdēv m. ʻ god ʼ (~ dĕv m. ʻ devil ʼ ← Pers.?); S. ḍ̠eu m. ʻ devil ʼ, L. awāṇ. deo; P. deu m. ʻ god, devil ʼ, de m. ʻ demon, idol ʼ (in de thāpṇā ʻ to set up an image on a wall ʼ); WPah.bhad. dēū ʻ rain ʼ, bhal. deu m., khaś. deo, bhiḍ. deo m. ʻ cloud ʼ, jaun. deo ʻ god ʼ; Ku. dyo ʻ god, rain ʼ, gng. dio ʻ rain ʼ; N. deu ʻ god ʼ; A. deu ʻ evil spirit ʼ; MB. deyā ʻ cloud, sky ʼ, de ʻ demigod ʼ ODBL 328; Or. deu ʻ prince ʼ (most prob. ← Sk.); H. dew m. ʻ god, demon ʼ; G. dev m. ʻ god, idol ʼ; M. dev m. ʻ god, demon ʼ; OSi. devaha gen. sg. ʻ god ʼ, Si. deva ʻ rain, cloud ʼ, dē -- dunna ʻ the gods' bow i.e. rainbow ʼ; Md. devi ʻ demon ʼ.dēvátā -- , dēvala -- dēvīˊ -- , daíva -- , *daivatama -- , daivika -- , daíviya -- , daívya -- ; dēvakula -- , *dēvakōṣṭha -- , *dēvaghara -- , dēvadāru -- , dēvaputra -- , dēvaputrī -- , *dēvamēru -- , dēvarājá -- , dēvarūpa -- , dēvarṣi -- , dēvalōká -- , *dēvalōkya -- dēvasaras -- , dēvālaya -- , *dēvāvāsin -- ;bhūdēva -- .*dēva -- 2 ʻ left ʼ see *ḍavva -- .Addenda: dēvá -- 1: S.kcch. ḍev m. ʻ god ʼ.(CDIAL 6523)

deva + kula 'guild, family, house' = devakula'temple' = deva + kole.l 'divine, smithy, forge' rebus: deva+ kole.l'sacred temple'.

Rebus: dēvakula n. ʻ temple ʼ ŚāṅkhGr̥., °likā -- f. ʻ small temple ʼ Pañcad. [dēvá -- 1, kúla -- ] Pk. dēvaüla -- , dēvala -- , dēula -- n., dēvaüliyā -- , dēuliā -- f.; Ku. dyol ʻ temple ʼ, dyoli ʻ small temple dedicated to a goddess ʼ; A. dauldâl ʻ temple ʼ, B. deul, Or. deuḷadauḷa; H. dewal m. ʻ temple ʼ, °lī f. ʻ small shrine ʼ; G. devaḷ n. ʻ temple ʼ, M. devaḷdeūḷ n., Si. devola°vela; <-> X dēvālaya -- : N. deurāli ʻ place of worship ʼ < *deulālī.dēvakulika -- , *daivakula -- ; *dēvakulapati -- .Addenda: dēvakula -- : OMarw. devaḷa m. ʻ temple ʼ; -- WPah.kṭg. deurɔ m., °ri f. (rather < *dēvaghara -- ).(CDIAL 6524) kúla n. ʻ herd, troop ʼ RV., ʻ race, family ʼ Pāṇ., ʻ noble family ʼ Mn., ʻ house ʼ MBh. Pa. kula -- n. ʻ clan, household ʼ, Pk. kula -- n.m. ʻ family, house ʼ; Dm. kul ʻ house ʼ; Sh. (Lor.) d*lda -- kul ʻ grandfather's relations ʼ; K. kŏl m. ʻ family, race ʼ; S. kuru m. ʻ tribe, family ʼ, L. kull m., P. kul f.; WPah. bhad. kul n. ʻ sub -- caste, family ʼ; N. A. B. kul ʻ clan, caste, family ʼ, Or. kuḷa, OMth. kula; H. kul m. ʻ herd, clan, caste, family ʼ, Marw. kul; G. kuḷ n. ʻ family, tribe ʼ, M. kūḷ n., °ḷī f.; OSi. -- kolaṭ dat. ʻ family ʼ; -- Si. kulaya ʻ family, caste ʼ ← Pa. or Sk. -- Deriv. Or. kuḷā ʻ of good family ʼ, akuḷā ʻ illegitimate (of birth) ʼ.kulīˊna -- ; kuladīpa -- , *kulapañjī -- , kulaputra -- , *kulāgāra -- ; *akulanīya -- ; alikula -- , *ācāriyak°, *āryak°, *gaṇakulika -- , gōkula -- , *gōviṣṭhāk°, dēvak°, *nānnīpitāk°, niṣk°, *pañcak°, *patik°, *pituḥk°, *bhusak°, *makṣikāk°, *madhuk°, *mākṣakulika -- , *mātr̥kula -- , *yuvatik°, rājak°, *svakuliya -- .(CDIAL 3330)

The note has recorded evidence that கண்வட்டம் kaṇ-vaṭṭam 'mint' has a synonym (demonstrably, a phonetic variant in mleccha/meluhha):  khambhaṛā 'fin' (Lahnda) rebus: kammaTa 'mint' and these two expressions are combined in the Begram ivory (Plate 389) 
Begram ivories. Plate 389 Reference: Hackin, 1954, fig.195, no catalog N°.
கண்வட்டம் kaṇ-vaṭṭam n. < id. +. 1. Range of vision, eye-sweep, full reach of one's observation; கண்பார்வைக்குட்பட்ட இடம். தங்கள் கண்வட்டத்திலே உண்டுடுத்துத்திரிகிற (ஈடு, 3, 5, 2). 2. Mint; நாணயசாலை. 

In color is a seal, in black and white two seals and corresponding sealings made from them (Joshi and Parpola, Corpus of Indus Seals and Inscriptions, Vol. 1, M 306-8).

The colored seal shows this face of the woman holding back two rearing tigers:
Hieroglyph componens are: face in profile, one eye, circumfix (circle) and 6 curls of hair. Readings: muh 'face' rebus: muhA 'ingot'; கண்வட்டம் kaṇ-vaṭṭam 'eye PLUS circumfix' rebus: கண்வட்டம் kaṇ-vaṭṭan 'mint'; baa 'six' rebus: baa 'iron' bhaa 'furnace' PLUS meD 'curl' rebus: meD 'iron' (Mu.Ho.) med 'copper' (Slavic) Thus, the message is: mint with furnace for iron, copper. Tigers: dula 'two' rebus: dul 'cast metal' kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' kariba 'elephant trunk' ibha 'elephant' rebus: karba 'iron' ib 'iron' eraka 'nave of wheel' rebus: eraka 'moltencast, copper' arA 'spoke' rebus: Ara 'brass'.

Mark Kenoyer writes that "discoveries of this motif on seals from Mohenjo-daro definitely show a male figure and most scholars have assumed some connection with the carved seals from Mesopotamia that illustrate episodes from the famous Gilgamesh epic. The Mesopotamian motifs show lions being strangled by a hero, whereas the Indus narratives render tigers being strangled by a figure, sometime clearly males, sometimes ambiguous or possibly female. This motif of a hero or heroine grappling with two wild animals could have been created independently for similar events that may have occurred in Mesopotamia as well as the Indus valley," ( Ancient Cities, p. 114).

Mohenjo-daro seal.  Mohenjo-daro, ca. 2500 BCE Asko Parpola writes: "The 'contest' motif is one of the most convincing and widely accepted parallels between Harappan and Near Eastern glyptic art. A considerable number of Harappan seals depict a manly hero, each hand grasping a tiger by the throat. In Mesopotamian art, the fight with lions and / or bulls is the most popular motif. The Harappan substitution of tigers for lions merely reconciles the scene with the fauna of the Indus Valley ... The six dots around the head of the Harappan hero are a significant detail, since they may correspond to the six locks of hair characteristic of the Mesopotamian hero, from Jemdet Nasr to Akkadian times," (Deciphering the Indus Script, pp. 246-7).

Slide 90. 
m0489A One side of a prism tablet shows: crocodile + fish glyphic above: elephant, rhinoceros, tiger, tiger looking back and up.
m1431A m1431B Crocodile+ three animal glyphs: rhinoceros, elephant, tiger
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’.
Animal glyph: elephant ‘ibha’. Rebus ibbo, ‘merchant’.
Composition of glyphics: Woman with six locks of hair + one eye + thwarting + two pouncing tigers + nave with six spokes. Rebus: kola ‘woman’ + kaṇga ‘eye’ (Pego.), bhaṭa ‘six’+ dul ‘casting (metal)’ + kũdā kol (tiger jumping) + 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’;
The glyphic composition read rebus: copper, iron merchant with taṭu kanḍ kol bhaṭa ‘iron stone (ore) mineral ‘furnace’.
Glypg: ‘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)


Mohenodaro seal. Pict-103 Horned (female with breasts hanging down?) person with a tail and bovine legs standing near a tree fisting a horned tiger rearing on its hindlegs. 

FS Fig. 103 Tiger with horns, leaps and looks back kolhe kō̃da कोँद kamar ko
 'smelter kiln blacksmith, artisan’s workshop'.The hieroglyph of dhokaṛa 'an old female with breasts hanging down' and ligatured to the ḍhōṅgā 'buttock' of a bovine is also deployed on this Mohenjo-daro seal (FS Fig. 103); rebus: dhokra.dokra 'cire-perdue lost-wax metal casting artifice' PLUS dhangar'bull' rebus: dhangar 'blacksmith'; thus, the hypertext signifies: cire-perdue metalcaster smith. On a Mohenjo0daro seal this is reinforced by two hieroglyphs: kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter (worker)'. kuhi 'tree' rebus: kuhi 'smelter'.


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).

kola ‘woman’; rebus: kol ‘iron’. kola ‘blacksmith’ (Ka.); kollë ‘blacksmith’ (Koḍ) kuThi 'vagina' rebus: kuThi 'smnelter' karA 'crocodile' rebus: khAr 'blacksmith' khamDa 'copulation' rebus: kammaTa 'coin, mint'
The glyphic elements shown on the tablet are: copulation, vagina, crocodile.
Gyphic: ‘copulation’: kamḍa, khamḍa 'copulation' (Santali) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.) Vikalpa: kaṇḍa ‘stone (ore)’. Glyph: vagina: kuṭhi ‘vagina’; rebus: kuṭhi ‘smelting furnace’. The descriptive glyphics indicates that the smelting furnace is for stone (ore). This is distinquished from sand ore. Glyph: ‘crocodile’: karā ‘crocodile’. Rebus: khar ‘blacksmith’. kāru a wild crocodile or alligator (Te.) Rebus: kāruvu ‘artisan 

kāru a wild crocodile or alligator (Te.) mosale ‘wild crocodile or alligator. S. ghaṛyālu m. ʻ long — snouted porpoise ʼ; N. ghaṛiyāl ʻ crocodile’ (Telugu)ʼ; A. B. ghãṛiyāl ʻ alligator ʼ, Or. Ghaṛiāḷa, H. ghaṛyāl, ghariār m. (CDIAL 4422)  கரவு² karavu
n. < கரா. cf. grāha. Alligator; முதலை. கரவார்தடம் (திவ். திருவாய். 8, 9, 9). 
    கரா karā n. prob. grāha. 1. A species of alligator; முதலை. கராவதன் காலினைக்கதுவ (திவ். பெரியதி. 2, 3, 9). 2. Male alligator; ஆண்முதலை. (பிங்.) கராம் karām n. prob. grāha. 1. A species of alligator; முதலைவகை. முதலையு மிடங்கருங் கராமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.)கரவா karavā , n. A sea-fish of vermilion colour, Upeneus cinnabarinus; கடல்மீன்வகை. Rebus: khAr 'blacksmith' (Kashmiri)

kuhi = pubes. kola ‘foetus’ [Glyph of a foetus emerging from pudendum muliebre on a Harappa tablet.] kuhi = the pubes (lower down than paṇḍe) (Santali) 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, kohā belly (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).

Glosses: Indian sprachbund

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) dhamkara 'leafless tree' Rebus: dhangar 'blacksmith'
Looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.

Hieroglyph: koḍiya 'young bull' rebus: koṭiya 'dhow, seafaring vessel'.

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 h0489 tablet: loa 'ficus religiosa' Rebus: loh 'copper'. kolmo 'rice plant' Rebus: kolami 'smithy, forge'. dula 'pair' Rebus: dul 'cast metal'. Thus the display of the metalware catalog includes the technological competence to work with minerals, metals and alloys and produce tools, pots and pans. The persons involved are krammara 'turn back' Rebus: kamar 'smiths, artisans'. kola 'tiger' Rebus: kol 'working in iron, working in pancaloha alloys'. పంచలోహము pancha-lōnamu. n. A mixed metal, composed of five ingredients, viz., copper, zinc, tin, lead, and iron (Telugu). Thus, when five svastika hieroglyphs are depicted, the depiction is of satthiya 'svastika' Rebus: satthiya 'zinc' and the totality of 5 alloying metals of copper, zinc, tin, lead and iron.

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


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

Rebus: khār ‘blacksmith’ khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -; । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;जि&below; or  । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü ), a blacksmith's smelting furnace; cf. hāl 5. -kūrü; । लोहकारकन्या f. a blacksmith's daughter. -koṭu; । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क&above;टू&below; । 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 -न्यचिवु&below; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.

See:
Indus Script inscriptions (43) deciphered, One eye + circumfix, 6 locks of hair on head, 2 tigers, elephant, spoked wheel, fish, fish-fin [kammaṭa 'a portable furnace to melt metals, coiner, mint’] http://tinyurl.com/znhu6fx
Orthographic hypertext devices e.g. 'tiger leaps, looks back' message classifiers of metalwork wealth catalogues in Indus Script Cipher 


Archaeo-metallurgical evidence dating Iron Age in Mundigak to ca.2300 BCE. Validated by Indus Script Corpora signifying iron-/metal-work catalogues.

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Did the Iron Age of Bharat overlap with the Bronze Age of 3rd millennium BCE? The answer is a resounding YES. 

In a comprehensive review, Gregory Possehl and Praveena Gullapalli marshal the archaeo-metallurgical evidence. (Possehl, Gregory L., and Gullapalli, Praveena, 1999, The early iron agein South Asia, in: Vincent Pigott, ed., The archaeometallurgy of the Asian Old World, University Museum Monograph 89, MASCA Research Papers in Science and Archaeology, Volume 16, Philadelphia: The University Museum, Univ. of Pennsylvania, pp. 153-175.) 

Gregory Possehl and Praveena Gullapalli start with the path-breaking archaeological discoveries at the archaeological sites of Mundigak (Fig.6.3, Fig. 6.4 dated to ca. 2300 BCE by Casal's archaeological report in French), and present evidence from seven other sites: Said Qala Tepe, Deh Morasi Ghundai, Ahar (Fig. 6.5), Chanhudaro (Mackay), Mohenjodaro (Fig. 6.6 Mackay), Lothal (Object No.11512 evaluated by BB Lal),  Katelai Graveyard in Swat valley (dated to ca.1500 BCE).

Field Work:
  • 1951-58 Casal, DAFA - excavasions. Collection:BIAS & DAFA - shers;
  • Kabul Museum & Musée Guimet - excavated material.

  • "Mundigak (Pashto: مونډي ګاګ‎), in Kandahar, Afghanistan, is an archaeological site in Kandahar province in Afghanistan. It's situated approximately 55 km northwest of Kandahar near Shāh Maqsūd, on the upper drainage of the Kushk-i Nakhud River. Mundigak was a large prehistoric town with an important cultural sequence from the 5th-2nd millennia BC. The mound was nine meters tall at the time of excavation. Pottery and other artifacts of the later 3rd millennium BC, when this became a major urban center, indicate interaction with Turkmenistan, Baluchistan, and the Early Harappan Indus region. Mundigak flourished during the culture of Helmand Basin (Seistan), also known as Helmand Culture (Helmand Province). With 21 hectare area, this was the second largest centre of Helmand Culture, the first being Shahr-i-Sokhta which was as large as 150 acres, by 2400 BCE. Bampur, in Iran, is a closely related site. Around 2200 BCE, both Shahr-i-Sokhta and Mundigak started declining, with considerable shrinkage in area and with brief occupation at later dates. Mundigak has some Indus Valley Civilization related material. This material consists in part of ceramic figurines of snakes and humped bulls, and other items, similar to those found at other Indus valley sites. Pottery found at Mundigak had number of similarities with such material found at Kot Diji. This material shows up at the earliest layer of Kot Diji. Remains of a "palace" is found in one mound. Another mound revealed a large "temple", indicating urban life.Mundigak and Deh Morasi provide early developments in what may be now called religious activities. A white-washed, pillared large building with its door way outlined with red, dating around 3,000 BC is related to religious activities. Apart from pottery and painted pottery, other artifacts found include crude humped bulls, human figures, shaft hole axes,adzes of bronze and terrecotta drains. Painting on pots include pictures of Sacred Fig leaves (ficus religiosa) and tiger like animal. Several stone button seals were also found at Mundigak. Disk Beads and faience barrel beads, copper stamp seals, copper pins with spiral loops were also found.The female looking human figurines (5 c.m.height) found at Mundigak are very similar to such figurines found at another archeological site in Afghanistan, Deh Morasi Ghundai. (cicra 3000 BC)"

    Mundigak Afghanistan From Prehistory to the Median Empire
    Image result for mundigak casal

    Tepe Hissar I (4–5) and Mundigak III.6 (7). After Ghirshman (1938, Pl. XXXIV and LXXXV), Schmidt (1937, Pl. XVI, H3483 and H3408) and Casal (1961). 
    Image result for mundigak casalMundigak IV, 1 (eastern Afghanistan), after Casal 1961: II, fig. 64, nos. 167, 169, 172. Courtesy: Delegation archeologique francaise en Afghanistan.
    Image result for mundigak casal
    Image result for mundigak casalhttps://www.cemml.colostate.edu/cultural/09476/images/afgh02-02-02t.jpg
    Image result for mundigak casal
    Image result for mundigak casalGalerie d'images. Mundigak.Note: The figurine of zebu, bos indicus taurus is a signature tune of Indus Script to signify पोळ [pōḷa] 'zebu' rebus: पोळ [pōḷa]  'magnetite, ferrite ore'.
    Mundigak Pottery PreIslamic Category ICOMImage result for mundigak button sealsMundigak Mehrgarh

    Mundigak and Indus Valley links
    Mundigak mundigakperiodiv1pottery3
    Mundigak Ziggurat
    Mundigak ArchAtlas Remote Sensing in Inaccessible Lands
    Mundigak Afghanistan From Prehistory to the Median Empire

    Their arguments of evidence in the archaeological context are excerpted and presented below.











    See Naikund (Maharashtra), a Megalithic site, iron smelting furnace at Fig. 6.7
    (opcit., p.159)
    (opcit., p.160)



    (opcit., p.160)

    (opcit., pp.160-161)
    (opcit., p.161)
    (opcit., p.161)
    (opcit., p.163) See Fig.6.7 iron smelting furnace of Naikund)


    (opcit., p.165)



































































    http://www.people.fas.harvard.edu/~witzel/Possehl_Gullampalli.htm

    What is the Value of the New "Genomic Evidence" for the Aryan Invasion/Migration Theory versus the Out-of-India Theory? -- SG Talageri

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    Saturday, 21 April 2018


    Every few months or years, in the recent past, different groups of "scientists" announce the "results" of some "new genetic/genomic study" which "proves" the old colonial theory of an Aryan invasion of India. It is often cloaked in ambiguous terms, but not ambiguous enough for its target audience (political and academic groups committed to the theory that India was invaded by a race of people, popularly known as "Aryans", who brought the Indo-European languages into India) not to get the message and the ammunition. Certainly the present study ("The genomic formation of South and Central Asia", co-directed by Dr David Reich and an "international team of geneticists") is correctlyregarded, by the writers who are tomtoming it as a final answer to the "Aryan" question in India, as ablatant statement in support of the AIT or Aryan Invasion (of India) Theory: an article in theEconomist, Delhi, on 5/8/2018, has the following triumphalist title: "Steppe sons: A new study squelches a treasured theory about Indians' origins - The Aryans did not come from India, they conquered it".

    This article goes on to point out that the discovery of the relationship between the languages of northern India and Europe, and the resultant theory that the "Aryan" (Indo-European) languages of northern India were brought into India from outside,  led to two kinds of reaction in India: one, "Caste-bound Hindu conservatives declared that the paler-skinned intruders must be ancestors of higher-caste Brahmins and Kshatriyas. Such talk stirred a backlash in southern India, where generally darker-skinned speakers of Dravidian languages were urged to see themselves as a separate nation." And two: "Hindu nationalists took a different tack. The West, some said, had made up the theory to set Hindus against each other. Christian missionaries and communists were using it to stoke caste hatred and so to recruit followers, they claimed. Worse, the theory challenged an emerging vision of Mother India as a sacred Hindu homeland. If the first speakers of Sanskrit and the creators of the Vedas had themselves been intruders, it was harder to portray later Muslim and Christian invaders as violators of a purity that good Hindus should seek to restore. So it was that some proposed an alternative “Out of India” theory. This held that the original Aryans were in fact Indians, who carried their Indo-European language and superior civilisation to the West."

    The writer blatantly positions himself on the first side: on the side of the "higher caste Brahmins and Kshatriyas" who like to believe that the white European colonialists "must be [their] ancestors" (even today there are coteries of casteist-racist Brahmins who have this attitude towards a theory which separates them from the "lower castes"), and on the side of the communities (caste-based, regional, linguistic) who have learned to portray themselves, actively and violently, "as a separate nation" within India.
    And equally blatantly on the side opposed to the side which treats "Mother India as a sacred Hindu homeland": never mind that this opposition is on the basis of a hypothetical "invasion" or "migration" event, unrecorded in any text or tradition, alleged to have taken place around 4000 to 3500 years ago (long before even a single one of the cultures, civilizations and religions prevalent in every corner of the earth today were even born or conceived), which is treated as being on par with invasions in the last thousand years or so (but which in fact are actually denied!) which are recorded in detail and of which the foreign connections are still proudly held aloft! The title, moreover blatantly abandons the cautious conversion by modern historians of the "Aryan invasion" into an "Aryan immigration", and proclaims: "The Aryans did not come from India, they conquered it".

    Most important of all, the whole tone and tenor of the article (which actually reflects, only more blatantly and openly, the tone and tenor of the "new scientific study" on which it claims to be based) isnot of someone referring in passing to some crank fringe "“Out of India” theory": the tone and tenor is of someone reporting the chinks or fallacies in an established theory! We will see presently why this is so.

    To come to the actual "new study" which has led to this sharp spate in triumphalist articles and social media campaigns (even a second cousin of mine, with whom I have not been in contact for many years, specially phoned me ostensibly to offer condolences on the demise of the OIT or Out of India Theory of Indo-European origins, carefully and firmly avoiding listening to what I could have to say on the matter!), the tone and tenor of the study is no less blatant in its political aims: to begin with, the title itself "The genomic formation of South and Central Asia". The following is the official abstract of the paper:
    "The genetic formation of Central and South Asian populations has been unclear because of an absence of ancient DNA. To address this gap, we generated genome-wide data from 362 ancient individuals, including the first from eastern Iran, Turan (Uzbekistan, Turkmenistan, and Tajikistan), Bronze Age Kazakhstan, and South Asia. Our data reveal a complex set of genetic sources that ultimately combined to form the ancestry of South Asians today. We document a southward spread of genetic ancestry from the Eurasian Steppe, correlating with the archaeologically known expansion of pastoralist sites from the Steppe to Turan in the Middle Bronze Age (2300-1500 BCE). These Steppe communities mixed genetically with peoples of the Bactria Margiana Archaeological Complex (BMAC) whom they encountered in Turan (primarily descendants of earlier agriculturalists of Iran), but there is no evidence that the main BMAC population contributed genetically to later South Asians. Instead, Steppe communities integrated farther south throughout the 2nd millennium BCE, and we show that they mixed with a more southern population that we document at multiple sites as outlier individuals exhibiting a distinctive mixture of ancestry related to Iranian agriculturalists and South Asian hunter-gathers. We call this group Indus Periphery because they were found at sites in cultural contact with the Indus Valley Civilization (IVC) and along its northern fringe, and also because they were genetically similar to post-IVC groups in the Swat Valley of Pakistan. By co-analyzing ancient DNA and genomic data from diverse present-day South Asians, we show that Indus Periphery-related people are the single most important source of ancestry in South Asia — consistent with the idea that the Indus Periphery individuals are providing us with the first direct look at the ancestry of peoples of the IVC — and we develop a model for the formation of present-day South Asians in terms of the temporally and geographically proximate sources of Indus Periphery-related, Steppe, and local South Asian hunter-gatherer-related ancestry. Our results show how ancestry from the Steppe genetically linked Europe and South Asia in the Bronze Age, and identifies the populations that almost certainly were responsible for spreading Indo-European languages across much of Eurasia."

