We analyzed 16,625 papers to figure out where AI is headed next -- Karen Hao, Raj Vedam, Jijith Nadumuri Ravi

January 31, 2019, 7:05 am

≫ Next: Itihāsa of Assur, metalsmiths of India, Ashur Ancient Near East. Two seals of Saar, Bahrain Indus Script hypertexts wealth-accounting metalwork ledgers

≪ Previous: Itihāsa.Dilmun armourers, آهن ګران āhan-garān 'thunderbolt makers' of Sarasvati Civiliztion, Indus Script Meluhha hypertexts, Part 1/3

Raj Vedam

Yesterday at 8:45 AM

Artificial Intelligence - Is the Future Here Yet?!

Humanity has never stopped dreaming of creating artificial life-forms. From the first human who drew a human figure on a cave wall or carved a human-figurine, down to present times, the desire to create an artificial intelligent companion has persisted.

Epics and stories from various parts of the world abound in accounts of created beings put to some use. Even in the pre-digital computer era, Westinghouse created Elektro - a robot - in the late 1930s.

Digital computers have given new life (sic) to this age-old fantasy. From the days of cybernetics - adaptive and learning automatic feedback control of devices using computers, to Expert Systems with encoded knowledge, to artificial neural networks, to Big Data processing to automate learning and knowledge, to the latest buzzwords of deep-learning, humanity has expended a lot of thought in artificial intelligence.

Unfortunately, "intelligence" remains poorly understood, ill-defined, and badly modeled - let alone cognition and consciousness!

Nevertheless, machine learning has spurred advances in natural language processing, speech and image recognition, and bounded autonomous systems, providing the masses with a semblance of "artificial intelligence", with spectacular successes such as Siri, Alexa, face-recognition systems, automation, and self-driving vehicles.

At the core of most machine-learning technologies are algorithms (exact, randomized, stochastic) for nonlinear functional mapping, in a quest to get "univeral approximators", but only poorly accomplishing generic functional-interpolation, with questionable promise for the future.

The human brain has an estimated 100 billion neurons with an estimated storage capacity of 10 to 100 terabytes. By simplistic analogy, some AI researchers (Google Kurzweil, Singularity) seek parity of neurons with the number of transistors on a chip, at which point "intelligence" can be conferred electronically in a chip.

Intel's 8-core i7 processor has about 2.6 billion transistors. We are at a point where Moore's law will meet (has met) a practical death, dashing hopes for indefinite doubling of transistors on a chip, to meet the nebulous goal of "parity with the human brain".
(see also my earlier post on this topic: https://www.facebook.com/photo.php?fbid=10216996904979323&set=a.10202371610476101&type=3&theater)

What is clear is that even by parallelizing hundreds of such processors (i.e., more transistors than the neurons in the human brain) and throwing the stored-knowledge of Google on such processors (e.g., Watson with 16 terabytes of memory), we don't have the tiniest spark of what we can call "intelligence".

Therein lies the question - what comes next to drive the next great wave of innovation towards "artificial intelligence / cognition / consciousness"?

Jijith Nadumuri Ravi I feel further progress on AI needs progress in quantum consciousness studies. Currently quantum physics with its new branch viz. Quantum Consciousness Studies has reached the boundary of non material physics or meta physics. It can understand the undifferentiated consciousness, the consciousness which is not differentiated into mind, intellect or aham-kaara. But soon that may happen. A computer based on that knowledge will not be different from a human and will have mind, intellect and aham-kaara - the three fold differentiated consciousness, just like humans have.

The 1900's understanding of the collapse of the qunantum superposition through observation, is akin to the idea of creation as described in Vedanta. Act of observation is nothing but the interference of consciousness upon the material world. Thus consciousness became the subject of (western) science for the first time. Yet many scientists hardly recognize it that way. Collapsing superposition for a desired outcome, from the infinite possibilities offered by quantum superposition is (western) science's first encounter with 'mind', for it is mind (a distinct form of consciousness, distinct from other forms like intellect and aham-kaara) that is capabable of a desire.

Such understanding of consciousness by subjecting it to current mathematical formalism in quantum physics will lead of a better artificial intelligence which is more human like.

Current Quantum Computing studies lack that depth and teeth because such studies discard Quantum Consciousness.

Raj Vedam Jijith Nadumuri Ravi, nice summary of a direction of future work. Without doubt, the sub-sub-atomic world remains an area poorly understood (whether via colliders or theory), a boundary where the axioms of science (pramana) meets philosophy, thus offering great scope for research. Understanding the discrete transactions that occur at the nano-meter physical level and how aggregations of trillions of those discrete transactions give rise to our macro-reality is today poorly modeled with stochastic functions, with great leaps of modeling-faith! Our understanding can only improve from this point - exciting times ahead to understand (the Nature of) Bhagavan, even if we only remain the metaphorical blind men describing an elephant.

https://www.facebook.com/raj.vedam.1/posts/10218165369070195

We analyzed 16,625 papers to figure out where AI is headed next

Our study of 25 years of artificial-intelligence research suggests the era of deep learning is coming to an end.

by Karen Hao
January 25, 2019

Almost everything you hear about artificial intelligence today is thanks to deep learning. This category of algorithms works by using statistics to find patterns in data, and it has proved immensely powerful in mimicking human skills such as our ability to see and hear. To a very narrow extent, it can even emulate our ability to reason. These capabilities power Google’s search, Facebook’s news feed, and Netflix’s recommendation engine—and are transforming industries like health care and education.

Sign up for the The AlgorithmBut though deep learning has singlehandedly thrust AI into the public eye, it represents just a small blip in the history of humanity’s quest to replicate our own intelligence. It’s been at the forefront of that effort for less than 10 years. When you zoom out on the whole history of the field, it’s easy to realize that it could soon be on its way out.

The sudden rise and fall of different techniques has characterized AI research for a long time, he says. Every decade has seen a heated competition between different ideas. Then, once in a while, a switch flips, and everyone in the community converges on a specific one.“If somebody had written in 2011 that this was going to be on the front page of newspapers and magazines in a few years, we would’ve been like, ‘Wow, you’re smoking something really strong,’” says Pedro Domingos, a professor of computer science at the University of Washington and author of The Master Algorithm.

At MIT Technology Review, we wanted to visualize these fits and starts. So we turned to one of the largest open-source databases of scientific papers, known as the arXiv (pronounced “archive”). We downloaded the abstracts of all 16,625 papers available in the “artificial intelligence” section through November 18, 2018, and tracked the words mentioned through the years to see how the field has evolved.

Through our analysis, we found three major trends: a shift toward machine learning during the late 1990s and early 2000s, a rise in the popularity of neural networks beginning in the early 2010s, and growth in reinforcement learning in the past few years.

There are a couple of caveats. First, the arXiv’s AI section goes back only to 1993, while the term “artificial intelligence” dates to the 1950s, so the database represents just the latest chapters of the field’s history. Second, the papers added to the database each year represent a fraction of the work being done in the field at that moment. Nonetheless, the arXiv offers a great resource for gleaning some of the larger research trends and for seeing the push and pull of different ideas.

A MACHINE-LEARNING PARADIGM

The biggest shift we found was a transition away from knowledge-based systems by the early 2000s. These computer programs are based on the idea that you can use rules to encode all human knowledge. In their place, researchers turned to machine learning—the parent category of algorithms that includes deep learning.

Among the top 100 words mentioned, those related to knowledge-based systems—like “logic,” “constraint,” and “rule”—saw the greatest decline. Those related to machine learning—like “data,” “network,” and “performance”—saw the highest growth.

The reason for this sea change is rather simple. In the ’80s, knowledge-based systems amassed a popular following thanks to the excitement surrounding ambitious projects that were attempting to re-create common sense within machines. But as those projects unfolded, researchers hit a major problem: there were simply too many rules that needed to be encoded for a system to do anything useful. This jacked up costs and significantly slowed ongoing efforts.

Machine learning became an answer to that problem. Instead of requiring people to manually encode hundreds of thousands of rules, this approach programs machines to extract those rules automatically from a pile of data. Just like that, the field abandoned knowledge-based systems and turned to refining machine learning.

THE NEURAL-NETWORK BOOM

Under the new machine-learning paradigm, the shift to deep learning didn’t happen immediately. Instead, as our analysis of key terms shows, researchers tested a variety of methods in addition to neural networks, the core machinery of deep learning. Some of the other popular techniques included Bayesian networks, support vector machines, and evolutionary algorithms, all of which take different approaches to finding patterns in data.

Through the 1990s and 2000s, there was steady competition between all of these methods. Then, in 2012, a pivotal breakthrough led to another sea change. During the annual ImageNet competition, intended to spur progress in computer vision, a researcher named Geoffrey Hinton, along with his colleagues at the University of Toronto, achieved the best accuracy in image recognition by an astonishing margin of more than 10 percentage points.

The technique he used, deep learning, sparked a wave of new research—first within the vision community and then beyond. As more and more researchers began using it to achieve impressive results, its popularity—along with that of neural networks—exploded.

THE RISE OF REINFORCEMENT LEARNING

In the few years since the rise of deep learning, our analysis reveals, a third and final shift has taken place in AI research.

As well as the different techniques in machine learning, there are three different types: supervised, unsupervised, and reinforcement learning. Supervised learning, which involves feeding a machine labeled data, is the most commonly used and also has the most practical applications by far. In the last few years, however, reinforcement learning, which mimics the process of training animals through punishments and rewards, has seen a rapid uptick of mentions in paper abstracts.

The idea isn’t new, but for many decades it didn’t really work. “The supervised-learning people would make fun of the reinforcement-learning people,” Domingos says. But, just as with deep learning, one pivotal moment suddenly placed it on the map.

That moment came in October 2015, when DeepMind’s AlphaGo, trained with reinforcement learning, defeated the world champion in the ancient game of Go. The effect on the research community was immediate.

THE NEXT DECADE

Our analysis provides only the most recent snapshot of the competition among ideas that characterizes AI research. But it illustrates the fickleness of the quest to duplicate intelligence. “The key thing to realize is that nobody knows how to solve this problem,” Domingos says.

Many of the techniques used in the last 25 years originated at around the same time, in the 1950s, and have fallen in and out of favor with the challenges and successes of each decade. Neural networks, for example, peaked in the ’60s and briefly in the ’80s but nearly died before regaining their current popularity through deep learning.

Every decade, in other words, has essentially seen the reign of a different technique: neural networks in the late ’50s and ’60s, various symbolic approaches in the ’70s, knowledge-based systems in the ’80s, Bayesian networks in the ’90s, support vector machines in the ’00s, and neural networks again in the ’10s.

The 2020s should be no different, says Domingos, meaning the era of deep learning may soon come to an end. But characteristically, the research community has competing ideas about what will come next—whether an older technique will regain favor or whether the field will create an entirely new paradigm.

“If you answer that question,” Domingos says, “I want to patent the answer.”

Karen Hao

Karen Hao is the artificial intelligence reporter for MIT Technology Review. In particular she covers the ethics and social impact of the technology as well as its applications for social good. She also writes the AI newsletter, the Algorithm,which thoughtfully examines the field’s latest news and research. Prior to joining the publication, she was a reporter and data scientist at Quartz and an application engineer at the first startup to spin out of Google X.

https://www.technologyreview.com/s/612768/we-analyzed-16625-papers-to-figure-out-where-ai-is-headed-next/?fbclid=IwAR2TTVOT4P5cliiL-SqtDR5FBcjXCTn6_Tirwv92XAUcHMqOVFidggOaYQA

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Itihāsa of Assur, metalsmiths of India, Ashur Ancient Near East. Two seals of Saar, Bahrain Indus Script hypertexts wealth-accounting metalwork ledgers

January 31, 2019, 10:02 pm

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https://tinyurl.com/ya5nzf6k

-- Dilmun revisited: excavations at Saar, Bahrain -- Harriet Crawford

This is an addendum to: 1. Itihāsa.Dilmun armourers, آهن ګران āhan-garān 'thunderbolt makers' of Sarasvati Civiliztion, Indus Script Meluhha hypertexts, Part 1 to 3 https://tinyurl.com/y7vsvtdm

2. Sanauli gold & four types of bronze anthropomorphs of Sarasvati Civilization are professional calling cards, Indus Script metalwork dhamma samjñā responsibility signifiers https://tinyurl.com/y9uext8

3.Anthropomorphs as Indus Script hypertexts, professional calling cards and Copper Hoard Cultures of Ancient India https://tinyurl.com/y7qc7t73

This monograph posits that stamp seals from Saar, Bahrain are Indus Script hypertexts to signify metalwork catalogues, wealth-accounting ledgers and that the Assur, metalsmiths of India are also the 3rd millennium BCE artisans and seafaring merchants of Dilmun.

Morphological development of the Dilmun stamp seal: a. 2050 BCE; b. 1900 BCE and c. 1700 BCE

The gold anthropomorph discovered at Sanauli seems to wear a cap of the style shown from 1) Ancient Near East on Statue of Gudea (Louvre AO 13. Photo courtesy of the De´partement des antiquite´s orientales, Muse´e duLouvre) and 2) Head of a Neo-Sumerian prince from Uruk (c. 2100BCE) (Amiet, L’Art antique du Proche-Orient: no. 387).See:

https://www.academia.edu/21395362/Dilmun_stamp_seals_and_the_royal_cap Dilmunstampsealsandtheroyalcap

FLEMMING HØJLUND Moesgaard Museum, Denmark. I suggest that the Sanauli gold anthropomorph signifies an Assur expert in metallurgy and suggests a connection between the Assur metalsmiths par excellence of Ancient northern India and Ashur of Ancient Near East.

Flemming Hojlund suggests that the shape of the Dilmun stamp seal compares with the shape of royal cap of Gudea and a Neo-Sumerian prince of Uruk. Flemming Hojlund argues in this article that the specific shape of the stamp seals used around 2000 BCE in eastern Arabia (ancient

Dilmun) was charged with a meaning that can be retrieved when viewed within a culturally and historicallyspecific situation as an insignia of royalty.

Map with known natural distribution of softstone (adapted from David-Cuny, H, 2012, Introduction in: H. David-Cuny and I. Azpeitia (eds.) Failaka Seals catalogue Vol. 1, Al-Khidr, 13-27, Kuwaiti City, National Council for Culture, Arts and Letters, p. 19)

“One of the biggest surprises of the excavations at Saar has been the enormous amount of glyptic material present. We have now more than 80 round stamp seals made of chlorite steatite and 300-400 fragments of seal impressions, all in the local Early Dilmun style…The seals were apparently mainly used for economic purposes, implying that much of the Saar population was actively engaged in the exchange of goods, and perhaps in their manufacture. Because all the seals and seal impressions are in the native Early Dilmun style, it also shows that most of the commerce for which we have evidence was taking place within the Dilmun polity itself. The limited range of foreign goods for which we have evidence were probably redistributed from their port of entry.” -- Harriet Crawford (1997, ibid.)

The following two stamp seals cited by Crawford as early seals from Saar are decihered as Indus Script hypertexts, metalwork catalogues, wealth-accounting ledgers.

Prakritam. Hemachandra Desinamamala, p.71, p.78 http://dli.serc.iisc.ernet.in/handle/2015/352261

The 'body' of man hieroglyph is ligatured with a series of diacritical marks to signify hypertexts of metalwork processes. This ligaturing results in 48 hypertext signs shown below (1977 Mahadevan ASI concordance).
Helmsman, supercargo (metal)

Seal 1: A pair of crossed bulls are fused ligatures on the standard of a seal. पोळा [ pōḷā ] 'zebu' rebus: पोळा [ pōḷā ] 'magnetite, Fe3O4' (ferrite ore)' PLUS Standard: OP. koṭhārī f. ʻ crucible ʼ(CDIAL 3546) Rebus: koṭhār 'treasury, warehouse'. I submit that this pictograph signifies competence in producing crucible steel using magnetite ferrite ore.

A person standing with a staff is a ḍāṅro 'blacksmith': meḍ 'body' rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.); med 'copper' (Slavic languages). ḍakka2 ʻ stick ʼ. 2. *ḍaṅga -- 1. [Cf. other variants for ʻ stick ʼ: ṭaṅka -- 3, *ṭiṅkara -- , *ṭhiṅga -- 1, *ḍikka -- 1 (*ḍiṅka -- )]

1. S. ḍ̠aku m. ʻ stick put up to keep a door shut ʼ, ḍ̠akaru ʻ stick, straw ʼ; P. ḍakkā m. ʻ straw ʼ, ḍakkrā m. ʻ bit (of anything) ʼ; N. ḍã̄klo ʻ stalk, stem ʼ.2. Pk. ḍaṅgā -- f. ʻ stick ʼ; A. ḍāṅ ʻ thick stick ʼ; B. ḍāṅ ʻ pole for hanging things on ʼ; Or. ḍāṅga ʻ stick ʼ; H. ḍã̄g f. ʻ club ʼ (→ P. ḍã̄g f. ʻ stick ʼ; K. ḍã̄g m. ʻ club, mace ʼ); G. ḍã̄g f., ˚gɔ, ḍãgorɔ m., ˚rũ n. ʻ stick ʼ; M. ḍãgarṇẽ n. ʻ short thick stick ʼ, ḍã̄gḷī f. ʻ small branch ʼ, ḍã̄gśī f.*ḍakka -- 3 ʻ hill ʼ see *ṭakka -- 3.*ḍakka -- 4 ʻ drum ʼ see *ḍaṅka -- .Addenda: *ḍakka -- 2. 2. *ḍaṅga -- 1: WPah.kṭg. ḍāṅg f. (obl. -- a) ʻ stick ʼ, ḍaṅgṛɔ m. ʻ stalk (of a plant) ʼ; -- poss. kṭg. (kc.) ḍaṅgrɔ m. ʻ axe ʼ, poet. ḍaṅgru m., ˚re f.; J. ḍã̄grā m. ʻ small weapon like axe ʼ, P. ḍaṅgorī f. ʻ small staff or club ʼ (Him.I 84).(CDIAL 5520) Rebus: N. ḍāṅro ʻ term of contempt for a blacksmith ʼ(CDIAL 5524) ṭhakkura m. ʻ idol, deity (cf. ḍhakkārī -- ), ʼ lex., ʻ title ʼ Rājat. [Dis- cussion with lit. by W. Wüst RM 3, 13 ff. Prob. orig. a tribal name EWA i 459, which Wüst considers nonAryan borrowing of śākvará -- : very doubtful]Pk. ṭhakkura -- m. ʻ Rajput, chief man of a village ʼ; Kho. (Lor.) takur ʻ barber ʼ (= ṭ˚ ← Ind.?), Sh. ṭhăkŭr m.; K. ṭhôkur m. ʻ idol ʼ ( ← Ind.?); S. ṭhakuru m. ʻ fakir, term of address between fathers of a husband and wife ʼ; P. ṭhākar m. ʻ landholder ʼ, ludh. ṭhaukar m. ʻ lord ʼ; Ku. ṭhākur m. ʻ master, title of a Rajput ʼ; N. ṭhākur ʻ term of address from slave to master ʼ (f. ṭhakurāni), ṭhakuri ʻ a clan of Chetris ʼ (f. ṭhakurni); A. ṭhākur ʻ a Brahman ʼ, ṭhākurānī ʻ goddess ʼ; B. ṭhākurāni, ṭhākrān, ˚run ʻ honoured lady, goddess ʼ; Or. ṭhākura ʻ term of address to a Brahman, god, idol ʼ, ṭhākurāṇī ʻ goddess ʼ; Bi. ṭhākur ʻ barber ʼ; Mth. ṭhākur ʻ blacksmith ʼ; Bhoj. Aw.lakh. ṭhākur ʻ lord, master ʼ; H. ṭhākur m. ʻ master, landlord, god, idol ʼ, ṭhākurāin, ṭhā̆kurānī f. ʻ mistress, goddess ʼ; G. ṭhākor, ˚kar m. ʻ member of a clan of Rajputs ʼ, ṭhakrāṇī f. ʻ his wife ʼ, ṭhākor ʻ god, idol ʼ; M. ṭhākur m. ʻ jungle tribe in North Konkan, family priest, god, idol ʼ; Si. mald. "tacourou"ʻ title added to names of noblemen ʼ (HJ 915) prob. ← Ind.Addenda: ṭhakkura -- : Garh. ṭhākur ʻ master ʼ; A. ṭhākur also ʻ idol ʼ (CDIAL 5488)

Seal 2: A pair of standing persons, next to a ram. miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) koṭe meṛed = forged iron, in contrast to dul meṛed, cast iron (Mundari) Rebus: meḍho 'one who helps a merchant'

Hemacandra deśīnāmamālā

Hypertext, A pair of standing persons: dula 'pair' rebus: dul 'metal casting' PLUS meḍ 'body' rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.); med 'copper' (Slavic languages).

OP. koṭhārī f. ʻ crucible ʼ(CDIAL 3546) Rebus: koṭhār 'treasury, warehouse'. mēḍh 'pole star' rebus: mēḍ 'iron' med 'copper' (Slavic) .medhā 'dhana,yajna'.

Sign1 is an Indus Script hieroglyph. A duplication of this sign is a hypertext in Indus Script cipher to signify dula 'pair' rebus: dul 'metal casting', i.e. a metalcasting artisan.

A pair of 'men' shown on many Persian Gulf or Dilmun seals are often viewed as signifiers of an underlying language which is different from the underlying Meluhha language of Indus Script inscriptions.

A pair of 'men' occurs on Indus Script inscriptions. Together with reduplication of pictrographs as mirror images, the signifiers of a pair of 'men' pictograph are read rebus as related to metal casting, cire perdue technique of casting in particular, which is reduplication metallurgical process.

The key words and expressions of Meluhha language are seen in the following glosses:

The key rebus reading of a pair of 'men' pictographs is: meḍ 'body' rebus: meḍ 'iron' PLUS dula 'pair' rebus: dul 'metal casting'. Thus, dul meḍ 'cast iron'.

Image result for Masonry at the site of the ancient Barbar Temple, in Bahrain, dating from the 2nd millennium

PLUS ranku 'antelope' rebus: ranku 'tin'. Thus, tin metalcasting.

ranku 'antelope' rebus: ranku 'tin' PLUS mē̃d, mēd 'body' rebus: mē̃d, mēd 'iron', med 'copper' (Slavic).

ḍhangra ‘bull’ Rebus: ṭhakkura m. ʻ idol, deity; dhangar 'blacksmith'Mth.ṭhākur ʻblacksmith'

PLUS dhangra 'bull' rebus: dhangar 'blacksmith'

A pair of persons also occurs on Indus Script Corpora examples:

m0480a

m0480

Text of m0480a

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

Image result for bharatkalyan97 kalibangan cylinder seal

Kalibangan cylinder seal signifies tree. Kalibangan065 Cylinder seal impression. Note the scarf of the person ligatured to a tiger.

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

Rebus: dhātu ‘mineral (Pali).

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

kuṭi ‘tree’ kuṭhi ‘smelter’ tagaraka ‘tabernae montana’ rebus: tagara ‘tin’ kolom ‘three’ rebus: kolimi‘smithy, forge’ dhatu ‘scarf’ rebus: dhatu ‘mineral, ore’ kola ‘woman’ kola ‘tiger’ rebus: kol ‘furnace, forge’kol ‘metal, working in iron’. Headdress of the woman: kūtī = bunch of twigs (Skt.)The bunch of twigs = kūdī, kūṭī (Samskrtam) kūdī (also written as kūṭī in manuscripts).^{^[i]}Rebus: kuṭhi 'smelting furnace‘; koṭe ‘forged metal’ (Santali) karat.i, karut.i, kerut.i fencing, school or gymnasium where wrestling and fencing are taught (Ta.); garad.i, garud.i fencing school (Ka.); garad.i, garod.i (Tu.); garid.i, garid.i_ id., fencing (Te.)(DEDR 1262). Rebus 1: करडा [ karaḍā] Hard from alloy--iron, silver &c. Rebus 2: khara_di_ = turner (Gujarati) Thus, the inscription reads: Tin smelter, iron smelter, furnace, forge, smithy PLUS hard metal alloy. The narrative of fencers with a woman in between: kola ‘woman’ rebus: kola, ‘metal’ PLUS karaḍā ‘hard alloy’ – thus, hard metal alloy.

[i] Occurs in the Atharvaveda(AV 5.19.12) and KauśikaSūtra (Bloomsfield's edn, xliv. cf. Bloomsfield,American Journal of Philology, 11, 355; 12,416; Roth, Festgruss anBohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).

koDu 'horn' Rebus: koD 'workshop'

Hieroglyph: karã̄ n. pl. ʻ wristlets, bangles ʼ (Gujarati) Rebus: khAr 'blacksmith' kola 'woman' Rebus: kolhe 'smelter' kol 'working in iron' kolle 'blacksmith' kolimi 'smithy, forge'.

Sign 2 ciphertext is composed of Sign 1 and duplicated long line. Hypertext is:mē̃ḍ 'body' rebus: mē̃ḍ ‘iron’ (Mu.) PLUS dula 'duplicated, pair' rebus; dul 'metal casting'. Thus, the message is:dul mē̃ḍ koḍ 'iron metalcasting workshop'.

Text 2420 on m0304. This text shows a duplication of Sign 1 which occurs on both the lines of the text message.

Line 2 (bottom): 'body' glyph. mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.)

Line 1 (top):

'Body' glyph plus ligature of 'splinter' shown between the legs: mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.) sal ‘splinter’; Rebus: sal ‘workshop’ (Santali) Thus, the ligatured glyph is read rebus as: meḍ sal 'iron (metal) workshop'.

Sign 216 (Mahadevan). ḍato ‘claws or pincers (chelae) of crabs’; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhatu ‘mineral’ (Santali) Vikalpa: erā ‘claws’; Rebus: era ‘copper’. Allograph: kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.) kamat.ha = fig leaf, religiosa (Skt.)

Sign 229. sannī, sannhī = pincers, smith’s vice (P.) śannī f. ʻ small room in a house to keep sheep in ‘ (WPah.) Bshk. šan, Phal.šān ‘roof’ (Bshk.)(CDIAL 12326). seṇi (f.) [Class. Sk. śreṇi in meaning "guild"; Vedic= row] 1. a guild Vin iv.226; J i.267, 314; iv.43; Dāvs ii.124; their number was eighteen J vi.22, 427; VbhA 466. ˚ -- pamukha the head of a guild J ii.12 (text seni -- ). -- 2. a division of an army J vi.583; ratha -- ˚ J vi.81, 49; seṇimokkha the chief of an army J vi.371 (cp. senā and seniya). (Pali)

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) karNI 'supercargo' (Marathi)

Sign 344. Ligatured glyph: 'rim of jar' ligature + splinter (infixed); 'rim of jar' ligature is read rebus: kaṇḍa karṇaka 'furnace scribe (account)'.

sal stake, spike, splinter, thorn, difficulty (H.); Rebus: sal ‘workshop’ (Santali) *ஆலை³ ālai, n. < šālā. 1. Apartment, hall; சாலை. ஆலைசேர் வேள்வி (தேவா. 844. 7). 2. Elephant stable or stall; யானைக்கூடம். களிறு சேர்ந் தல்கிய வழுங்க லாலை (புறநா. 220, 3).ஆலைக்குழி ālai-k-kuḻi, n. < ஆலை¹ +. Receptacle for the juice underneath a sugar-cane press; கரும்பாலையிற் சாறேற்கும் அடிக்கலம்.*ஆலைத்தொட்டி ālai-t-toṭṭi, n. < id. +. Cauldron for boiling sugar-cane juice; கருப்பஞ் சாறு காய்ச்சும் சால்.ஆலைபாய்-தல் ālai-pāy-, v. intr. < id. +. 1. To work a sugar-cane mill; ஆலையாட்டுதல். ஆலைபாயோதை (சேதுபு. நாட்டு. 93). 2. To move, toss, as a ship; அலைவுறுதல். (R.) 3. To be undecided, vacillating; மனஞ் சுழலுதல். நெஞ்ச மாலைபாய்ந் துள்ள மழிகின்றேன் (அருட்பா,) Vikalpa: sal ‘splinter’; rebus: workshop (sal)’ ālai ‘workshop’ (Ta.) *ஆலை³ ālai, n. < šālā. 1. Apartment, hall; சாலை. ஆலைசேர் வேள்வி (தேவா. 844. 7). 2. Elephant stable or stall; யானைக்கூடம். களிறு சேர்ந் தல்கிய வழுங்க லாலை (புறநா. 220, 3).ஆலைக்குழி ālai-k-kuḻi, n. < ஆலை¹ +. Receptacle for the juice underneath a sugar-cane press; கரும்பாலையிற் சாறேற்கும் அடிக்கலம்.*ஆலைத்தொட்டி ālai-t-toṭṭi, n. < id. +. Cauldron for boiling sugar-cane juice; கருப்பஞ் சாறு காய்ச்சும் சால்.ஆலைபாய்-தல் ālai-pāy-, v. intr. < id. +. 1. To work a sugar-cane mill; ஆலையாட்டுதல். ஆலைபாயோதை (சேதுபு. நாட்டு. 93) Thus, together with the 'splinter' glyph, the entire ligature 'rim of jar + splinter/splice' is read rebus as: furnace scribe (account workshop). Sign 59. ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.) Sign 342. kaṇḍa karṇaka 'rim of jar'; rebus: 'furnace scribe (account)'. Thus the inscription reads rebus: iron, iron (metal) workshop, copper (mineral) guild, fire-altar (furnace) scribe (account workshop), metal furnace scribe (account) As the decoding of m0304 seal demonstrates, the Indus hieroglyphs are the professional repertoire of an artisan (miners'/metalworkers') guild detailing the stone/mineral/metal resources/furnaces/smelters of workshops (smithy/forge/turners' shops).

Gulf (Dilmun) style cylinder seals

L. Al-Gailani Werr

Proceedings of the Seminar for Arabian Studies

Vol. 16, Proceedings of the Nineteenth SEMINAR FOR ARABIAN STUDIES held at Oxford on 30th July - 1st August 1985 (1986), pp. 199-201 (3 pages)

Published by: Archaeopress Publishing Ltd.

https://www.jstor.org/stable/41223247

Page 201 of GULF (DILMUN) STYLE CYLINDER SEALS

http://www.scribd.com/doc/221314427/Early-Dilmun-seals-from-Saar

Early Dilmun seals from Saar

Tews, Sophie, 2011, Seals in Dilmun Society The use and value of Bronze Age seals from Saar, Bahrain

http://www.scribd.com/doc/221315777/Seals-in-Dilmun-Society-Sophietews

Mirror: https://www.academia.edu/6923286/Barbar_Meluhha_Persian_gulf_seals_and_Meluhha_hieroglyphs

Seals in Dilmun Society Sophietews

Early Dilmun seals from Saar by on Scribd

Seals in Dilmun Society Sop... by on Scribd

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Uncovering history: 4,000-year-old artefacts found near Khanpur

February 1, 2019, 12:21 am

≫ Next: Itihāsa. With a large cache of Dilmun seals, Indus Script Corpora has grown to c. 30,000 insciptions of wealth-accounting ledgers

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THE EXPRESS TRIBUNE

> PAKISTAN > K-P

Uncovering history: 4,000-year-old artefacts found near Khanpur

By Yawar Hayat

Published: February 1, 2019

Archaeologists have uncovered some artefacts dating as far back as 1700 BC near Khanpur. PHOTO: EXPRESS

HARIPUR: Chinese archaeologists have uncovered some artefacts dating as far back as 1700 BC near Khanpur. It suggests that there was civilization in this area long before the Gandhara civilization.

The items discovered include clay pottery, remains of metallic tools and stone items.

The objects link to Harappa and Moen Jo Daro civilization.

Sources disclosed that the exploration was made due to the joint efforts of students from three different Chinese universities along with the Department of Archaeology who have been excavating a historical site near Bhaloot in Khanpur for a while.

Nasir Khan, an official of the Directorate of Archaeology and Museums, said that they had discovered a large number of pots, metal and stone tools during the excavation.

He added that the best part was that most of the objects had been recovered undamaged.

Nasir hoped that research on the uncovered items would help provide clues to the civilization which lived in this area over a millennia ago — even before the advent of Gandhara Civilization.

The official said that the discovery was the result of the strengthening cultural ties between Pakistan and China in the wake of China-Pakistan Economic Corridor (CPEC).

He added that it was due to an agreement for cooperation that Chinese archaeological experts had worked with the provincial government to discover the relics.

“This discovery would not only open new chapters in history but would further help in understanding ancient civilizations,” he added.

He added that the discovery of antique objects is the results of the hard work of the experts while these objects would also be kept in a museum for public display.

The areas of Taxila and Khanpur were a hub for the ancient Gandhara civilization while experts were also keen on excavating at Behmala and its adjoining areas.

He added that there were bright chances that they could discover more objects relating to ancient civilizations from these areas.

Published in The Express Tribune, February 1^st, 2019.

https://tribune.com.pk/story/1901323/1-uncovering-history-4000-year-old-artefacts-found-near-khanpur/?fbclid=IwAR0Nj37PgfYuXRZJcF1AqkUKcX0HqPPgpNHG3oOfkKZuxp2sql4m3KnuzDc

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Itihāsa. With a large cache of Dilmun seals, Indus Script Corpora has grown to c. 30,000 insciptions of wealth-accounting ledgers

February 2, 2019, 1:48 am

≫ Next: No, Not All Hindus Are Indian: Calling Tulsi Gabbard a 'Fake Hindu' Is Offensive and Misinformed (http://Medium.com ,feb.1,2019-- Jeffrey Long

≪ Previous: Uncovering history: 4,000-year-old artefacts found near Khanpur

https://tinyurl.com/y8rj5xpd

-- Worship of purifying power of water, mother of Hindu civilization. Indus Script Corpora nclude Dilmun/Bahrain seals

This is an addendum to:

1. Itihāsa of Assur, metalsmiths of India, Ashur Ancient Near East. Two seals of Saar, Bahrain Indus Script hypertexts wealth-accounting metalwork ledgers https://tinyurl.com/ya5nzf6k

2. Itihāsa.Dilmun armourers, آهن ګران āhan-garān 'thunderbolt makers' of Sarasvati Civiliztion, Indus Script Meluhha Part 1 to 3 https://tinyurl.com/y7vsvtdm

3. Dilmun seals should be included in Indus Script Corpora, artisans and seafaring merchants of Sarasvati Civiization in Qal'at al-Bahrain, 2050 BCE

https://tinyurl.com/y8mc72kq

Background

https://www.youtube.com/watch?v=DV_5fI_9b3M (52:19)

Directed by Serge Tigneres, Tomomi Nagazawa

Script Serge Tigneres

Narrator: Simon Chilvers

Script and subtitles: George Burchett, Keith McLennan

The Indus Valley Civilisation Mohenjodaro and Harappa

4:40 to 5:50 : In the 19 century it was admitted that India was the mother of the civilization but in fact the big civilization could be only the middle east and Egypt. Mortimer Willer who was one of the greatest British archaeologist who worked in India called it the Cinderella of the civilization because it was the little last one, we even thought that it was a pale copy of Mesopotamian civilization before to see that it was a totally different civilization. When we start to search we saw that there was no material which can be similar to Mesopotamian civilization, but we saw very quickly that there was huge town, there are sites which are more than 200-300 hectare Mohenjodaro is probably the biggest town of all the antic town. 14:40 to 15:14 : The big watercourses like the Indus, are very important in the developpment of this civilization like each agricultural civilization, it's because of the watercourses that it's possible to have agriculture to feed towns which where the population will be less paysant but more laborer and craftsman, long time ago the Indus spread everywhere on a flat plain, and it was on this flat plain that we can find agriculture with the risk to see each year the field disappear (flooded) . 28:06 to 29:02 : We have a precise idea of the power of the economic system in the big towns, particulary in Mohenjo Daro or Harada, we have extremely powerful craft that produce product that only this civilization know how to do it as for example a type of ceramic almost industrial, without counting all what disappeared, the Indus population was probably a huge textile's manufacturer, a huge processed food product with their era techniques, all that we do not have any traces, all that have disappeared but over all we can say that in the Indus civilization some product had a status that we can nowadays qualify as industrial and was exported everywhere even until Mesopotamia. 30:40 to 31:51 : One of the problems of the Indus civilization was that those people was writing, we know that, we have thousands and thousands of "documents" but they was writing on a perishable medium, so we didn't find the real writing, what we found was like nowadays the name of the street on plates, names/indications on key-holder, etc ... we found everything that stay in times, but the perishable medium disappeared so we don't know, we do not have full text. So we saw a civilization that was writing, but we didn't know, we thought that it was a kind of magic writing, but in fact it was probably a civilization which have politic and administrative government like Egypt. For sure until we will be able to decrypt the writing , meaning to find a text long enough to apply the classic techniques of decryption, we even do not know nowadays what kind of language those people was using. 38:57 to 41:06 : Sea transportation for commercial purpose of the Indus civilization is a question that we start around 20 years ago. we knew that the rivers was used for the commerce between Indus towns, the question about the sea commercial transportation is more sensitive. we know materials from Indus, it come from the Oman's peninsula and some countries around, but more important than that we have Mesopotamian's texts around 2300BC saying that came to tie up to the dock of his capital Guilmun (a zone between the Kuwait and Quatar) some boats from "Magan" some boats from "Melhunra" (not sure about the name's spelling) which is the country of the Indus. Probably it was a commerce with all the people of this area. Also probably, It was not the people from the Indus which start to navigate on the sea, because they was lands people and you can imagine that all the Indus area (the Delta of the river) was a marsh area, a difficult area to pass through, but after a wile, in the middle of the third millennium (BC) this area is an international commercial area, where pass jewelries like the big pearl that only people of Indus manufacture and are the only one to know how to manufacture it, but also the commerce is always about textiles and everything from everywhere like ivory combs etc .. 42:25 to 43:13 : How they communicate when they was trading ? we have a Sumerian text at the end of the third millennium in Mesopotamia which "speak" about a "Malhoura" translator, a guy who know Indus language and Sumerian language. It's a shame that this guy didn't let us a dictionary (the french guy is joking). But in fact all this pre-historic world, where people was always trading is a multi-language world, it's only in our world where people speak one language plus the English. 47:38 to : How they disappear (Indus civilization)? roughly he said (i'm a bit tired) the government became more local, in the big towns they start to live differently which by no means it mean they live it, they just live differently and he said that in archeology it's hard to see it, so they do not really know.