    The very concept of an "Aryan" people - even as an entity, let alone as an invading race from outside India - arose from the revolutionary discovery by colonial scholars that Sanskrit and the languages of northern India and the languages of Europe, Iran and Central Asia, are related to each other as a "language family" which has been given the name Indo-European (formerly also "Aryan"). This language family has twelve branches: ItalicCelticGermanicBalticSlavicAlbanianGreek,ArmenianIranian and Indo-Aryan, and the extinct Hittite (Anatolian) and Tocharian. There are five other (non-Indo-European) language families spoken in India: DravidianAustricSino-Tibetan,AndamaneseBurushaski. Likewise there are two other non-Indo-European language families in Europe: Basque and Finno-Ugric. And three more between India and Europe: Uralo-Altaic(actually, the Finno-Ugric already referred to are a branch of this family), Caucasian and Semito-Hamitic. All this called for an explanation as to how the Indo-European languages are spread out over such a large geographical area, covering "racially" and culturally extremely diverse people: where did these languages originate? Which was the original area from which the twelve branches of Indo-European languages spread out to cover their earliest known historical areas?

    This was a question which arose solely from a linguistic fact (the linguistic relationship between all these languages), and three fields or disciplines of academic study have been involved for over two centuries in the elucidation of this problem: linguisticsarchaeology and textual/inscriptional data(mainly the Rigveda and the oldest recorded Indo-European language inscriptions and documents from West Asia). The latest entrant in this field is genetics/genomics.

    The latest paper on the genetic/genomic evidence which has enthused AIT supporters and activists seems to echo and substantiate with military precision the exact points enunciated by the AIT scholars and activists since two centuries, especially on the chronological angle. It shows an "expansion of pastoralist[s …] from the Steppe to Turan in the Middle Bronze Age (2300-1500 BCE)" and the subsequent part of this story where the "Steppe communities integrated farther south throughout the 2nd millennium BCE" leading to "the formation of present-day South Asians": these were "the populations that almost certainly were responsible for spreading Indo-European languages across much of Eurasia."!

    This genetic evidence can be examined as follows:
    I. Why the Date of the Rigveda is Crucial to the Whole Debate.
    II. The Archaeological Evidence.
    III. The Textual/Inscriptional Evidence for the Date of the Rigveda.
    IV. The New "Genomic" Thesis.


    I. Why the Date of the Rigveda is Crucial to the Whole Debate

    The key to all AIT/OIT hypotheses is the date of the Rigveda.

    This is because:
    1.The Rigveda is the oldest recorded major text in any Indo-European language. As Griffith puts it in the preface to the first edition of his translation of the Rigveda: “The great interest of the Ṛgveda is, in fact, historical rather than poetical. As in its original language we see the roots and shoots of the languages of Greek and Latin, of Kelt, Teuton and Slavonian, so the deities, the myths, and the religious beliefs and practices of the Veda throw a flood of light upon the religions of all European countries before the introduction of Christianity.
    2. It shows absolutely no extra-territorial memories and shows ancestral attachment to the geographical area extending from Haryana to southern Afghanistan, and particularly and originally to the Haryana area in the east.
    3. It does not refer to any "non-Indo-European" entities at all: i.e. to entities anywhere in the vicinity which can be identified linguistically as Dravidian, Austric or anything else "non-Aryan", let alone to non-Indo-European people who lived in these areas before them and were invaded and conquered by them.
    4. Even the rivers and animals in this area have purely Indo-Aryan (Indo-European) Sanskrit names: as Witzel puts it, in northern India rivers in general have early Sanskrit names from the Vedic period, and names derived from the daughter languages of Sanskrit later on […] This is especially surprising in the area once occupied by the Indus Civilisation where one would have expected the survival of older names, as has been the case in Europe and the Near East. At the least, one would expect a palimpsest, as found in New England with the name of the state of Massachussetts next to the Charles river, formerly called the Massachussetts river, and such new adaptations as Stony Brook, Muddy Creek, Red River, etc., next to the adaptations of Indian names such as the Mississippi and the Missouri”.” (WITZEL 1995a:105-107). This contrasts for example, sharply with Europe: "In Europe, river names were found to reflect the languages spoken before the influx of Indo-European speaking populations. They are thus older than c. 4500-2500 B.C. (depending on the date of the spread of Indo-European languages in various parts of Europe).” (WITZEL 1995a:104-105).

    So what is the date of the Rigveda? The scholars are compelled to calibrate the date of the Rigveda between two known dates:
    a) The linguistically determined date of 3000 BCE, which was the date when all the twelve Indo-European branches were together in their Original Homeland (which was assumed to be South Russia) and only started separating away from each other around that point of time.
    b) The Buddhist period in Bihar from around 600 BCE, when it is definitely recorded that the whole of northern India was covered mainly by speakers of Indo-Aryan languages, and which definitely followed the periods of composition not only of the Rigveda but also of the three other Vedic Samhitas, the Brahmanas, Aranyakas, Upanishads and Sutras.

    Therefore it is vital and mandatory, in fact a life-and-death requirement for the AIT, to date the Rigveda to a date calibrated between 3000 BCE and 600 BCE, ideally to a date around and after 1500 BCE.

    Calibrating the date of the Rigveda by squeezing all the periods between these two dates, the scholars arrived at the following dates (echoed by the present scientists):
    a) The "Indo-Iranians" migrated eastwards from the Steppes of South Russia around 3000 BCE.
    b) They were settled in Central Asia or "Turan in the Middle Bronze Age (2300-1500 BCE)".
    c) They moved southwards "throughout the 2nd millennium BCE", finally reaching the area described in the Rigveda, settling there, forgetting their entire past, and finally composing the text of the Rigveda.
    The Rigveda is thus dated, by both the traditionalist AIT scholars, as well as by these new "genomic" scientists, to a period 1500-1000 BCE. Both these theses therefore stand or fall on the correctness of this date.

    This date is absolutely mandatory for the AIT. If the Rigveda, for example, is accepted or proved to be going, even in its earliest parts, beyond 2500 BCE or even 2000 BCE, the entire AIT structure collapses like a pack of cards. It is impossible to bring the Indo-Aryans from the Steppes of South Russia all the way into the Rigvedic area of Haryana-S.Afghanistan (with complete loss of memory of the invasion/migration, with complete absence of any trace of non-Indo-European languages or people in the area, with Indo-Aryan names for the local rivers, etc.) within that microscopic period.

    Hence we will first examine the textual and archaeological evidence for the date of the Rigveda. The linguistic evidence is so massive and uni-directional (all the evidence confirms the OIT, and not a single piece of evidence supports the AIT) that it will require a big article on its own (although all the evidence has already been given by me at various places in my books and other blog articles) - and in any case it cannot tell us much about the exact date of the Rigveda.

    Then, we will look at the totally irrelevant (to the AIT/OIT debate) genetic/genomic data.


    II. The Archaeological Evidence

    Archaeology completely disproves the idea of any Indo-European movement into India around 1500 BCE:

    1. To begin with, absolutely no archaeological evidence has been found of the Proto-Indo-European language spoken in Russia before 3000 BCE, or of the Indo-Iranian speakers moving from South Russia to Central Asia between 3000-2000 BCE, or of the Indo-Aryan speakers moving from Central Asia to the Punjab around 1500 BCE, or even of the Vedic Indo-Aryans moving from the Punjab into the rest of northern India after 1000 BCE. Even Michael Witzel, who is spearheading the AIT battalions, admits that archaeology offers no proof of the AIT: "None of the archaeologically identified post-Harappan cultures so far found, from Cemetery H, Sarai Kala III, the early Gandhara and Gomal Grave Cultures, does make a good fit for the culture of the speakers of Vedic […] At the present moment, we can only state that linguistic and textual studies confirm the presence of an outside, Indo-Aryan speaking element, whose language and spiritual culture has definitely been introduced, along with the horse and the spoked wheel chariot, via the BMAC area into northwestern South Asia. However, much of present-day Archaeology denies that. To put it in the words of Shaffer (1999:245) ‘A diffusion or migration of a culturally complex ‘Indo-Aryan’ people into South Asia is not described by the archaeological record’[…] [But] the importation of their spiritual and material culture must be explained. So far, clear archaeological evidence has just not been found" (WITZEL 2000a:§15).

    2. In fact, archaeologists are almost unanimous on the point that there is absolutely no archaeological evidence for any change in the ethnic composition and the material culture in the Harappan areas between "the 5th/4th and […] the 1st millennium B.C.", and that there was "indigenous development of South Asian civilization from the Neolithic onward"; and further that any change which took place before "the 5th/4th […] millennium B.C." and after "the 1stmillennium B.C." is "too early and too late to have any connection with ‘Aryans’".

    3. The archaeological consensus against the AIT is so strong that in an academic volume of papers devoted to the subject by western academicians, George Erdosy, in his preface to the volume, stresses that this is a subject of dispute between linguists and archaeologists, and that the idea of an Aryan invasion of India in the second millennium BCE "has recently been challenged by archaeologists, who ― along with linguists ― are best qualified to evaluate its validity. Lack of convincing material (or osteological) traces left behind by the incoming Indo-Aryan speakers, the possibility of explaining cultural change without reference to external factors and ― above all ― an altered world-view (Shaffer 1984) have all contributed to a questioning of assumptions long taken for granted and buttressed by the accumulated weight of two centuries of scholarship" (ERDOSY 1995:x). Of the papers presented by archaeologists in the volume (being papers presented at a conference on Archaeological and Linguistic approaches to Ethnicity in Ancient South Asia, held in Toronto from 4-6/10/1991), the paper by K.A.R. Kennedy concludes that "while discontinuities in physical types have certainly been found in South Asia, they are dated to the 5th/4th, and to the 1st millennium B.C. respectively, too early and too late to have any connection with ‘Aryans’" (ERDOSY 1995:xii); the paper by J. Shaffer and D. Lichtenstein stresses on "the indigenous development of South Asian civilization from the Neolithic onward" (ERDOSY 1995:xiii); and the paper by J.M. Kenoyer stresses that "the cultural history of South Asia in the 2nd millennium B.C. may be explained without reference to external agents" (ERDOSY 1995:xiv). Erdosy points out that the perspective offered by archaeology, "that of material culture […] is in direct conflict with the findings of the other discipline claiming a key to the solution of the ‘Aryan Problem’, linguistics" (ERDOSY 1995:xi).
    On the other hand, there is conclusive archaeological evidence for the arrival of the European branches (the ItalicCelticGermanicBaltic and Slavic branches) into Europe from the east, for the arrival of the Hittites (the Anatolian branch) into Turkey (Anatolia) from the northeast, for the arrival of the Greeks and Albanians (the Greek and Albanian branches) into Greece from the east(across the Aegean Sea), and for the arrival of the Tocharian branch into the Qinjiang province of China from Central Asia to its south. [The arrival of the Iranian branch into Iran from the east is recorded in Babylonian texts. The Armenian branch is also clearly an intruder into Armenia, as evident from the evidence of the place names in Armenia]. It is only the theoretically postulatedarrival of the Indo-Aryan branch (as represented by its oldest form, Vedic) into northwestern India from further northwest which is absolutely unsupported by any archaeological evidence.

      
    III. The Textual/Inscriptional Evidence for the Date of the Rigveda

    The exact copious details of the data for dating the Rigveda have been given in my books and other blogs. I will only give the essential points here:

    1. The Divisions of the Rigveda: As per the consensus among all the Indologists, the ten Books or Maṇḍalas of the Rigveda can be divided into two groups:
    a) The earlier Family Books: Books 2-7.
    b) The later non-Family Books: 1,8-10.

    Further, on the basis of a large range of criteria, one of the Family Books, Book 5, is later than the other four Family Books. Thus, we get two chronological groups of Books:
    a) The Old Books: Books 2-4,6-7.
    b) The New Books:  Books 1,5,8-10.

    2. The external sources for comparison of data with the Rigvedic data: There are two external sources for comparison of common or related data with the Rigvedic data:
    a) The Iranian Avesta.
    b) The Mitanni data.
    The Mitanni data is particularly significant because:
    a) It is specifically "Indo-Aryan" or "Vedic" data.
    b) It is scientifically dated data found in the scientifically dated inscriptions and documents about the Mitanni kingdom and kings of Iraq and Syria, in the historically well-attested records of Egypt and West Asia.

    3. Conventional Interpretation of the common data as per the AIT: The conventional theory is that:
    a) The Indo-Aryan and Iranian branches jointly migrated eastwards from the Steppes of South Russia to Central Asia over a period of time.
    b) The Indo-Aryans and Iranians separated from each other after a common sojourn in Central Asia:
    The Vedic Indo-Aryans (who were to compose the Rigveda) migrated southeastwards into the Greater Punjab region (Saptasindhava or northern Pakistan).
    The Iranians (who were to compose the Avesta) migrated southwards into Afghanistan.
    The Mitanni Indo-Aryans (whose data is found recorded in the dated documents of Iraq, Syria and West Asia in general) migrated southwestwards towards West Asia.
    c) The common linguistic-cultural elements found in the Rigveda, the Avesta, and the Mitanni records, are pre-Rigvedic elements of the common culture developed jointly by these three peoples during their common sojourn in Central Asia.

    4. Actual Facts Emerging from the common data: An actual examination of the common data shows that the common elements are not elements of a common pre-Rigvedic culture, but elements of a common culture developed during the period of the New Books of the Rigveda. These elements are completely missing in all the Old Hymns and verses in the Old Books of the Rigveda (though found occasionally in a handful of occurences in certain hymns which the Indological scholars themselves have classified as late, interpolated or redacted hymns in the Old Books), but found in overwhelming numbers in the New Books of the Rigveda, in all the post-Rigvedic Vedic literature, and in all the post-Vedic Sanskrit literature. These elements are also central to the Avesta and the Mitanni data.
    The distribution of these common elements in the Rigveda is as follows:

    TOTAL HYMNS AND VERSES:
    1. Old Hymns in Books 2,3,4,6,7:  280 Hymns, 2351 verses.
    2. New Hymns in Books 1,5,8,9,10:  686 Hymns, 7311 verses.

    COMMON RIGVEDIC-AVESTAN-MITANNI NAME TYPES IN COMPOSER NAMES:
    1. Old Hymns in Books 2,3,4,6,7:  0 Hymns, 0 verses.
    2. New Hymns in Books 1,5,8,9,10:  309 Hymns, 3389 verses.

    COMMON RIGVEDIC-AVESTAN-MITANNI NAME TYPES AND WORDS WITHIN THE HYMNS:
    1. Old Hymns in Books 2,3,4,6,7:  0 Hymns, 0 verses.
    2. New Hymns in Books 1,5,8,9,10:  225 Hymns, 434 verses.

    COMMON RIGVEDIC-AVESTAN NEW DIMETRIC METERS:
    1. Old Hymns in Books 2,3,4,6,7: 0 Hymns, 0 verses.
    2. New Hymns in Books 1,5,8,9,10:  50 Hymns, 255 verses.

    This is not arbitrary data: it is absolute data. It proves that the three peoples separated from each other not in some pre-Rigvedic period but during the period of composition of the New Books of the Rigveda, when these new cultural elements developed, and therefore that they were all three of them together with each other during the composition of the Old Books, within the geographical area of the Rigveda.

    The geographical area of the Rigveda as a whole stretches from Haryana-western U.P (Ganga) in the east to southeastern Afghanistan in the westThis therefore is the area from where the ancestors of the Mitanni kings and the composers of the Avesta migrated to their historical areas, taking these common cultural elements with them.

    5. The Date of the Rigveda: The Mitanni data is found in securely dated records in West Asia, and can be exactly dated: the Mitanni kingdom flourished from around 1500 BCE onwards, and the Mitanni (and a related people, the Kassites) are found in West Asian records from around 1750 BCE. Moreover, they were already so long settled in West Asia that they had even adopted the local Hurrian language, while still retaining what the scholars refer to as "remnants" and "residual elements" of their ancestral Indo-Aryan heritage.
    Going backwards from the Mitanni data:
    a) The Mitanni must have arrived in West Asia at least a few hundred years before their recorded presence. At any rate, even if one assumes they had stepped into West Asia on the very day their presence was first recorded, they must still have left their ancestral area where they developed the common cultural elements (Haryana to southeastern Afghanistan) before 2000 BCE at the very minimum.
    b) This means that the culture depicted in the New Books of the Rigveda was flourishing in this area (Haryana to southeastern Afghanistan) before 2000 BCE at the very minimum. It was already a fully developed culture by that time, hence we find it among the Mitanni.
    c) This means that the beginnings of the fully developed culture of the New Books go back far beyond 2000 BCE, and the totally different culture of the Old Books goes even further back. I take the date of the beginning of composition of the Old Books and their hinter-period beyond 3000 BCE. How far can someone wanting to squeeze the date to as late a point of time as possible go: did the date of composition of the New Books start in 2000 BCE, and the date of composition of the Old Books with their totally different culture in 2010 BCE?
    It must be noted that it is impossible to ignore all this recorded data and claim that the Vedic Indo-Aryans entered India after 1500 BCE.

    In short, the culture found as the fading "remnants" of an ancestral culture among the Mitanni people in Syria-Iraq from at least 1750 BCE (as per scientifically dated records) is a culture which developed during the period of composition of the five New Books of the Rigveda, and is completely missing in the five Old Books.

    Note: This dating is further confirmed by the references in the Rigveda to certain technological innovations which took place in the second half of the third millennium BCE, which are likewisecompletely absent in the Old Books:
    Spoked wheels were invented (supposedly somewhere around Central Asia) in the second half of the third millennium BCE. Likewise, the “Bactrian camel was domesticated in Central Asia in the late 3rd mill. BCE” (Witzel). The following is the distribution of references to camels and to spokesin the Rigveda, all exclusively in the New Books:
    V.13.6; 58.5.
    I.32.15; 141.9; 138.2; 164.11,12,13,48.
    VIII.5.37; 6.48; 20.14; 46.22,31; 77.3.
    X.78.4.

    6. The Geography of the Old Books: And what is the geography of the Old Books of the Rigveda in the period definitely long before 2000 BCE (and actually as far back as 3000 BCE)? Does it show that the culture of the Old Books (ancestral to the culture of the New Books, the Avesta and the Mitanni) was located somewhere between the Steppes and Central Asia, or at least in Central Asia?
    On the contrary, the geographical data of the Old Books is restricted to the area to the east of the Sarasvati river in Haryana (for more precise details see my books and other blogs):

    a)  The places, lake and animals of the East (east of the Sarasvatī, in Haryana and further east) are found in all the Books, both the Old Books and the New Books:
    Old Books (25 hymns, 28 verses, 31 names):
    VI.(5 hymns, 5 verses and names).
    III. (7 hymns, 9 verses, 12 names).
    VII. (4 hymns, 4 verses and names).
    IV. (5 hymns, 5 verses and names).  
    II. (4 hymns, 5 verses and names).
    New Books (63 hymns, 73 verses, 77 names) :
    V. (6 hymns, 7 verses and names).
    I. (16 hymns, 19 verses, 22 names). 
    VIII. (9 hymns, 11 verses and names).
    IX. (14 hymns, 17 verses and names).
    X. (18 hymns, 19 verses, 20 references).

    But the places, lakes, mountains and animals of the West (west of the Indus, in southern and eastern Afghanistan) are completely missing in the Old Hymns in the Old Books and are found only in the New Hymns in the New Books. In fact they are missing even in the New Family Book 5:
    Old Hymns in the Old Books (0 hymns, 0 verses and names).
    New Hymns in the New Books (57 hymns, 72 verses, 73 names):
    I. (18 hymns, 21 verses and names).
    VIII. (13 hymns, 17 verses, 18 names).
    IX. (8 hymns, 12 verses and names).
    X. (18 hymns, 22 verses and names).

    b) The place names of the Rigveda, further show an east to west expansion from the Old Books to the New Books:

     

    The river names of the Rigveda, likewise, also show this east to west expansion:



    In short, the Old Books were composed in the East, well to the east of the Sarasvati, and far from Central Asia, which only entered the geographical horizon of the Rigveda in the New Books.
    The evidence of the Rigvedic data shows that long before 2000 BCEin the period of the Old Books, the Vedic Aryans were originally located in the areas of Haryana and further east. The east-to-west expansion shown by the above data-graphs is actually described in the historical narrative in the Rigveda: the activities of the ancestors of Sudās (in order of lineage: Bharata, Devavāta, Sṛñjaya, Divodāsa) are all located in Haryana. The expansion in the period of Sudas (following his own earlier activities in Haryana) shows him first crossing the two easternmost rivers of the Punjab westwards with his army. Then he fights an alliance of ten western tribes on the banks of the third river, and his enemies are described as fighting from the region of the fourth river. Later, in the period of his descendants Sahadeva and Somaka, the Vedic Aryans expand as far west as beyond the Indus.
    Note: it is in this period, long before 2000 BCE, that we find the Vedic Aryans originally not even familiar with the northwestern parts of India into which they were yet to expand, let alone with Central Asia or areas further west. They do not refer to any linguistically non-Indo-European entitiesanywhere in their vicinity. And the local rivers all have Indo-Aryan/Indo-European names.

    In the face of this overwhelming evidence that the oldest parts of the Rigveda hark back to a periodlong before 2000 BCE (actually even going as far back as 3000 BCE), and that the Vedic beginnings were in Haryana in the east, what is the value of these "genomic" claims by "scientists" who speak of"the populations that almost certainly were responsible for spreading Indo-European languages across much of Eurasia" moving southwards from an earlier habitat in Central Asia and first entering India during "the 2nd millennium BCE"?

    Can genomists prove in the face of all the recorded historical evidence to the contrary, on the basis of "scientific genomic evidence", that Columbus discovered America in the 4th century BCE or alternately in the nineteenth century CE, and that the Europeans started colonizing the Americas at that point of time? What would be the value of such "genomic" claims which fly in the face of recorded history? Would anyone take them seriously, let alone treat them as invalidating the presently accepted ideas about the date of the colonization of the Americas by Europeans?

    Further, it is also being claimed that the "genomic" Revelations have "confirmed" the linguistic and textual interpretations of the Indologists and AIT protagonist scholars. A leftist writer Prabir Purkayastha in an article on a site "newsclick.in" on 9/4/2018 writes: "For the historians there should be a sigh of relief. The painstaking work that they have done with archaeological and textual evidence is very close to the new genetic evidence"! But we have already seen above what the archaeologists have to say about the AIT, and what the textual evidence shows!
    The fact is that the extremely lop-sided and faulty linguistic and textual interpretations of the Indologists and AIT protagonist scholars have already been completely  overturned and disproved by newer and more complete analyses: by in fact the linguistic and textual analysis presented in my books (and blogs). So much so that the AIT scholars have now fully conceded defeat in the fields oflinguisticsarchaeology and textual data analysis and have fled from the debate. Hence these desperate attempts by motivated "scientists" to completely abandon these three academic disciplines and shift the debate to the totally irrelevant (to the AIT/OIT debate) field of "genomics". After Copernicus announced his discovery that it was the earth which moved around the sun and not vice versa, there must have been many church "scientists" who made "discoveries" which confirmed the old Church view that it was the sun which moved around the earth, and thereby allowed the geocentric "scholars" to heave "a sigh of relief"! But that did not stop the ultimate vindication of Copernicus' discovery. The cowardly campaign by these "genomic" scientists to "confirm" old and completely discredited dates for the Rigveda can have no value so long as they studiously skulk away and avoid addressing the real evidence for the dating of Rigveda and the Vedic period, which completely shatters their "scientific" humbug.