Explorations since 1872 have revealed over 2000 archaeological sites (Rakhigarhi, Ropar, Banawali, Kalibangan, Bhirrana) of this civilization on the banks of Vedic River Sarasvati (also called Ghaggar-Hakra-Nara) which had later dried up due to plate tectonics, resultant river migrations.
Image result for sarasvati civilization satellite

Image result for sarasvati civilization satellite

Fig 3: map of steatite objects from the third to the first millennium B.C. in the Gulf (after Al-Duweesh 2015)

Pour citer ce billet

Sultan Duwish, « Bronze Age Archaeological Sites in the Western Arabian Gulf: Synthesis and Comparisons », Le carnet de la MAFKF. Recherches archéologiques franco-koweïtiennes de l’île de Faïlaka (Koweït), 13 février 2016. [En ligne]

Map of steatite objects from the third to the first millennium B.C. in the Gulf (after Al-Duweesh 2015)

https://mafkf.hypotheses.org/1311

Growth of Indus Script Corpora to c. 30,000 inscriptions

In 1875, one Harappa seal discovered in 1872 was published by Cunningham

In 1977, Mahadevan concordance published 2856 Indus Script inscriptions from 5 major sites, 34 from other sites and 17 from West Asian sites:

In 2010, Vol. 3 of Corpus of Indus Seals and Inscriptions was published. See: https://tinyurl.com/yb695goq Asko Parpola, 2018, Unicorn Bull and Victory Parade, in: Dennys Frenez et al, 2018, Walking with the Unicorn'

This third volume follows CISI I (1987) and CISI 2 (2991) and includes objects with inscriptions found by the Harappa Archaeological Research Project (HARP).

I agree with Asko Parpola that the motif of ‘unicorn bull’ was perhaps adopted by the Harappans from Mesopotamia, where it was represented on seals from the Late Uruk times (c. 3400-3100 BCE onwards.

Impressions of two seals of the Proto-Elamite culture (c. 3200-2600 BCE). (After Amiet 1980: nos. 514 and 515).

Detail of the Mari Ishtar temple victory parade: thestand topped by the image of unicorn wild bull (excavationno. M-458), height 7cm. (After Parrot 1935: 134, fig. 15)

a)A procession of four men holding up stands topped by various things including a ‘unicorn’ bull. Terracotta tablet M-490 (HR 1443) from Mohenjo-daro; b) Terracotta tablet M-491 (HR 1546) from Mohenjo-daro; c) a unique tablet H-196 (262) from Harappa. After Asko Parpola Figure 6, 2018.

\ Corpus of Indus seals and inscriptions, volume 3 added 475 seals from Mohenjo-Daro and 1571 seals from Harappa.

Dilmun or Persian Gulf or Arabian Gulf seals have added to the Indus Script Corpora. In the Saar settlement, sixty five out of the ninety five retrieved seals (over 68%) were made of steatite.

Steffen Terp Laursen [Arab. arch. epig. 2010: 21: 96–134 (2010)] The westward transmission of Indus Valley sealing technology: origin and development of the ‘Gulf Type’ seal and other administrative technologies in Early Dilmun, c.2100–2000 BCE, lists 121 inscriptions of the so-called Dilmun or Gulf seals.

Elic Olijdamand Helen David-Cuny suggest that the total number of Gulf seals over a period of 250 years could have totalled over 24,000.

With these additions to Indus Script Corpora, the total number of Indus Script inscriptions now total nearly 30,000. Since all the inscrptions are wealth-acconting ledgers,metalwork catalogues, the contributions made by seafaring Meluhha merchants and artisans to the Tin-Bronze Revolution from 4th millennium BCE is significant, indeed and may explain the principal reasons for Ancient Bharat contributing to over 33% of World GDP in 1 CE (pace Angus Maddison).

Corpus of Indus Seals and Inscriptions, Vol. 3.1

Author:

OCLC:

Volume 3.1 Mohenjo-daro and Harappa of the most comprehensive listing of ancient Indus seals includes new material, untraced objects, and collections outside India and Pakistan.
Edited by ASKO PARPOLA, B. M. PANDE, and PETTERI KOSKIKALLIO, in collaboration with RICHARD H. MEADOW and J. MARK KENOYER
Suomalainen Tiedeakatemia, Annales Academiae Scientiarum Fennicae, Sarja, Series B, NIDE, vol. 359
Memories of the Archaeological Survey of India, vol. 96. Helsinki, 2010.
Pp. lx + 444, photographs, line drawings, and tablets.

Cuneiform texts attest to the presence of Meluhha settlements in Sumer. [The Meluḫḫa Village: Evidence of Acculturation of Harappan Traders in Late ThirdMillennium Mesopotamia?Author(s): Simo Parpola, Asko Parpola, Robert H. Brunswig, Jr.Source:Journal of the Economic and Social History of the Orient, Vol. 20, No. 2 (May, 1977),pp. 129-165].

[quote] MAGAN and MELUHHA Geographical terms for regions in the distant south and southeast of Mesopotamia. Both names first appear in royal inscriptions of the Akkad period; “ships from Magan and Meluhha” were said to have brought goods to the quays of Akkad and other cities. It has been proposed that Magan referred to the coast of Oman along the Persian Gulf, rich in copper and dates, and Meluhha in the Indus valley. In Neo-Assyrian texts of the first millennium B.C., Magan and Meluhha probably designated the African coast of the Red Sea (Upper Egypt and Sudan). --Historical Dictionary of Mesopotamia[unquote]

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

Meluhhan artisans in Sumer used Indus writing to create metal-ware catalogs. This is exemplified by the 'water-buffalo' glyph used on some cylinder seals. rango 'water buffalo' Rebus: rango ‘pewter’. ranga, rang pewter is an alloy of tin, lead, and antimony (anjana) (Santali). Hieroglyhph: buffalo: Ku. N. rã̄go ʻ buffalo bull ʼ (or < raṅku -- ?).(CDIAL 10538, 10559) Rebus: raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1] Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562) B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.(CDIAL 10567)

"The adaptation of Harappan motifs and script to the Dilmun seal form may be a further indication of the acculturative phenomenon, one indicated in Mesopotamia by the adaptation of Harappan traits to the cylinder seal." (Robert H. Brunswig, Jr. et al, 1983, New Indus Type and Related Seals from the Near East, 101-115 in: Daniel T. Potts (ed.), Dilmun: New Studies in the Archaeology and Early History of Bahrain, Berlin, Dietrich Reimer Verlag, 1983; each seal is referenced by a four-digit number which is registered in the Finnish concordance.)

The Meluḫḫa Village: Evidence of Acculturation of Harappan Traders in Late Third Millennium Mesopotamia?

Simo Parpola, Asko Parpola and Robert H. Brunswig, Jr.

Journal of the Economic and Social History of the Orient

Vol. 20, No. 2 (May, 1977), pp. 129-165

Published by: Brill

DOI: 10.2307/3631775

https://www.jstor.org/stable/3631775

Page [129] of The Meluá¸«á¸«a Village: Evidence of Acculturation of Harappan Traders in Late Third Millennium Mesopotamia?

Sealing of a one-horned young bull identifies, marks the product from the ceramic furnace. (At 29:06 of the Archaeodoku youtube video documentary)

Thousands of seals have been found with over 400 recurring signs; discovery of the oldest signboard in the world of Dholavira; seafaring Meluhha merchants in Persian Gulf (30:23, 31:11; 31"50 to 36:10; 43:20)

Umm al-Nar (Arabic: أُمّ الـنَّـار‎, translit. Umm an-Nār, lit. 'Mother of the Fire') is the name given to a Bronze age culture that existed around 2600-2000 BCE in the area of modern-day United Arab Emirates and Northern Oman. The etymology derives from the island of the same name which lies adjacent to Abu Dhabi and which provided early evidence and finds attributed to the period.

117 antelope; sun motif. Dholavira seal impression. arka 'sun' Rebus: araka, eraka 'copper, moltencast' PLUS करडूं karaḍū 'kid' Rebus: karaḍā 'hard alloy'. Thus, together, the rebus message: hard alloy of copper.

Circular seal, of steatite, from Bahrein, found at Lothal.

A Stamp seal and its impression from the Harappan site of Lothal north of Bombay, of the type also found in the contemporary cultures of southern Iraq and the Persian Gulf Area. http://www.penn.museum/sites/expedition/archaeology-in-india/

http://www.penn.museum/sites/expedition/shipping-and-maritime-trade-of-the-indus-people/

ranku 'antelope' Rebus: ranku 'tin'

I suggest that this hieroglyph of a kid becomes the Dilmun standard with the kid shown with its head turned backwards to signify krammara'turn backwrds' rebus: kamar'blacksmith'.

m417 Glyph: ‘ladder’: H. sainī, senī f. ʻ ladder ʼ Rebus: Pa. sēṇi -- f. ʻ guild, division of army ʼ; Pk. sēṇi -- f. ʻ row, collection ʼ; śrḗṇi (metr. often śrayaṇi -- ) f. ʻ line, row, troop ʼ RV. The lexeme in Tamil means: Limit, boundary; எல்லை. நளியிரு முந்நீரேணி யாக (புறநா. 35, 1). Country, territory.

The glyphics are:
Semantics: ‘group of animals/quadrupeds’: paśu ‘animal’ (RV), pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Te.) Rebus: pasra ‘smithy’ (Santali)

Glyph: ‘six’: bhaṭa ‘six’. Rebus: bhaṭa ‘furnace’.
Glyph (the only inscription on the Mohenjo-daro seal m417): ‘warrior’: bhaṭa. Rebus: bhaṭa ‘furnace’. Thus, this glyph is a semantic determinant of the message: ‘furnace’. It appears that the six heads of ‘animal’ glyphs are related to ‘furnace’ work.

This guild, community of smiths and masons evolves into Harosheth Hagoyim, ‘a smithy of nations’.
It appears that the Meluhhans were in contact with many interaction areas, Dilmun and Susa (elam) in particular. There is evidence for Meluhhan settlements outside of Meluhha. It is a reasonable inference that the Meluhhans with bronze-age expertise of creating arsenical and bronze alloys and working with other metals constituted the ‘smithy of nations’, Harosheth Hagoyim.

Dilmun seal from Barbar; six heads of antelope radiating from a circle; similar to animal protomes in Failaka, Anatolia and Indus. Obverse of the seal shows four dotted circles. [Poul Kjaerum, The Dilmun Seals as evidence of long distance relations in the early second millennium BC, pp. 269-277.] A tree is shown on this Dilmun seal.

Glyph: ‘tree’: kuṭi ‘tree’. Rebus: kuṭhi ‘smelter furnace’ (Santali).

baTa 'six' Rebus: bhaTa 'furnace' ranku 'antelope' Rebus: ranku 'tin'

Izzat Allah Nigahban, 1991, Excavations at Haft Tepe, Iran, The University Museum, UPenn, p. 97. furnace’ Fig.96a.

There is a possibility that this seal impression from Haft Tepe had some connections with Indian hieroglyphs. This requires further investigation. “From Haft Tepe (Middle Elamite period, ca. 13th century) in Ḵūzestān an unusual pyrotechnological installation was associated with a craft workroom containing such materials as mosaics of colored stones framed in bronze, a dismembered elephant skeleton used in manufacture of bone tools, and several hundred bronze arrowpoints and small tools. “Situated in a courtyard directly in front of this workroom is a most unusual kiln. This kiln is very large, about 8 m long and 2 and one half m wide, and contains two long compartments with chimneys at each end, separated by a fuel chamber in the middle. Although the roof of the kiln had collapsed, it is evident from the slight inturning of the walls which remain in situ that it was barrel vaulted like the roofs of the tombs. Each of the two long heating chambers is divided into eight sections by partition walls. The southern heating chamber contained metallic slag, and was apparently used for making bronze objects. The northern heating chamber contained pieces of broken pottery and other material, and thus was apparently used for baking clay objects including tablets . . .” (loc.cit. Bronze in pre-Islamic Iran, Encyclopaedia Iranica, http://www.iranicaonline.org/articles/bronze-i Negahban, 1977; and forthcoming).

Many of the bronze-age manufactured or industrial goods were surplus to the needs of the producing community and had to be traded, together with a record of types of goods and types of processes such as native metal or minerals, smelting of minerals, alloying of metals using two or more minerals, casting ingots, forging and turning metal into shapes such as plates or vessels, using anvils, cire perdue technique for creating bronze statues – in addition to the production of artifacts such as bangles and ornaments made of śankha or shell (turbinella pyrum), semi-precious stones, gold or silver beads. Thus writing was invented to maintain production-cum-trade accounts, to cope with the economic imperative of bronze age technological advances to take the artisans of guilds into the stage of an industrial production-cum-trading community.

Tablets and seals inscribed with hieroglyphs, together with the process of creating seal impressions took inventory lists to the next stage of trading property items using bills of lading of trade loads of industrial goods. Such bills of lading describing trade loads were created using tablets and seals with the invention of writing based on phonetics and semantics of language – the hallmark of Indian hieroglyphs.

9351; Nippur; ca. 13th cent. BC; white stone; zebu bull and two pictograms. poLa 'zebu' Rebus: poLa 'magnetite'. goTa 'round object' Rebus: khoTa 'ingot'; bartI 'partridge/quail' (Khotanese); bharati id. (Samskritam) Rebus: bharata 'alloy of copper, pewter, tin'. kuTi 'water-carrier' Rebus: kuThi 'smelter'. Thus, the message is: kuThi poLa khoTa bharata smelter for magnetite, alloy ingot (copper, pewter, tin alloy).

9851; Louvre Museum; Luristan; unglazed, gray steatite; short-horned bull and 4 pictograms. barad 'ox' Rebus: bharata 'alloy of copper, pewter, tin'. dula 'pair' Rebus: dul 'cast metal'; PLUS meD 'body' Rebus: meD 'iron' thus, the pair of 'bodies' signify: iron cast metal.

dula 'pair' Rebus: dul 'cast metal' PLUS goTa 'seed' Rebus: khoTa 'ingot'. Thus, cast metal ingot. (Next two hieroglyhphs not legible).

9908. Iraq museum; glazed steatite; perhaps from an Iraqi site; the one-horned bull, the standard are below a six-sign inscription. kõdā 'young bull calf' Rebus: kõdā 'turner-joiner' (forge) sã̄gāḍ lathe, portable furnace Rebus: stone-cutter sangatarāśū ). sanghāḍo (Gujarati) cutting stone, gilding (Gujarati); sangsāru karaṇu = to stone (Sindhi) sanghāḍiyo, a worker on a lathe (Gujarati) sangaDa 'cargo boat' sanghAta 'collection of articles'; samghAta 'adamantine glue' (Varahamihira)

aya 'fish' Rebus: aya 'iron, metal' PLUS kANDa 'notch' Rebus: khaNDa 'metal implements'; ayas 'fish' aduru' native metal' (unsmelted) eraka 'nave of wheel' Rebus: eraka 'copper, moltencast' arA 'spokes' Rebus: Ara 'brass'.

Foroughi collection; Luristan; medium gray steatite; bull, crescent, star and net square; of the Dilmun seal type. barad 'ox' Rebus: bharata 'alloy of copper, pewter, tin'; khaNDa 'square divisions' Rebus: khaNDa 'metal implements'; meDha 'polar star' Rebus: meD 'iron'

3255; Louvre Museum; Luristan; light yellow stone; seal impression; one side shows four eagles; the eagles hold snakes in their beaks; at the center is a human figure with outstretched limbs; obverse of the seal shows an animal, perhaps a hyena or boar striding across the field, with a smaller animal of the same type depicted above it; comparable to the seal found in Harappa, Vats 1940, II: Pl. XCI.255.

garuDa 'eagle' Rebus: karaDa 'hard alloy' gaNDa 'four' Rebus: khaNDa 'metal implements' arye 'lion' Rebus: Ara 'brass'.

9701; Failaka; unglazed steatite; an arc of four pictograms above the hindquarter of a bull. meD 'body' Rebus: meD 'iron'; sal 'splinter' Rebus: sal 'workshop' goTa 'seed' Rebus: khoT 'ingot' kolmo 'three' Rebus: kolami 'forge, smithy'. kamaDa 'bow' Rebus: kammaTa 'mint, coiner'.

9702; seal, impression, inscription; Failaka; brownish-grey unglazed steatite; Indus pictograms above a short-horned bull. aya 'fish' Rebus: aya 'iron, metal' kanca 'corner' Rebus: kancu 'bronze'

9602; seal, impression; Qala'at al-Bahrain; green steatite; short-horned bull and five pictograms. Found in association with an Isin-Larsa type tablet bearing three Amorite names. barad 'ox' Rebus: bharata 'alloy of copper, pewter, tin'.

Qala'at al-Bahrain; ca. 2050-1900 BC; tablet, found in the same level where 8 Dilmun seals and six Harappan type weights were found. Three Amorite names are: Janbi-naim; Ila-milkum; Jis.i-tambu (son of Janbi-naim)

Two seals from Gonur 1 in the Murghab delta; dark brown stone (Sarianidi 1981 b: 232-233, Fig. 7, 8); eagle engraced on one face. garuDa 'eagle' Rebus: karaDa 'hard alloy' nAga 'serpent' Rebus: nAga 'lead'

9601; Qala'at al-Bahrain; light-grey steatite; hindquarters of a bull and two pictograms. barad 'ox' Rebus: bharata 'alloy of copper, pewter, tin'

Seal impression; Dept. of Antiquities, Bahrain; three Harapan-style bulls. barad 'ox' Rebus: bharata 'alloy of copper, pewter, tin' kolmo 'three' Rebus: kolami 'smithy, forge'.

Hieroglyph: meṇḍā ʻlump, clotʼ (Oriya)

On mED 'copper' in Eurasian 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. mE~R~hE~'d `iron'. ! mE~RhE~d(M).

Ma. mErhE'd `iron'.

Mu. mERE'd `iron'.

~ mE~R~E~'d `iron'. ! mENhEd(M).

Ho meD `iron'.

Bj. merhd(Hunter) `iron'.

KW mENhEd

@(V168,M080)

http://www.ling.hawaii.edu/austroasiatic/AA/Munda/ETYM/Pinnow&Munda

— Slavic glosses for 'copper'

Мед [Med]Bulgarian

Bakar Bosnian

Медзь [medz']Belarusian

Měď Czech

Bakar Croatian

KòperKashubian

Бакар [Bakar]Macedonian

Miedź Polish

Медь [Med']Russian

Meď Slovak

BakerSlovenian

Бакар [Bakar]Serbian

Мідь [mid'] Ukrainian[unquote]

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

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

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

Meluhha acculturation in Ancient Near East

Many scholars have noted the contacts between the Mesopotamian and Sarasvati-Sindhu (Indus, Hindu) Civilizations, in terms of cultural history, chronology, artefacts (beads, jewellery), pottery and seals found from archaeological sites in the two areas.

"...the four examples of round seals found in Mohenjodaro show well-supported sequences, whereas the three from Mesopotamia show sequences of signs not paralleled elsewhere in the Indus Script. But the ordinary square seals found in Mesopotamia show the normal Mohenjodaro sequences. In other words, the square seals are in the Indian language, and were probably imported in the course of trade; while the circular seals, although in the Indus script, are in a different language, and were probably manufactured in Mesopotamia for a Sumerian- or Semitic-speaking person of Indian descent..." [G.R. Hunter,1932. Mohenjodaro--Indus Epigraphy, JRAS: 466-503]

The acculturation of Meluhhans (probably, Indus people) residing in Mesopotamia in the late third and early second millennium BC, is noted by their adoption of Sumerian names (Parpola, Parpola and Brunswig 1977: 155-159).

Image 2 below: Right: A single Seal from Falaika Bears an Inscription in the Unread Indus Script. Left: From one of the Falaika Seals. A Man Holds a Monkey at Arm's Length; Monkeys were Imported as Pets from Meluha. (Bibby, pp. 253, 211).

Failaka seal; unglazed steatite; an arc of four pictograms above the hindquarter of a bull. meD 'body' Rebus: meD 'iron'; sal 'splinter' Rebus: sal 'workshop' goTa 'seed' Rebus: khoT 'ingot' kolmo 'three' Rebus: kolami 'forge, smithy'. kamaDa 'bow' Rebus: kammaTa 'mint, coiner'.

https://www.harappa.com/content/looking-dilmun

This is the image of the first seal and a seal impression which has stimulated the spectacular discoveries of the roots of Hindu Civilization along the banks of River Sarasvati adored in 72 r̥ca-s in the R̥gveda spanning an contact area from Hanoi (Vietnam) to Haifa (Israel), along an ancient Maritime Tin Route which powered the Tin-Bronze Revolution from ca. 5th millennium BCE.

Seal discovered in Harappa by Major Clarke before 1872; given to the British Museum in 1886. Evidence has accumulated over the years since 1872 when Alexander Cunningham published the first reproduction of a seal from Harappa.

[quote]Sir Alexander Cunningham, who led the first excavations there in 1872-73 and published news of the seal, wrote 50 years before we understood that the Indus civilization had existed: "The most curious object discovered at Harappa is a seal, ... The seal is a smooth black stone without polish. On it is engraved very deeply a bull, without a hump, looking to the right, with two stars under the neck. Above the bull there is an inscription in six characters, which are quite unknown to me. They are certainly not Indian letters; and as the bull which accompanies them is without a hump, I conclude that the seal is foreign to India." How wrong Cunningham was about the seal! Still, as Neil MacGregor writes, "it was this seal that stimulated the discovery of the entire Indus civilization." (A History of the World in 100 Objects, p. 80). It was left to a successor, John Marshall, to announce the discovery of the ancient Indus civilization. [unquote] https://www.harappa.com/blog/first-seal

One house in Mohenjo-daro, said to be a temple, revealed 12 objects with Indus Script Inscriptions.

Michael Jansen’s analysis of house 1 in the HR-A area of Mohenjo-daro.. After Jansen 1986:200:91, fig. 125; a) isometry; (b) distribution of the seal finds, Courtesy: Michael Jansen.

Twelve Indus Script imetalwork catalogues from one Mohenjo-daro house -- kole.l 'smithy/forge' guild artisans of kole.l 'temple' http://tinyurl.com/glaltdl

Distribution of seals/tablets within House AI, Block 1, HR at Mohenjodaro (After Jansen, M., 1987, Mohenjo-daro -- a city on the Indus, in Forgotten Cities on the Indus (M. Jansen, M. Mulloy and G. Urban Eds.), Mainz, Philip Von Zabern, p. 160). Jansen speculated that the house could have been a temple.

All seven seals out of the 12 inscriptions depicted the same animal 'one-horned young bull in front of a standard device'

Hieroglyph: sãgaḍ, 'lathe' (Meluhha) Rebus 1: sãgaṛh , 'fortification' (Meluhha). Rebus 2:sanghAta 'adamantine glue'. Rebus 3:

sangāṭh संगाठ् 'assembly, collection'. Rebus 4: sãgaḍa 'double-canoe, catamaran'.

Hieroglyph: one-horned young bull: खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf. Rebus: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi)

Hieroglyph: one-horned young bull: खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf.

Rebus: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving.

The inscriptions on the seven seals and five tablets are:

dula 'two' rebus: dul 'metal casting' khANDa 'notch' rebus: khaNDa 'implements'

khaNDa 'arrow' rebus:khaNDa 'implements'

muka 'ladle' rebus:muhA 'quantity of smelted metal produced from a furnace' PLUS baTa 'rimless pot' rebus: bhaTa 'furnace' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS aDaren 'lid' rebus: aduru 'unsmelte metal' muh 'ingot' PLUS kolom 'rice plant' rebus: kolimi 'smithy, forge' sal 'splinter' rebus: sal 'workshop' muh 'ingot' PLUS baTa 'quail' rebus: bhaTa 'furnace'. Thus, the inscription on the seal signifies: workshop smithy/forge with furnace working to produce metal castings, ingots, implements, iron, unsmelted ore.

karNaka, kanka 'rim of jar' rebus: karNI 'supercargo' karNaka 'scribe, account' कुटिल kuṭila, katthīl 'curve' kuṭila 'bent' CDIAL 3230 Rebus: kuTila 'bronze' (8 parts copper, 2 parts tin).. Thus, a bronze worker handing over produce to the Supercargo as shipment.

karNaka, kanka 'rim of jar' rebus: karNI 'supercargo' karNaka 'scribe, account' dula 'two' rebus: dul 'metal casting' Bshk. sum -- tac̣h ʻ hoe ʼ (< ʻ *earth -- scratcher ʼ),tec̣h ʻ adze ʼ (< *takṣī -- ?); Sh. tac̣i f. ʻ adze ʼ; -- Phal. tērc̣hi ʻ adze ʼ (with "intrusive" r).Rebus: takṣa in cmpd. ʻ cutting ʼ, m. ʻ carpenter ʼ VarBr̥S., vṛkṣa -- takṣaka -- m. ʻ tree -- feller ʼ R. [√takṣ]Pa. tacchaka -- m. ʻ carpenter ʼ, taccha -- sūkara -- m. ʻ boar ʼ; Pk. takkha -- , °aya -- m. ʻ carpenter, artisanʼ (CDIAL 5618) PLUS khaNDa 'arrow' rebus: khaNDa 'implements'. Thus, a carpenter artisan implements.

kolom 'rice plant' rebus: kolimi 'smithy, forge' karã̄ n. pl. wristlets, banglesRebus: khAr 'blacksmith, iron worker' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' karNaka, kanka 'rim of jar' rebus: karNI 'supercargo' karNaka 'scribe, account' dula 'two' rebus: dul 'metal casting' *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra, 'squirrel', rebus: khār खार् 'blacksmith' (Kashmiri). Thus, the inscription signifies: blacksmith guild-master working in iron in smithy/forge, metal castings handed over to Supercargo for shipment.

dATu 'cross' rebus: dhAtu 'element, mineral' karNaka, kanka 'rim of jar' rebus: karNI 'supercargo' karNaka 'scribe, account' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' khambhaṛā 'fin' rebus: kammaTa 'mint' khANDa 'notch' rebus: khaNDa 'implements'. Thus, minerals, metal, alloys handed over to Supercargo for shipment.

karNaka, kanka 'rim of jar' rebus: karNI 'supercargo' karNaka 'scribe, account' ranku 'liquid measure' rebus: ranku 'tin' muh 'ingot' PLUS kolom 'rice plant' rebus: kolimi 'smithy, forge' sal 'splinter' rebus: sal 'workshop' baTa 'quail' rebus: bhaTa 'furnace' Thus workshop smithy/forge (working with) furnace ingots, tin handed over to Supercargo for shipment.

kuTi 'water carrier' rebus: kuThi 'smelter' PLUS karNaka, kanka 'rim of jar' rebus: karNI 'supercargo' karNaka 'scribe, account' koDa 'one' rebus: koD 'workshop' kANDA 'notch' kaNDa 'arrow' rebus: kaNDa 'implements' kolmo 'three' rebus: kolimi 'smithy, forge' baTa 'rimless pot' PLUS muka 'ladle' rebus: muhA 'quantity of metal produced from furnace, ingot'. Thus, Supercargo of smelter workshop produce, metal implements furnaced metal for smithy, forge

karNaka, kanka 'rim of jar' rebus: karNI 'supercargo' karNaka 'scribe, account' kole.l 'temple' rebus:kole.l 'smithy, forge' kaNDa 'backbone' rebus:khaNDa 'implements' sal 'splinter' rebus: sal 'workshop' kolmo 'rice plant' rebus:kolimi 'smithy, forge' muh 'ingot' Thus, Supercargo from smithy, forge, implements, ingots workshop of smithy/forge.

bhaTa 'warrior' rebus: bhaTa 'furnace' karNika 'spread legs' rebus: karNI 'Supercargo' Thus, furnace (produce) worker.and a Supercargo, merchant's representative responsible for the cargo.

kuTi 'water carrier' rebus: kuThi 'smelter' PLUS karNaka, kanka 'rim of jar' rebus: karNI 'supercargo' karNaka 'scribe, account' muh 'ingot' PLUS kolom 'rice plant' rebus: kolimi 'smithy, forge' tec̣h ʻadze' rebus: takSa 'carpenter' sal 'splinter' rebus: sal 'workshop' kanac 'corner' rebus: kancu 'bronze'. Thus, Supercargo-carpente of smelter workshop, smithy, forge, bronze.

karNaka, kanka 'rim of jar' rebus: karNI 'supercargo' karNaka 'scribe, account' dula 'two' rebus: dul 'metal casting' karã̄ n. pl. wristlets, banglesRebus: khAr 'blacksmith, iron worker' kolmo 'three' rebus: kolimi 'smithy/forge' baTa 'rimless pot' rebus: bhaTa 'furnace' PLUS khANDA 'notch' rebus: khaNDa 'implements' dhaTo 'claws of crab' rebus: dhatu 'mineral' Thus,Supercargo of metal castings, blacksmith, smithy/forge furnace implements.

karNaka, kanka 'rim of jar' rebus: karNI 'supercargo' karNaka 'scribe, account' muh 'ingot' PLUS khANDA 'notch' rebus: khaNDa 'implements'. Thus, Supercargo of metal ingots, implements.

Thus, it is seen that all the 12 inscriptions are metalwork catalogues of artisans of the guild preparing products (ingots, implements) for shipment to be handed to Supercargo responsible for the cargo.

The building HR1 was thus a smithy, forge. kole.l signified 'smithy/forge'. The same word kole.l also signified 'temple'. Thus, all the artisans at work documenting 12 inscriptions were members of the smithy/forge guild which was the temple.

"Alexander Cunningham (23 January 1814 – 28 November 1893) was an officer of the Royal engineers. He came to India in 1831. Since his arrival in the country, he devoted his time to the study of the ancient remains of Indian history. Alexander Cunningham recorded the existence of a series of mounds after visiting Harappan site. He is credited to have conducted a limited excavation of the Harappan site. He published a few Objects (such as seals) as well as the site-plan. He was appointed Archeological Surveyor in 1861." http://deepak-indianhistory.blogspot.com/2011/05/sir-alexander-cunningham-father-of.html The position was terminated in 1865 due to lack of funds. (Cotton, J. S. & James Lunt (reviser) (2004). "Cunningham, Sir Alexander (1814–1893)". Oxford Dictionary of National Biography. Oxford University Press.)

""Since the first publication of material in 1872, the site of Harappa has provided focus for protohistoric archaeological investigations in the Punjab region of northwestern South Asia. The current University of California, Berkeley, project us here put into context of earlier work at the site and into the context of the history of archaeology in the Greater Indus Valley as a whole.""(Gregory L. Possehl, A short history of archaeological discovery at Harappa, in: Richard H. Meadow (ed.), Harappa Excavations 1986-1990 – a multidisciplinary approach to third millennium urbanism, Madison, Wisconsin, Prehistory Press, pp. 5 to 12)

https://www.harappa.com/sites/default/files/pdf/Harappa1986-90_02_Possehl-History_1.pdf

[quote]In 1924 the objects found at Mohenjo-daro were compared with some found at Harappa. Many objects were so similar in material and construction that the archaeologists believed they might have been made by people sharing the same culture.

The work at Mohenjo-daro was successful. The possibility that objects from the site might be related to those from Harappa was exciting for the archaeologists. The next step was to explore the site more completely. So large-scale excavations were planned for Mohenjo-daro under the guidance of Sir John Marshall who was the Director General of the Archaeological Survey of India.
Excavations continued throughout the 1920s and 1930s with several teams of excavators. During this period, the site was divided into different areas. Each area was given a 'title' based on the name of the archaeologist working there.
HR Area = Harold Hargreaves
DK Area = Kashinath Narayan Dikshit
L Area = Ernest J.H. Mackay
VS Area = Madho Sarup Vats

SD Area = A.D. Siddiqi [unquote] http://www.ancientindia.co.uk/time/explore/iv_discseal.html

↧

No, Not All Hindus Are Indian: Calling Tulsi Gabbard a 'Fake Hindu' Is Offensive and Misinformed (http://Medium.com ,feb.1,2019-- Jeffrey Long

February 2, 2019, 4:21 pm

≫ Next: Itihāsa. Potters' marks of Tepe Yahya (Daniel Potts) compare with Indus Script signs and pictorial motifs, wealth-accounting metalwork ledgers

≪ Previous: Itihāsa. With a large cache of Dilmun seals, Indus Script Corpora has grown to c. 30,000 insciptions of wealth-accounting ledgers

Jeffery D. LongProfessor of Religion and Asian StudiesElizabethtown College

Feb. 1, 2019

Sadly, but unsurprisingly, the candidacy of Tulsi Gabbard, the first Hindu American to run forPresident, has evoked a strong and rapid backlash of media attacks.

Of course, any person whoruns for public office should, quite rightly, expect to be on the receiving end of extensive scrutiny.This is how we select our leaders in a democracy, at least ideally. It involves an extensive criticalexamination of the views and character of each candidate. In the end, hopefully, the public will become educated about the stances and qualities of the candidates and make an informed choice.Recent attacks on Tulsi Gabbard, however, have strayed into the territory of interrogating herreligious beliefs in ways that are both offensive and misinformed. The US Constitution clearlystates that “no religious test shall ever be required as a qualification to any office or public trustunder the United States.” The religious views of a candidate for public office can certainly affectthat candidate’s views on a variety of issues. But it is the views of the candidate on those issues,not the religious affiliation on which those views may or may not be based, that is relevant to thecandidate’s suitability for office.We, as Americans, have been through this before: when Alfred Smith, a Roman Catholic, ran forPresident in 1928, when John F. Kennedy, also a Roman Catholic, ran for President in 1960, andwhen Mitt Romney, a Mormon, ran for President in 2012. We have also been treated to thespectacle of a gossip campaign claiming that Barack Obama, a Protestant, was a Muslim, as though being Muslim could disqualify one for political office in America. Each time a candidate with areligious affiliation perceived to fall outside the American mainstream runs for office (or, in thecase of Obama, who is even alleged to hold such an affiliation), questions about the effect of thataffiliation on the candidate’s fitness for office are raised. Such questions are wholly inappropriateand are based on ignorance of constitutional principles.One recent allegation, more often raised as an insinuation, against Tulsi Gabbard is that her self-identification as Hindu is somehow false or inauthentic: that she is a ‘fake Hindu’ because she isnot of Indian descent. The assumption is that all Hindus are Indian: that one must be Indian, or ofIndian descent, in order to be Hindu.This is not, however, the case. Factually speaking, there are many self-identified Hindus fromaround the world who are not Indian or of Indian descent. And this is not merely a matter of self-identification. There are non-Indian Hindus who are accepted warmly, not only as Hindus, but asleaders and authoritative teachers of Hinduism, by the Hindu community at large. Many of themonks who publish the quarterly

Hinduism Today, a journal widely read by Hindus globally andseen as a reliable and solid source of information about the tradition, are not of Indian descent.This includes the founder of the journal, the late Satguru Sivaya Subramuniyaswami, who was born Robert Hansen. Interestingly, these monks are based on the island of Kauai, in Hawaii, TulsiGabbard’s home state, though they represent a Hindu tradition distinct from the one to which TulsiGabbard is affiliated. (Hindu denominations are known as sampradayas.)The Hindu denomination to which Tulsi Gabbard is affiliated is a branch of the ancient GaudiyaVaishnava tradition of Hinduism, known in the western world as the Hare Krishna movement. Toconvince readers that Tulsi Gabbard is not a real Hindu, some have suggested that Hare Krishnasare not accepted by Hindus of Indian descent. This could not be further from the truth. A visit toany one of the dozens of Hare Krishna temples across the US where the teachings and tradition ofGaudiya Vaishnava Hinduism are practiced, provides an opportunity to see Hindus of all shades– Hindus of both Indian and non-Indian descent–worshiping and celebrating together as a singleunited community of devotees. Hare Krishna temples in India offer the same.According to a 2015 Pew survey of ethnic diversity in American religious communities, 91 percentof Hindu Americans are of Asian descent (these being primarily South Asian, and these, in turn, being primarily Indian). Two percent are of ‘mixed’ ethnicity. This would include Tulsi Gabbard,who has an Irish American parent and a Samoan American parent. Four percent are white, two percent are African American, and one percent are Hispanic.