    IV. The New "Genomic" Thesis

    The international consortium of "genomic scientists", committed to "confirming" and "proving" the discredited AIT (the team includes old suspects like Tony Joseph who has been conducting an active political campaign on this issue in the Indian media in the last few years, and this team has been at it for years trying to drum up a "genetic" case for the utterly discredited theory - a new case every time), claims that the Rigveda was composed by "Aryan" invaders who were part of an "expansion of pastoralist[s …] from the Steppe to Turan in the Middle Bronze Age (2300-1500 BCE)" and that these "Steppe communities integrated farther south throughout the 2nd millennium BCE" leading to "the formation of present-day South Asians". The very dates they claim - which are absolutely vital for them in order to fit in with the linguistic fact that the twelve branches of Indo-European languages were together in the Original Homeland till 3000 BCE as well as the well attested presence of established Indo-Aryan speakers all over northern India as far east as Bihar well before 600 BCE - prove their thesis to be completely impossible:

    Let us examine the mind-bogglingly impossible scenario that the "scientists" postulate. According to them, the Indo-Aryans:
    a) moved southwards from Turan (Central Asia) into the Punjab region "throughout the 2nd millennium BCE" (i.e. definitely well after 2000 BCE),
    b) then moved through the area of the declining Harappan civilization without leaving even the faintest traces in the archaeological record - so much so that archaeologists strongly dispute this alleged invasion/migration in the second millennium BCE,
    c) and yet affected such a complete transformation in the entire area (without leaving any memories of it among either the conquerors or the conquered) that even invasionist scholars are struck by it: "What is relatively rare is the adoption of complete systems of belief, mythology and language from neighbouring peoples […] Yet, in South Asia we are dealing precisely with the absorption of not only new languages but also of an entire complex of material and spiritual culture, ranging from chariotry and horsemanship to Indo-Iranian poetry whose complicated conventions are still actively used in the Ṛgveda. The old Indo-Iranian religion, centred on the opposition of Devas and Asuras, was also adopted, along with Indo-European systems of ancestor worship.” (WITZEL 1995a:112),
    d) and, what is more, transformed even the names of the local  rivers into Indo-Aryan ones, leaving not a trace of the original names - a situation absolutely unparalleled in world history, as we have already noted earlierin northern India rivers in general have early Sanskrit names from the Vedic period, and names derived from the daughter languages of Sanskrit later on […]This is especially surprising in the area once occupied by the Indus Civilisation where one would have expected the survival of older names, as has been the case in Europe and the Near East. At the least, one would expect a palimpsest, as found in New England with the name of the state of Massachussetts next to the Charles river, formerly called the Massachussetts river, and such new adaptations as Stony Brook, Muddy Creek, Red River, etc., next to the adaptations of Indian names such as the Mississippi and the Missouri” (WITZEL 1995a:105-107),
    e) and then, moved eastwards across the Sarasvati into the area of Haryana and eastern Uttar Pradesh, and effected "an almost complete Indo-Aryanization in northern India(WITZEL 1995a:106) to the extent that by the time they composed the Old Books of the Rigveda, not a trace was left in the area of any linguistically non-Indo-European (specifically Dravidian or Austric) entity, and they themselves had already completely forgotten their entire extra-territorial history and the western territories through which they moved eastwards,
    f) after which they started expanding "back" westwards into the Punjab and southern Afghanistan (as recorded in the Rigveda), in the process developing the completely new culture of the New Books of the Rigveda: the proto-Iranians and proto-Mitanni were also with them during this historical process as shown by the common data,
    f) then after this completely new culture of the New Books was fully crystallized, the proto-Mitanni migrated westwards from this area all the way into Iraq and Syria by 1750 BCE taking this culture with them, and established their historically attested and scientifically dated empire around 1500 BCE, by which time they, in turn, had completely forgotten their own migration history, had adopted the local Hurrian language, and were only left with Vedic elements that linguists describe as the "remnants" (WITZEL 2005:361) and "the residue of a dead language in Hurrian" of a "symbiosis that produced the Mitanni [which] may have taken place centuries earlier” (MALLORY 1989:42).

    Will any sane person credit this above story, which tries to condense millennia of history and alleged historical changes within a century or less? Clearly one of the three key elements in this story are wrong:
    1. Either the Mitanni date and data are wrong (but unfortunately for any possible claims of this kind, this is the only real and securely and scientifically dated material evidence in this whole debate).
    2. Or the date of the Rigveda as proved by me to be going back to around 3000 BCE, and certainly long before 2000 BCE is wrong (but this evidence is so massive and unidirectional and final that no-one has the guts to take up the challenge to even try to examine and disprove it. It is a complete presentation of the data, and such data cannot be fabricated).
    3. Or the "genomic" thesis of the "international team of scientists" is wrong. Well, unless the "genomic" scholars or their compatriots in the field of textual analysis can prove the above date of the Rigveda wrong by providing counter-data (which is impossible, since this data is the only data available), then the "international team of scientists" is pathetically and pitifully wrong.

    One Example of the detailed records of the Indo-European migrations: Before evaluating the worth of this so-called "genomic" evidence in the "Aryan" debate, one more point must be noted: the migration of the Indo-European branches from the Indian Homeland is not a matter of pure conjecture concerning faceless and nameless groups of prehistoric people to be identified now only by the names of their (presently named) Indo-European branches: the migrations of the historical speakers of the other eleven branches from India is recorded in the Puranas and the Rigveda, and the whole history is corroborated by massive textual, linguistic and archaeological evidence, and nothing contradicts or disproves it. All this massive evidence is given in my books and blogs. Here I will give only one small piece of the evidence as a sample:

    As per the established linguistic analysis, seven branches had migrated from the Homeland (wherever it was located) in the following order: Hittite (Anatolian), TocharianItalicCeltic,GermanicBaltic and Slavic. Finally only five branches were left in the Homeland: After the dispersals of the early PIE dialects […] there were still those who remained […] Among them were the ancestors of the Greeks and Indo-Iranians […] also shared by Armenian; all these languages it seems, existed in an area of mutual interaction.” (WINN 1995:323-324). The five branches which share many linguistic features missing in the earlier seven are Albanian (not mentioned in the above quote), GreekArmenianIranian and Indo-Aryan.

    However, the data in the Rigveda regarding the dāśarājña battle and the expansionary activities of Sudās (Book 7), shows this area to be in the Punjab. Sudās, the Vedic (Indo-Aryan/Pūru) king enters the Punjab area from the east and fights this historical battle against a coalition of ten tribes (nine Anu tribes, and one tribe of the remnant Druhyu in the area), and later these tribes start migrating westwards.

    The Anu tribes (or the epithets used for them) named in the battle hymns are:
    VII.18.5 Śimyu.
    VII.18.6 Bhṛgu.
    VII.18.7 Paktha, Bhalāna, Alina, Śiva, Viṣāṇin.
    VII.83.1 Parśu/Parśava, Pṛthu/Pārthava, Dāsa.
    (Another Anu tribe in the Puranas and later tradition is the Madra).

    These tribal names are primarily found only in two hymns, VII.18 and VII.83, of the Rigveda, which refer to the Anu tribes who fought against Sudās in the dāśarājña battle or "the Battle of the Ten Kings". But see where these same tribal names are found in later historical times (after their exodus westwards referred to in VII.5.3 and VII.6.3).  Incredibly, they are found dotted over an almost continuous geographical belt, covering the five last branches (which, according to the linguistic analysis, remained in the Homeland before the last stage of migrations), and covering the entire sweep of areas extending westwards from the Punjab (the battleground of the dāśarājña battle) right up to southern and eastern Europe:

    Afghanistan: (Avestan) Proto-Iranian: Sairima (Śimyu), Dahi (Dāsa).
    NE Afghanistan: Proto-Iranian: Nuristani/Piśācin (Viṣāṇin).  
    Pakhtoonistan (NW Pakistan), South Afghanistan: Iranian: Pakhtoon/Pashtu (Paktha).
    Baluchistan (SW Pakistan), SE Iran: Iranian: Bolan/Baluchi (Bhalāna).
    NE Iran: Iranian: Parthian/Parthava (Pṛthu/Pārthava).
    SW Iran: Iranian: Parsua/Persian (Parśu/Parśava).
    NW Iran: Iranian: Madai/Mede (Madra).
    Uzbekistan: Iranian: Khiva/Khwarezmian (Śiva).
    W. Turkmenistan: Iranian: Dahae (Dāsa).
    Ukraine, S, Russia: Iranian: Alan (Alina), Sarmatian (Śimyu).
    Turkey: Thraco-Phrygian/Armenian: Phryge/Phrygian (Bhṛgu).
    Romania, Bulgaria: Thraco-Phrygian/Armenian: Dacian (Dāsa).
    Greece: Greek: Hellene (Alina).
    Albania: Albanian: Sirmio (Śimyu).

    The above named Iranian tribes are also the ancestors of almost all other prominent historical and modern Iranian groups not directly named above (check the encyclopedias and wikipedia on this point), such as the Scythians (Sakas), Ossetes and Kurds, and even the presently Slavic-language speaking (but formerly Iranian-language speaking) SerbsCroats, Poles, Slovaks and Ukrainians!

    The earlier migrations of the seven earlier branches are recorded in the Puranas, which describe the migrations of the Druhyu tribes who first migrated northwards into Central Asia:
    "Indian tradition distinctly asserts that there was an Aila outflow of the Druhyus through the northwest into the countries beyond, where they founded various kingdoms" (PARGITER 1962:298).
    "Five Purāṇas add that Pracetas’ descendants spread out into the mleccha countries to the north beyond India and founded kingdoms there" (BHARGAVA 1956/1971:99).
    "After a time, being overpopulated, the Druhyus crossed the borders of India and founded many principalities in the Mleccha territories in the north, and probably carried the Aryan culture beyond the frontiers of India" (MAJUMDAR 1951/1996:283).

    But now back to the "genomic evidence":

    The very fact that the "genomic evidence" is being tailor-made to fit into the geography and chronology of the conventional AIT theory which dates the Rigveda to 1500-1200 BCE, when the scientifically dated Mitanni records prove that the culture of the New Books of the Rigveda, which the ancestors of the Mitanni kings brought into West Asia, had developed in the Haryana-S.Afghanistan area long before 2000 BCE, and that the older Old Books go back to at least 3000 BCE in Haryana, automatically and immediately debunks the contention that the "genomic evidence" has anything to do with the movement of the Indo-European languages.

    But the fact is that languages have no direct connections with DNA, genes, genomes and haplogroups at all. Languages spread in ways which do not have anything to do with the spread of DNA and genetic features. For example:
    a) The English language today is spoken by millions and millions of people all over the world: large numbers of Americans of native-American-Indian and African origin speak only English and do not know their original ancestral languages. In our own country it is one of the major languages of communication between different language speakers (this article is being written and read in English, for example), and likewise in other large parts of Asia and Africa: but would it be possible to be able to trace the history of the spread of the language by analyzing the DNA and genomes of all these different people?
    b) The Sinhalese people to the south of India speak an Indo-European language which often contains Indo-European words of even more archaic vintage than the Vedic language (e.g. watura for "water"). But are the Sinhalese people genetically closer to Kashmiris, Maharashtrians and Assamese, or Iranians, Greeks and Scandinavians, than to their neighboring Dravidian-language Tamil speaking neighbors?
    c) The Santali-Mundari people of east-central India speak Austric languages related to the Austric language of Vietnam (e.g. "onethreefour" in Santali is "mitpa-iapon-ia" and in Vietnamese "motbabon"). Are the Vietnamese and the Santals genetically closer to each other than the Vietnamese are to their neighboring Sino-Tibetan language speaking Laotians and Burmese or the Santals are to their non-Austric neighbors?

    At the most, after a piece of history is all cut and dried from more pertinent recorded historical sources, "DNA" evidence can be searched out which fits in with the proved and established historical narrative: such as for example that the American continent, already populated by native Americans, was colonized By Europeans in the last few centuries, and that large batches of Africans were also transported to the Americas by the Europeans, thus possibly leading to interesting studies on the genetic, genomic and DNA composition of the present day "Americans". However, although the present gang of "scientists" claim to have done just such studies which confirm earlier linguistic and textual studies on the "Aryan" presence in India, the fact is that they are fitting their jacket onto the wrong studies - studies which have been thoroughly disproved on the basis of newer and more detailed and comprehensive studies on the linguistic and textual data.

    It must be noted that genetic studies are as scientific as they are believed to be when it pertains to tracing genetic lines. Human beings have been migrating from every conceivable area to every other conceivable area and in every possible direction since the dawn of history. Certain areas, indeed, like Central Asia, are seething hotbeds of ethnic to-and-fro migrations, and India has seen countless migrations and invasions in the last many thousand years: we have Scythians, Greeks, Kushanas, Hunas, Arabs, Turks, Afghans, Ethiopian slave-soldiers and Persians invading, we have other Persians and Syrian Christians taking refuge in India, and none of them retained their language, and all of them assimilated into the local populations and adopted the local languages, but their foreign genes remain in the genetic record. As almost all the invasions and migrations took place from the northwest into northern India (although coastal areas also have their high share of foreign interactions), naturally any foreign genes are more likely to be found in greater proportions in the north than in the south; and as invaders are more likely to mix with the elites in the conquered societies, these genes are more likely to be found among "upper"-castes or ruling classes than among the "lower"-castes or isolated jungle or hill tribes. That this phenomenon is being invested with linguistic "Aryan" connotations and caste implications is testimony to the motives behind the whole enterprise. Needless to say, the real or alleged genetic compositions of present day Indians belonging to different castes or regions is irrelevant to the linguistic question.

    In short:
    1. Racial movements allegedly traced on the basis of genomes and haplogroups cannot help us trace the history of the Indo-European language migrations.
    2. The date of the earliest part of the Rigveda goes back to beyond 3000 BCE in a purely "Indo-Aryan" Haryana; and the later expansion of the geographical horizon of the Rigveda, to cover the area up to southernmost and easternmost Afghanistan in the west, not only identifies the Vedic people with the Harappans but also makes this area the PIE Homeland (since, as per the linguistic consequence, all the twelve Indo-European branches were together with each other in the PIE Homeland till around 3000 BCE). And the whole migration history of the other eleven branches from this Homeland is recorded history. All this makes any talk of "Indo-Aryans" invading northwestern India in 1500 BCE, and composing the Rigveda after that, purely a hallucination of these politically determined academicians.

    But even if we were to assume for the sake of argument that (a) all this evidence should be completely ignored or blanked out, (b) that the "migration" of "genomic" features should be treated as the migration of languages, and (c) that the Rigveda should be religiously dated after 1500 BCE; even then, the "genomic evidence" should specifically identify certain specific haplogroups as "Indo-European", and should show on the basis of secure scientific evidence that:
    1. These "Indo-European" haplogroups were found only in the Steppe area, and nowhere else, till around 3000 BCE.
    2. They are found in chronologically clear trails from 3000 BCE onwards leading into Central Asia (two distinct trails for the linguistically distinct Tocharians and "Indo-Iranians" respectively), Europe (the Italic, Celtic, Germanic, Baltic and Slavic branches), southeastern Europe (the Albanians and Greeks, with the Armenians) and Anatolia (the Hittite/Anatolian branch) respectively in the "linguistically predicted" time frames.
    3. The "Indo-Iranian" haplogroups, in particular, appear in Central Asia (through an identifiable trail of genomic specimens) only around 2000 BCE or so, and then appear in the area of the Indus area only in the period after 1500 BCE - being completely missing in that area before then.

    But this is not the kind of "genomic" evidence being presented. The whole case is a kind of "trust us, we are scientists, and we know what happened"!

    On the contrary:
    a) The entire AIT, or caste history of India, is sought to be "confirmed" or "proved" on the basis of the very general (with various factors breezily clubbed together in conveniently selected contexts) DNA analysis of a few scattered individuals from the remote past, or stray selected specimens from selected castes.
    b) All kinds of (sometimes actually mutually contradictory) conclusions are sought to be drawn from three individual specimens from Central Asia, which have been labeled as "Indus periphery".
    c) There are actually no specimens from the actual Indus/Vedic area in the relevant period: the much-publicized and long-awaited DNA results of the almost 5000-year-old specimen from Rakhigarhi in Haryana are unfortunately yet to see the light of day.
    d) Genetic data of modern specimens of people from India, which is known to be a kind of melting-pot of all the possible races of the world (there is a  picturesque rhetorical quote to this effect from Swami Vivekananda, quoted by me in my second book, see TALAGERI 2000:401), are cited to show that "Aryans" invaded India in 1500 BCE.

    Further, note the following statements in the "report" which really go against their basic thesis:
    1. “…there is no evidence that the main BMAC population contributed genetically to later South Asians.”(Abstract).
    The absence in the BMAC cluster of the Steppe_EMBA ancestry that is ubiquitous in South Asia today—along with qpAdm analyses that rule out BMAC as a substantial source of ancestry in South Asia (Fig. 3A)—suggests that while the BMAC was affected by the same demographic forces that later impacted South Asia (the southward movement of Middle to Late Bronze Age Steppe pastoralists described in the next section), it was also bypassed by members of these groups who hardly mixed with BMAC people and instead mixed with peoples further south.”
    In fact, the data suggest that instead of the main BMAC population having a demographic impact on South Asia, there was a larger effect of gene flow in the reverse direction, as the main BMAC genetic cluster is slightly different from the preceding Turan populations in harboring ~5% of their ancestry from the AASI.”.
    All the 4 samples from Shahr-i-Sokhta in Eastern Iran also show South Asian admixture. In other words, based on the evidence given in the paper, there was a very large genetic contribution of South Asia in both the BMAC as well as in the Helmand civilization of which Shahr-i-Sokhta is a principal site. In fact, in both the Bronze Age Eastern Iran and Central Asia, the principal cattle is the Zebu cattle which is Indian in origin and there are besides many other lines of evidence suggesting Indus civilization influence in both these regions.
    2. “… samples from three sites from the southern and eastern end of the Steppe dated to 1600-1500 BCE (Dashti-kozy, Taldysay and Kyzlbulak) show evidence of significant admixture from Iranian agriculturalist-related populations, demonstrating northward gene flow from Turan into the Steppe…”.

    An article in the Indian Express of 16/4/2018, "The Long Walk: Did the Aryans migrate into India? New genetics study adds to debate. Co-authored by 92 leading scientists, it offers new insights into makeup of the Indian population. Will it settle or again trigger the contentious debate?" by Sowmika Ashok and Adrija Roychowdhury quoting Tony Joseph, tells us: "Essentially, Joseph points out, the study shows that there are no “pure” people anywhere — except perhaps in some very isolated and remote places such as some of the Andaman and Nicobar islands. 'We are all mixed. Almost all parts of the world have seen repeated mass migrations that have deeply impacted their demography and India is no exception. The genetic studies should be liberating in a way because it should make us aware that we are all interconnected.'"
    It also quotes David Reich, the scientist who heads this gang of politically-committed "scientists", as follows, in the context of a previous study: "The ANI are related to Europeans, central Asians, Near Easterners, and people of the Caucasus, but we made no claim about the location of their homeland or any migrations. The ASI descend from a population not related to any present-day populations outside India. We showed that the ANI and ASI had mixed dramatically in India. The result is that everyone in mainland India today is a mix, albeit in different proportions, of ancestry related to West Eurasians, and… more closely related to diverse East Asian and South Asian populations. No group in India can claim genetic purity.".
    But all this is absolutely right. Certainly, no group in India can claim genetic purity: all people represent "a mix, albeit in different proportions, of ancestry related to West Eurasians, and… more closely related to diverse East Asian and South Asian populations" - ironically, the ideas of "genetic purity" lie in the hearts of those, both the casteist-racist Brahmin defenders of the AIT as well as the pseudo-dalit supporters of the AIT (note that Dr. Ambedkar had sharply rejected the AIT in his writings) who are among the most gleeful in support of these "new findings"  - but this has nothing to do with the history of the Indo-European languages.

    The Indian Express article also quotes Michel Danino: "ICHR member and guest professor at IIT Gandhinagar, Michel Danino, said that the study is 'steeped in circularity'. 'It accepts the Indo-European migrations into Europe and into South Asia as a fact, then repeatedly fits the genetic evidence to this ‘fact’. This is faulty methodology…,' he said. He pointed out that 'No ancient Harappan DNA has been analysed, which could have provided some secure comparison for contemporary samples in Central Asia and elsewhere.'
    Danino also says that the study assumes that South Asia was more or less empty of population in the pre-Harappan era. 'It sweeps aside the subcontinent’s Mesolithic and Neolithic populations which undoubtedly have substantial contributions to the South Asian genome. It considers such Mesolithic and Neolithic populations only in the context of Central Asia and Europe! This is one example [among others] of a strong Eurocentric bias in the study,' he says.".
    Actually, the most vital mistake which these committed scientists make is to accept as a "fact" the date of the Rigveda as post-1500 BCE (while ignoring the massive evidence which shows that it goes beyond 3000 BCE), and "then repeatedly fit the genetic evidence to this ‘fact’". The result is "garbage in garbage outso far as the linguistic question is concerned, whatever the (dubious or still to be properly evaluated) value of the analysis to actual migrations of people and mixtures of populations.

    The "genomic scientists" have only released preliminary trailers of what their "report" is going to "prove". The full report is yet to come. And it will be answered in full by the appropriate people. The only thing to note here is that objectivity and honesty cannot be expected from a group of people -whatever their academic status - calling themselves "scientists", but working for years to a definite political objective, and refusing to deal with the relevant evidence (in this case, the linguistic, archaeological and  textual/inscriptional data), while proclaiming and propagating their motivated and flawed conclusions on a war footing.

    What is worse is that, even as they ignore the latest linguistic, archaeological and textual/inscriptional data and evidence, their whole proof is based on the claim that the "genomic" dates derived by them actually "fit in" with the dates derived by linguists (but,  note, strongly rejected by archaeologists) for the alleged "Aryan" migrations from the Steppes (and consequently with the date assigned by the linguists to the Rigveda)!  This is like a group of committed Church "scientists" in the 1600s periodically announcing new "scientific" discoveries which fitted in with the Church-held geocentric view of the world, while refusing to consider or debate the contemporary works of Galileo Galilei which proved the heliocentric case. [Galileo was tried by the Roman Inquisition in 1633 for "heresy" and kept under house arrest till his death in 1642. One can imagine the power of the Church "scholars" in Europe in those days, and the clout of the works of their committed "scientists". But what would be the status of their "scientific" works today?].

    In any case, however many new strands of different foreign DNA and genes are discovered to be embedded in the genetic structure of different sections of Indians, all this has nothing to do with the question of the "Aryan languages" in India, and of the Original Homeland and the migrations of the ancient Indo-European tribes, since all this has already been answered: the Original Homeland of the Indo-European languages was in northern India, and the migrations of the other eleven branches of Indo-European languages from India is a matter of recorded history.

    [I owe my main inputs above on the "genetic evidence" to Nirjhar Mukhopadhyay and Jaydeep Rathod, and hereby express my thanks to them for the same].





    BIBLIOGRAPHY:

    BHARGAVA 1956/1971: India in the Vedic Age: A History of Aryan Expansion in India. Upper India Publishing House Pvt. Ltd. Lucknow, 1956.

    ERDOSY 1995: Preface to “The Indo-Aryans of Ancient South Asia: language, material Culture and Ethnicity”, edited George Erdosy, Walter de Gruyter, Berlin-NY, 1995.

    GRIFFITHThe Hymns of the Rigveda - Translated with a popular commentary. Griffith, Ralph T.H. (first publ.) E.J Lazarus and Co., Benares, 1889.

    MAJUMDAR ed.1951/1996: The Vedic Age. General Editor Majumdar R.C. The History and Culture of the Indian People. Bharatiya Vidya Bhavan. Mumbai, 1951.

    MALLORY 1989: In Search of the Indo-Europeans: Language, Archaeology and Myth. Mallory J.P. Thames and Hudson Ltd., London 1989.

    PARGITER 1962: Ancient Indian Historical Tradition. Pargiter F.E. Motilal Banarsidas, Delhi-Varanasi-Patna, 1962.

    WINN 1995: Heaven, Heroes and Happiness: The Indo-European Roots of Western Ideology. Winn, Shan M.M. University Press of America, Lanham-New York-London, 1995.

    WITZEL 1995a: Early Indian History: Linguistic and Textual Parameters. Witzel. Michael.  pp. 85-125 in “The Indo-Aryans of Ancient South Asia”, ed. by George Erdosy. Walter de Gruyter. Berlin, 1995.

    WITZEL 2000a: The Languages of Harappa. Witzel, Michael. Feb. 17, 2000.
    http://talageri.blogspot.in/2018/04/what-is-value-of-new-genomic-evidence.html?m=1

    Vr̥ṣṇi coins with inscriptions in 3 scripts: indus script, Kharoṣṭhī, Brāhmī, dul ayo karba, kol, meḍ, goṭā, vajra, āra kammaṭa 'mint for metal casting, alloys, meḍ iron smelter, gold braid, weapons, brass' (वृ)ष्णी राजञ गणस्य त्रतरस्य

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    The monograph deciphers two Vr̥ṣṇi coins of 1st cent.BCE, with inscriptions in 3 scripts: Indus script, Kharoṣṭhī, Brāhmī, dul ayo karba, kol, meḍ, goṭā, vajra, āra kammaṭa 'mint for metal casting, alloys, meḍ 'iron' smelter, gold braid, weapons, brass' (वृ)ष्णी राजञ गणस्य त्रतरस्य. The name of the issuer of the coin: mint of Vr̥ṣṇi kula पण्य, paṇya traders' guild is written in syllabic scripts of Kharoṣṭhī, Brāhmī, while the nature of the metalwork done inthe mint is decribed in Indus Script hypertexts, metalwork catalogues.