With roughly 3 million Hindus inthe US, this means there are roughly 60,000 Hindu Americans of mixed ethnicity, 120,000 HinduAmericans who are white, 60,000 Hindu Americans who are African American, and 30,000 HinduAmericans who are Hispanic.Calling Tulsi Gabbard a ‘fake Hindu,’ or even insinuating that her religious commitment andidentity are in some way inauthentic, is therefore a slap in the face of over a quarter of a millionHindu Americans who are not of Indian descent. And even to think that her religious identitydisqualifies her from being President of the United States is unconstitutional and un-American.

https://mauiindependent.org/the-ramped-up-smear-campaign-against-hawaiis-congresswoman-tulsi-gabbard/?fbclid=IwAR1MaUVo4svODPA1kIzHZ2NAxj5_oU6Y_qvkWmxOd7fgFX5gpJPCauPNDe8

http://www.pewresearch.org/fact-tank/2015/07/27/the-most-and-least-racially-diverse-u-s-religious-groups/ft_15-07-23_religiondiversityindex-1/

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Itihāsa. Potters' marks of Tepe Yahya (Daniel Potts) compare with Indus Script signs and pictorial motifs, wealth-accounting metalwork ledgers

February 2, 2019, 6:32 pm

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The potters' marks of Tepe Yahya painstakingly compiled by DT Potts provide possible links to the evolution of 'signs' of Indus Script seen on thousands of seals and tablets from many sites of Sarasvati Civilization and of Persian or Arabian Gulf sites (so-called Dilmun seals). From the following table of Tepe Yahya master list of potters' marks, Signs 37b, 37c, 47, 51b,54a, 60a,68, 74b have clear parallels in the 'signs' of Indus Script (e.g. Mahadevan ASI Sign list 1997). These ASI Sign list entries are listed below:

Sign 137 variants

Tepe Yahya Potters' mark 74b is comparable to the Pictorial Motif of a kid 'young goat' of Dholavira seals

cThese Indus Script seals from Dholavira have been deciphered as metalwork catalogues.

Dholavira seal a: meḍ 'body' rebus: meḍ 'iron'
eraka 'shoulder' rebus: eraka 'moltencast'
kolom 'three' rebus: kolimi 'smithy, forge' PLUS करडूं karaḍū 'kid' Rebus: karaḍā 'hard alloy'. Thus, hard alloy smithy, forge. Thus, the inscription signifies hard alloy smithy, forge, iron moltencastings.

Dholavira seal b: meḍ 'body' rebus: meḍ 'iron' PLUS kōḍu 'horn' rebus koḍ 'workplace' PLUS loa 'ficus glommerata' rebus: loh 'copper metal'
करडूं karaḍū 'kid' Rebus: karaḍā 'hard alloy'
kuṭhāru कुठारु [p= 289,1] m. a tree L.; a monkey Rebus: kuṭhāru कुठारु 'armourer'

Dholavira seal c: 117 antelope; sun motif. Dholavira seal impression. arka 'sun' Rebus: araka, eraka 'copper, moltencast' PLUS करडूं karaḍū 'kid' Rebus: karaḍā 'hard alloy'. Thus, together, the rebus message: hard alloy of copper.

Tepe Yahya Potters' Mark Sign 37c compares with the following Indus Script inscriptions:
Image result for dotted circles indus seal

Image result for dotted circles indus seal

Indus script seals of Ahar-Banas culture. The + pictograph signifies fire-altar. The orthography compares with that shown on Mohenjo-daro seal m0352 with dotted circles on 5 sides to sitnify smelting of dhatu, 'mineeral ores':

m0352 cdef

Master sign list of the potters' marks from Tepe Yahya (After Fig. 5, DT Potts, 1981).

Source: The potter's marks of Tepe Yahya

Daniel Potts

Source:Paléorient,Vol. 7, No. 1 (1981), pp. 107-122

https://www.academia.edu/1905662/Potts_1981_-_The_potters_marks_of_Tepe_Yahya

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

https://tinyurl.com/y96mx3u9

Lamberg-Karlovsky noted an Indus Script seal impression at Tepe Yahya.

Marhaši (Mar-ḫa-ši^KI 𒈥𒄩𒅆𒆠, Marhashi, Marhasi, Parhasi, Barhasi; in earlier sources Waraḫše) was a 3rd millennium BCE polity situated east of Elam, on the Iranian plateau. It is known from Mesopotamian sources, but its precise location has not been identified, though some scholars link it with Jiroft.

https://en.wikipedia.org/wiki/Marhasi Marhasi had close contacs with Ur in 3rd millennium BCE. Water buffaloes which came from Meluhha were adored by Sargonic seal cutters. DT Potts notes an Old Babylonian copy of a royal inscription of Ibbi-Sin’s from Ur which records the dedication to Nanna of a statue of an ur gun-a Me-luh-ha ki. This statue was originally received as a gift from Marhasi. Ibbi-Sin named it ‘let him catch’ or ‘may he catch’. Steinkeller has suggested that the animal given to Ibbi-Sin was a leopard (panthera pardus).

https://www.scribd.com/document/156872759/Total-prestation-in-marhashi-ur-relations-DT-Potts-2002-Iranica-Antiqua-Vol-XXXVII

Could Marhaṣi be a metathesis of maharṣi? मह--र्षि [p= 794,2] m. a great ऋषि , any great sage or saint (accord. to Mn. i , 34 ten महर्षिs were created by मनु स्वायम्भुव , viz. मरीचि , अत्रि , अङ्गिरस्, पुलस्त्य , पुलह , क्रतु , प्रचेतस् , वसिष्ठ , भृगु , नारद , also called the 10 प्रजापतिs , q.v. ; some restrict the number to 7 , and some add दक्ष , धर्म , गौतम , कण्व , वाल्मीकि , व्यास , मनु , विभाण्डक &c )Mn. MBh. &c

( IW. 206 n. 1)(Monier-Williams)

Buffalo is an Indus Script hypertext. rango 'buffalo' rebus: rango 'pewter' (alloy of copper, zinc, tin).

Leopard (panthera pardus) is an Indus Script hypertext: खरडा kharaḍā 'A leopard' Rebus: karaḍā 'hard metal alloy'. This reading matches with the hypertext on Shahi-Tump lead weight. See:

Bronze Age Indus Script inscriptions of Mohenjo-daro on metal, are karaḍā ledger entries of metalwork wealth accounts http://tinyurl.com/yark28l7
Leopard weight. Shahi Tump. H.16.7cm; dia.13.5cm; base dia 6cm; handle on top.
Seashells inlays on frieze. The pair of leopard and ibex is shown twice, separated by stylized flies.
miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Munda.Ho.)

Source: https://www.academia.edu/8164498/Early_lost-wax_casting_in_Baluchistan_Pakistan_the_Leopards_Weight_from_Shahi-Tump

Ornamental ball (lead weight) discovered from Shahi Tump, Makran. It is 15 cm high and 15 kg in weight made by pure lead and wrapped in copper using cire perdue technique ca. 2500 BCE. With deciphered Indus Script hieroglyphs signifying hard alloys: karaDa 'leopard' Rebus: karaDa 'hard alloy' mlekh 'goat'' rebus: milakkhu 'copper'; mleccha 'copper'. Meluhha!!

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

Leopards weight from Shahi-Tump (Baluchistan) made using cire perdue technique. "The artefact was discovered in a grave, in the Kech valley, in Balochistan, southern part of present Pakistan. It belongs to the Shahi Tump - Makran civilisation (end of 4th millennium -- beginning of 3rd millennium BCe). Ht. 200 mm. weight: 13.5 kg. The shell has been manufactured by lost-wax foundry of a copper alloy (12.6%b, 2.6%As), then it has been filled up through lead (99.5%) foundry. The shell is engraved with figures of leopards hunting wild goats, made of polished fragments of shellfishes. No identification of the artefact's use has been given. (Scientific team: B. Mille, D. Bourgarit, R. Besenval, Musee Guimet, Paris)."

Mille, B., R. besenval, D. Bourgarit, Early lost-wax casting in Balochistan (Pakistan): the 'Leopards Weight' from Shahi-Tump in Persiens antike Pracht, Bergau-Handwerk-Archaologie, T. Stollner, R. Slotta, A. Vatandoust, A. ed., p. 274-80. Bouchum: Deutsches Bergbau Museum, 2004.

According to archaeologist Massimo Vidale, Indus civilization weights, seals, and etched carnelian beads were found in the area, demonstrating the connections between these two cultures. (Andrew Lawler, The World in Between Volume 64 Number 6, November/December 2011 archaeology.org).

Presence of Meluhha speakers in the region of Tepe Yahya, Shahr-i-Soktha, Shahdad, Konar Sandal is attested by the following:

Section A. A seal impression with Indus Script hypertext has been found in Tepe Yahya

Section B. Indus Script hypertexts on artifacts of Marhashi Region -- Jiroft, Shahi Tump, Susa, Konar Sandal, Swat, Seistan

I suggest evolution of writing in Meluhha Indus Script attested on a potsherd of Harappa (HARP report) dated to a. 3300 BCE is the precursor to writing found in the context of Elamite tablets discussed by Michael Gross (http://www.cell.com/current-biology/fulltext/S0960-9822(12)01376-0).

Section A. Seal impression with Indus Script hypertext found in Tepe Yahya

This monograph presents evidences for the arrival of Indo-Iranian (Meluhha) speakers on the Iranian plateau in Marhashi region (including Tepe Yahya and Jiroft).

Tepe Yahya . finds with Indus Script glyphs. Seal impression. Pittman in Potts 2001: 267; Lamberg-Karlovsky & Tosi 1973: Fig. 137. Two clearly identifiable hypertexts on the seal impression which signify (copper, iron) metalwork are:

sal 'splinter'; Rebus: sal 'workshop' (Santali)

eraka 'upraised hand' Rebus: eraka 'moltencast, metal infusion, copper'

Sign 1

Hieroglyph: mē̃d, mēd 'body, womb, back' Hieroglyp to signify mẽṛhẽt, meḍ ‘iron (metal)’ (Munda), med 'copper (metal)' (Slavic)

Ta. mēṉi body, shape, colour, beauty; mēl body. Ma. mēni body, shape, beauty, excellence; mēl body. Koḍ. me·lï

body. Te. mēnuid.; mēni brilliancy, lustre; belonging to the body, bodily, personal. Kol. me·n (pl. me·nḍl) body.

Nk. mēn (pl. mēnuḷ) id. Nk. (Ch.) mēn id. Pa. mēn (pl. mēnul) id. Ga. (S.) mēnu (pl. mēngil (P.) mēn id. Go. (Tr.)

mēndur (obl. mēnduḍ-), (A. Y. W. M.) mēndul, (L.)meṇḍū˘l, (SR.) meṇḍol id. (Voc. 2963). Konḍa mēndol human body. Kur. mē̃d, mēd body, womb, back. Malt. méth body. Cf. 5073 Ta.mey. (DEDR 5099) Rebus:

Section B. Indus Script hypertexts on artifacts of Marhashi region -- Jiroft, Shahi Tump, Susa, Konar Sandal, Swat, Seistan

Mcmohan cylinder seal with six signs,found in 'Swat and Seistan', unrolled photographically and the unbroken stamp-end of the seal; positive impression of the cylinder showing Harappan inscriptions (Robert Knox, 1994, A new Indus Valley Cylinder Seal, pp. 375-378 in: South Asian Archaeology 1993,Vol. I, Helsinki)

The triangle motif is similar to the motif shown on M-443B. Possible connection with Sibri cylinder seals (which show (i) a zebu and a lion and image of a scorpion on the flat end (Shah and Parpola 1991: 413); and (ii) a zebu bull with a geometric pattern of triangles and a circle at the stamp end). "The Seistan findspot of this seal is of great interest. Evidence exists for the movement of Indus commodities, and, therefore, Indus commercial activities in the direction of western Asia and, in return, from there to the Indus world.. Evidence for the Harappan penetration of Seistan and farther to southeastern Iran is scanty but includes at least one other Indus inscription from an impression of a sherd discovered at Tepe Yahya, period IV A (c. 2200 BC) (Lamberg- Karlovsky and Tosi 1973: pl. 137)" (Knox, p. 377).

फड, phaḍa 'cobra hood' फड, phaḍa 'Bhāratīya arsenal of metal weapons'

"Shahi Tump is a site in the valley of Kechi crossing the Makran in southern Pakistan It found, dating from the fourth millennium BC, a weight-filled copper lead, weighing 13.5 kg, ovoid, with a hanging loop at the top It is decorated with mosaics of shells 2 representing a leopard pursuing a gazelle This proves the mastery of copper technology in lost wax casting and that of lead, in addition to the artistic skill of the mosaic The excavations also be said that the locals were engaged at the fourth millennium, a sophisticated and developed agriculture and livestock Found there remains of wheat and barley 6-row."

फड, phaḍa 'cobra hood' फड, phaḍa 'Bhāratīya arsenal of metal weapons'

"Tepe Yahya

Tepe Yahya is located in the valley of the river Kish-e Shur, near Jiroft in Kerman province, Iran It has been occupied since the 6th millennium BC In large workshops searched, they found many ceramics and metals, especially copper and bronze But chlorite vases and cylinder seals of steatite There were also tablets, written in cuneiform The site is abandoned, then reoccupied and was finally abandoned sometime in the second half of the third millennium BCE..."

"Konar Sandal

Konar Sandal in the valley of the Halil Rud, in Kerman, is located near the town of Jiroft This site is divided into two tells part of the same city, split by a river The tell B is a high terrace In the workshops unearthed were found numerous tablets in an unknown This is the wedge that resembles the linear Elamite or Proto-Elamite In the graves were found many vases chlorite Konar Sandal should be the main center of production of these vases found throughout the Iranian plateau to Mesopotamia, the Indus Valley and around the Persian Gulf."

arye 'lion' (Akkadian) Rebus: arā 'brass' पोळा [ pōḷā ] rebus: पोळा [ pōḷā ] 'magnetite, iron ore Fe3O4' pōlaḍu, 'black drongo' rebus: pōlaḍ, 'steel'

pajhar 'eagle' (rebus: pasra 'smithy')

Image result for tepe yahya indus script bharatkalyan97

eruvai 'eagle' rebus: eruvai 'copper'

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

Incised eagle from Tepe Yahya (Kohl in Potts 2011: 218, fig. 9.7). Eagle glhyph comparable to the glyph on Harappa seal impression.

eruvai 'eagle' rebus: eruvai 'copper'

Leopard, scorpion & zebu Indus Script hypertexts signify wealth-producing metalwork, are attested in Tepe Yahya, Jiroft & other sites of Marhashi region bordering Meluhha

Master of animals in chlorite, Jiroft, Kerman ca. 2500 BC, Bronze Age I, National Museum of Iran

Jiroft. After Figure 11: http://www.iranicaonline.org/articles/jiroft-iv-iconography-of-chlorite-artifacts.

Daniel T. Potts, Piotr Steinkeller have connected Konar-Sandal site with Marhashi (situated east of Elam, between Anshan and Meluhha).

Indus Script hypertexts on the following artifacts:

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

kolmo 'rice plant' Rebus: kolimi 'smithy, forge'

खरडा kharaḍā 'A leopard' Rebus: karaḍā 'hard metal alloy'

eruvai 'eagle' rebus: eruvai 'copper'

फड, phaḍa 'cobra hood' फड, phaḍa 'Bhāratīya arsenal of metal weapons'

arye 'lion' (Akkadian) Rebus: arā 'brass' पोळा [ pōḷā ] rebus: पोळा [ pōḷā ] 'magnetite, iron ore Fe3O4'

rango 'buffalo' rebus: rango 'pewter' (alloy of copper, zinc, tin),

miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Munda.Ho.)

dhanga 'mountain range' Rebus: dhangar 'blacksmith'

loa 'ficus glomerata' rebus: loh 'copper' [ lōhá ʻ red, copper -- coloured ʼ ŚrS., ʻ made of copper ʼ ŚBr., m.n. ʻ copper ʼ VS., ʻ iron ʼ MBh. [*rudh -- ] Pa. lōha -- m. ʻ metal, esp. copper or bronze ʼ; Pk. lōha -- m. ʻ iron ʼ, Gy. pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻ steel ʼ; Kho. loh ʻ copper ʼ; S. lohu m. ʻ iron ʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃u n., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā, Ku. luwā, N. lohu, °hā, A. lo, B. lo, no, Or. lohā, luhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H. loh, lohā m., G. M. loh n.; Si. loho, lō ʻ metal, ore, iron ʼ; Md. ratu -- lō ʻ copper .

*lōhala -- , *lōhila -- , *lōhiṣṭha -- , lōhī -- , laúha -- ; lōhakāra -- , *lōhaghaṭa -- , *lōhaśālā -- , *lōhahaṭṭika -- , *lōhōpaskara -- ; vartalōha -- .Addenda: lōhá -- : WPah.kṭg. (kc.) lóɔ ʻ iron ʼ, J. lohā m., Garh. loho; Md. lō ʻ metal ʼ.(CDIAL 11158)]

Hypertext: पोळा [ pōḷā ] zebu, bos indicus rebus: पोळा [ pōḷā ] 'magnetite, iron ore Fe3O4'; kamar 'moon' rebus: kamar'blacksmith' (Santali); arka 'sun' rebus: arka, era 'copper'; dhanga 'mountain range' Rebus: dhangar'blacksmith'

Hypertext: bicha 'scorpion' rebus: bica 'stone iron ore, haematite'

Hypertext: meḍ 'dance-step' rebus: meḍ 'iron' (Mu.Ho.)

Hypertext: खड्यावाघ khaḍyāvāgha m (खडा & वाघ) A leopard. खरडा kharaḍā A leopard. खरड्या kharaḍyā m or खरड्यावाघ m A leopard. Rebus: करडा karaḍā Hard from alloy--iron, silver &c Rebus: खरड kharaḍa f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch; खरडनीस kharaḍanīsa c खरडनिशा a (खरड & P) A scrawler or bad writer. ; खरडनिशी kharaḍaniśī f Scrawling, scribbling, bad writing. खरडा kharaḍā also खरडें n A scrawl; a memorandum-scrap; a foul, blotted, interlined piece of writing. also खरडें n A rude sketch; a rough draught; a foul copy; a waste-book; a day-book; a note-book. A spotted and rough and ill-shaped pearl: also the roughness or knobbiness of such pearls. खरड्या kharaḍyā a (खरडणें) That writes or shaves rudely and roughly; a mere quill-driver; a very scraper.

Hieroglyph: miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Munda.Ho.)

Meluhha Hieroglyphs from Elamite Cylinder seal Corpus of KJ Roach (2008)

Fig. 7. Catalogue, p. 126.

Source: http://www.bulletinasiainstitute.org/Muscarella_BAI15.pdf Oscar White Muscarella, Jiroft and ‘Jiroft-Aratta’ -- a review article of Yousefl Madjidzadeh, Jiroft The earliest oriental civilization, Bulletin of the Asian Institute, 15 (2005) 173-198

Image result for tali malyan archaeology

Map of major routes and sites of Meluhha (mleccha) interaction areas, location of Tell Abraq (adapted from Potts DT. 1994 fig.5 http://tinyurl.com/yljaqdu)

"In Mesopotamia (which in Greek means “between the rivers”), the settled agricultural people of the Tigris and Euphraties valleys evolved a form of writing. Among the earliest Mesopotamian writings are a set of clay tablets found at Tepe Yahya in southern Iran, the site of an ancient Elamite trading community halfway between Mesopotamia and India.

The Elamite trade supplied the Sumarian civilization of Mesopotamia with silver, copper, tin, lead, precious gems, horses, timber, obsidian, alabaster and soapstone. The practical Sumerians and Elamites probably invented writing as a means of keeping accounts. The tablets found at Tepe Yahya are inscribed in proto-Elamite, and radio-carbon dating of organic remains associated with the tablets shows them to be from about 3,600 B.C.. The inscriptions on these tablets were made by pressing the blunt and sharp ends of a stylus into soft clay. Similar tablets have been found at the Sumarian city of Susa at the head of the Tigris River.
In about 3,100 B.C. the cuneiform script was developed, and later Mesopotamian tablets are written in cuneiform, which is a phonetic script where the symbols stand for syllables.

I found something interesting here: Roots of Indian Civilization -> An Indus inscription from an impression of a sherd discovered at Tepe Yahya, period IV A (c. 2200 BC)."

http://heavengames.com/cgi-bin/forums/display.cgi?action=ct&f=10,5814,1380,all&st=recent

Four examples of medieval styluses for writing on wax tablets. Two are made of iron, one brass and one bone stylus.

Open Access Monograph Series: Excavations at Tepe Yahya, Iran

Posted: 01 Oct 2017 02:15 PM PDT

[First posted in AWOL 4 March 2012, updated 1 October 2017]

Excavations at Tepe Yahya, Iran in AMAR

One of a series of AWOL pages seeking to pull together publication series digitized and served through AMAR: Archive of Mesopotamian Archaeological Site Reports

Excavations at Tepe Yahya, Iran, 1967-1975: the early periods
Excavations (Archaeology) -- Iran
Lamberg-Karlovsky, C. C., 1937-
Archive of Mesopotamian Archaeological Reports (AMAR)

Excavations at Tepe Yahya, Iran 1967-1969: progress report 1
Asia Institute of Pahlavi University
Lamberg-Karlovsky, C. C., 1937-
Archive of Mesopotamian Archaeological Reports (AMAR)

Excavations at Tepe Yahya, Iran, 1967-1975: the third millennium
Excavations (Archaeology) -- Iran -- Yahya, Tepe
Potts, Daniel T.
Archive of Mesopotamian Archaeological Reports (AMAR)

Excavations at Tepe Yahya, Iran 1967-1975: the Iron Age settlement
Excavations (Archaeology) -- Iran -- Yahya, Tepe
Magee, Peter, 1968-
Archive of Mesopotamian Archaeological Reports (AMAR)

The proto-elamite texts from Tepe Yahya
Elamite language -- Writing
Damerow, Peter
Archive of Mesopotamian Archaeological Reports (AMAR)

Title	The proto-elamite texts from Tepe Yahya
Series	Bulletin (American School of Prehistoric Research) ; no. 39.
Author	Damerow, Peter
Contributor	Englund, Robert K.
Contributor.	Peabody Museum of Archaeology and Ethnology
Publisher	Cambridge, Mass. : Peabody Museum of Archaeology and Ethnology, Harvard University : Distributed by Harvard University Press,
Date of Publication	1989
Date of Digitization	2010
Site Name1	Yahya, Tepe
Subject	Elamite language -- Writing
Subject.	Elamite language -- Texts
Language	eng
Description-Original	xiv, 79 p., [12] p. of plates : ill. ; 27 cm.
Format-Digital	PDF 184 MB (193,230,652 bytes)
Rights-Access Restrictions	May not be reused for commercial purposes.

...

http://digital.library.stonybrook.edu/cdm/compoundobject/collection/amar/id/126889/rec/4

"Finally, clay tablets bearing the impressions of tokens, and then, similar shapes produced with a stylus became the record keeping, making the tokens redundant. The stylus was usually made of reed, but perhaps also of hard wood or metal: in fact one metal tool that may have been used as a stylus was found at Tepe Yahya close to some proto-Elamite tablets." -- Michael Gross

The evolution of writing

Michael Gross

Michael Gross is a science writer based at Oxford. He can be contacted via his web page at www.michaelgross.co.uk

Open Archive

DOI: http://dx.doi.org/10.1016/j.cub.2012.11.032

Article Info

Summary

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

Main Text

Just over 5,000 years ago, the earliest cities flourished in Mesopotamia and western Iran. One explanation that has been considered is that making these areas with their seasonal alternations of flooding and drought amenable to agriculture required a complex infrastructure for water retention and irrigation. Thus, only a critical mass of workforce and a certain level of organisation could make these lands habitable, leading to urban settlements like Uruk in Mesopotamia and, a few hundred kilometres to the east, Susa in Iran. On the other hand, humans adapt well to diverse climatic conditions, and southern Mesopotamia may have lent itself to the growth of incipient complex societies without the need for large-scale hydraulic management as more current archaeological theories suggest.

Whatever their origin, the complex societies that built these early cities soon found they needed to keep records of their stocks, property, and commerce. The people of Uruk came up with proto-cuneiform, which evolved into cuneiform. This script encoding words and syllables was eventually supplanted in the Middle East by alphabetic writing systems that spread across the Mediterranean.

A few centuries later, the people of Susa picked up the idea of keeping written records and apparently borrowed a few signs from proto-cuneiform, but mostly they invented their own system of record-keeping, which is now known as proto-Elamite. The writing quickly spread across Iran, even though other archaeological evidence doesn’t suggest that the country had a unified culture at that time. Early excavations in Susa found more than 1,500 clay tablets with proto-Elamite script, and hundreds more have been found since.

As the name indicates, researchers were initially hoping to find a more advanced ‘Elamite’ script that might have followed up on this early version, like cuneiform evolved out of proto-cuneiform. However, systematic archaeological investigation has shown that this next step never happened. After a few centuries of using proto-Elamite, the people of Susa and other towns in Iran stopped writing altogether. For a period of 500 years, there is no trace of writing in Iran, until the introduction of cuneiform from Mesopotamia around 2300–2200 BC and, concurrently, the development as the Susan royal court of a second indigenous script known as Linear Elamite, which is unrelated to proto-Elamite.

In anthropological terms, the proto-Elamite script is the Neanderthal of writing systems. It branched off from our line of descent early on, spread for a while, then became extinct for mysterious reasons. Understanding it better might help us to understand our own cultural evolution. It would help, obviously, if we could decipher it.

Deciphering challenge

Jacob L. Dahl, of the Faculty of Oriental Studies at the University of Oxford, started out studying cuneiform and then became more interested in the path less travelled, the branch that became extinct. Dahl, the world’s leading expert in this writing system heads a research team dedicated to understanding it.

Many have considered the script undecipherable, and linguists are frustrated by the lack of any parallel documents like the Rosetta Stone, which could help, and by the lack of proper prose, as the tablets seem to be listing quantities of commodities owned by specific households. The writing uses 17 numerical and around 1,400 non-numerical signs. Of the latter, Dahl believes, around 100 may have been used as syllables to code for names. These occur where names of owners are listed, are poorly standardised, and have no obvious pictorial meaning. Difficult read: A proto-Elamite clay tablet from the collection at the Louvre

Difficult read: A proto-Elamite clay tablet from the collection at the Louvre. Scribes used a stylus typically made of reed to press these shapes into the soft clay. (Photo: University of Oxford.)

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“An additional challenge,” says Dahl, “is the fact that they use no signs depicting body parts. They must have had a taboo forbidding that. The only exceptions are two pictographically constructed signs for female and male workers, which they took over from proto-cuneiform, obviously without regard to their pictorial associations.”

Early excavations produced large numbers of texts and other artefacts but failed to contextualise these, and, whereas the early publishers worked fervently to quickly publish the results, the published copies cannot necessarily be trusted.

In the late 1970s, the Swedish mathematician Jöran Friberg managed to work out the numerical system used in archaic Iran, based on the observation that the tablets usually contain sums of the quantities listed in each line. Later, Peter Damerow at the Max-Planck Institute for the History of Science and Robert K. Englund at the Free University, both at Berlin, proposed identifications for some of the signs and deciphered the content of some tablets. Thus, signs for containers for weakly fermented beer, dairy products, and grains are understood. Dahl, who worked with Englund at UCLA and with Damerow at Berlin, deciphered a number of signs relating to sheep and goat herding, but still scratches his head over how the proto-Elamite scribes may have referred to cattle, for example.

Dahl has started producing high-quality images of the tablets using a novel device, the Reflectance Transformation Imaging (RTI) system (building on technology developed originally by Tom Malzbender and others at the HP labs in Palo Alto). This uses a black plastic dome lined with 76 separate LED lights and fitted with a 25 megapixel camera. Each artefact is photographed 76 times, each time illuminated from a different angle by one of these LEDs. A dedicated software package combines the 76 shots into a single image file, with which the users can then create different viewing experiences, as if they were looking at the original tablet and shining a torch at it from different sides and angles to get a feeling for the shapes, the textures, and the depths of the grooves.

With these complex images, Dahl now hopes to launch an internet-based crowdsourcing project to help complete the decipherment, following the example of success stories such as Folding@Home (see Curr. Biol. (2012) 22, R35–R38). Combining the ideas and skills of many different people, and including perspectives from mathematics, linguistics, art, and so on, may be the clue to cracking the remainder of the code. Some images have already been made available online, with more and in increasingly higher quality over the coming six months (see http://cdli.ox.ac.uk/wiki/proto-elamite for an introduction to proto-Elamite with links to images of the tablets and http://cdli.ucla.edu for more on online cuneiform).

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

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Rise and fall

Taken together with the available evidence from the Middle East, a better understanding of proto-Elamite would be a big step towards a complete overview of the evolution of writing, including its birth, branching out, diffusion, and dying out.

Contrary to what one might expect based on today’s notions of literacy, writing did very clearly not arise from a move to record spoken language. Instead, it evolved out of primitive accounting methods, more closely related to abacuses than to storytelling.

“At first, there were tokens used to represent quantities of commodities such as grain,” explains Dahl. “Most tokens were made of clay, a few examples exist of stone tokens. We recently made some clay tokens for our class and were able to replicate the calculations — additions only — in rather complex texts without any use of abstract numbers, or even number words.”

In a second stage, people turned the very same tokens into a permanent recording of the relevant quantities by keeping them in clay envelopes. “These consisted of a hollow clay ball, also called a bulla,” Dahl explains. “It is very likely that tokens continued to be used for centuries.”

Finally, clay tablets bearing the impressions of tokens, and then, similar shapes produced with a stylus became the record keeping, making the tokens redundant. The stylus was usually made of reed, but perhaps also of hard wood or metal: in fact one metal tool that may have been used as a stylus was found at Tepe Yahya close to some proto-Elamite tablets.

Ghost town: The remains of the ancient city of Susa may increasingly look like natural hills, but excavations have yielded more than 1,500 clay tablets with inscriptions that are around 5,000 years old. (Photo: Jan Walstra.)

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The third stage can be pinned down exactly. “Writing is a technology. Regardless of whatever mnemonic devices may have been used in different parts of the ancient Near East, the earliest crystallisation of that technology occurred at the great southern Mesopotamian metropolis of Uruk in the specific context of a large institution dedicated to the city goddess Inanna,” explains Dan Potts from the University of Sydney, Australia. “The earliest texts served to document the incomings and outgoings of those commodities (naturalia, realia) that served to sustain the institution, which some would call a temple complex, and its personnel (not just priests and scribes but agricultural and craft labourers as well). Lexical texts, lists of words classified by domain (names of different categories of animals, trees, plants, professions), represent concrete expressions of early scribal training. It took many more centuries before writing was used to record royal inscriptions, literature, letters and other types of texts.”

Initial proto-writing systems could represent only a certain repertoire of relevant objects — their users could not write down current events or stories they may have told each other. Gradually, the proto-writing systems evolved into complete writing systems, allowing people to write down whatever they could express in words of their language.

The invention of writing happened at least twice and no more than four times in the history of mankind. The two clear cases are cuneiform and the Mayan scripts, both clearly independent inventions that went on to become complete writing systems. Deciphering of Mayan writing has made rapid progress since the 1970s, following the realisation that it is a phonetic representation of a language related to the one still spoken in the area today. It might have been easier if 16th century colonialism had not actively sought to eradicate knowledge of the script that still existed at the time.

Cuneiform was decoded in the second half of the 19th century using trilingual inscriptions written in Old Persian cuneiform, Akkadian cuneiform and Elamite cuneiform. Since the content of some of these texts was known (ruler names and titles of the kings of Persia) this was in fact a very complex linguistic puzzle of replacing signs with sounds and speculate language affiliation.

Some people still question whether the Egyptian hieroglyphs are an equally pristine invention. While there is no similarity in the signs used, Egyptians and, as some have speculated, even ancient Chinese may or may not have gleaned the idea of writing things down for accountancy from Mesopotamia.

Proto-Elamite by contrast, clearly got the idea and a small number of signs from Mesopotamia, and then went on to add a whole range of new signs to the repertoire. It is the earliest writing system that we know to be a derived one. This early branching point is thus the equivalent of speciation in biological evolution. The separate writing systems of these neighbouring regions must have been mutually incomprehensible.

Ancient lands: The area of western Iran, where a writing system inspired by Mesopotamia’s cuneiform flourished around 5,000 years ago. (Photo: University of Oxford.)

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Over a short time span — three centuries at most, but probably much less — the proto-Elamite script spread across Iran, offering a prime example of cultural diffusion. There is no archaeological evidence suggesting a mechanism for this spreading, such as central government or long-distance trading, so the rapid expansion remains one of the mysteries of proto-Elamite.

As the proto-Elamite script spread and developed further, it became richer in its sign repertoire, but Dahl notes that it also ran into problems. “There was an inflation of signs in proto-Elamite,” says Dahl, “and even in high-level accounts, such as those for the household of the ruler of Susa, you see systematic errors and bad practice.” For instance, scribes would cram in information at the end of a line, rather than planning for the space available, like their colleagues in Mesopotamia would have done. And they made elementary mistakes in the bundling of numbers, as it would be a mistake in Roman numerals to write IIIII instead of V.

The key cultural difference is that cuneiform was backed up by a lexical tradition from early on, says Dahl. In Uruk, lists of standardised signs were used for reference. No such lists have ever been found for proto-Elamite. Dahl can’t resist the temptation to speculate that it may have been the failure to invest in the quality of proto-Elamite writing culture that led to its deterioration and ultimately to its downfall.

The ensuing period of five centuries without writing makes Europe’s descent into the Dark Ages pale in comparison. Prophets of linguistic doom who worry about youth slang and text speak will delight in this example of cultural downfall that was possibly triggered or accelerated by bad writing practice. Seeing writing as a trait that has evolved in human populations, it is only natural that it can not only arise, diversify and spread, but also die out. That’s just life.

http://www.cell.com/current-biology/fulltext/S0960-9822(12)01376-0

5,000 years ago, a long-buried society in the Iranian desert helped shape the first urban age

Cities like Shahr-i-Sokhta in eastern Iran, remains of which can be seen from the air, developed and flourished at the same time as the population centers in Mesopotamia to the west and the Indus Valley to the east. The barren landscape was once home to some of the world's first urban societies, which began to develop around 3000 B.C.
(Georg Gerster/Photo Researchers)

Burial Goods

Lasting Impression

1975 Excavations

Even local archaeologists with the benefit of air-conditioned cars and paved roads think twice about crossing eastern Iran's rugged terrain. "It's a tough place," says Mehdi Mortazavi from the University of Sistan-Baluchistan in the far eastern end of Iran, near the Afghan border. At the center of this region is the Dasht-e Lut, Persian for the "Empty Desert." This treacherous landscape, 300 miles long and 200 miles wide, is covered with sinkholes, steep ravines, and sand dunes, some topping 1,000 feet. It also has the hottest average surface temperature of any place on Earth. The forbidding territory in and around this desert seems like the last place to seek clues to the emergence of the first cities and states 5,000 years ago.

Yet archaeologists are finding an impressive array of ancient settlements on the edges of the Dasht-e Lut dating back to the period when urban civilization was emerging in Egypt, Iraq, and the Indus River Valley in Pakistan and India. In the 1960s and 1970s, they found the great centers of Shahr-i-Sokhta and Shahdad on the desert's fringes and another, Tepe Yahya, far to the south. More recent surveys, excavations, and remote sensing work reveal that all of eastern Iran, from near the Persian Gulf in the south to the northern edge of the Iranian plateau, was peppered with hundreds and possibly thousands of small to large settlements. Detailed laboratory analyses of artifacts and human remains from these sites are providing an intimate look at the lives of an enterprising people who helped create the world's first global trade network.

Far from living in a cultural backwater, eastern Iranians from this period built large cities with palaces, used one of the first writing systems, and created sophisticated metal, pottery, and textile industries. They also appear to have shared both administrative and religious ideas as they did business with distant lands. "They connected the great corridors between Mesopotamia and the east," says Maurizio Tosi, a University of Bologna archaeologist who did pioneering work at Shahr-i-Sokhta. "They were the world in between."

By 2000 B.C. these settlements were abandoned. The reasons for this remain unclear and are the source of much scholarly controversy, but urban life didn't return to eastern Iran for more than 1,500 years. The very existence of this civilization was long forgotten. Recovering its past has not been easy. Parts of the area are close to the Afghan border, long rife with armed smugglers. Revolution and politics have frequently interrupted excavations. And the immensity of the region and its harsh climate make it one of the most challenging places in the world to conduct archaeology.