    The platform on which the Indus Script hypertexts are mounted is signified: mēḍa 'platform' rebus: mēṭa 'storeyed mansion (mint)'.
     The compound pictorial motif ligaturing elephant with tiger atop a standard (flag post) is mounted on a platform. மேடை mēṭai , n. [Telugu. mēḍa] 1. Platform, raised floor; தளமுயர்ந்த இடப்பகுதி. 2. Artificial mound; செய்குன்று. (W.) 3. cf. mēṭa. Storey; terraced house or palace; மாடி. விண்ணார் நிலவுதவழ் மேடை (தாயு. பைங்கிளி. 54).మేడ (p. 1028) mēḍa mēḍa. [Tel.] n. A mansion or large house: an upper chamber, a storey, హర్మ్యము, సౌధము. मेंड (p. 390) mēṇḍa m ( H) Edge, margin, or border of a field, esp. as raised: also a ridge or raised edge more generally. (Marathi) Ta. meṭṭu mound, heap of earth; mēṭu height, eminence, hillock; muṭṭu rising ground, high ground, heap. Ma. mēṭu rising ground, hillock; māṭu hillock, raised ground; miṭṭāl rising ground, an alluvial bank; (Tiyya) maṭṭa hill. Ka. mēḍu height, rising ground, hillock; miṭṭu rising or high ground, hill; miṭṭe state of being high, rising ground, hill, mass, a large number; (Hav.) muṭṭe heap (as of straw). Tu. miṭṭè prominent, protruding; muṭṭe heap. Te. meṭṭa raised or high ground, hill; (K.) meṭṭu mound; miṭṭa high ground, hillock, mound; high, elevated, raised, projecting; (VPK) mēṭu, mēṭa, mēṭi stack of hay; (Inscr.) meṇṭa-cēnu dry field (cf. meṭṭu-nēla, meṭṭu-vari). Kol. (SR.) meṭṭā hill; (Kin.) meṭṭ, (Hislop) met mountain. Nk. meṭṭ hill, mountain. Ga. (S.3LSB 20.3) meṭṭa high land. Go. (Tr. W. Ph.) maṭṭā, (Mu.) maṭṭa mountain; (M. L.) meṭāid., hill; (A. D. Ko.) meṭṭa, (Y. Ma. M.) meṭa hill; (SR.) meṭṭā hillock Konḍa meṭa id. Kuwi (S.) metta hill; (Isr.) meṭa sand hill.(DEDR 5058). Rebus: meḍ ‘iron’ Ho.Munda) mẽṛhet iron (metal), meḍ 'iron' (Ho.) med 'copper' (Slavic).
    British Museum. 2nd cent. Hoshiarpur, Punjab.

    A Vrishni silver coin from Alexander Cunningham's Coins of Ancient India: From the Earliest Times Down to the Seventh Century (1891) (loc.cit., Lahiri, Bela (1974). Indigenous States of Northern India (Circa 200 B.C.E to 320 C.E.), Calcutta: University of Calcutta, pp.242 3).
    An identical ancient silver coin (perhaps produced from the same ancient mint) of Vrishni janapada ca. 10 CE with kharoṣṭhī, Brahmi inscriptions and Harappa Script hieroglyphs was sold in an auction in Ahmedabad (August 2016) for Rs. 27 lakhs. In fact, the treasure is priceless and defines the heritage of Bhāratam Janam, 'metalcaster folk' dating back to the 7th millennium of Vedic culture. It signifies a spoked wheel which is the centre-piece of Bharat's national flag. 

    Republic of the Vr̥ṣṇi Peoples (10-40AD), Silver Drachm, MIGIS Type 928 variation, 2.15g. Obv: Standard, topped by a Nandipāda finial and an elephant's head and forepart of a leaping lion below it, in an ornamental railing; Brāhmī legend (Vŗ)shņi Rajaña Ganasya Tratarasya (वृ)ष्णी राजञ गणस्य त्रतरस्य reading anticlockwise outwards below. Rev: Ornate 14-spoked wheel with scalloped outer rim; Kharoṣṭhī legend from 3 o'clock to 9 o'clock: ‘Vrishniirajaña(ganasa) tra(tarasa)’.

    What is the meaning of tratarasa? It means 'saviour of gana'. He is also Rājaña, 'king' of Vr̥ṣṇi gaṇa.

    The expression 'tratarasa' is derived from root: तर m. crossing , passage RV. ii , 13 , 12 ; viii , 96 , 1 Mn. viii , 404 and 407 Ya1jn5. (ifc.MBh. xii; mfn. ( √ तॄ ; g. पचा*दि) carrying across or beyond , saving (? , said of शिवMBh. xii , 10380 Rebus: तर m. = -पण्य Mn. viii , 406; पण्य n. trade , traffic , business Ka1m. Ka1v. (cf. ज्ञान-); n. a booth , shop Das3. (Monier-Williams) Thus, the inscription on the coin signifies the gaa, 'guild' involved in trade, business. This mint of Vr̥ṣṇi पण्य, paṇya traders' guild has issued this coin. The pictorial motifs signify the articles of trade of dul ayokammaṭa, 'alloy metal casting mint': karba'iron', kolhe 'iron smelter' (kul'family, guild'), vajra 'thunderbolt (metallic) weapons' and goṭā ''laterite, ferrite ore', 'gold braid'. 

    The expression 'tratarasa' is also used on another coin.

    Indian-standard coin of Apollodotus I (180–160 BC).Indian-standard coin of Apollodotus I (180–160 BC). Indian-standard coin of Apollodotus I.
    Obv: Sacred elephant with decorative belt and Greeklegend ΒΑΣΙΛΕΩΣ ΑΠΟΛΛΟΔΟΤΟΥ ΣΩΤΗΡΟΣ, "of Saviour King Apollodotus".
    Rev: Zebu bull with Kharoshti legend 𐨨𐨱𐨪𐨗𐨯 𐨀𐨤𐨫𐨡𐨟𐨯 𐨟𐨿𐨪𐨟𐨪𐨯 (MAHARAJASA APALADATASA TRATARASA),[6]"Saviour King Apollodotus".
    Actual size: 15 mm, 1.4 grams.

    "The Vr̥ṣṇi-s were known to Panini and to Kautilya; the latter describes them as a Sangha. In the Mahabharata they are counted amongst the Vratya brotherhood of Katriyas. As one of the Yādava clans they are closely associated with Kr̥ṣṇa in myth and lore. It is said that they migrated to Dwaraka from Mathura, after Kr̥ṣṇ's capital was besieged by the demon Kalayavana. The reference to 'Yavana' here and the subsequent migration from Mathura may have had some historical basis" The coins of the Vr̥ṣṇis are by far the rarest of the so-called 'Tribal' coins of India. Only one silver specimen, from the Alexander Cunningham collection, is known to exist in the British Museum and has been published by Mitchiner as Type 928 in MIGIS.  http://classicalnumismaticgallery.com/advancesearch.aspx
    Vrishni (वृष्णि) Sangha

    Coin. Vr̥ṣṇi (वृष्णि) Sangha. वृष्णि is a term in Rigveda. वृष्णि वृष्ण्/इ or व्/ऋष्णिmfn. manly , strong , powerful , mighty RV.; m. pl. N. of a tribe or family (from which कृष्ण is descended , = यादव or माधव ; often mentioned together with the अन्धकs) MBh. Hariv. &c; n. N. of a सामन् (आर्षेय-ब्राह्मण)


    This is an Indus Script hypertext. 

    It is a composite animal with ligatured elephant-tiger pictorial motifs. It signifies a skambha topped by a pair of fish-fins.

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

    The pellet border is composed of: goṭā 'seed', round pebble, stone' rebus: goṭā ''laterite, ferrite ore''gold braid' खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted down). The railing for the pillar is Vedi, sacred fire-altar for Soma samsthā Yāga. There is evidence dated to ca. 2500 BCE for the performance of such a yajna in Binjor (4MSR) on the banks of Vedic River Sarasvati. The fire-altar yielded an octagonal pillar, which is detailed in ancient Vedic texts as a proclamation of Soma samsthā Yāga.

    Vajra. Tibet. ca. 16-17th cent.


    Three hour-glass shaped vajra-s are shown in a cartouche below the yupa on the coin. Normally Vajrapāi is shown such a vajra which has octagonal edges. kolom'three' rebus: kolimi, kole.l 'smithy, forge' kole.l 'temple'.It is a record of the performance of a Soma samsthā Yāga. It is Vrishni Janapada coin of ca. 10 CE.Cakra, pavi in Vedic tradition is also vajra. Rudra is vajrabāhu 'vajra weapon wielder'; said also of Agni and Indra. वज्र [p=913,1] mn. " the hard or mighty one " , a thunderbolt (esp. that of इन्द्र , said to have been formed out of the bones of the ऋषि दधीच or दधीचि [q.v.] , and shaped like a circular discus , or in later times regarded as having the form of two transverse bolts crossing each other thus x ; sometimes also applied to similar weapons used by various gods or superhuman beings , or to any mythical weapon destructive of spells or charms , also to मन्यु , " wrath "RV. or [with अपाम्] to a jet of water AV. &c ; also applied to a thunderbolt in general or to the lightning evolved from the centrifugal energy of the circular thunderbolt of इन्द्र when launched at a foe ; in Northern Buddhist countries it is shaped like a dumb-bell and called Dorje ; » MWB. 201 ; 322 &c RV. &c; a diamond (thought to be as hard as the thunderbolt or of the same substance with it) , Shad2vBr. Mn. MBh. &c; m. a kind of column or pillar VarBr2S.; m. a kind of hard mortar or cement (कल्कVarBr2S. (cf. -लेप); n. a kind of hard iron or steel L.

    It is a tiger (kola 'tiger' rebus: kol'blacksmith'). It is an elephant (karba, ibha 'elephant' rebus: karba, ib 'iron' ibbo 'merchant'). It is a yupa with caṣāla signifying a Soma samsthā Yāga. It is a cakra, a vajra in Vedic tradition (eraka 'nave of wheel' rebus: erako 'moltencast' eraka, arka 'copper, gold'). arā 'spokes' rebus: āra 'brass' 

    eraka 'nave of wheel' rebus: eraka'molten cast' Vikalpa: kund opening in the nave or hub of a wheel to admit the axle (Santali) Rebus: kunda 'turner' kundār turner (A.) It is a professional calling card of a metalcaster, e.g. dhokra kamar who is a śilpi, artificer of cire perdue bronze and metal alloy pratimā. 

    dula 'pair' rebus: dul'metal casting' PLUS ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' (Rigveda) khambhaṛā 'fish-fin' Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)  kamaṭa = portable furnace for melting precious metals (Telugu) 

    PLUS gōṭā  m A roundish stone or pebble. 2 A marble (of stone, lac, wood &c.) 2 A marble. 3 A large lifting stone Rebus: khoTa 'ingot' PLUS dula 'two' rebus: dul 'metal casting' PLUS dala 'petal' Rebus: ḍhāḷako = a large ingot (G.) ḍhāḷakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati)

    On some sculptural friezes, three tigers or three elephants carry the wheel hypertext to signify iron working in smithy/forge: kolom 'three' rebus: kolimi 'smithy, forge' PLUS karabha, ibha 'elephant' rebus:karba, ib 'iron' ibbo 'merchant' PLUS kola 'tiger' rebus: kol 'working in iron'.

    Art historian and scholar of Bauddham studies, Huntington has identified the following characteristic, common features on the hypertext signified on these coins. I suggest that conclusions indicated by Huntington need to be revised in the context of life-activities of the artisans related to mint-metalwork signified on sculptural hypertexts and Punch-marked coin hypertexts.
    Image result for Magadha janapada, Silver karshapana, c. 4th century BCE

    Magadha janapada, Silver karshapana, c. 4th century BCE
    Weight: 3.45 gm., Dim: 25 x 23 mm.
    Five punches: sun, 6-arm, and three others / Banker's mark
    Ref:  GH 48.


    karibha 'elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron' 
    eraka 'knave of wheel' rebus: erako 'moltencast, copper'; arA 'spokes, rebus: Ara 'brass' khaNDa 'division'
    rebus: kaNDa 'implements' arka 'sun' rebus: arka, eraka 'copper'. Six-spoked hypertext emanating from
    dotted circle is: dhAu 'element, mineral ferrite' PLUS muhA 'furnace quantity, ingot' PLUS kANDa 'arrow'
    rebus: kaNDa 'implements;. Thus, the five PMC hypertexts signify mintwork with iron, molten cast copper,
    iron implements, ingots, furnace work.

    On some sculptural friezes, the 'fish-fin' hypertext is ligatured to the tip of the spokes of the wheel emanating
    from the dotted circle. This signifies: ayo 'fish' rebus: ayas 'metal' aya 'iron'.
    PLUS  khambhaṛā 'fish-fin' rebus: kammaTa 'mint, coiner, coinage'.
    Bhaja Chaitya ca. 100 BCE. Hieroglyphs are: fish-fin pair; pine-cone; yupa: kandə ʻpine' rebus: kaṇḍa 'implements, fire-altar' khambhaṛā 'fish-fin' (Lahnda CDIAL 13640) Ta. kampaṭṭam, kammaṭa 'mint, coiner, coinage'. Yupa: Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: kāṇḍa,'implements'.

    Ligature to 'mintwork' signifier is also shown on the wheel sculptural friezes of Amaravati -- spokes are ligatured on their tips with 'fish-fins' joined together:ayo kammaTa 'iron mintwork' ayo 'fish' PLUS khambhaṛā 'fish-fin'.;

    Amaravati sculpturel friezes: cakra with ligatures.
    Elaborate orthography on sanchi stupa relates the spoked wheel to 'fish-fin' hypertext (mintwork) and also to tAmarasa 'lotus' rebus: tAmra 'copper'.



    1. dotted circle
    2. arrow (three)
    3. twist (three) Some examples replace the 'twist' with 'buns-shaped ingots'. Thus, total six hypertexts emanate from dotted circle as spokes.

    Four components of hypertext are read rebus in Meluhha:

    1. Dotted circle is a Harappa Script hieroglyph and signifies a 'strand' of rope. dhāī˜ 'strand' rebus: dhāu'soft red stone, element'(ferrite ore)

    2. Twist is: मेढा mēḍhā A twist or tangle arising in thread or cord, a curl or snarl. (Marathi) Rebus: meḍ ‘iron’(Ho.)med 'copper' (Slavic languages) medha 'yajña, dhanam'. mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends;kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali).



    Connection to a rope imagery is seen here: 'strand' of rope. dhāī˜ 'strand' rebus: dhāu 'soft red stone, element'(ferrite ore) PLUS मेढा mēḍhā A twist or tangle arising in thread or cord, a curl or snarl. (Marathi) Rebus: meḍ ‘iron’(Ho.) Thus, the signifiers are: meD dhAtu 'iron element' PLUS ayo khambhaṛā 'fish-fin' rebus:aya kammaTa 'iron mint'. Eight spokes relate to अष्टाश्रि yūpo bhavati 'eight-corneres yupa' of a Soma Samsthā yāga

    Thus, together, the hypertext of dotted circle linked to six spokes as the चषालः caṣāla or cakra signifies a weapon with multiple prongs orthographed by sculptors and mintworkers who punched symbols on punch-marked coins. The arrows and twists thus signify: implements and furnaced ingots of dhatu'(ferrite) minerals'.

    Santali glosses

    Hieroglyph: S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773).

    Rebus: Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si.  ʻ relic ʼ(CDIAL 6773)

    षट्--कोण [p= 1108,2] 'six-angled'; hexagon; a six-angled figure  Ra1matUp.  Pan5car;  the thunderbolt of इन्द्र L..
    Image result for kuninda chatresvara coinLocation of the Yaudheya relative to other groups: the Audumbaras, the Vemakas, the Vrishnis, the Kunindas, the Pauravas and the Arjunayanas.
    Kuninda coin. Chatreśvara.  Rajput's of Garhwal and Kumaon trace their ancestry from Kulindas
    Silver coin of the Kuninda Kingdom, c. 1st century BCE.
    Obv: Deer standing right, crowned by two cobras, attended by Lakshmi holding a lotus flower. Legend in Prakrit (Brahmi script, from left to right): Rajnah Kunindasya Amoghabhutisya maharajasya ("Great King Amoghabhuti, of the Kunindas").
    Rev: Stupa surmounted by the Buddhist symbol triratna, and surrounded by a swastika, a "Y" symbol, and a tree in railing. Legend in Kharoshti script, from righ to left: Rana Kunidasa Amoghabhutisa Maharajasa, ("Great King Amoghabhuti, of the Kunindas").
    Triratna? on Taxila coin 185-168 BCE detail http://www.cngcoins.com

    వడము (p. 1124) vaḍamu vaḍamu. [Tel.] n. A very thick rope. మోకు. A garland, దండ. సమర్థతగల. తేరివడము a rope used to drag a car. vaṭa2 ʻ string ʼ lex. [Prob. ← Drav. Tam. vaṭam, Kan. vaṭivaṭara,] N. bariyo ʻ cord, rope ʼ; Bi. barah ʻ rope working irrigation lever ʼ, barhā ʻ thick well -- rope ʼ, Mth. barahā ʻ rope ʼ.vaṭāraka -- , vaṭin -- ; *karṇavaṭikā -- , *yantravaṭa -- .(CDIAL 11212) vaṭāraka -- , varāṭaka -- m. ʻ string ʼ MBh. [vaṭa -- 2]Pa. sa -- vaṭākara -- ʻ having a cable ʼ; Bi. baral -- rassī ʻ twisted string ʼ; H. barrā m. ʻ rope ʼ, barārā m. ʻ thong ʼ. (CDIAL 11217) वराटक [p= 921,1] a rope , cord , string (only ifc. , with f(आ).MBh. xii , 2488 v.l. वरारका वरारक [p= 923,2] n. a diamond L.*karṇavaṭikā ʻ side -- cord ʼ. [kárṇa -- , vaṭa -- 2]WPah. bhal. k*lnɔṛi f. ʻ knots between upper and lower parts of a snow -- shoe, rope pegs to which the distaff in a spinning -- wheel is attached ʼ.(CDIAL 2842) *yantravaṭa ʻ cord of a machine ʼ. [Cf. Pa. yantasutta- n. -- yantrá -- , vaṭa -- 2]WPah.bhal. jaṇṭḷoṛ m. ʻ long string round spinning wheel ʼ.(CDIAL 10413)  Ta. vaṭam cable, large rope, cord, bowstring, strands of a garland, chains of a necklace; vaṭi rope; vaṭṭi (-pp-, -tt-) to tie. Ma. vaṭam rope, a rope of cowhide (in plough), dancing rope, thick rope for dragging timber. Ka. vaṭa, vaṭara, vaṭi string, rope, tie. Te. vaṭi rope, cord. Go. (Mu.) vaṭiya strong rope made of paddy straw (Voc.3150). Cf. 3184 Ta. tār̤vaṭam. / Cf. Skt. vaṭa- string, rope, tie; vaṭāraka-, vaṭākara-, varāṭaka- cord, string; Turner, CDIAL, no. 11212.(DEDR 5220) வடம்¹ vaṭam n. < vaṭa. 1. Cable, large rope, as for drawing a temple-car; கனமான கயிறு. வடமற்றது (நன். 219, மயிலை.). 2. Cord; தாம்பு. (சூடா.) 3. A loop of coir rope, used for climbing palm-trees; மரமேறவுதவுங் கயிறு. Loc. 4. Bowstring; வில்லின் நாணி. (பிங்.) 5. String of jewels; மணிவடம். வடங்கள் அசையும்படி உடுத்து (திருமுரு. 204, உரை). (சூடா.) 6. Strands of a garland; chains of a necklace; சரம். இடை மங்கை கொங்கை வடமலைய (அஷ்டப். திருவேங்கடத் தந். 39). 7. Arrangement; ஒழுங்கு. தொடங்கற் காலை வடம்பட விளங்கும் (ஞானா. 14, 41). தாழ்வடம் tāḻ-vaṭam n. < id. +. 1. [M. tāḻvaṭam.] Necklace of pearls or beads; கழுத் தணி. தாவி றாழ்வடம் தயங்க (சீவக. 2426). 2. String of Rudrākṣa beads; உருத்திராக்கமாலை. மார்பின்மீதிலே தாழ்வடங்கள் மனதிலே கரவடமாம் (தண்டலை. சத. 29).

    వటగ (p. 1122) vaṭaga , వటారి or వఠారి vaṭaga. [Tel.] adj. Clever, skilful, నేర్పుగల


    वराटक m. a cowry , Cypraea Moneta (= 1÷20 of a काकिणी or of a पणKa1v. Katha1s. Sa1h. &c (also f(इका).(Monier-Williams)

    वराटक the seed vessel of a lotus-flower Naish. (Monier-Williams)

    dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ;-- Si.  ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773) धातु 1[p= 513,3]m. layer , stratum Ka1tyS3r. Kaus3.
    constituent part, ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. त्रि-ध्/आतु , threefold &c ; cf. त्रिविष्टि- ,सप्त- , सु-) RV. TS. S3Br. &c element , primitive matter (= महा-भूत L. MBh. Hariv. &c (usually reckoned as 5 , viz. ख or आकाश , अनिल , तेजस् , जल , भू; to which is added ब्रह्म Ya1jn5. iii , 145 ; or विज्ञान Buddh. )a constituent element or essential ingredient of the body (distinct from the 5 mentioned above and conceived either as 3 humours [called also दोष] phlegm , wind and bile BhP. [cf. पुरीष , मांस , मनस् , ChUp. vi , 5 , 1] ; or as the 5 organs of sense, इन्द्रियाणि [cf. s.v. and 
    MBh. xii , 6842 , where श्रोत्र , घ्राण , आस्य , हृदय and कोष्ठ are mentioned as the 5 धातु of the human body born from the either] and the 5 properties of the elements perceived by them , गन्ध , रस , रूप , स्पर्श andशब्द L. ; or the 7 fluids or secretions , chyle , blood , flesh , fat , bone , marrow , semen Sus3r. [ L. रसा*दि or रस-रक्ता*दि, of which sometimes 10 are given , the above 7 and hair , skin , sinews BhP. ])primary element of the earth i.e. metal , mineral , are (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e. 
    grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relicsL. [cf. -गर्भ]). dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf.tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]

     M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to ironʼ); (CDIAL 6773) धावड (p. 250) dhāvaḍa m A class or an individual of it. They are smelters of iron. In these parts they are Muhammadans.  धावडी (p. 250) dhāvaḍī a Relating to the class धावड. Hence 2 Composed of or relating to iron. 

    Archaeological evidences for the evolution of the tied fish-fin hypertext

    The 'tied fish-fin' hypertext shown on the Vr̥ṣṇi coins is traceable to the early signifer of a fish tied with a rope with circumscript molluscs. The word for rope is dã̄wrī rebus: dhavaḍa'iron smelter'.

    BEgram ivory. Hackin 1954, p.169, figs.18 Ivory? Size: 10.6 x 15.8 x 0.4 cm Rectangular plaque depicting three palmettos with curled-up ends, held together by rings made up of lotus petals. Between the palmettos elongated fruit is shown . This scene is bordered by a band depicting a series of four-leaved flowers set in a square frame. The centre-piece is 'fish' tied with molluscs.
    Image result for fish fin mint bharatkalyan97

    The expressions for the hieroglyph multiplex are: 


    khambhaṛā 'fish-fin' rebus kammaTa 'mint, coiner, coinage'. 

    ayo, aya 'fish' rebus: aya 'iron' ayas 'metal'
    dula 'pair' rebus: dul 'metal casting'.




    śrivatsa symbol [with its hundreds of stylized variants, depicted on Pl. 29 to 32] occurs in Bogazkoi (Central Anatolia) dated ca. 6th to 14th cent. BCE on inscriptions Pl. 33, Nandipāda-Triratna at: Bhimbetka, Sanchi, Sarnath and Mathura] Pl. 27, Svastika symbol: distribution in cultural periods] The association of śrivatsa with ‘fish’ is reinforced by the symbols binding fish in Jaina āyāgapaṭas (snake-hood?) of Mathura (late 1st cent. BCE).  śrivatsa  symbol seems to have evolved from a stylied glyph showing ‘two fishes’. In the Sanchi stupa, the fish-tails of two fishes are combined to flank the ‘śrivatsa’ glyph. In a Jaina āyāgapaṭa, a fish is ligatured within the śrivatsa  glyph,  emphasizing the association of the ‘fish’ glyph with śrivatsa glyph.

    (After Plates in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi, Agama Kala Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77)

    Khandagiri caves (2nd cent. BCE) Cave 3 (Jaina Ananta gumpha). Fire-altar?, śrivatsa, svastika
    (hieroglyphs) (King Kharavela, a Jaina who ruled Kalinga has an inscription dated 161 BCE) contemporaneous with Bharhut and Sanchi and early Bodhgaya.





    clip_image003
    clip_image004[3]Tree shown on a tablet from Harappa.
    [Pl. 39, Savita Sharma, opcit. Tree symbol (often on a platform) on punch-marked coins; a symbol recurring on many tablets showing Sarasvati hieroglyphs].


    Torana from Mathura and Mathura lion capital which incorporates many hieroglyph elements later to be found in Bharhut-Sanchi: Pair of tigers (lions?), molluscs, srivatsa, i.e. kampaa 'mint' PLUS sippi 'shell' rebus: sippi 'artisan, sculptor, architect'
    Click the image to open in full size.Sanchi and Bharhut stupa reliefs on a torana. Two mahouts ride on two elephants. One mahour carries a flagpost with a standard of 'srivatsa' hieroglyphmultiplex. This has been explained as metalcraftsmanship.

    Kushana period, 1st century C.E.From Mathura Red Sandstone 89x92cm
    books.google.com/books?id=evtIAQAAIAAJ&q=In+the+image...

    Ayagapatta, Kankali Tila, Mathura.


    Hieroglyph: daürā 'rope' Rebus: dhāvḍā 'smelter' 

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

    Rebus: dhāvḍī ʻ composed of or relating to iron ʼ (Marathi) धवड [ dhavaḍam (Or धावड) A class or an individual of it. They are smelters of iron.धावड [ dhāvaḍa ] m A class or an individual of it. They are smelters of iron. धावडी [ dhāvaḍī ] a Relating to the class धावड. Hence 2 Composed of or relating to iron. (Marathi) dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf.tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si.  ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773). 


    Full Text , 10 pages, 23 April 2018 of Chairman, Rajya Sabha's refusal to admit the notice of motion against CJI

    Yamuna was a tributary of Vedic River Sarasvati. Why was avabhr̥ta 'final bath' taken in Yamuna river in Sarasvatiya Satra? -- Vedveer Arya

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    Why was avabhr̥ta 'final bath' taken in Yamuna river in Sarasvatiya Satra?
    Pañcavimśa Brāhmaṇa  (PB) mentions that the Avabhrita or final bath must be performed in Yamuna River in the Janapada of Kārapachava at the end of the Sārasvatiya Satra. Seemingly, Yamuna, a tributary of Sarasvati also changed the course at the same time when Sarasvati lost in the sands of desert. It appears that the Avabritha ritual might have been introduced to commemorate the past confluence of Sarasvati and Yamuna. Most probably, the confluence of Sarasvati and Yamuna was located in Kārapachava Janapada in Rigvedic era and this Janapada was located in between Nahan and Paonta Sahib and before Jagadhari,Yamunanagar in Haryana.
    Comment
    In Mahabharata 9.53.11, Sri Balar
    āma's pariyātra includes a visit to Kārāpacava (where the Yamuna originates) after visiting PlaskaPrasravana (where the Sarasvati originates). 
    I suggest that the close proximity of the origins in Himalayan glaciers of the two Himalayan rivers can be explained.
    Close by Yamunotri are Rupin-Supin glaiers which yield the Tamasa (Tons) and Giri Rivers. "The Tons was a tributary of the Yamuna, joining the latter at Kals in the north western part of the Dehradun valley. It was born from the confluence of two rivers – the Supin, which arose from a glacier near the Har-ki-dun valley in Garhwal and the Rupin, traced to a glacier in the environs of the Rupin Pass on the border of Uttarakhand and Kinnaur in Himachal Pradesh." Due to plate tectonic events, theTamasa-Giri rivers alternately were also tributaries of River Sarasvati, not far from Har-ki-doon (Yamunotri) in the foothills of the Bandarpunch massif. https://shyamgopan.com/2013/09/15/a-river-story-part-one/
    Looking towards the Upper Rupin Valley (Photo: Suma Rao)Looking towards the Upper Rupin valley
    A remarkable Yamuna tear is registered close to Paonta Saheb on the Siwalik ranges, just below the Bata valley. One geological explanation is that Bata valley received the waters of Tamasa-Giri (Sarasvati and Yamuna Rivers) which further flowed through Markanda River to constitute the Sarasvati River system on the plains near Jagadhri. The reference to avabhr̥ta in Sarasvati Satra is likely to be close to the Rupijn-Supin glaciers which supplied the glacier waters into Yamuna which emerged through the Yamuna tear (near Paonta Saheb) to take an eastwardly course. It is for geological researchers to chronicle these glacial flows and deflection of Yamuna to be an east-flowing river while it was in ca. 3rd millennium BCE a west--flowing river and a tributary of River Sarasvati. The changes in the course of Yamuna River may explain the river surrounding Rakhigarhi, the largest archaeological site of Sarasvati Civilization. The location of Karapacava is likely to be close to Tamasa-Giri rivers.
    The Upper Watershed of River Tons and River Yamuna until the two join near Dehradun. Dark line marks the divide between two watersheds. Red letter N marks village Netwar which is located at the confluence of River Rupin with River Supin which is the name given to the combined stream of Supingad and Tons gad. 
    Image result for bata divide siwalik
    Bata-Markanda divide near Paonta Saheb, which explains the changes in the courses of tributaries joining Vedic River Sarasvati,north of Jagadhri (Sivalikranges)
    Image result for bata valley siwalik
    Yamuna tear as seen from IRS Satellite image.
    Related image
    "Vedic Sarasvati. Tamasa (with Yamuna) and Sutlej rivers, and Drishadvati (now represented by Chautang) were tributaries of River Sarasvati. [KS Valdiya, 1996].
    Image result for tamasa giri rivers"
    Yamuna River at Yamunotri
    Yamuna River at Yamunotri. The sacred shrine of Yamunotri, source of the river Yamuna, is the westernmost shrine in the Garhwal Himalayas, perched atop a flank of Bandar Poonch Parvat...The actual source, a frozen lake of ice and glacier (Champasar Glacier) located on the Kalind Mountain at a height of 4,421 m above sea level, about 1 km further up, is not frequented generally as it is not accessible; hence the shrine has been located on the foot of the hill. The approach is extremely difficult and pilgrims therefore offer puja at the Yamuna Devi temple itself...The pujaris of Yamunotri come from the village of Kharsali near Janki Chatti (thermal springs, 7 kms.away). They are the administrators of the sacred place and perform religious rites. https://en.wikipedia.org/wiki/Yamunotri
    Uttarakhand calling: Trip to Yamunotri & Gangotri in a hatchback-route-map-day-1.png

    Image result for harkidun glacier netwar


    The Scholar Whom Audrey Truschke Cites Finds Her Tweet ‘Shocking’

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    Robert Goldman and Audrey Truschke.
    Snapshot
    • Prof Robert Goldman, whose translation of the Ramayana Audrey Truschke has cited to defend her claim that Sita called Lord Rama a “misogynistic pig”, says Truschke “is in no way quoting our translation but giving her own reading of the passage in her own highly inappropriate language”.
    On 19 April, Audrey Truschke, Assistant Professor of South Asian History at Rutgers University, Newark, US, posted the following tweet:
    There was a time when Dasaratha's sons could handle criticism from Sita. You should hear what she said to Rama during the agnipariksha, and her unseemly accusations against Lakshmana when he hesitated to go after Rama in the golden deer incident.
    For anyone unfamiliar with these episodes, in Valmiki's telling (I'm loosely translating here): During the agnipariksha, Sita basically tells Rama he's a misogynist pig and uncouth. During the golden deer incident, Sita accuses Lakshmana of lusting after her and setting up Rama.
    Hundreds of aghast and angered people protested and challenged her to provide a basis for this outrageous claim – which were the exact Sanskrit verses in the Ramayana, where Sita had made such statements?
    In response, she provided a reference to “3.43 and 6.103 respectively, of the Sanskrit critical edition”.
    The next day, however, she admitted that this was incorrect, and tweeted:
    Re over here, let me correct the reference for Sita's agnipariksa to 6.102-106; criticism from Sita in 6.104. Given here in the English translation of Goldman. Note, especially, vv. 5, 7, and 14.

    The 'Goldman' she is referring to is Professor Robert P Goldman, Catherine and William L Magistretti Distinguished Professor in South and Southeast Asian Studies, Department of South and Southeast Asian Studies, The University of California at Berkeley. He is one of the foremost Sanskrit scholars in the United States and translator of the Ramayana.
    So, Venkat Vaikuntanarayanan, a senior IT professional based in Florida, decided to write to Prof Goldman. Below is the relevant part of his mail:
    Dear Professor Goldman,
    I am writing this email with respect to Twitter posts by Dr Audrey Truschke of Rutgers University.
    Dr Truschke has said in these posts that in the Ramayana, Sita basically "tells Rama he is a misogynist pig”, and seems to have based these on her reading of the "critical edition" of the Ramayana, by which I think she means your translation of the Ramayana, with critical commentaries. Her actual posts are:
    For anyone unfamiliar with these episodes, in Valmiki’s telling (I’m loosely translating here): During the agnipariksha, Sita basically tells Rama he’s a misogynist pig and uncouth.
    Folks, I provided the citation to the Sanskrit critical edition. If the accusation is that I did not put a scan of the text up here, well, as a professor I can live with the accusation that I didn’t do your homework for you. #Ramayana #AcademicTwitter
    On page 53 of the translation of the Yuddha Kanda, you write: “Wiping her tear stained face, she replies to her husband with calm and reasoned dignity, defending her honor, asserting her loyalty, and criticizing him for harboring feelings of misogyny. She accuses him of giving way to anger like some common man...”
    In your view, can this be the basis for saying that in the Ramayana, Sita called Rama a misogynist pig? Would that be a fair characterization of the interaction between Rama and Sita towards the end of the Yudha Kanda?
    I appreciate your taking the time to read this email, and would greatly appreciate your comments.
    With best wishes,
    Sincerely,
    Venkat Vaikuntanarayanan
    Below is the full text of Prof Goldman’s reply, in which he says that he finds the episode “extremely disturbing”, called Truschke’s language “highly inappropriate”, and says that what Truschke is saying has “nothing to do with our translation”.
    Dear Venkat,
    Thanks for your message. I find it extremely disturbing but perhaps not unexpected to learn that AT (Audrey Trushcke) has used such inappropriate language and passed it off as coming from Valmiki. Neither the great poet nor we used anything like such a vulgar diction and certainly Sita would never have used such language to her husband even in the midst of emotional distress. Nowhere in our translation of the passage do we use words such as you mention AT as using.
    When she refers to the "critical edition” she is referring to the Sanskrit text of the Ramayana as reconstructed by the scholars at the Oriental Institute of Baroda. We have, of course translated the whole text but she is in no way quoting our translation but giving her own reading of the passage in her own highly inappropriate language.
    Sita is, or course distressed by Rama’s words when she is first reunited with him after her captivity. But her speech is dignified and moving. We have tried to capture her level of diction in our translation which nowhere uses either an anachronistic term like “misogynistic” or the utterly vulgar and wildly inappropriate term “pig”. Quite shocking, really. It seems as if she is superimposing her own feelings on the poetry of the Adikavi. It has nothing to do with our translation.
    For your information I am attaching a copy of our published translation of the relevant passage.
    With all best wishes.
    Dr R P Goldman
    The following is the text that Prof Goldman has provided, and which Audrey Truschke is citing to defend her claim:
    23. ‘‘Or, Sita, set your mind on Sugriva, lord of the monkeys, or on the raksasa lord Vibhisana, or on whomever you please.
    24. ‘‘For surely, Sita, once Ravana had seen you, so enchanting with your heavenly beauty, he would not long have left you unmolested while you were dwelling in his house.’’
    25. When Maithili, who deserved to hear only kind words, had heard those cruel words of her beloved after such a long time, she shed tears and trembled violently, like a vallari creeper struck down by the trunk of an elephant lord.
    The end of the one hundred third sarga of the Yuddha Kanda of the Sri Ramayana.
    Sarga 104
    1. When Vaidehi was addressed in this cruel and horrifying manner by the furious Raghava, she was deeply wounded.
    2. Hearing those cutting words of her husband – words such as she had never heard before – in the presence of that great multitude, Maithili was overcome with shame.
    3. Pierced, as it were, by those verbal barbs, the daughter of Janaka seemed to shrink within herself and gave way to bitter tears.
    4. Wiping her tear-stained face, she replied softly to her husband in a faltering voice:
    5. ‘‘How can you, heroic prince, speak to me with such cutting and improper words, painful to the ears, as some vulgar man might speak to his vulgar wife?
    6. ‘‘I am not as you think of me, great-armed prince. You must believe in me, for I swear to you by my own virtue.
    7. ‘‘You harbor suspicion against all women because of the conduct of the vulgar ones. If you really knew me, you would abandon your suspicion.
    8. ‘‘If I came into contact with another’s body against my will, lord, I had no choice in this matter. It is fate that was to blame here.
    9. ‘‘My heart, which I do control, was always devoted to you. But I could not control my body, which was in the power of another. What could I have done?
    10. ‘‘If, my love, you do not truly know me despite our long-nurtured love and intimacy, then surely I am lost forever.
    11. ‘‘When you dispatched the hero Hanuman to search for me, why, heroic prince, did you not repudiate me then, while I was still being held in Lanka?
    12. ‘‘No sooner had I heard your words to that effect, heroic prince, than, abandoned by you, I would have abandoned my own life right before the eyes of that monkey lord.
    13. Then you would not have had to risk your life in a useless effort nor would your allies have had to suffer hardship to no purpose.
    14. But now, tiger among men, you have given way to anger like some lesser man, taking into account only that I am a woman.
    15. ‘‘Since my name is derived from Janaka, you failed to take into account the fact that I was born from the earth itself, nor, though you are an expert judge of conduct, have you given due consider- ation to my virtuous conduct.
    16. ‘‘Moreover, you do not weigh the fact that, as a boy, you firmly clasped my hand while I was but a child. My devotion, my virtuous conduct – you have turned your back on all of that.’’
    17. As she was speaking in this fashion, Sita turned, weeping, to Laksmana, who stood there, despondent and brooding. Then she spoke, her voice choked with tears.
    18. ‘‘Build me a pyre, Saumitri, the only remedy for this calamity. I cannot bear to live tainted by these false allegations.
    19. ‘‘Rejected in this public gathering by my husband, who is not satisfied with my virtues, I shall enter the fire, bearer of oblations, so that I may follow the only path proper for me.’’
    20. When Laksmana, slayer of enemy heroes, had been addressed in this fashion by Vaidehi, he was overcome with anger and closely studied Raghava’s face.
    21. But, sensing Rama’s intentions, which were betrayed by his facial expression, mighty Saumitri, obedient to Rama’s wishes, built the pyre.
    22. Then Vaidehi slowly and reverently circumambulated Rama, whose face was downcast, and approached the blazing fire, eater of oblations.
    23. After making her obeisance to the gods and the brahmans, Maithili cupped her hands in reverence and, in the presence of Agni, said this:
    24. ‘‘Since my heart has never once strayed from Raghava, so may Agni, the purifier, witness of all the world, protect me in every way.’’
    25. When she had spoken in this fashion, Vaidehi reverently cir-cumambulated the fire, eater of oblations. Then, with complete detachment, she entered the blazing flames.
    26. The vast crowd assembled there, filled with children and the aged, watched as Maithili entered the fire, eater of oblations.
    27. As Sita entered the fire, a deafening and prodigious cry of ‘‘Alas! Alas!’’ arose from the raksasas and monkeys.
    The end of the one hundred fourth sarga of the Yuddha Kanda of the Sri Ramayana.
    Thus, the very translator whose work Audrey Truschke is citing to make her claims, is calling her behaviour “quite shocking”. “(S)he is in no way quoting our translation but giving her own reading of the passage in her own highly inappropriate language.”
    “…(O)ur translation… nowhere uses either an anachronistic term like ‘misogynistic’ or the utterly vulgar and wildly inappropriate term ‘pig’. Quite shocking, really. It seems as if she is superimposing her own feelings on the poetry of the Adikavi. It has nothing to do with our translation.”
    How will Ms Truschke respond now?
    (Swarajya is grateful to Roopen Roy for giving us access to the e-mail exchange.)

    Gāndhāra Viṣṇu sculpture, two Huvishka coins from Kashmir Smast, Ai Khanoum antefixae are Indus Script hypertexts

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    https://tinyurl.com/ycgc7axa

    This monograph demonstrates that the unique sculpture of Gāndhāra Viṣṇu, two Huvishka coins from Kashmir Smast, Ai Khanoum antefixae are Indus Script hypertexts read rebus as metalwork catalogues.

    Thanks to Osmund Bopearachch for the exquisite pictures which are sourced from his 2016 presentation. This monograph deciphers the meaning of the tree fronting Gāndhāra Viṣṇu and the child emerging from the branches of the leafless tree. The long garland worn by Gāndhāra Viṣṇu signifies dã̄w 'garland'PLUS vaa 'rounded, circle' read rebus as a hypertext expressiondhā̆vaḍ'smelter'.

    Fourviews of sculpture made of schist. Eight-armed Viṣṇu. Gāndhāra Private collection. 
    Fronting Viṣṇu is a leafless tree. A baby is held between the branches of the leafless tree.Cakra is seen to the left of the seat on which Viṣṇu is seated. Viṣṇu wears a long garland. Boppearachchi notes that the broken spherical head of the mace (danda) posed on the ground, next to the right foot of Viṣṇu, has survived.  Bhū Devī holds up the feet of Viṣṇu in adoration.  


    Source: Osmund Bopearachch ,2016,  Emergence of Viṣṇu and Śiva Images in India: Numismatic and Sculptural Evidence. Paper presented at: From Alexander the Great to Kanishka: Numismatic Evidence in ConstructingEarly Central Asian and Indian  History With Osmund Bopearachchi.  May 14, 2016,   Education Studios, Asian  Art  Museum, San Francisco. 

    "Could the child emerging from branches be the personification of thr tree?" asks Boppearachchi. 

    The answer is. YES. The sculpture is composed of Indus Script hypertexts. 

    The answer is provided by Indus Script Cipher which is the framework for the pictorial narrative. 

    The Meluhha rebus readings of the pictorial motifs signify a blacksmith working with a smelter. The rebus reading in the genre of Indus Script Cipher is validated further by the following: 

    1) the ringstones of the type used in Sarasvati Civiliation are also found in Ai Khanoum archaeological site; and 
    2) the readings of the uniquely styled architetural features of antefixae of Ai Khanoum are also seen on many capital pillars of Ancient Bharat.

    Both these evidences point to Ai Khanoum as a contact area of Sarasvati Civilization.

    Pk. ḍhaṁkhara -- m.n. ʻ branch without leaves or fruit ʼ (CDIAL 5524) Rebus: tamkāru, damgar 'merchant' (Akkadian) ḍānro 'a term of contempt for a blacksmith' (N.)(CDIAL 5524). dhamkara 'leafless tree' Rebus: dhangar 'blacksmith'.

    कुटि a [p= 288,2] m. a tree L., the body कुठि [p= 289,1]mfn. " leafless , bare " or " crooked , wry " (Comm. ; said of a tree) (ṣaḍvimśa Brāhmaṇam. a tree L., a mountain (Monier-Williams) ku'tree' rebus1: kuhi 'smelter'; rebus 2: kua 'boy, son' ku'girl, daughter' (Skt.)

    Hypertext signified by the child emerging from the tree branches: Kor. (O.) kudde dwarf. Tu. kuddya, kudya shortness; short, small, dwarfish (DEDR 1851) *kuḍa1 ʻ boy, son ʼ, °ḍī ʻ girl, daughter ʼ. [Prob. ← Mu. (Sant. Muṇḍari koṛa ʻ boy ʼ, kuṛi ʻ girl ʼ, Ho koakui, Kūrkū kōnkōnjē); or ← Drav. (Tam. kur̤a ʻ young ʼ, Kan. koḍa ʻ youth ʼ) T. Burrow BSOAS xii 373. Prob. separate from RV. kŕ̊tā -- ʻ girl ʼ H. W. Bailey TPS 1955, 65. -- Cf. kuḍáti ʻ acts like a child ʼ Dhātup.] NiDoc. kuḍ'aǵa ʻ boy ʼ, kuḍ'i ʻ girl ʼ; Ash. kūˊṛə ʻ child, foetus ʼ, istrimalī -- kuṛäˊ ʻ girl ʼ; Kt. kŕūkuŕuk ʻ young of animals ʼ; Pr. kyúdotdot;ru ʻ young of animals, child ʼ, kyurú ʻ boy ʼ, kurīˊ ʻ colt, calf ʼ; Dm. kúŕa ʻ child ʼ, Shum. kuṛ; Kal. kūŕ*lk ʻ young of animals ʼ; Phal. kuṛĭ̄ ʻ woman, wife ʼ; K. kūrü f. ʻ young girl ʼ, kash. kōṛī, ram. kuṛhī; L. kuṛā m. ʻ bridegroom ʼ, kuṛī f. ʻ girl, virgin, bride ʼ, awāṇ. kuṛī f. ʻ woman ʼ; P. kuṛī f. ʻ girl, daughter ʼ, P. bhaṭ. WPah. khaś. kuṛi, cur. kuḷī, cam. kǒḷā ʻ boy ʼ, kuṛī ʻ girl ʼ; -- B. ã̄ṭ -- kuṛā ʻ childless ʼ (ã̄ṭa ʻ tight ʼ)? -- X pṓta -- 1: WPah. bhad.  ʻ son ʼ, kūī ʻ daughter ʼ, bhal. ko m., koi f., pāḍ. kuākōī, paṅ. koākūī.

    koṭu a male child (generally used with reference to caste or profession), usually, but not always, with the idea of praise. It is also occasionally used to indicate the young of animals. Thus, baṭa-koṭu, a (real) son of a Brāhmaṇ, a good Brāhmaṇ; chāna-koṭu, a carpenter's son, a real son of a carpenter, a good carpenter; harạna-koṭu, a fawn (p. 349a, l. 24); mö̃shĕ-koṭu, a buffalo-calf; cf. Gr.Gr. 132 (K.Pr. 174; H. xii, 25) కొడుకు koḍuku or కొడుకడు koḍuku. [Tel.] n. A son. పెండ్లికొడుకు a bridegroom. (Telugu)

    खोड khōḍa A tree of which the head and branches are broken off, a stock or stump: also the lower portion of the trunk--that below the branches (Marathi)  K. khonḍu ʻ broken, maimed (CDIAL 3792) kuṭa2°ṭi -- , °ṭha -- 3°ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98.(CDIAL 3228)kuṭa2°ṭi -- , °ṭha -- 3°ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś. Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98.(CDIAL 3228) 

    kō̃da-bal, a brick-kiln or a potter's kiln; kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). -- khasüñü -- खस&above;ञू&below; । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 133, where the causal form of the verb is used. payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (a potter's, a lime-kiln, and brick-kiln, or the like); a furnace (for smelting). -thöji -था&above;जि&below; or -thöjü -था&above;जू&below; । परिपाक-(द्रावण-)मूषा f. a crucible, a melting-pot. -ʦañĕ -च्&dotbelow;ञ । परिपाकोपयोगिशान्ताङ्गारसमूहः f.pl. a special kind of charcoal (made from deodar and similar wood) used in smelting furnaces. -wôlu -वोलु&below; । धात्वादिद्रावण-इष्टिकादिपरिपाकशिल्पी m. a metal-smelter; a brick-baker. -wān -वान् । द्रावणचुल्ली m. a smelting furnace.sērĕ-kajāba सेर्य-कजाब । इष्टिकाकूटम् m. a pyramid-shaped pile of bricks. -kölib -का&above;लिब् । इष्टिकायन्त्रम् m. a brick-mould (cf. ). -kō̃da -कोँद । इष्टिकाभ्राष्ट्रः f. a brick-kiln(Kashmiri) kõdār'turner' (Bengali)

    कोड kōḍa n (Esp. in poetry.) Holding admiringly or fondly: also fondling, tiddling, or caressing (a child or any pet, idol, or hobby): also treating delicately and daintily. 2 (Esp. in poetry.) Longing, craving, hankering, esp. with implication of squeamishness or fancifulness. v पुर, पुरव Ex. त्या रामाचें नांव गोड ॥ ज्याचि कथा त्याहुनि वाड ॥ जे लीला ऐकतां पुरे कोड ॥. Also ऐसीया जिवाचिया कोडी असति ॥ संसाराचिया बा दवडी ॥. 3 This word is, ever and anon, occurring in poetry with the force or bearing of such words as Airiness, lightsomeness, playsomeness, gaysomeness, flauntiness, delicateness. Ex. येक करताळिया वाजवुनि ॥ कोडें नृत्य करिति त्याजपुढें ॥. Also म्हणून उभयाचें कोड येका सारिखें ॥. Also करिति सत्कर्में कोडें ॥. Also तेथें अराणु- केचेनि कोडें ॥ बैसलिया उठों नावडे ॥ &c. 4 Any object whatever exciting or affording admiration, fondness, tender pleasure, or soft enjoyment. Ex. जसी बहुरवितप्ता सावली गोड वाटे ॥ तसी वनीं पति- लाडें मानिता गोड वाटे ॥. See the explication and examples under कौतुक Sig. I. कौतुक kautuka n (S) A wonder or marvel; any object (a person, thing, act, event, appearance) exciting surprise, admiration, fondness, or delight. Ex. त्याचे बोलण्याचें कौ0 वाटतें; ज्या पदार्थाचें ज्यास कौ0 वाटत नाहीं त्यास तो देउं नये. 2 Holding admiringly or fondly: also caressing, fondling, cockering, and indulging (of a child, a hobby gen.): also treating delicately and daintily. v राख or ठेव with नें. 3 Festivities, sports, diversions, shows, plays, song, dance. 4 Amusement, enjoyment, entertainment, sport.  कौतुकी kautukī a (कौतुक) Playful, gay, delighting in sports and diversions. 