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

An Iranian-Italian team, including archaeologist Massimo Vidale (right), surveyed the site in 2009.
(Courtesy Massimo Vidale)

The peripatetic English explorer Sir Aurel Stein, famous for his archaeological work surveying large swaths of Central Asia and the Middle East, slipped into Persia at the end of 1915 and found the first hints of eastern Iran's lost cities. Stein traversed what he described as "a big stretch of gravel and sandy desert" and encountered "the usual...robber bands from across the Afghan border, without any exciting incident." What did excite Stein was the discovery of what he called "the most surprising prehistoric site" on the eastern edge of the Dasht-e Lut. Locals called it Shahr-i-Sokhta ("Burnt City") because of signs of ancient destruction.

It wasn't until a half-century later that Tosi and his team hacked their way through the thick salt crust and discovered a metropolis rivaling those of the first great urban centers in Mesopotamia and the Indus. Radiocarbon data showed that the site was founded around 3200 B.C., just as the first substantial cities in Mesopotamia were being built, and flourished for more than a thousand years. During its heyday in the middle of the third millennium B.C., the city covered more than 150 hectares and may have been home to more than 20,000 people, perhaps as populous as the large cities of Umma in Mesopotamia and Mohenjo-Daro on the Indus River. A vast shallow lake and wells likely provided the necessary water, allowing for cultivated fields and grazing for animals.

Built of mudbrick, the city boasted a large palace, separate neighborhoods for pottery-making, metalworking, and other industrial activities, and distinct areas for the production of local goods. Most residents lived in modest one-room houses, though some were larger compounds with six to eight rooms. Bags of goods and storerooms were often "locked" with stamp seals, a procedure common in Mesopotamia in the era.

Shahr-i-Sokhta boomed as the demand for precious goods among elites in the region and elsewhere grew. Though situated in inhospitable terrain, the city was close to tin, copper, and turquoise mines, and lay on the route bringing lapis lazuli from Afghanistan to the west. Craftsmen worked shells from the Persian Gulf, carnelian from India, and local metals such as tin and copper. Some they made into finished products, and others were exported in unfinished form. Lapis blocks brought from the Hindu Kush mountains, for example, were cut into smaller chunks and sent on to Mesopotamia and as far west as Syria. Unworked blocks of lapis weighing more than 100 pounds in total were unearthed in the ruined palace of Ebla, close to the Mediterranean Sea. Archaeologist Massimo Vidale of the University of Padua says that the elites in eastern Iranian cities like Shahr-i-Sokhta were not simply slaves to Mesopotamian markets. They apparently kept the best-quality lapis for themselves, and sent west what they did not want. Lapis beads found in the royal tombs of Ur, for example, are intricately carved, but of generally low-quality stone compared to those of Shahr-i-Sokhta.

Pottery was produced on a massive scale. Nearly 100 kilns were clustered in one part of town and the craftspeople also had a thriving textile industry. Hundreds of wooden spindle whorls and combs were uncovered, as were well-preserved textile fragments made of goat hair and wool that show a wide variation in their weave. According to Irene Good, a specialist in ancient textiles at Oxford University, this group of textile fragments constitutes one of the most important in the world, given their great antiquity and the insight they provide into an early stage of the evolution of wool production. Textiles were big business in the third millennium B.C., according to Mesopotamian texts, but actual textiles from this era had never before been found.

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

Ceramic jar found at Shahdad

This plain ceramic jar, found recently at Shahdad, contains residue of a white cosmetic whose complex formula is evidence for an extensive knowledge of chemistry among the city's ancient inhabitants.
(Courtesy Massimo Vidale)

The artifacts also show the breadth of Shahr-i-Sokhta's connections. Some excavated red-and-black ceramics share traits with those found in the hills and steppes of distant Turkmenistan to the north, while others are similar to pots made in Pakistan to the east, then home to the Indus civilization. Tosi's team found a clay tablet written in a script called Proto-Elamite, which emerged at the end of the fourth millennium B.C., just after the advent of the first known writing system, cuneiform, which evolved in Mesopotamia. Other such tablets and sealings with Proto-Elamite signs have also been found in eastern Iran, such as at Tepe Yahya. This script was used for only a few centuries starting around 3200 B.C. and may have emerged in Susa, just east of Mesopotamia. By the middle of the third millennium B.C., however, it was no longer in use. Most of the eastern Iranian tablets record simple transactions involving sheep, goats, and grain and could have been used to keep track of goods in large households.

While Tosi's team was digging at Shahr-i-Sokhta, Iranian archaeologist Ali Hakemi was working at another site, Shahdad, on the western side of the Dasht-e Lut. This settlement emerged as early as the fifth millennium B.C. on a delta at the edge of the desert. By the early third millennium B.C., Shahdad began to grow quickly as international trade with Mesopotamia expanded. Tomb excavations revealed spectacular artifacts amid stone blocks once painted in vibrant colors. These include several extraordinary, nearly life-size clay statues placed with the dead. The city's artisans worked lapis lazuli, silver, lead, turquoise, and other materials imported from as far away as eastern Afghanistan, as well as shells from the distant Persian Gulf and Indian Ocean.

Evidence shows that ancient Shahdad had a large metalworking industry by this time. During a recent survey, a new generation of archaeologists found a vast hill—nearly 300 feet by 300 feet—covered with slag from smelting copper. Vidale says that analysis of the copper ore suggests that the smiths were savvy enough to add a small amount of arsenic in the later stages of the process to strengthen the final product. Shahdad's metalworkers also created such remarkable artifacts as a metal flag dating to about 2400 B.C. Mounted on a copper pole topped with a bird, perhaps an eagle, the squared flag depicts two figures facing one another on a rich background of animals, plants, and goddesses. The flag has no parallels and its use is unknown.

Vidale has also found evidence of a sweet-smelling nature. During a spring 2009 visit to Shahdad, he discovered a small stone container lying on the ground. The vessel, which appears to date to the late fourth millennium B.C., was made of chlorite, a dark soft stone favored by ancient artisans in southeast Iran. Using X-ray diffraction at an Iranian lab, he discovered lead carbonate—used as a white cosmetic—sealed in the bottom of the jar. He identified fatty material that likely was added as a binder, as well as traces of coumarin, a fragrant chemical compound found in plants and used in some perfumes. Further analysis showed small traces of copper, possibly the result of a user dipping a small metal applicator into the container.

Other sites in eastern Iran are only now being investigated. For the past two years, Iranian archaeologists Hassan Fazeli Nashli and Hassain Ali Kavosh from the University of Tehran have been digging in a small settlement a few miles east of Shahdad called Tepe Graziani, named for the Italian archaeologist who first surveyed the site. They are trying to understand the role of the city's outer settlements by examining this ancient mound, which is 30 feet high, 525 feet wide, and 720 feet long. Excavators have uncovered a wealth of artifacts including a variety of small sculptures depicting crude human figures, humped bulls, and a Bactrian camel dating to approximately 2900 B.C. A bronze mirror, fishhooks, daggers, and pins are among the metal finds. There are also wooden combs that survived in the arid climate. "The site is small but very rich," says Fazeli, adding that it may have been a prosperous suburban production center for Shahdad.

Sites such as Shahdad and Shahr-i-Sokhta and their suburbs were not simply islands of settlements in what otherwise was empty desert. Fazeli adds that some 900 Bronze Age sites have been found on the Sistan plain, which borders Afghanistan and Pakistan. Mortazavi, meanwhile, has been examining the area around the Bampur Valley, in Iran's extreme southeast. This area was a corridor between the Iranian plateau and the Indus Valley, as well as between Shahr-i-Sokhta to the north and the Persian Gulf to the south. A 2006 survey along the Damin River identified 19 Bronze Age sites in an area of less than 20 square miles. That river periodically vanishes, and farmers depend on underground channels called qanats to transport water.

Despite the lack of large rivers, ancient eastern Iranians were very savvy in marshaling their few water resources. Using satellite remote sensing data, Vidale has found remains of what might be ancient canals or qanats around Shahdad, but more work is necessary to understand how inhabitants supported themselves in this harsh climate 5,000 years ago, as they still do today.

The large eastern Iranian settlement of Tepe Yahya produced clear evidence for the manufacture of a type of black stone jar for export that has been found as far away as Mesopotamia.
(Georg Gerster/Photo Researchers)

Meanwhile, archaeologists also hope to soon continue work that began a decade ago at Konar Sandal, 55 miles north of Yahya near the modern city of Jiroft in southeastern Iran. France-based archaeologist Yusef Madjizadeh has spent six seasons working at the site, which revealed a large city centered on a high citadel with massive walls beside the Halil River. That city and neighboring settlements like Yahya produced artfully carved dark stone vessels that have been found in Mesopotamian temples. Vidale notes that Indus weights, seals, and etched carnelian beads found at Konar Sandal demonstrate connections with that civilization as well.

Many of these settlements were abandoned in the latter half of the third millennium B.C., and, by 2000 B.C., the vibrant urban life of eastern Iran was history. Barbara Helwig of Berlin's German Archaeological Institute suspects a radical shift in trade patterns precipitated the decline. Instead of moving in caravans across the deserts and plateau of Iran, Indus traders began sailing directly to Arabia and then on to Mesopotamia, while to the north, the growing power of the Oxus civilization in today's Turkmenistan may have further weakened the role of cities such as Shahdad. Others blame climate change. The lagoons, marshes, and streams may have dried up, since even small shifts in rainfall canB.C. have a dramatic effect on water sources in the area. Here, there is no Nile, Tigris and Euphrates, or Indus to provide agricultural bounty through a drought, and even the most sophisticated water systems may have failed during a prolonged dry spell.

It is also possible that an international economic downturn played a role. The destruction of the Mesopotamian city of Ur around 2000 B.C. and the later decline of Indus metropolises such as Mohenjo-Daro might have spelled doom for a trading people. The market for precious goods such as lapis collapsed. There is no clear evidence of widespread warfare, though Shahr-i-Sokhta appears to have been destroyed by fire several times. But a combination of drought, changes in trade routes, and economic trouble might have led people to abandon their cities to return to a simpler existence of herding and small-scale farming. Not until the Persian Empire rose 1,500 years later did people again live in any large numbers in eastern Iran, and not until modern times did cities again emerge. This also means that countless ancient sites are still awaiting exploration on the plains, in the deserts, and among the rocky valleys of the region.

Andrew Lawler is a contributing editor at ARCHAEOLOGY. For our 1975 coverage of the excavations at Shahr-i-Sokhta, see archive.archaeology.org/iran.

http://archive.archaeology.org/1111/features/dasht-e_lut_iran_shahr-i-sokta-shahad_tepe_yaha.html

The impression of a cylinder seal on an unbaked clay jar sealing from Konar Sandal
(Courtesy Youssef Madjidzadeh)

They are tiny and often faded and fragmented. But one abundant source of evidence for both international trade and the role of women in eastern Iran during the third millennium B.C. are the tiny images found on seals and sealings throughout this area. The small impressions were designed to mark ownership and control of goods, from bags of barley to a storeroom filled with oil jugs.

Holly Pittman, an art historian at the University of Pennsylvania who has worked throughout the Middle East and Central Asia, is examining the fragile impressions. She is attempting to build a clearer picture of the lives of ancient inhabitants in large centers such as Shahr-i-Sokhta, Shahdad, and Konar Sandal, near today's modern city of Jiroft. Pittman now believes these people of eastern Iran shared common ideas and beliefs while also participating in the first age of long-distance exchange.

Female deities with vegetation growing out of their bodies are one common element on the seals found in eastern Iran and, as on the Shahdad flag, figures confronting one another also appear Lasting Impression frequently. A distinctive type of white stone seals that have been found in Central Asia and the Indus appear to have been made in a similar style by eastern Iranians. "There are relationships between sites, and certainly this part of eastern Iran is participating in a global network," she says. "This is a world of merchants and traders."

Pittman believes that by early in the third millennium B.C., the network linking Mesopotamia and southeastern Iran resulted in a mixing of cultures across this enormous area. Seals that were used to close storage rooms in Konar Sandal, for example, are of a specific Mesopotamian type common in the major Iraqi port of Ur. That hints strongly at the presence of Mesopotamian inhabitants in Konar Sandal who had almost certainly come from Ur. She also suggests that Mesopotamian artifacts absorbed style elements from southeastern Iran. Another example is the famous inlaid lyre found at Ur, which has the face of a bearded bull typical of eastern Iran. Other seals found in ruins such as Konar Sandal are Proto-Elamite in style, showing strong connections with western and central Iran, where the Proto-Elamite writing system is believed to have originated at the same time that Mesopotamian urban life began to flourish in the late fourth millennium B.C.

Seals were powerful markers of economic, political, and social clout. At some eastern Iranian sites such as Shahr-i-Sokhta, they appear to have been largely in the hands of women. Marta Ameri, an archaeologist at the Fashion Institute of Technology in New York, notes that two-thirds of the seals found in Shahr-i-Sokhta's graves are found in female burials. While the grander bronze seals are uncovered mostly in male tombs, the more common bone seals are more often associated with women. Based on remains of sealings made to doors, vases, bags, and other objects, the bone seals were in more frequent use than the bronze. This suggests, Ameri says, that women were in control of food storage and possibly trade goods as well. Until more intact graves are found at other sites such as Shahdad, "we at least have a tantalizing look at the roles women may have played," says Ameri.

The World in Between

Burial Goods

Andrew Lawler is a contributing editor at ARCHAEOLOGY. For our 1975 coverage of the excavations at Shahr-i-Sokhta, see archive.archaeology.org/iran.

Cultural relationships beyond the Iranian plateau: the Helmand civilization,Baluchistan and the Indus Valley in the 3rd millennium BCE

E. Cortesi

M. Tosi

A. Lazzari

M. Vidale

Paléorient Année 2008 Volume 34 Numéro 2 pp. 5-35

http://archive.archaeology.org/1111/features/iran_lasting_impression.html
http://www.persee.fr/docAsPDF/paleo_0153-9345_2008_num_34_2_5254.pdf

http://www.persee.fr/doc/paleo_0153-9345_2008_num_34_2_5254

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

For more of our 1975 coverage of the excavations at Shahr-i-Sokhta, Iran, click to download PDF (9.7 MB).

http://archive.archaeology.org/iran/

http://archive.archaeology.org/iran/ArchaeologyMagazine_Iran1975.pdf

https://www.scribd.com/document/360620285/graveyard-of-shahr-i-soktha-iran-archaeology-magazine-1975
Graveyard of Shahr-i-Soktha, Iran (Archaeology Magazine, 1975) by Srini Kalyanaraman on Scribd

CC Lamberg-Karlovsky and DT Potts , 2001, Excavations at Tepe Yahya, Iran, 1967-1975: the third millennium, CC Lamberg-Karlovsky, DT Potts with contributions by Holly Pittman and Philip L.Kohl, Cambridge, Massachusetts, Peabody Museum of Archaeology and Ethnology, Harvard University

https://www.scribd.com/doc/63292801/Excavations-at-Tepe-Yahya-Iran-1967-1975-the-third-millennium-DT-Potts

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A sensational discovery reported by Poulomi Banerjee. Rakhigarhi is kol palṭan कोल पलटन 'guild community of Kol, iron smelters' who made the river-port the capital of Sarasvati Civilization

February 2, 2019, 8:40 pm

≫ Next: Dilmun pioneered the world's first wealth accounting system ledgers. Caprid of Dilmun seals is a kid on Dholavira seals to signify करडूं karaḍū 'kid' Rebus: खरड kharaḍa 'wealth-accounting ledger', karaḍā करडा 'hard metal alloy'

≪ Previous: Itihāsa. Potters' marks of Tepe Yahya (Daniel Potts) compare with Indus Script signs and pictorial motifs, wealth-accounting metalwork ledgers

https://tinyurl.com/ybyaj8jt

A sensational discovery has been reported by a resident of Rakhigarhi to the Hindustan Times correspondent, Smt.Poulomi Banerjee. It is the responsibility of archaeologists and scholars of civilization studies to take cognizance of the social memory of a people and research further into the activities of Sarasvati Civilization whose capital city seems to be Rakhigarhi. The resident said that the old name of Rakhigarhi was kol palṭan कोल पलटन -- an expression which signifies 'guild of Kol, iron smelters' who made it the capital, the largest settlement of over 500 hectares of Sarasvati Civilization sites. The location of Rakhigarhi on the high ridge of the water divide between Rivers Sarasvati and the Doab rivers of Ganga-Yamuna. Thus, Rakhigarhi function as a paṭṭana, a riverine port town linking Brahmaputra, Ganga, Yamuna waterways with the Vedic River Sarasvati for seafaring maritime trade of cargo transported into the Persian Gulf and beyond into the Ancient Near East along an Ancient Maritime Tin Route which linked Hanoi (Vietnam) and Haifa (Israel). It appears that the Himalayan riverine waterways complemented the cargo movements on the maritime route of the Indian Ocean linking the largest tin belt of the globe in Ancient Far East to meet the demand for tin from Eurasia, from ca. 4th millennium BCE. A Hindi movie titled palṭan was released in September 2018. "The trailer opens to footage from the 1962 Indo-Chinese war where India lost the battle. Soon it shifts to 1967 when India retaliated to win over Nathu La, Sikkim. We also get to see glimpses of the army's families, like we had seen in previous Dutta films. The trailer ends with a powerful tagline: "A martyr dies not when he is shot, but when he is forgotten...'palṭan'

पलटन

showcases an untold story of the Indian forces facing off in an intense battle to ward off a Chinese infiltration."

https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/paltan-trailer-the-jp-dutta-film-presents-to-you-the-victory-of-the-indian-army-that-was-not-told-from-the-1967-war/articleshow/65242791.cms

पलटन की परिभाषा हिंदी में (स्त्री) 1 सैनिकों का समूह, सैनिक दल, फौज 2 झुंड (जैसे—चौपायों की पलटन के पीछे लट्ठ लिए भागना). jhuṇḍra ʻ crowd ʼ. 2. jhutta -- . [Cf. jhuppa -- 2] 1. S. jhuṇḍru* m. ʻ band of fakirs ʼ; P. jhuṇḍ m. ʻ flock, troop ʼ; Ku. jhuṇḍi, N. jhuṇḍa; Bi. jhuṇḍ, jhū̃ṛ ʻ flock of sheep or goats ʼ; Bhoj. jhũṛi ʻ crowd ʼ; H. jhuṇḍ m. ʻ flock, troop ʼ, G. jhuṇḍ n., M. j̈huṇḍ f.2. N. jhut, jhutti ʻ crowd ʼ, jhutto ʻ bundle of 4 or 6 maize cobs ʼ, jhuttinu ʻ to get entangled ʼ; B. jhutta ʻ crowd ʼ.(CDIAL 5402)

Thus, the Meluhha word palṭan means 'army troop or team'; the expression kola palṭan signifies 'guild or community of kol-s'.