    Image result for kashmir smastBronze coin of Huviška from Kashmir Smast (limestone caves) depicting elephant rider and eight armed Viṣṇu. Private collection, Peshawar. Kashmir Smast. Conch shell (in front of the chest), club and cakra are identified. A plant sprouts between the legs. It is actually a leaf-less tree, showing only tree branches, but without leaves.
     Copper tetradrachm, Gandharan mint, issued under Huvishka (150-190 CE) early in his reign, 17.11 g, 26 mm. (BM 1991,0416.4). Eight-armed Viṣṇu.
    Bronze coin of Huvishka. British Museum.



    Palace. Ai Khanoum. Afghanistan. The ring stones point to the link of architectural devices with Sarasvati civilization.

    The ring stonescompare with the ring stones of Dholavira, Harappa (white limstone ring stone) and Mohenjo-daro perhaps used secure wooden posts at gateways to the city and multi-storeyed buildings.
    Image result for dholavira ring stonesImage result for dholavira ring stonesImage result for dholavira ring stonesRelated imageDholaviraRelated imageHarappaMohenjo-daro

    Related image


    Architectural antefixae with Hellenistic "Flame palmette" design, Ai-Khanoum, 3rd cent. BCE. Winged antefix, a type only known from Ai-Khanoum. Antefix with palmette. Afghanistan, Aï Khanoum, From the administrative quarter of the city 3rd century BC Terracotta 35 x 15 x 17 cm An antefix (from Latin antefigere, to fasten before) is a vertical block which terminates the covering tiles of a tiled roof.

    Antefix
    Antefix. "Upper fixture from the Parthenon, partly restored."-Whitney, 1902

    Sanchi, Great Stupa: triple elephant capital on gateway, with bull-riders above
    http://www.columbia.edu/itc/mealac/pritchett/00routesdata/bce_199_100/sanchi/animals/sanch2x2x02.jpg
    Image result for elephant capital sankissaRelated imageSankissa (Sankasya) elephant capital, UP, Farrukhabad

    Base of pillar, Indo-Corinthian capitals and elephants from base of stupa, and other architectural fragments, Jarwal-GarhiPhotograph of the base of a pillar, Indo-Corinthian capitals and other elements from Jarwal-Garhi, taken by Joseph David Beglar in the 1870s. In his report for the years 1872-73 A. Cunningham wrote, 'The Corinthian order is found in all the Buddhist ruins in Gandhara to the West of the Indus, and in Manikyala to the East...No piece of shaft has yet been discovered, but the bas-relief shows that there were both round and square pillars... The capitals of the Indo-Corinthian pillars are by far the most beautiful examples of Indo-Greek architecture which have come down to us...The early date I assign to the finest specimen...[is] the latter half of the 1st century BC...Among the sculptures exhumed from the courtyard of the Jamal-garhi stupa there were several small figures of elephants...with the trunk resting on the ground and holding a flower.' http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/b/019pho000001003u01017000.html
    Image result for makara capital sanchiSanchi. Pilars with capitals.

    On the pillar where makara is the capital, the rebus reading is: ayo 'fish' rebus: aya 'iron' PLUS khambhaṛā m. ʻ fin ʼ rebus: kammata 'mint, coiner, coinage'; makara 'composite animal' rebus: dhmakara 'forge-blower', dhamaka 'blacksmith'


     On the pillar where pericarp of lotus is the capital: कर्णक kárṇaka 'pericarp of lotus' rebus: karaṇī 'scribe, supercargo', kañi-āra, कर्णक kárṇaka 'helmsman'.
    Antefix (Beng Mealea (Svay Leu, Siem Reap)) - style of Angkor Vat, Collection Asie du Sud-Est, Musée national des Arts asiatiques Guimet, Paris.

    Ai-Khanoum IS located at the doorstep of the Maurya Empire in Bharat.
    The Kandahar Bilingual Rock Inscription was located at the edge of the Indian realm, near the border with the Greco-Bactrian kingdom and Ai-Khanoum.
    Image result for khalsi north face of the rock
    Pillars of Ashoka - Abacus of the Ashokan Rampurva capital, 3rd century BCE.
    Abacus of the Ashokan Rampurva capital, 3rd century BCE. The abacus of the bull capital shows pericarp of lotus, rhizomes, palm fronds. These signify: कर्णिक, कर्णिका f. the pericarp of a lotus rebus: कर्णिका 'steersman, helmsman' (seafaring merchant) PLUS (base of the abacus) tāmarasa 'lotus' rebus: tāmra 'copper' PLUS sippī f. ʻspathe of date palmʼ Rebus: sippi 'artificer, craftsman'. sippi 'mollusc', śilpin, sippi 'artificer'. Thus, the hypertext message is: helmsman, coppersmith artificer.


    Ta. kara-tāḷam palmyra palmKa. kara-tāḷa fan-palm, Corypha umbraculifera Lin. Tu. karatāḷa cadjan. Te. (B.) kara-tāḷamu the small-leaved palm tree.(DEDR 1270) *tāḍa3 ʻ fan -- palm ʼ, tāḍī -- 2 f. in tāḍī -- puṭa -- ʻ palm -- leaf ʼ Kād., tāla -- 2 m. ʻ Borassus flabelliformis ʼ Mn., tālī -- , °lakī -- f. ʻ palm -- wine ʼ W. [Cf. hintāla -- ]Pa. tāla -- m. ʻ fan -- palm ʼ, Pk. tāḍa -- , tāla -- , tala -- m., tāḍī -- , tālī -- f., K. tāl m., P. tāṛ m., N. tār (tāṛ ← H.), A. tāl, B. tāṛ, Or. tāṛatāṛitāḷa, Bi. tārtāṛ, OAw. tāra, H. G. tāṛm., M. tāḍ m., Si. tala. -- Gy. gr. taró m., tarí f. ʻ rum ʼ, rum. tari ʻ brandy ʼ, pal. tar ʻ date -- spirit ʼ; S. tāṛī f. ʻ juice of the palmyra ʼ; P. tāṛī ʻ the fermented juice ʼ; N. tāṛī ʻ id., yeast ʼ (← H.); A. tāri ʻ the fermented juice ʼ, B. Or. tāṛi, Bi. tārītāṛī, Bhoj. tāṛī; H. tāṛī f. ʻ the juice, the fermented juice ʼ; G. tāṛī f. ʻ the juice ʼ, M. tāḍī f. <-> X hintāla -- q.v.tālavr̥nta -- ; *madatāḍikā -- Addenda: tāḍa -- 3: S.kcch. tāṛ m. ʻ palm tree ʼ.(CDIAL 6750) tālavr̥nta n. ʻ palm -- leaf fan ʼ MBh., °aka -- n. lex. [*tāḍa -- 3, vr̥nta -- 1]Pa. tālavaṇṭa -- , ta° m. ʻ fan ʼ, Pk. tālaveṁṭa -- , °voṁṭa -- , tāliaṁṭa -- , talaveṁṭa -- , °viṁṭa -- n.; Si. talväṭa ʻ palmyra fan' (CDIAL 5802) Rebus: ḍhālako 'a large metal ingot' (Gujarati) ḍhālako a large metal ingot (Hieroglyph:  dhāḷ 'a slope'; 'inclination'  ḍhāla n. ʻ shield ʼ lex. 2. *ḍhāllā -- .1. Tir. (Leech) "dàl"ʻ shield ʼ, Bshk. ḍāl, Ku. ḍhāl, gng. ḍhāw, N. A. B. ḍhāl, Or. ḍhāḷa, Mth. H. ḍhāl m.2. Sh. ḍal (pl. °le̯) f., K. ḍāl f., S. ḍhāla, L. ḍhāl (pl. °lã) f., P. ḍhāl f., G. M. ḍhāl f.Addenda: ḍhāla -- . 2. *ḍhāllā -- : WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f.(CDIAL 5583). 

    "From the 5th century, palmettes tended to have sharply splaying leaves. From the 4th century however, the end of the leaves tend to turn in, forming what is called the "flame palmette" design. This is the design that was adopted in Hellenistic architecture and became very popular on a wide geographical scale. This is the design that was adopted by India in the 3rd century BCE for some of its sculptural friezes, such as on the abaci of the Pillars of Ashoka, or the central design of the Pataliputra capital, probably through the Seleucid Empire or Hellenistic cities such as Ai-Khanoum." https://en.wikipedia.org/wiki/Palmette (loc.cit. "Reflections on The origins of Indian Stone Architecture", John Boardman, p.16). Reflections on the Origins of Indian Stone Architecture JOHN BOARDMAN
    Bulletin of the Asia Institute New Series, Vol. 12, Alexander's Legacy in the East Studies in Honor of Paul Bernard (1998), pp. 13-22 Published by: Bulletin of the Asia Institute, a Non-Profit Corporation http://www.jstor.org/stable/24049089

    Front of the Pataliputra capital, found in Pataliputra and dated to the 3rd century BCE.. Greek and Indian flame palmettesLeft: Flame palmette at DidymaIonia, c.300 BCE. MiddlePataliputra capitalIndia, 3rd c.BCE. RightAshoka's Diamond throneBodh Gaya, India, 250 BCE.
    The one-horned young bull of Indus Script Corpora is a possible source of inspiration: Achaemenid column with lotus capital and animals, Persepolis, 6th-4th c. BCE.



    The Khalsi rock edict of Aśoka, which mentions the Greek kings AntiochusPtolemyAntigonusMagas and Alexander by name, as recipients of his teachings.

    The Kandahar Edict of Aśoka, a bilingual inscription (in Greek and Aramaic) by King Aśoka, discovered at Kandahar (National Museum of Afghanistan).


    Other etyma related to the sculpture and coin images

    குழ kuḻa , adj. < kuḍa. Young, tender; இள மையான. (தொல். சொல். 312.) குழந்தை kuḻantai n. < குழ. 1. Infant, babe, suckling; கைப்பிள்ளை. குழந்தையை யுயிர்த்த மலடிக்கு (கம்பரா. உருக்கா. 65). 2. Childhood, tender age; இளமைப்பருவம். குழந்தை வெண்மதி (கம்பரா. ஊர்தேடு. 209).

    *kuḍma ʻ bud ʼ.M. kõb°bā m., °bī f. ʻ young shoot ʼ, kõbeṇẽ ʻ to sprout ʼ; Si. kumu ʻ unopened flower ʼ.(CDIAL 3249)kuḍmalá ʻ filled with buds ʼ MBh., m.n. ʻ bud ʼ BhP. 2. kuṭmalá -- . [*kuḍma -- ]1. Pa. kuḍumala -- , °aka -- m. ʻ opening bud ʼ; L. poṭh. kūmlīpū˘mlī f. ʻ bud, young shoot ʼ, P. pumlī f.; WPah. roh. kumbəḷe ʻ tuft of grass ʼ.2. Pa. kuppila -- ʻ a kind of flower (?) ʼ; Pk. kuppala -- , kuṁpala -- m.n. ʻ bud ʼ, N. kopilo; H. kõpal°lī f. ʻ opening bud ʼ; G. kũpaḷkõpaḷ n., kõpḷo m. ʻ tender sprout, new twig ʼ.Addenda: kuḍmalá -- [M. B. Emeneau Bull. Institute of History and Philology, Academia Sinica xxxix 1, 9ff. ← Drav. ʻ young new sprout ʼ in DED and DEDS 1787, which appears also as loan in *kōra -- , kōraka -- , kuḍa -- 1]1. WPah.kṭg. kvmbḷi f. ʻ sprout, bud ʼ, J. kumaḷ m., kumḷi f. ʻ sprout ʼ.2. kuṭmalá -- : OMarw. kūpaḷa m. ʻ fresh bud or shoot ʼ.(CDIAL 3250) koṭu क&above;टु&below; । अङ्कुरः, पुमपत्यम् (f. küṭü क&above;टू&below;, q.v.), a seedling-sprout, the first sprout of a young plant (cf. gāsakoṭu, p. 37b, l. 34; muji-ko, s.v. mujü); a bush, a thicket of bushes (K. 111, 219, 35); a male child (generally used with reference to caste or profession), usually, but not always, with the idea of praise. It is also occasionally used to indicate the young of animals. Thus, baṭa-koṭu, a (real) son of a Brāhmaṇ, a good Brāhmaṇ; chāna-koṭu, a carpenter's son, a real son of a carpenter, a good carpenter; harạna-koṭu, a fawn (p. 349a, l. 24); mö̃shĕ-koṭu, a buffalo-calf; cf. Gr.Gr. 132 (K.Pr. 174; H. xii, 25) küṭü क&above;टू&below; । स्त्र्यपत्यम् f. (sg. dat. kacĕ कच्य, Rām. 1319), a sprout, a seedling sprout, a blade of grass or the like (Śiv. 149); a female child, a daughter. As in the case of koṭu, q.v., of which it is the f., this word is generally used with reference to a caste or profession, but this f. form is principally used only with reference to some mean or despised profession (cf. kaṭh 2) as in bã̄ḍa-kütü, a buffoon's daughter; wāza-küṭü, a cook's daughter. Hence used in metaphorical expressions, such as (Rām. 1319) shikas-küṭü, a daughter of defeat or misery, i.e. an unfortunate woman. kacĕ-bacĕ कच्य-बच्य । कन्यापुत्रादयः m.pl. (a comp. of which the first member is f.pl. and the second m.pl.), all the children (esp. little children), girls and boys, of a family, i.e. daughters, sons, grandchildren, etc.(Kashmiri)

    *kuḍa -- 2 ʻ wall ʼ see kuḍya -- .kuḍapa -- see kuḍava -- .Addenda: *kuḍa -- 1 [Same Drav. root as in kuḍmalá -- q.v.](CDIAL 3245)kuḍmalá ʻ filled with buds ʼ MBh., m.n. ʻ bud ʼ BhP. 2. kuṭmalá -- . [*kuḍma -- ] 1. Pa. kuḍumala -- , °aka -- m. ʻ opening bud ʼ; L. poṭh. kūmlīpū˘mlī f. ʻ bud, young shoot ʼ, P. pumlī f.; WPah. roh. kumbəḷe ʻ tuft of grass ʼ.2. Pa. kuppila -- ʻ a kind of flower (?) ʼ; Pk. kuppala -- , kuṁpala -- m.n. ʻ bud ʼ, N. kopilo; H. kõpal°lī f. ʻ opening bud ʼ; G. kũpaḷkõpaḷ n., kõpḷo m. ʻ tender sprout, new twig ʼ.Addenda: kuḍmalá -- [M. B. Emeneau Bull. Institute of History and Philology, Academia Sinica xxxix 1, 9ff. ← Drav. ʻ young new sprout ʼ in DED and DEDS 1787, which appears also as loan in *kōra -- , kōraka -- , kuḍa -- 1]1. WPah.kṭg. kvmbḷi f. ʻ sprout, bud ʼ, J. kumaḷ m., kumḷi f. ʻ sprout ʼ.2. kuṭmalá -- : OMarw. kūpaḷa m. ʻ fresh bud or shoot ʼ.(CDIAL 3250)  kōraka m.n. ʻ bud ʼ R. [← Drav. (Tam. kuṟai ʻ sprout ʼ, Kui kōṛu ʻ bud ʼ) EWA i 272] Pa. kōraka -- m.n. ʻ bud, sheath ʼ; Pk. kōraya -- , °rava<-> m.n. ʻ bud ʼ; Si. kuru ʻ bud, tender leaves ʼ.Addenda: kōraka -- [← Drav. see kuḍmalá -- Add2](CDIAL 3527) कुड्मल mfn. filled with buds MBh. iv , 393 R. Ragh. xviii , 36; mn. a bud (sometimes written कुट्मलMr2icch. Ragh. BhP. &c (cf. स्तन-क्°) (Monier-Williams) Kui gunda (gundi-) to sprout, bud, shoot forth into bud or ear; n. a sprouting, budding. ? Kuwi (Isr.) kunda a very small plot of ground (e.g. for seed-bed). Kur. kundnā to germinate, bud, shoot out; kundrnā to be born; kundrkā birth; 
    kundrta'ānā to generate, beget, produce. Malt. kunde to be born, be created (DEDR 1729) Ta. kuruku young of an animal; kurumaṉ the young of certain animals and birds; kuruttu, kuruntu sprout, white tender leaves of a tree, shoots of grain; kuruḷai young of certain animals, young of a snake, child; kurumpai immature coconuts or palmyra nuts, fruit buds; (NTD) kurumpal immature coconut or palmyra nut. Ma. kurukka to sprout, shoot; kurikka breaking out like efflorescence; kurikku, kurukku young fruit; kuruttu, kurunnu sprout, shoot; kuruppu sprouting; kurumpa tender young coconut. Ko. kurl young cow (up to three years). Ka. kuruṇe tenderness; kurube, kurumbe a tender young coconut; (Bark., LSB11.8; Hav.) kuruḷe plantain sprout. Tu. kurulè, kurlè a tender plantain tree, a young pig, the fresh shoots of grain, (B-K.) a baby. Pe. kurnja young male child; fem. kurnji. Kur. kurū
     colt. / Cf. Skt.(Hem. Uṇ. 326) kurumbo 'ṅkuraḥ.(DEDR 1791) Ta. kor̤untu tender twig, tendril, tender leaf, shoot, anything young, tenderness; kor̤umai freshness (as of shoots), beauty; kor̤untaṉ husband, husband's younger brother; kor̤unti wife's sister, brother's wife; kor̤unaṉ husband; kur̤a young, tender; kur̤akaṉ youth, beautiful person, Skanda; kur̤aku youthfulness, beauty, infant; kur̤antai infant, childhood; kur̤avi infant, young of certain animals, young of the vegetable kingdom; kur̤avu tender age, juvenility; kur̤ai (-pp-, -tt-) to cause to sprout or shoot forth; n. tender leaf, sprout, shoot. Ma. kor̤unnu, kor̤untu tender twig, young shoot, new-grown hair. To. kwï&ztail; twig. Ka. koḍatenderness, tender age, youth; koṇasu young one of wild beasts. Tu. korè weak, small. Kor. (O. T.) korayi, (M.) kori husband; (O. M. T.) korti wife. Te. krotta (in cpds. kro-) new, fresh; koḍuku son; koṇḍika child; kodama the young of any animal; young; komma maiden, female; kōḍalu daughter-in-law; kōṭramu, kōḍaṇṭramu, kōḍaṇṭrikamu, kōḍaṟikamu the position and duties of a daughter-in-law, daughter-in-lawship. Kol. 
    kovve young of bird or animal; koral younger brother's wife; kommal (pl. kommasil) daughter. Nk. kovve young of bird or animal; koraḷ daughter-in-law, bride; kommaḷ (pl. kommaśil) daughter. Nk. (Ch.) kommadaughter; kola bride, son's wife, younger brother's wife. Pa. koṛ very young; koṛuŋg new shoot, sprout; koṛc- to sprout; koṛol bride. Ga. (Oll.) koṛal son's wife, younger brother's wife; (S) koḍus-, koḍc- to sprout; (P.) koṛuŋ young shoot. Go. (Tr.) kōṛsānā, kōrsānā to sprout, grow (of trees, plants, etc.); (A. Mu. Ma. S.) koṛs- to sprout (Voc. 945); (Mu.) koṛk-ila new leaf; (Ko.) koṛi leaf-shoot (Voc. 934); (Ma.) koṛta month of Bhadrā (Aug.-Sept.) when new paddy is worshipped (Voc. 940); (Tr.) koriāṛ son's wife; tammur-koriāṛ younger brother's wife; (W.) koṛiāṛ daughter-in-law; (Mu.) koṛiyaṛ id., sister's daughter, younger brother's wife (Voc.936); (Koya Su.) koḍiyāḍ daughter-in-law, sister's daughter (of a male); (ASu.) koṛkēlā tender, young. Konḍa koṛo (pl. -k) female child, (pl. -r) male child; koṛonali a nursing mother; koṛya daughter-in-law, younger brother's wife; koṛesi daughter-in-law (when referring to the 3rd person); (BB) kodma male buffalo calf (< Te.). Pe. koṛiya gāṛ son's wife, younger brother's wife; kṛogi fresh, new (of leaves). Manḍ. kṛugdi id.; kuṛiya gāṛ son's wife, younger borther's wife. Kui koṛgi newly sprouted, green, immature, unripe; koṛgari (pl. koṛgai) new shoot, fresh stalk, something green, immature, or unripe; kōṛu new shoot, fresh stalk, stem, or bud; new, green, immature; kōṛa a shoot, sprout, first sprout (of paddy after planting); kōṛa koḍa to sprout (of paddy); kōna bud; gōṇi sprout, offshoot; kuṛa, kṛua (Letchmajee) kṛuha wife. Kuwi (P.) kuṛia, (F.)  kūriadaughter-in-law; (Ḍ.) kuṛva younger brother's wife; (F.) khrogi kōma a soft twig (i.e. soft, young, tender; for kōma, see 2115); (Ṭ.) koṛgi young (of children); (Isr.) kṛōgi immature, young. Kur. xōr leaf-bud, new leaves, fresh and tender leaves of vegetables; xōrnā (xūryā) to shoot out new leaves; korrā fresh (recently made, prepared, or obtained), pure. Malt. qóro infant, Indian corn when green; qóroce to sprout. Br. xarring to sprout; xarrun green, blue, black and blue; fruitful; xarrunī greenness; wife. Cf. 3650 Ta. nāy, for -kuṛi, etc., in Konḍa, Kui, Kuwi. / Cf. Skt. kora-, koraka- bud (Turner, CDIAL, no. 3527); kuṇaka- a new-born animal; kuḍaka- child (epic; Burrow, Belvalkar Felicitation Volume, pp. 6 f.; cf. Turner, CDIAL, no. 3245); kuḍmala-, kuṭmala- filled with buds, bud (epic, kāvya; Turner, CDIAL, no. 3250); Turner, CDIAL, no. 3249, *kuḍma- bud.(DEDR 2149)

    vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vr̥t11. Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ; L. (Ju.) vaṭ m. ʻ anything twisted ʼ; Si. vaṭa ʻ round ʼ, vaṭa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va'ʻ round ʼ GS 58;(CDIAL 12069)

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

    dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si.  ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773)
    śaṅkhá1 m. (n. lex.) ʻ conch -- shell ʼ AV., śaṅkhaka- m.n. MBh. Pa. saṅkha -- m. ʻ conch, mother -- of -- pearl ʼ; Pk. saṁkha -- m.n. ʻ conch ʼ, °khiyā -- f. ʻ small do. ʼ; S. saṅghī f. ʻ a kind of bracelet ʼ; B. sã̄kh ʻ conch -- shell ʼ, sã̄khā°kāsẽkhā ʻ conch bracelet ʼ, Or. saṅkhā; OAw. sāṁkha m. ʻ conch -- shell ʼ, H. saṅkh m., Si. sak -- aha°. -- Lws. in S. saṅkhu m. ʻ conch ʼ, Ku. sã̄khsã̄k.
    śāṅkhika -- , *śāṅkhinī -- ; śaṅkhakāra -- , śaṅkhadāraka -- .Addenda: śaṅkhá -- 1 [a < non -- apophonic IE. o (Gk. ko/gxos) T. Burrow BSOAS xxxviii 69]WPah.kṭg. śáṅkkh m. ʻ conch ʼ ← H.; Md. sangu ← Ind.; A. śã̄k (phonet. x -- ) ʻ bracelet made of shells ʼ (CDIAL 12263) Rebus:  संगजिरें  saṅgajirēṃ n संगजिरा m ( P) A sort of steatites. संगमरवर  saṅgamaravara m ( P) Marble. saṅgīna a ( P) Built or made of stone. 2 Hard, firm, solid, compact; opp. to flimsy and fragile.(Marathi) sanga-lāth संग-लाथ् (? cf. । शर्करावान्देशः m. (sg. dat.-lātas -लातस्), hard gravelly, or stony, soil. (Kashmiri)

    Evidence of ancient coins of India proves that Śrivatsa, nandipāda, triratna are Indus Script Hypertexts, kammaṭa, ‘mint' metalwork catalogues

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    This monograph presents evidence of ancient coins of India to prove that so-called Śrivatsa, nandipāda, triratna symbol (and variants) constitute Indus Script Hypertexts, descriptive mint metalwork catalogues.

    The plain text of the Indus hypertext of the frequently used symbol or hieroglyph-multiplex, reads: dhatu ayo hāako kammaa 'mineral, alloy metal, large ingot, mint'. 

    Mahavamsa XXV,28 uses two words from this Indus Script text: ayo kammata. Here is an attestation from Ananda Coomaraswamy's note: [quote] Ayas: not in the Dictionary. This word is always used for iron... Mahavamsa, XXV, 28, ayo-kammata-dvara, "iron studded gate " (of a city) ; ib., 30, ayo-gulath, " iron balls "; ib., XXIX, 8, ayo-jala, an iron trellis used in the foundations of a stfipa. Reference might have been made to the iron pillars at Delhi and Dhar, and the use of iron in building at Konarak. [unquote] (Ananda K. Coomaraswamy,  Indian Architectural terms, in: American Oriental Society, Vol. 48, 1928, pp.250-275).

    Image result for ujjain ancient coin
    Obverse:elephant PLUS five other Indus script hypertexts Reverse: four Indus Script hypertexts including dotted circle + fish-fin pair '-- dhatu dul ayo kammaa, 'mineral, alloy metal, metal casting mint' hypertext.

    Purushkapura Kanishka Stupa
    Image result for engraving showing the remnants of the Kanishka stupa

    1899 engraving showing the remnants of the Kanishka stupa in Shaji-ki-Dheri. (84 meter diameter, original height> 200 meters!)
    Source: Gandhara,Philip von Zabern,2010.Identification of this Gandhara
    relief sculpture with the Kanishka Stupa: Hans Loeschner, “Money Talks ! Ancient Values Exchanged through Monetary Objects, Coins and Sealings“, pp. 2 - 15 in “It‘s a Deal! Dynamic Transactions“, Eds. Robert F. Lawson & Carol S. Lawson Chrysalis Reader @ 2012 Swedenborg Foundation Press
    The "Kanishka casket", dated to 127 CE, with the Buddha surrounded by Brahma and Indra, and Kanishka standing at the center of the lower part, British Museum.
    It was discovered in a deposit chamber under the monumental Kanishka stupa (described by Chinese pilgrims in the 7th century as the tallest stupa in all India), during the archeological excavations in 1908-1909 in Shah-ji-Dheri on the outskirts of Peshawar. It is said to have contained three bone fragments of the Buddha,[1] which were forwarded to Burma by the British following the excavation,[2] where they still remain.
    The casket is today at the Peshawar Museum, and a copy is in the British Museum. The casket is dedicated in Kharoshthi. The inscription reads:
    "(*mahara)jasa kanishkasa kanishka-pure nagare aya gadha-karae deya-dharme sarva-satvana hita-suhartha bhavatu mahasenasa sagharaki dasa agisala nava-karmi ana*kanishkasa vihare mahasenasa sangharame"
    "In the acceptance (i.e. for the acceptance) of the Sarvāstivādin teachers, this perfume box is the meritorious gift of Mahārāja Kanishka [ . . . jasa Kani] in the city of Kanishkapura [Kanishkapure nagare]. May (it) be for the welfare and happiness of all beings. . . . sa, the superintendent of construction of the refectory in Kanishka's vihāra [nashkasa vihare], in Mahāsena's saṁghārāma [Mahasenasa saṁgharame]." [3]
     "The servant (dasa) Agnisala, the superintendent of works at the vihara of Kanishka in the monastery of Mahasena" ("dasa agisala nava-karmi ana*kaniskasa vihara mahasenasa sangharame").
    agnisala, is the refectory of the monastery. ( Prudence R. Myer: Again the Kanishka Casket, In: The Art Bulletin, Vol. 48, No. 3/4 (Sep.–Dec., 1966), pp. 396–403)
    Detail of the Buddha, surrounded by cherubs, with devotee or bodhisattva
    Detail of Kanishka, surrounded by the Sun-God and the Moon-God. A garland, supported by cherubs goes around the scene in typical Hellenistic style.
    Detail of the flight of sacred geese, or hamsa.
    BimaranCasket2.JPG
    The Bimaran Casket or reliquary on display in the British Museum, with a depiction of the Buddha, surrounded by Brahma (left) and Śakra (right). The Bimaran casket or Bimaran reliquary is a small gold reliquary for Buddhist relics that was found inside the stupa no.2 at Bimaran, near Jalalabad in eastern Afghanistan.
    When it was found by the archaeologist Charles Masson during his work in Afghanistan between 1833 and 1838, the casket contained coins of the Indo-Scythian king Azes I. The most recent research however (2015) attributes the coins to Indo-Scythian king Kharahostes or his son Mujatria, who minted posthumous issues in the name of Azes. (DATING AND LOCATING MUJATRIA AND THE TWO KHARAHOSTES by Joe Cribb, 2015, p.27 et sig)
    The steatite box that contained the Bimaran casket.
    The Bimaran casket was kept in a steatite box, with inscriptions stating that it contained some relics of the Buddha. When opened in the 19th century, the box did not contain identifiable relics, but instead some burnt pearls, bead of precious and semi-precious stones, and the four coins of Azes II.
    The inscriptions written on the box are [2]:
    Main body of the container:
    "Shivaraksita mumjavamdaputrasa danamuhe niyadide bhagavata sharirehi sarvabudhana puyae"
    "Sacred gift of Shivaraksita, son of Munjavamda; presented for Lord's relics, in honour of all Buddhas" (Translation by Fussman)
    Lid of the container:
    "Shivaraksita mumjavamdaputrasa danamuhe bhagavata sharirehi"
    "Gift of Shivaraksita, son of Munjavamda; presented for Lord's relics"
    "
    The archeological find of the Azes II coins inside the casket would suggest a date between 30 BCE to 10 BCE. Azes II would have employed some Indo-Greek artists in the territories recently conquered, and made the dedication to a stupa. The coins are not very worn, and would therefore have been dedicated soon after their minting. Indo-Scythians are indeed known for their association with Buddhism, as in the Mathura lion capital. Such date would make the casket the earliest known representation of the Buddha:
    "In the art of Gandhara, the first known image of the standing Buddha and approximatively dated, is that of the Bimaran reliquary, which specialists attribute to the Indo-Scythian period, more particularly to the rule of Azes II"(Christine Sachs, "De l'Indus à l'Oxus")...
    The four coins in the Bimaran casket are of the same type: tetradrachms of debased silver in the name of Azes, in near-new condition.On the obverse they show a king on a horse to the right with right hand extended, with a three-pellet dynastic mark and a circular legend in Greek. The legend reads in corrupted Greek WEIΛON WEOΛΛWN IOCAAC(that is, ΒΑΣΙΛΕΩΣ ΒΑΣΙΛΕΩΝ ΑΖΟΥ) "King of Kings Azes". On the reverse appears a figure of Tyche standing and holding a cornucopia, with a Kharoshthi legend.The legend reads 'Maharajasa mahatasa Dhramakisa Rajatirajasa Ayasa "The Great king followower of the Dharma, King of Kings Azes..."
    "

    One of the coins of the Bimaran casket, illustrated by Charles Masson.[5][6]
    Obv. Azes riding, with corrupted Greek legend (WEIΛON WEOΛΛWN IOCAAC) for ΒΑΣΙΛΕΩΣ ΒΑΣΙΛΕΩΝ ΑΖΟΥ "King of Kings Azes", and Buddhist Triratna symbol behind the head of the king.
    Rev. City goddess Tyche standing left holding cornucopia and raised right hand. Kharoshthilegend Maharajasa mahatasa Dhramakisa Rajatirajasa Ayasa "The Great king followower of the Dharma, King of Kings Azes".
    Coin of Kharahostes, in the name of Azes.
    Obv. Azes riding, with corrupted Greek legend (WEIΛON WEOΛΛWN IOCAAC) for ΒΑΣΙΛΕΩΣ ΒΑΣΙΛΕΩΝ ΑΖΟΥ "King of Kings Azes", and Buddhist Triratna symbol behind the head of the king.
    Rev. City goddess Tyche standing left holding cornucopia and raised right hand. Kharoshthilegend Maharajasa mahatasa Dhramakisa Rajatirajasa Ayasa "The Great king followower of the Dharma, King of Kings Azes"
    Left image: Dynastic mark (in front of the horse) on the coins of the Bimaran casket, British Museum .
    Right image: Dynastic mark on a coin of Kharahostes.
    The coins types and dynastic mark on the coins of the Bimaran Casket are characteristic of Kharahostes.(
    "The crossroads of Asia", edited by Ellizabeth Errington and Joe Cribb, The ancient India and Iran Trust, 1992)
    The rare coins of Kujula Kadphises with a tripartite mark resembling the three-pellet mark of Kharahostes (here on the reverse), have coin types ("Laureate head and king seated") which are totally different from those of the Bimaran reliquary. And this is the only issue of Kujula where this symbol appears (http://grifterrec.rasmir.com/kushan/kushan.html )  The three-pellet symbol mark is not known from any other ruler either (apart from the son of Kharahostes Mujatria),
    Early Buddhist imagery includes coins of Indo-Greek kings such as Menander II (left, circa 90–85 BCE), in which Zeus, through Nike, hands a wreath of victory to a Wheel of the Law, or the Tillya Tepe Buddhist coin (right, 1st c.BCE-1st c.CE). 
    Coint from Tillia Tepe by  Unknown ArtistTillya Tepe coin: Obverse: The legend in Kharoshthi reads Dharmacakrapravata[ko] "The one who turned the Wheel of the Law".On the reverse, it depicts a lion with the Buddhist symbol of the triratna, with the Kharoshthi legend Sih[o] vigatabhay[o] "The lion who dispelled fear".

    Kushana chronology (Hans Loeschner, 2011)

    From a survey of the Kushana coins, it appears that a new mint monograph appears from the reign of Kujula Kadphises. I suggest that this monogram is in fact an Indus Script Hypertext and read rebus in Indus Script: dhatu ayo  dhalako kammaṭa 'mineral, alloy metal, large ingot, mint'.
    Together with this symbol or Indus Script Hypertext, bilingual legend start appearing on Indo-Greek coins, i.e. both in Greek and Kharoṣṭhī scripts.

    Location: India
    Site: India
    Monument/Object: architectural fragment, lintel and pillars
    Current Location: Sarnath Site Museum, Uttar Pradesh, India
    Photo Depicts: left pillar, side 1 (arbitrary), upper half
    Period: Sunga and Related Periods
    Date: 2nd - 1st century BCE
    Material: sandstone, pink
    Scan Number: 11614
    Photo Date: 1984
    Image Source: Huntington Archive
    On this pillar, the two fish-fins are attached to a makara clearly signifying in Indus Script cipher, adhmakara 'forge-blower' dhamaka 'blacksmith' of akammaa 'mint, coiner, coinage'.


    Most detailed orthography of the mint hypertext appears in Bharhut and Sanchi toraṇa.'decorated gateway'. A variant is included in:Mathura lion capital inscription plaque between two seated tigers (or lions)
    Torana from Mathura and Mathura lion capital which incorporates many hieroglyph elements later to be found in Bharhut-Sanchi: Pair of tigers (lions?), molluscs, 'srivatsa' or 'Indus Script Hypertext signifying detailed functions of kammaṭa 'mint'.
    A variant is seen in a capital of a Barhut Gateway post:
    Bharhut. Capital of Gateway post (After Cunningham). The hieroglyph components of this variant are: tala 'palm frond' PLUS dula 'pair' of 'sippi' molluscs; Rebus: dhalako 'large ingot' PLUS sippi 'artificer' -- thatis, dul dhalakosippi 'largeingot metal casting artificer'.
    The evolution of the semantics and orthography of the Indus Script Hypertext signifying a mint is traceable to the symbols used in Jaina Ayagapatta-s and to the artistic traditions evolved in Begram.
    Hieroglyph on a Begram ivory plaque: a pair of molluscs tied with a chisel.

    Hackin 1954, p.169, figs.18 Ivory? Size: 10.6 x 15.8 x 0.4 cm Begram rectangular plaque depicting three palmettos with curled-up ends, held together by rings made up of lotus petals. Between the palmettos elongated fruit is shown . This scene is bordered by a band depicting a series of four-leaved flowers set in a square frame. In this hieroglyhphic multiplex, there are three distinct orthographic components:

    Mollusc 1. mollusc (snail) pair depicted by a pair of antithetical S curved lines: sã̄khī Rebus: sã̄kh ʻconch-shell-cutterʼ

    Palmetto or Spathe 2. spathe of a palm or palmetto: sippī f. ʻspathe of date palmʼ Rebus: sippi 'artificer, craftsman'. It could also be seen as a chisel:śaṅkula Rebus: sangin 'shell-cutter'.
    Tied together, cord 3. a thread or cord that ties the mollusc pair and spath in the centre together into a composite orthographic unit. dām ʻropeʼ Rebus 1: dhā̆vaḍ 'smelter' Rebus 2: dhamma 'dharma' dham̄a ʻemployment in the royal administrationʼ.

    sippī f. ʻspathe of date palmʼ 

    The semantics of artifer is reinforced by the 'mollusc' hieroglyph: Ta. ippi pearl-oyster, shell; cippi shell, shellfish, coconut shell for measuring out curds. Ma. ippi, cippi oyster shell. Ka. cippu, sippu, cimpi, cimpe, simpi, simpu, simpe oyster shell, mussel, cockle, a portion of the shell of a coconut, skull, a pearl oyster; (Gowda) cippi coconut shell. Tu. cippi coconut shell, oyster shell, pearl; tippi, sippi coconut shell. Te. cippa a shell; (kobbari co) coconut shell; (mōkāli co) knee-pan, patella; (tala co) skull; (muttepu co) mother-of-pearl. Go. (Ma.) ipi shell, conch (Voc. 174). / Cf. Turner, CDIAL, no. 13417, *sippī-; Pali sippī- pearl oyster, Pkt. sippī- id., etc. (DEDR 2535). Rebus:  śilpin ʻ skilled in art ʼ, m. ʻ artificer ʼ Gaut., śilpika<-> ʻ skilled ʼ MBh. [śílpa -- ] Pa. sippika -- m. ʻ craftsman ʼ, NiDoc. śilpiǵa, Pk. sippi -- , °ia -- m.; A. xipini ʻ woman clever at spinning and weaving ʼ; OAw. sīpī m. ʻ artizan ʼ; M. śĩpī m. ʻ a caste of tailors ʼ; Si. sipi -- yā ʻ craftsman ʼ.(CDIAL 12471) சிற்பியர். (சூடா.) சிற்பம்¹ ciṟpam n. < šilpa. 1. Artistic skill; தொழிலின் திறமை. செருக்கயல் சிற்பமாக (சீவக. 2716). 2. Fine or artistic workmanship; நுட்பமான தொழில். சிற்பந் திகழ்தரு திண்மதில் (திருக்கோ. 305). சிற்பர் ciṟpar , n. < šilpa. Mechanics, artisans, stone-cutters; சிற்பிகள். (W.)சிற்பி ciṟpin. < šilpin. Mechanic, artisan, stone-cutter; கம்மியன். (சூடா.)சிற்பியல் ciṟpiyal n. < சிற்பம்¹ + இயல். Architecture, as an art; சிற்பசாஸ்திரம். மாசில் கம் மத்துச் சிற்பியற் புலவர் (பெருங். இலாவாண. 4, 50).

    Hieroglyph: śaṅkula 'chisel' Rebus: sangin 'shell-cutter'. sangi 'mollusc' Rebus: sangi 'pilgrim'. Dama 'cord, tying' Rebus: dhamma 'moral conduct, religious merit'. A variant ties a fish with the hieroglyph complex: ayira, ayila, aya 'fish' Rebus 1: aya 'iron' ayas 'alloy metal' Rebus 2: ayira, ariya 'noble conduct'. Thus connoting ariya-dhama, ayira-dhamma; ariya-sangha, ayira-sangha (Pali).  A variant reading with 'palm frond' reads: sippi 'molluscs' rebus: sippi 'artificer' PLUS tāa 'palm frond' rebus: hāako 'large ingot', PLUS dula 'pair' rebus: dul 'metal casting' i.e. large ingot metalcasting artificer.'
    A variant of Srivatsa hieroglyph adorns the chest of a Jina (See two figures shown below). This variant is a pair of mollusc tied together with perhaps a fish as seen on the AyAgapaTTa of Fig. 2 Top Register. This variant shows two molluscs tied together with a fish in the centre. Thus, three hieroglyphs are identified: 1. mollusc; 2. fish; 3. cord (tying) sangin 'mollusc' Rebus: sangha; ayira 'fish' Rebus: ayira, ariya 'nobility'; dama 'cord, tying' Rebus: dharma, dhamma. Thus, when a Srivatsa is orthographically represented by a pair of fish-tails, the objective of the s'ilpi or sculptor is to signify the message of ayira, ariya 'nobility' linked with dharma-dhamma of the sangha or the guilds (sangha) of artisans and visiting adorants. A reinforcing message is that the tail is denoted by the gloss xolA. Rebus: kole.l 'smithy, temple'. Thus, the pair of fish-tails which is the center-piece on two toranas of Sanchi and a torana in Bharhut denote kole.l 'temple'.
    http://www.herenow4u.net/fileadmin/v3media/pics/Jainology_Indology/Bruhn_Iconografia/Bruhn_Iconografia_007.jpghttp://www.herenow4u.net/fileadmin/v3media/pics/Jainology_Indology/Bruhn_Iconografia/Bruhn_Iconografia_011.jpg


    The top architrave on the Begram Ivory plaque is topped by a row of hieroglyphs which are a continuum of the Indus Script Corpora tradition of deploying rebus-metonymy-layered cipher.

    On this frame, S'rivatsa is the centre-piece flanked on either side by the following hieroglyphs which are the signature-tunes of Meluhha writing system called Indus Script:

    1. Pair of molluscs tied together with a spathe-palm or palmetto: sangin 'mollusc' Rebus: sanghin 'member of guild'; karaNi 'palmetto' Rebus: kAraNIka 'scribe', 'supercargo' (of seafaring merchant)

    2. Standad device of lathe PLUS portable furnace which adorns over thousand inscriptions of Indus Script Corpora generally in front of a one-horned young bull: sangaDa 'lathe, portable furnace' Rebus: sangAta 'adamantine glue'; sanghar 'fortification'; jangada 'consignments on approval' kammaṭamu 'portable furnace' rebus: kammaṭa 'mint, coiner, coinage' PLUS kunda 'lathe' rebus: kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln.(Kashmiri)

    3. S'rivatsa: kolA 'tail' Rebus: kole.l 'temple, smithy' PLUS ayo 'fish' Rebus: aya 'iron' ayas 'metal'
    Vidisa ivory carvers' panel at Sanchi

    Women standing under a torana. Begram ivory.

    Figure 2: 
    Sanchi, Grea Stupa Gate. Sanchi, India, Ca. 2nd - 3rd decades of 1st Century I.E.

    http://www.herenow4u.net/fileadmin/v3media/pics/Jain_Galleries/Miscellany/Tiwari_Ayagapatta.jpg
    Ayagapatta (Mathura, U.P.)

    http://www.herenow4u.net/fileadmin/v3media/pics/Jainology_Indology/Bruhn_Iconografia/Bruhn_Iconografia_002.jpg
    Fig. 2. Ayagapata with seated Jina and astamangala set, Mathura.





    Bharhut Stupa Gate. Reconstruction Drawing. Bharhut, India, Ca. 100 - 80 I.E.

    Bharhut stupa torana replicated on a Bharhut frieze. The centerpiece mollusc hypertext is flanked by two srivatsa hypertexts. The gateway entrance is adorned with a garland.

    The unique symbol, often referred to 'triratna' or 'nandipada' or 'śrivatsa' is in fact the Meluhha rebus rendering describing the functions of a mint: dhatu ayo  dhalako kammaṭa 'mineral, alloy metal, large ingot, mint'.
    It is likely that these mints which use the unique symbol were organised and managed by Meluhha artisans.
    Related image
    śrivatsa symbol [with its hundreds of stylized variants, depicted on Pl. 29 to 32] occurs in Bogazkoi (Central Anatolia) dated ca. 6th to 14th cent. BCE on inscriptions Pl. 33, Nandipāda-Triratna at: Bhimbetka, Sanchi, Sarnath and Mathura] Pl. 27, Svastika symbol: distribution in cultural periods] The association of śrivatsa with ‘fish’ is reinforced by the symbols binding fish in Jaina āyāgapaṭas (snake-hood?) of Mathura (late 1st cent. BCE).  śrivatsa  symbol seems to have evolved from a stylied glyph showing ‘two fishes’. In the Sanchi stupa, the fish-tails of two fishes are combined to flank the ‘śrivatsa’ glyph. In a Jaina āyāgapaṭa, a fish is ligatured within the śrivatsa  glyph,  emphasizing the association of the ‘fish’ glyph with śrivatsa glyph.

    (After Plates in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi, Agama Kala Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77)

    "Note that both begin with a lucky svastika. The top line reads 卐 vīrasu bhikhuno dānaṃ - i.e. "the donation of Bhikkhu Vīrasu." The lower inscription also ends with dānaṃ, and the name in this case is perhaps pānajāla (I'm unsure about jā). Professor Greg Schopen has noted that these inscriptions recording donations from bhikkhus and bhikkhunis seem to contradict the traditional narratives of monks and nuns not owning property or handling money. The last symbol on line 2 apparently represents the three jewels, and frequently accompanies such inscriptions...Müller [in Schliemann(2), p.346-7] notes that svasti occurs throughout 'the Veda' [sic; presumably he means the Ṛgveda where it appears a few dozen times]. It occurs both as a noun meaning 'happiness', and an adverb meaning 'well' or 'hail'. Müller suggests it would correspond to Greek εὐστική (eustikē) from εὐστώ (eustō), however neither form occurs in my Greek Dictionaries. Though svasti occurs in the Ṛgveda, svastika does not. Müller traces the earliest occurrence of svastika to Pāṇini's grammar, the Aṣṭādhyāyī, in the context of ear markers for cows to show who their owner was. Pāṇini discusses a point of grammar when making a compound using svastika and karṇa, the word for ear. I've seen no earlier reference to the word svastika, though the symbol itself was in use in the Indus Valley civilisation.[unquote]

    1. Cunningham, Alexander. (1854) The Bhilsa topes, or, Buddhist monuments of central India : comprising a brief historical sketch of the rise, progress, and decline of Buddhism; with an account of the opening and examination of the various groups of topes around Bhilsa. London : Smith, Elder. [possibly the earliest recorded use of the word swastika in English].
    2. Schliemann, Henry. (1880). Ilios : the city and country of the Trojans : the results of researches and discoveries on the site of Troy and through the Troad in the years 1871-72-73-78-79. London : John Murray.
    Coins of Kujula Kadphises

    AE penta-chalkon, Chach
    c. first half of 1st. Century

    Weight:9.96 gm., Diam:24 mm., Die axis: 2h
    Bull standing right
    Blundered Greek legend around, nandipada , control mark /
    Bactrian camel standing right
    Kharoshti legend: Maharayasa Rayatirayasa Kuyula Kara Kapasa
    Ref: MAC 2891
    AE tri-chalkon, Chach
    c. first half of 1st. Century

    Weight:4.82 gm., Diam:18 mm., Die axis: 10h
    Bull standing right
    Blundered Greek legend around, nandipada , control mark /
    Bactrian camel standing right
    Kharoshti legend
    Ref: MAC 2894

    Coins of Vima Kadphises
    Early Mono-lingual issues
    AE tetradrachm or unit, c. first quarter of 2nd. Century
    Weight: 16.18 gm., Diam: 28 mm., Die axis: 12 o'clock
    King standing facing, sacrificing at fire altar at left, club, tamgha and axehead-shafted trident in fields,
       Greek legend around: BACIΛEYC BACIΛEWN CWTHP MEΓAC OOHMO KAΔΦICHC/
    Siva standing facing, holding trident and deerskin, bull Nandi right behind,
       bead and reel border around
    Göbl 760, MAC 3006

    This coin introduces a powerful new image of the king: a full height representation exuding power, sacrificing at a fire altar, and surrounded by evocative symbols. This early bronze coinage was issued in two denominations: a tetradrachm (or unit) and a drachm (or quarter unit). The early, very rare coinage, like this and the next coin, featured a bead and reel border on the reverse ... this was later replaced by a Kharoshthi legend. The fact that the gold coins always feature a Kharoshthi legend suggests that these mono-lingual bronze coins were issued first and the gold coins were issued some years later, when Vima's power (and wealth) had grown.
    AE drachm or quarter unit, c. first quarter of 2nd. Century
    Weight: 4.01 gm., Diam: 17 mm., Die axis: 1 o'clock
    King standing facing, sacrificing at fire altar at left, club, tamgha and axehead-shafted trident in fields,
       Greek legend around: BACIΛEYC BACIΛEWN CWTHP MEΓAC OOHMO KAΔΦICHC/
    Siva standing facing, holding trident and deerskin, bull Nandi right behind,
       bead and reel border around
    Göbl 761, MAC 3007

    Later bilingual issues

    Gold double dinar, c. first quarter of 2nd. Century
    Weight: 15.54 gm., Diam: 26 mm., Die axis: 1 o'clock
    Crowned, diademed torso of king left, holding club and elephant goad,
       Greek legend around: BACIΛEYC OOH .. MO KAΔΦICHC (King Vima Kadphises) /
    Siva standing facing, with head turned to right, bull Nandi right behind,
       Kharoshti legend: maharajasa rajadirajasa sarvaloga isvarasa mahisvarasa
          Vima Kathphishasa tratara

    Unpublished variant of Göbl 13
    Gold dinar, c. first quarter of 2nd. Century
    Weight: 7.95 gm., Diam: 21 mm., Die axis: 12 o'clock
    Crowned, diademed torso of king left, holding club and elephant goad,
       Greek legend around: BACIΛEYC OOH .. MO KAΔΦICHC (King Vima Kadphises) /
    Ithyphallic Siva standing facing, with head turned to left, holding trident and deerskin
       Kharoshti legend: maharajasa rajadirajasa sarvaloga isvarasa mahisvarasa
          Vima Kathphishasa tratara

    Göbl 19, MAC 3004
    Gold quarter dinar, c. first quarter of 2nd. Century
    Weight: 2.01 gm., Diam: 12 mm., Die axis: 12 o'clock
    Crowned, diademed head of king right, framed in a window
       Greek legend around: BACIΛEYC OOHMO KAΔΦICHC (King Vima Kadphises) /
    Siva's trident, with axe head on shaft, tamgha left, nandipada right
       Kharoshti legend: maharaja rajadiraja Vima Kathphishasa
    Göbl 9, MAC 3005
    AE tetradrachm or unit, c. first quarter of 2nd. Century
    Weight: 17.01 gm., Diam: 27 mm., Die axis: 12 o'clock
    King standing facing, sacrificing at fire altar at left, club, tamgha and axehead-shafted trident in fields,
       Greek legend around: BACIΛEYC BACIΛEWN CWTHP MEΓAC OOHMO KAΔΦICHC/
    Siva standing facing, holding trident and deerskin, bull Nandi right behind,
       Kharoshti legend: maharajasa rajadirajasa sarvaloga isvarasa mahisvarasa
          Vima Kathphishasa tratara

    Göbl 762, MAC 3008
    AE di-drachm or half unit, c. first quarter of 2nd. Century
    Weight: 8.47 gm., Diam: 20-22 mm., Die axis: 12 o'clock
    King standing facing, sacrificing at fire altar at left, club, tamgha and axehead-shafted trident in fields,
       Greek legend around: BACIΛEYC BACIΛEWN CWTHP MEΓAC OOHMO KAΔΦICHC/
    Siva standing facing, holding trident and deerskin, bull Nandi right behind,
       Kharoshti legend: maharajasa rajadirajasa sarvaloga isvarasa mahisvarasa
          Vima Kathphishasa tratara

    Göbl 763, MAC 3048-49
    AE drachm or quarter unit, c. first quarter of 2nd. Century
    Weight: 4.06 gm., Diam: 18 mm., Die axis: 12 o'clock
    King standing facing, sacrificing at fire altar at left, club, tamgha and axehead-shafted trident in fields,
       Greek legend around: BACIΛEYC BACIΛEWN CWTHP MEΓAC OOHMO KAΔΦICHC/
    Siva standing facing, holding trident and deerskin, bull Nandi right behind,
       Kharoshti legend: maharajasa rajadirajasa sarvaloga isvarasa mahisvarasa
          Vima Kathphishasa tratara

    Göbl 764, MAC 3050

    Note: There are some instances where sun and moon are shown atop a mountain-range.

    The rebus readings of such instances are: 

    arka 'sun' rebus: arka 'gold' eraka 'moltencast'.

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

    Gāndhāra punch-marked coins signify dhā̆vaḍ 'iron smelter'.

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    Gāndhāra punch-marked coins signify dhā̆vaḍ'iron smelter'. 

    Dotted circle + radials topped by circles, are Indus Script hypertexts.

    "In the study of punch-marked coins, there is a “six armed” figure that appears on the coins in enormous variety (about one hundred types + a bit) (Paul Murphy illustrates 97 varieties). Note the arrowhead-like projection that occurs on every one of the varieties. These devices were originally called “vajras” by early numismatists, but modern scholar have retreated from the idea..."

    “G.27.1-32” from: Paul Murphy, Kosala State Region, Indian Institute
    of Research in Numismatic Studies, Nasik,2001, p 47.

    "We cannot judge from Paul’s perfunctory sketches, spread over thousands of coins these marks have two distinct features that remain constant. 1) In the center there is almost always a double circle; 2) Around the outside of the circle there are always the arrowhead-like extensions anywhere from 2 – 6 in number." (The quotes are observations by Huntington).

    If a radius is topped by an arrowhead, the rebus reading is: 
    kaṇḍa'arrow' rebus: kaṇḍa'equipment'.

    If a radius is signified by 'fish-fins' atop a bun-shaped ingot, the rebus reading is: khambhaṛā 'fish-fin' rebus: kammaṭa, 'mint, coiner, coinage' PLUS  mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' 

    See: Vajra षट्--कोण'six-angled' hypertext of Punch-marked coins dula 'pair' rebus: dul 'metal casting' PLUS khambhaā 'fish-fin' rebus: kammaa 'mint'  http://tinyurl.com/huwkos4 Thus, metal casting mint. The centre-point is a dotted circle which reads:dhā̆vaḍ 'iron smelter'.




    The approximate geographical locations of where the coins were issued can be seen on this map (identify coins by their coin numbers). Coins of large empires are located in the area of the presumed capital cities.
    http://coinindia.com/Fifty%20Coins%20map.jpg

    Coin#2 Gandhara Janapada punch-marked coin. ca. 5th-4th cent. BCE. Radiate arms from dotted circle.

    This is an Indus Script Hypertext read rebus: Dotted circle PLUS  radii of a circle; diverging in lines from a common centre.signified by a circle atpp each radiusdhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si.  ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773) PLUS Circle, round:  vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vr̥t11. Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ; L. (Ju.) vaṭ m. ʻ anything twisted ʼ; Si. vaṭa ʻ round ʼ, vaṭa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va'ʻ round ʼ GS 58; -- (CDIAL 12069)

    Rebus: Pa. vatta -- n. ʻ duty, office ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- n. ʻ livelihood ʼ; P. buttā m. ʻ means ʼ; Ku. buto ʻ daily labour, wages ʼ; N. butā ʻ means, ability ʼ; H. oūtā m. ʻ power ʼ; Si. vaṭa ʻ subsistence, wages ʼ.(CDIAL 12069)

    Read dotted circle PLUS circles atop each radius: dhāī 'wisp of fibre' PLUS  vaṭṭa'circle'. Thus,together, dhāvḍī 'relating to iron', duty of iron smelter:dhā̆vaḍ 'iron smelter'.

    Coin#2
    Gandhara janapada, Silver satamana, c. 5th-4th century BCE
    Three "septa-radiate" punches/Blank
    Weight: 11.46 gm., Dim: 43 x 22 mm.

    Coin #7:

    Indo-Greek Kingdom, Menander I, Silver tetradrachm, c. 155-130 BCE
    Weight: 9.74 gm., Diam: 25 mm.
    Diademed, helmeted bust of Menander right, Greek legend around:
         BAΣIΛEΩΣ ΣΩTHPOΣ // MENANΔPOY /
    Athena Alkidemos standing left, seen from behind, holding aegis on left arm,
         hurling thunderbolt with right, monograms at left and right,
         Kharoshthi legend around: maharajasa tratarasa // menamdrasa
    Ref: MIG 217f, Bop 15Coi



    Coin #10:
    Indo-Scythian Kingdom, Azes I, Silver tetradrachm, c. 1st century BCE
    Weight: 9.52 gm., Diam: 26 mm.
    King mounted on horse right, holding spear, Greek legend around:
            BAΣIΛEΩΣ BAΣIΛEΩN MEΓAΛOY // AZOY /
    Zeus standing facing, holding thunderbolt and spear, Kharoshthi legend around:
            Maharajasa rajarajasa mahatasa // Ayasa
    Ref: MIG 749c, Senior 80.11T
    ns%20map.jpg

    Pre-karṣāpaṇa and karṣāpaṇa coins of Magadha Janapada display Indus Script hypertexts metalwork catalogues

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    This monograph deciphers the Indus Script Hypertexts of Pre-karṣāpaṇa and karṣāpaṇa coins of Magadha Janapada. कार्षा* पण mn. (g. अर्धर्चा*दि ; cf. कर्ष्) " weighing a कर्ष " , a coin or weight of different values (if of gold , = 16 माष» कर्ष ; if of silver , = 16 पणs or 1280 Kowries , commonly termed a Kahan ; if of copper , = 80 रक्तिकाs or about 176 grains ; but accord. to some = only 1 पण of Kowries or 80 Kowries)Mn. viii , 136 ; 336 ; ix , 282; worth so many कार्षापणPa1n2. 5-1 , 29;money, gold and silver; pl. N. of a warrior-tribe g. पर्श्व्-ादि; the chief of this tribe ib. and 4-1 , 177 Va1rtt. 2. (Monier-Williams)

    The Magadha Janapada coins use the following Indus Script hypertexts, all of which are Meluhha metalwork catalogue items expressed in the spoken forms of words of Bharatiya sprachbund (speech union).

    Forty-two Punch-marked coin symbols are identified and referenced as PMS1 to PMS42 in the following rebus readings of these symbols as Indus Script Hypertexts:


    PMS1 arka 'sun' arká1 m. ʻ flash, ray, sun ʼ RV. [√arc]Pa. Pk. akka -- m. ʻ sun ʼ, Mth. āk; Si. aka ʻ lightning ʼ, inscr. vid -- äki ʻ lightning flash ʼ.(CDIAL 624) rebus: arka 'gold' eraka 'moltencast' 

    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) 


    PMS2 Central dotted circle: dha 'strand' rebus: dhatu 'mineral' PLUS vaṭṭa 'round' together dhā̆vaḍ 'smelter' PLUS Three ingots, three arrows: kolom 'three' rebus:kolimi 'smithy, forge';  Smithy for ingots: muh, 'ingot' PLUS kolimi 'smithy'; Forge for equipment: kanda 'arrow' rebus: kanda 'equipment' PLUS kolom 'three' rebus: kolimi 'forge'

    PMS3 khandaka 'division' (Pali) rebus; khaṇḍa 'equipment'

    PMS4 kunda 'nave'

    rebus: -kō̃da -कोँद । इष्टिकाभ्राष्ट्रः f. a brick-kiln. (Kashmiri) kõdār'turner' (Bengali). āra 'spoke' rebus: āra 'brass' eraka 'knave of wheel' rebus: eraka 'molten cast'.

     PMS5 karibha,ibha 'elephant' rebus:karba, ib 'iron'
    PMS6 मेढ [ mēha ]  The polar star (Marathi). [cf.The eight-pointed star Rebus: me 'iron' (Mundari. Remo.)

    PMS7

    gaṇḍa'four' rebus: kaṇḍa fire-altar, equipment PLUS meknot, Rebus: med 'iron' med 'copper' (Slavic)


    PMS8

     goṭi 'pellet, round stone; rebus: goṭi 'silver ingot'  PLUS kuhari 'crucible' Rebus: kuhari 'storekeeper, treasury'


    PMS9 dhatu 'strand' rebus: dhatu 'mineral ore' PLUS 

    goṭi 'pellet, round stone; rebus: goṭi 'silver ingot'  


    PMS10 danīṛo 'harrow' Rebus: ḍhangar 'blacksmith' PLUS panja 'talon' rebus: panja 'kiln'

    PMS11  śrēṣṭrī 'ladder' Rebus: seṭh ʻ head of a guild' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'

     PLUS kuhari 'crucible' Rebus: kuhari 'storekeeper, treasury'


    PMS12 

    gaṇḍa 'four' rebus: kaṇḍa fire-altar, equipment dhāv 'strand' rebus: dhāi 'mineral ore' PLUS vatta round' rebus: dhā̆vaḍ 'smelter'.


    PMS13 पोळ [pōḷa] 'zebu' Rebus: पोळ [pōḷa] 'magnetite, ferriteore'

    PMS14 danīṛo 'harrow' Rebus: ḍhangar 'blacksmith' PLUS ayo 'fish' rebus: aya 'iron' ayas 'alloy metal'

    PMS15 kuṭi 'tree' rebus kuṭhi 'smelter' 

    PMS16 

    meknot', Rebus: med 'iron' med 'copper'


    PMS17

    goṭi 'pellet, round stone; rebus: goṭi 'silver ingot'  PLUS kuhari 'crucible' Rebus: kuhari 'storekeeper, treasury'


    PMS18 ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' 

    PLUS dāmā ʻ peg to tie a buffalo' (Assamese) rebus: dhāu 'mineral ore'; kūṭa 'apeg, etc.'; kūṭi 'a hat turban peg or stand' (Kannada) Vikalpa: khut.i Nag. (Or. khut.i_) diminutive of khuṇṭa, a pegdriven into the ground, as for tying a goat (Mundari) khuṇṭi = pillar (Santali) Rebus: kuṭhi 'smelter'  


    PMS19 

    goṭi 'pellet, round stone; rebus: goṭi 'silver ingot'  PLUS kuhari 'crucible' Rebus: kuhari 'storekeeper, treasury'


    PMS20

    goṭi 'pellet, round stone; rebus: goṭi 'silver ingot'  PLUS kolom 'three' rebus: kolimi 'smithy, forge'


    PMS21 ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' 

    PLUS meknot', Rebus: med 'iron' med 'copper' PLUS dula 'two' rebus: dul 'metal casting'


    PMS22

    goṭi 'pellet, round stone; rebus: goṭi 'silver ingot'  PLUS kuhari 'crucible' Rebus: kuhari 'storekeeper, treasury'

    PMS23 dhatu 'strand' rebus: dhatu 'mineral ore' PLUS dula 'pair' rebus: dul 'metal casting' PLUS meknot, Rebus: med 'iron' med 'copper'

    PMS27 
    kharā 'hare' rebus: khār 'blacksmith'

    PMS28
    dhanga 'mountain range' Rebus: dhangar 'blacksmith'.PLUS पोळ [pōḷa] 'zebu' Rebus: पोळ [pōḷa] 'magnetite, ferriteore'

    PMS29 
    కమ్మటము [ kammaṭamu ] Same as కమటము 'portable furnace'. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste Rebus: kammaṭa 'coinage, mint, coiner'
    PMS30 ? goṭi 'pellet, round stone; rebus: goṭi 'silver ingot' 

    PMS31 goṭi 'pellet, round stone; rebus: goṭi 'silver ingot'  PLUS kuhari 'crucible' Rebus: kuhari 'storekeeper, treasury'

    PMS32 ? goṭi 'pellet, round stone; rebus: goṭi 'silver ingot' 

    PMS33 ?  goṭi 'pellet, round stone; rebus: goṭi 'silver ingot' 

    PMS34 dhatu 'strand' rebus:dhatu 'mineral' PLUS

    PMS35 loa 'ficus glomerata' rebus: loh 'copper'

    PMS37 
     goṭi 'pellet, round stone'; rebus: goṭi 'silver ingot' 
    PMS38 dahi, dai  'stalks of certain plants' Rebus: dhatu ‘mineral' Vikalpa: ṇḍa काण्डः m. the stalk or stem of a reed. Rebus:kāṇḍa tools, pots and pans and metal-ware.
    PMS39 skándhas<-> n. ʻ branching top of a tree ʼ RV.; H. kandh m. ʻ tree trunk, thick branchʼ(CDIAL 13629, 13627) Rebus: kand 'fire-altar' khaṇḍa 'implements'. 
    PMS40 kola 'tiger' Rebus: kol 'working in iron'

    PMS41 
     goṭi 'pellet, round stone; rebus: goṭi 'silver ingot' 
    PMS 42
    पोळ [pōḷa] 'zebu' Rebus: पोळ [pōḷa] 'magnetite, ferriteore'


    [quote]Prior to the Mauryas, the accepted chronology of Magadha's kings is as follows:

          Haryanaka dynasty
                Bimbisara (545-493 BCE)
                Ajatashatru (493-461 BCE)
                Udayabhadra (461-445 BCE)
                Aniriddha & Munda (445-437 BCE)
                Nagadaska (437-413 BCE)
          Shishunaga dynasty
                Shishunaga (413-395 BCE)
                Kalashoka (395-367 BCE)
                Sons of Kalashoka (367-345 BCE)
          Nanda dynasty
                Mahapadma Nanda (345- ? BCE)
                Sons of Mahapadma Nanda ( ? - 323 BCE)


    Magadha's earliest coins were dumpy silver 35-mashaka pieces of roughly 7.6 gm. that featured a single "6-arm symbol" punch. They seem to have been soon superceded by 25-mashaka pieces of roughly 5.5 gm. on thinner, more spread flans, but with the same 6-arm symbol punch. The next stage retained the same flan type and the same 6-arm punch in the center, but three additional punches were added around the central punch. These are the first coins shown in the table below. Perhaps this group was issued by the Haryankas. This period included the time during which the Buddha came to Magadha, where he attained enlightenment in the Magadhan city of Gaya, and where he preached for most of the remainder of his lifetime. The Magadhan king Bimbisara offered his throne to the Buddha, but was turned down.
    Around 420 BCE, perhaps with the ascension of Shishunaga, the 25-mashaka denomination was abandoned and replaced by a karshapana standard of roughly 3.5 gm. At first, the karshpanas continued to feature four punches, but quite soon this was changed to a five punch design. Two of the punches were consistently a solar disc and a variety of the 6-arm symbol. The three remaining punches varied. Over time, the size of the flans shrank and the coins became thicker, probably to make it more difficult for merchants to add "banker's marks" that tended to obliterate the original designs of the coins. At some stage, the Mauryans came to power, and they continued the 5-punch karshapana series. 
    The following examples are referred to as Pre-Karshapana series because the weight ranges from 20 to 25 mashakas, while the Karshapana series were almost standardised weights of about 3.25gms.[unquote]

    Both series deployed Indus Script Hypertexts.

    Silver 25-mashakas
    c. 5th century BCE
    Weight: 5.43 gm., Dim: 22 x 23 mm.
    Central 6-arm punch, surrounded by three other punches /
    blank
    Ref:  MATEC 2722-30.

    Silver 25-mashakas
    c. 5th century BCE
    Weight: 5.30 gm., Dim: 22 x 21 mm.
    Central 6-arm punch, surrounded by three other punches /
    blank
    Ref:  MATEC 2731-55.


    Silver 25-mashakas
    c. 5th century BCE

    Weight: 5.35 gm., Dim: 24 x 23 mm.
    Central 6-arm punch, surrounded by three other punches /
    blank
    Ref:  MATEC 2774.

    Silver 25-mashakas
    c. 5th century BCE
    Weight: 5.38 gm., Dim: 25 x 29 mm.
    Central 6-arm punch, surrounded by three other punches /
    blank
    Ref:  MATEC --- (unpublished).

    Silver 25-mashakas
    c. 5th century BCE

    Weight: 4.73 gm., Dim: 27 x 23 mm.
    Central 6-arm punch, surrounded by three other punches /
    blank
    Ref:  MATEC 2780-82.
    Silver 20-mashakas
    c. 5th century BCE

    Weight: 4.73 gm., Dim: 27 x 23 mm.
    Central 6-arm punch, surrounded by three other punches /
    blank
    Ref:  MATEC 2780-82.


    karṣāpaṇa series

    Silver karshapana
    c. 5th-4th century BCE

    Weight: 3.08 gm., Dim: 26 x 24 mm.
    Five punches: sun, 6-arm, and three others, plus banker's marks /
    Banker's marks
    Ref:  GH 36.



    Silver karshapana
    c. 5th-4th century BCE

    Weight: 3.45 gm., Dim: 25 x 23 mm.
    Five punches: sun, 6-arm, and three others, plus banker's marks /
    Banker's mark
    Ref:  GH 48.



    Silver karshapana
    c. 5th-4th century BCE

    Weight: 3.44 gm., Dim: 21 x 21 mm.
    Five punches: sun, 6-arm, and three others /
    Blank
    Ref:  GH 56.



    Silver karshapana
    c. 5th-4th century BCE

    Weight: 3.37 gm., Dim: 21 x 22 mm.
    Five punches: sun, 6-arm, and three others, plus extra sun symbol /
    Blank
    Ref:  GH 159.


    Silver karshapana
    c. 5th-4th century BCE

    Weight: 3.22 gm., Dim: 18 x 22 mm.
    Five punches: sun, 6-arm, and three others /
    Blank
    Ref:  GH 186.


    Silver karshapana
    c. 5th-4th century BCE

    Weight: 3.13 gm., Dim: 19 x 27 mm.
    Five punches: sun, 6-arm, and three others, plus banker's marks /
    Banker's marks
    Ref:  GH 200.


    Silver karshapana
    c. 5th-4th century BCE

    Weight: 3.27 gm., Dim: 23 x 20 mm.
    Five punches: sun, 6-arm, and three others /
    Blank
    Ref:  GH 201.


    Silver karshapana
    c. 5th-4th century BCE

    Weight: 3.39 gm., Dim: 20 x 27 mm.
    Five punches: sun, 6-arm, and three others /
    Blank
    Ref:  GH 222.


    Silver karshapana
    c. 5th-4th century BCE

    Weight: 3.37 gm., Dim: 21 x 22 mm.
    Five punches: sun, 6-arm, and three others, plus a banker's mark /
    Blank
    Ref:  GH 249.


    Silver karshapana
    c. 5th-4th century BCE

    Weight: 3.27 gm., Dim: 15 x 27 mm.
    Five punches: sun, 6-arm, and three others, plus banker's marks /
    Blank
    Ref:  GH 279.


    Silver karshapana
    c. 5th-4th century BCE

    Weight: 3.39 gm., Dim: 21 x 23 mm.
    Five punches: sun, 6-arm, and three others /
    Blank
    Ref:  GH 279 var.


    Silver karshapana
    c. 5th-4th century BCE

    Weight: 3.15 gm., Dim: 13 x 22 mm.
    Five punches: sun, 6-arm, and three others, plus banker's marks /
    Blank
    Ref:  GH 320.


    Silver karshapana
    c. 5th-4th century BCE

    Weight: 3.09 gm., Dim: 15 x 24 mm.
    Five punches: sun, 6-arm, and three others, plus banker's marks /
    Blank
    Ref:  GH 359.



    Silver karshapana
    c. 5th-4th century BCE

    Weight: 3.07 gm., Dim: 14 x 21 mm.
    Five punches: sun, 6-arm, and three others /
    Banker's marks
    Ref:  GH 463.


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