Who are the Kol-s? Kol-s are the founders of Sarasvati civilization who have created a data repository of over 30,000 Indus Scriptinscriptions recording wealth accounting ledgers and metalwork catalogues. The Kol-s are signified by rhe rebus rendering of the hieroglyph kola'tiger' signified on Indus Script inscriptions.

Hieroglyph:

పెద్ద. కోలుపులి or కోల్పులి a royal tiger.(Telugu)

Rebus:

m0492 (DK 8120, NMI 151. National Museum, Delhi).2835 Pict-99: Person throwing a spear at a bison and placing one foot on the head of the bison; a hooded serpent at left.

Hieroglyph: kolsa = to kick the foot forward, the foot to come into contact with anything when walking or running; kolsa pasirkedan = I kicked it over (Santali.lex.)mēṛsa = v.a. toss, kick with the foot, hit with the tail (Santali) కోలుతల or కోల్తల kōlu-tala. [Tel.] n. Fighting face to face. ఎదుట నిలిచి యుద్ధము చేయుట. Preparation for war or battle యుద్ధసన్నాహము. కోల్తలచేయు kōltala-chēyu. v. a. To encourage: to place in battle array. రణోద్యగముచేయు, ఎచ్చరికచేయు. M. Salya. i. 248. and i. 43. and i. 94. M. III. vii. 96.

కోల kōla. [Tel.] n. A staff. దండము. An arrow బాణము. అంపకోలలు arrows. తవ్వుకోల, పంటికోల or మునిగోల a hoe or digging staff. చేరుకుగోల a sugar-cane. కోలలవారు staff-bearers వేత్రధరలు. కోలలేనిపెట్టు తాడులేనికట్టు you feel the blow of an invisible rod: you are bound in viewless ties. (Used of a Government) "సీ శల్యు నారాచపంచకముననొప్పించి, యొకకోలగృతవర్మ నురుమునొంచి." M. VI. 342.

kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’ (Ta.) •kolhe (iron-smelter; kolhuyo, jackal) kol, kollan-, kollar = blacksmith (Ta.lex.)•kol‘to kill’ (Ta.)•sal ‘bos gaurus’, bison; rebus: sal ‘workshop’ (Santali)me~ṛhe~t iron; ispat m. = steel; dul m. = cast iron; kolhe m. iron manufactured by the Kolhes (Santali); meṛed (Mun.d.ari); meḍ (Ho.)(Santali.Bodding)

nAga 'serpent' Rebus: nAga 'lead'

Hieroglyph: rã̄go ʻ buffalo bull ʼ

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

फड, phaḍa 'hood of cobra' rebus: फड, phaḍa 'metalwork artisan guild in charge of manufactory'

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

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

Allograph: कुंठणें [ kuṇṭhaṇēṃ ] v i (कुंठ S) To be stopped, detained, obstructed, arrested in progress (Marathi)

Image result for kick bison indus script

kōla1 m. ʻ name of a degraded tribe ʼ Hariv.Pk. kōla -- m.; B. kol ʻ name of a Muṇḍā tribe ʼ.(CDIAL 3532)kōlika m. ʻ weaver ʼ Yaśast., kaulika -- Pañcat. [EWA i 273 ← *kōḍika -- (in Tam. kōṭikar ʻ weaver ʼ) ~ Mu. word for ʻ spider ʼ in Pk. mak -- kōḍā -- s.v. markaṭa -- ]Pk. kōlia -- m. ʻ weaver, spider ʼ; S. korī m. ʻ weaver ʼ, koriaṛo m. ʻ spider ʼ; Ku. koli ʻ weaver ʼ, Or. (Sambhalpur) kuli, H. kolī, kolhī m. ʻ Hindu weaver ʼ; G. koḷī m. ʻ a partic. Śūdra caste ʼ; M. koḷī m. ʻ a caste of watercarriers, a sort of spider ʼ; -- . karoḷiyɔ, karāliyɔ m. ʻ spider ʼ is in form the same as karoḷiyɔ ʻ potter ʼ < kaulālá -- .Addenda: kōlika -- : WPah.kṭg. koḷi m. ʻ low -- caste man ʼ, koḷəṇ, kc. koḷiṇ f. ʻ his wife ʼ (→ Eng. cooly HJ 249).(CDIAL 3535)*kōlhu ʻ machine for pressing sugarcane or oilseeds ʼ.Pk. kolluga -- , kolhua -- m. ʻ sugarcane press ʼ, S. kolū m., P. kolhū, kuhulū m. ʻ oilpress, sugarcane press ʼ; WPah. bhal. kōˋlū m. ʻ oilpress ʼ, N. kol; Or. kohliā, kolihā, ˚liā ʻ sugarcane press ʼ; Bi. kolh, ˚hū, (Gaya) kelhū ʻ oilpress ʼ, Mth. kōlh, Bhoj. kōlhu; H. kolhū, kolū m. ʻ sugarcane press, oilpress ʼ; G. kohlu m. ʻ sugarcane press ʼ. -- Deriv.: B. Or. kalu ʻ oil -- man (by caste) ʼ, H. kolū m.*kōlhuvagāra -- , *kōlhuśālā -- .Addenda: *kōlhu -- : WPah.kṭg. kóllhu m. ʻ sugar -- cane or oil press ʼ.*kōlhuvagāra ʻ mill house ʼ. [*kōlhu -- , agāra -- ]P. kolhār m. ʻ oil factory ʼ; Bi. kolhuār ʻ sugarcane mill and boiling house ʼ.*kōlhuśālā ʻ pressing house for sugarcane or oilseeds ʼ. [*kōlhu -- , śāˊlā -- ]Bi. kolsār ʻ sugarcane mill and boiling house ʼ.(CDIAL 3536 to 3538)

paṭṭana n. ʻ town ʼ Kauṭ., ˚nī -- f. lex. 2. páttana -- n. MBh. [Prob. ← Drav. T. Burrow BSOAS xii 383 and EWA ii 192 with ṭṭ replaced by IA. tt. But its specific meaning as ʻ ferry ʼ in S. L. P. B. H. does lend support to its derivation by R. A. Hall in Language 12, 133 from **partana* -- (√pr̥ ~ Lat. portus, &c.). Poss. MIA. pattana -- , paṭṭana -- ʻ ferry ʼ has collided with Drav. loanword for ʻ town ʼ] 1. Pa. paṭṭana* -- n. ʻ city ʼ, ˚aka -- n. ʻ a kind of village ʼ; Pk. paṭṭaṇa -- n. ʻ city ʼ; K. paṭan m. ʻ quarter of a town, name of a village 14 miles NW of Śrinagar ʼ; N. pāṭan ʻ name of a town in the Nepal Valley ʼ; B. pāṭan ʻ town, market ʼ; Or. pā̆ṭaṇā, ˚anā ʻ town, village, hamlet on outskirts of a big village ʼ; Bi. paṭnā ʻ name of a town ʼ; H. pāṭan m. ʻ town ʼ, G. 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. paṭnī, pā̆ṭaunī, pāṭūnī m. ʻ ferryman ʼ; Si. paṭunaʻ 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, owho lives near a ferry ʼ; B. pātanī ʻ ferryman ʼ.(CDIAL 7705)

Living with the past: How Rakhigarhi residents share space with the remains of one of India’s ancient cities

Haryana’s Rakhigarhi is much like any other Indian village. Except that it was once a Harappan city. For residents, it is no longer a surprise to have scholars find history in their fields

Updated: Feb 02, 2019 21:34 IST

Poulomi Banerjee
Hindustan Times

Rakhigarhi,Indus Valley Civilisation,Harappan Civilisation

One of the mounds under which remains of a settlement of the Harappan Civilisation was found. The ASI has declared four mounds in the village as protected areas, but cemeteries and other remains of the ancient civilisation which flourished here, such as broken pottery and seals, have also been found on private land.(Burhaan Kinu/HT PHOTO)

Many of the streets of Rakhigarhi, Haryana, are cobbled or bricked. But it’s often difficult to see the road surface, so covered is it with dried animal dung. As in most rural households in India, animals are a part of nearly every household. Milk is rarely, if ever, bought. Butter is made fresh, at home. And dried dung cakes are used to light fires for warmth through the freezing winters, heat water and often cook. “Even people with gas connections use dried dung cake fires to heat water and to cook. There’s a different flavour to the food, when cooked in an earthen pot over an open flame,” explains Vicky Malik, a Rakhigarhi resident, as he stands on a high mound beyond which stretches fields of wheat and yellow blossoming mustard. Near his feet, as indeed across most of the mound,are scattered round, flattened cakes made of animal dung – in various states of dryness. Beneath the waste lie the remains of the Indian subcontinent’s earliest-known urban culture.

Three years ago, a team of archaeologists working under Vasant Shinde of Pune’s Deccan College, found skeletons in one of the farmlands in the village. The cemetery they uncovered dated back to the Indus Valley Civilisation that had flourished in the subcontinent between 2600-1900 BCE. The locals weren’t surprised. Rakhigarhi’s introduction to its ties with the past had begun years ago.

Finding The Lost Town

The revelation of Rakhigarhi’s links to history was quite accidental, recalls archaeologist Ravindra Singh Bisht, who specialises in the study of the Indus Valley Civilisation – or Harappan Civilisation, as it is often called, after the name of the village in present-day Pakistan, where the first site of that ancient culture was discovered, sometime in the 1920s. “Acharya Bhagwan Dev headed a gurukul in Jhajjar, Haryana. He was also a collector of antiquities. Once, on a trip to Rakhigarhi, he found some old earthenware urns and other things in the soil here, but was unable to identify them,” explains Bisht. Dev invited Suraj Bhan, a professor who was studying the Harappan era, to examine his findings. “It was Bhan who established that these antiquities dated to the Indus Valley Civilisation. This was in the 1960s,” he adds.

Bisht paid his first visit to Rakhigarhi in 1972. Though referred to collectively as Rakhigarhi, the area is made of two small villages – Rakhi Khas and Rakhi Shahpur – each with its own panchayat. The site of the old Harappan Civilisation spreads across both. “Initially I identified five mounds where remains of the Harppan Civilisation could be found,” he says. Later he found two more with remains of a pre Harappan (or early-Harppan as some call it) settlement and recommended that they be all declared as ‘protected monuments’ by the Archaeological Survey of India (ASI). Presently four of the seven mounds are ASI-protected. The others are too thickly populated at present to bring them under protection, says an ASI official. It was the reason why Bisht never did any excavations at Rakhigarhi. “Some of the biggest mounds were under occupation. I felt I could not do justice to the study in such a situation,” says the archaeologist, who has done extensive work in Dholavira, another site of the Harappan Civilization.

The first excavation at Rakhigarhi was carried out between 1997 to 2000 by Amarendra Nath of the ASI. Between 2013-16, Shinde too carried out excavations here. A report on the study of the DNA remains of the skeletons found during the excavations three years back is expected soon, possibly in the next one month.

But Bisht says there in Rakhigarhi that still remains to be studied. “It is the biggest site of the Harappan civilisation found till date,” says Shinde. “The site here is spread across an area of more than 500 hectares. Mohenjo-daro, which was earlier thought to be the biggest Harappan-era site, is only about 300 hectares in size,” he says, adding, “what we are yet to figure out though, is whether this entire area was occupied simultaneously, or gradually brought under occupation.”

Excavations for evidence of the ancient settlement have spilled beyond the four mounds protected by the ASI into private land. Crops now cover the soil under which Shinde had found the ancient cemetery during his work here.

A Shared Space

“I went to see the skeletons when they were found a few years ago,” says Rina, a young Rakhigarhi resident. There is none of the fear or sense of foreboding that one often associates with such findings in the people here. “We always knew this to be the site of an ancient culture,” says 74-year-old Ram Kala, a farmer, in explanation. “Our elders always said there used to be an old village here, popularly referred to as Kolapaltan. But we didn’t know how old it was before the excavations started.” Some excavations have been done in his fields too.

Most residents have at some point or the other found bits of broken pottery and beads in their fields and grounds. Especially after the monsoon when the soil is soft. Many have in their homes bits and pieces of ancient history, collected over the years. One such, with a more extensive collection than others, is 52-year-old Ramesh Chandra, a teacher at the government school here. “I got interested after I found a pot in my fields,” he says showing his collection of urns, broken pots and what look like seals and bits and pieces of terracotta jewellery. “I have shown it to visiting historians and archaeologists and they have confirmed it is from ancient times,” he says.

Fifty-two-year-old Rakhigarhi school teacher Ramesh Chandra with the old pottery, believed to be from the Harappan era, that he found in his fields. (Burhaan Kinu/HT PHOTO)

The locals are oddly at home with the history in their midst. “The fact that this was the site of one of the India’s oldest cities is a matter of pride for us. Excavations have been carried out in private lands and owners have been happy to give their lands for free for the work. Others are happy to host the visiting scholars in their homes,” says Dinesh Sheoran, a former sarpanch of Rakhi Shahpur, who takes a deep interest in the work and is somewhat of a go-to person for most visiting scholars.

But the acceptance of heritage, doesn’t bring with it a sense of awe, and often not even an awareness of the need for its protection. The ASI has put up metal fences around the four ‘protected’ mounds. Once the excavations were completed, the soil cover was replaced, to protect the antiquities below. But two wheelers zip through gaps in the fences using the path through the mounds as a thoroughfare. People come and go as they please, using it as a vacant plot to dry dung cakes. Animals roam freely. Today, much of the site of one of India’s oldest cities looks like a garbage dump.

“It was so even when I had identified them,” says Bisht. “The ASI protection should have improved the condition. But then, the ASI is so short-funded and short-staffed that it is a challenge,” he adds. An ASI official says the organisation has one person posted at Rakhigarhi to ensure protection of the mounds. “But it is too much for one person to take care of. We have also conducted awareness-building sessions with the locals to explain to them the need to protect the site. But it hasn’t helped.” Littering is better, says Shinde, than taking soil from the sites to build and repair homes – which also the villagers would do once – but have stopped now, thanks to the efforts of locals like Sheoran. “That would expose the remains to weathering and also cause us to lose data,” he explains.

The littering may not damage the historical data buried beneath, but the mess is definitely a put-off for visitors.

The neglect of the mounds dismays Wazir Chand Sirohi. A local with a passion for the archaeological data found in his village, he maintains copies of reports on the finds at Rakhigarhi, and has trained himself to become somewhat of a local guide around the digs sites. For most locals, however, pride in their history is at odds with the practical concerns of present-day living. Land is a sore point for many.

Present Predicament

One of the ASI-protected mounds in the village – site five – has been built over. For years the ASI has been trying to get the area vacated. A row of two-room brick structures, funded by the state government, have been built in the village to rehabilitate those shifted away from the site. More are under construction. Some have already made the shift to the government quarters. But many are not in the mood to move. The situation is precarious for those whose houses are built on land that is not registered in their names but is formally owned by the panchayat. They may be the first to face forced eviction.

“Those living in smaller houses have agreed to move, but how can those living in bigger spaces agree to shift to those cramped quarters. Where will be keep our animals?” asks 31-year-old Anil Kumar, a farmer by profession.

Most of the houses in the village have a big open courtyard –where the animals are kept – surrounded by rooms, a design Shinde says the modern village shares with the Harappan times. The government-built accommodations don’t have that kind of space.

Fifty-four-year-old Jaivir, a retired army employee, had worked as a labourer when the ASI first started excavation here. He dimly understands the importance of the site, as do most other villagers, but questions, “isn’t it unfair to disrupt the lives of people in the present to know about the past?”

he question plays on the minds of many of those facing displacement, even as the state government plans to promote and preserve it as a site of heritage tourism. A seven-galleried museum is under construction. “We are also planning a library and souvenir shop,” explains Banani Bhattacharyya, deputy director, department of archaeology and museums, Haryana. Expected to be completed sometime in the next year, the complex will also have a hostel for tourists and visiting scholars. “There are also plans to improve the connectivity to Rakhigarhi,” she says.

The infrastructural development and expected economic growth accompanying the coming of tourists will, Bhattacharyya hopes, also make the villagers more protective of Rakhigarhi’s heritage sites.

Shinde too hopes to return, to work on the conservation of the site. “The problem in opening the site at Rakhigarhi for public viewing is that unlike in Mohenjo-daro, where the Harappan structures are made of burnt brick, here they are made of dried brick and therefore more vulnerable to weathering. We need to strengthen the structures and erect some sort of a protective cover,” he explains.

And he plans to involve the locals in the project for regional know-how often works better than technology learnt from abroad which are more suitable to conditions there. “The knowledge got passed down the ages,” he says. Under the dirt and surface presence of the present, says Shinde, is a village that retains its ancient roots. “The way the village is laid out is similar to the Harrapan settlements. Often when I walk the streets of Rakhigarhi, I feel I am in a Harappan village,” he says.

https://www.hindustantimes.com/india-news/living-with-the-past-how-rakhigarhi-residents-share-space-with-the-remains-of-one-of-india-s-ancient-cities/story-jJdqeE6V8PkC00BslYFo1J.html?fbclid=IwAR3GlWApyfUhRVj91-MRPFXf2xvu9b9-unHGjjLeNe7hha6ilLQlcAGVcMA

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Dilmun pioneered the world's first wealth accounting system ledgers. Caprid of Dilmun seals is a kid on Dholavira seals to signify करडूं karaḍū 'kid' Rebus: खरड kharaḍa 'wealth-accounting ledger', karaḍā करडा 'hard metal alloy'

February 3, 2019, 4:08 am

≫ Next: Copper tablets, 212 Indus Script catalogues deciphered, karaḍā wealth-accounting ledgers archives detail kunda, कच्छप nidhi-s, treasures of Kubera

≪ Previous: A sensational discovery reported by Poulomi Banerjee. Rakhigarhi is kol palṭan कोल पलटन 'guild community of Kol, iron smelters' who made the river-port the capital of Sarasvati Civilization

https://tinyurl.com/y956c4p4

This is an addendum to:
Itihāsa. With a large cache of Dilmun seals, Indus Script Corpora has grown to c. 30,000 insciptions of wealth-accounting ledgers https://tinyurl.com/y8rj5xpd

This monograph posits that Dilmun Meluhha metalsmiths and seafaring merchants were the first to introduce 1) an accounting system of खरड kharaḍa 'wealth-accounting ledger' of metalwork transactions; and 2) to create a guild of armourers of an extensive civilization which stretched from Hanoi (Vietnam) to Haifa (Israel), from 4th millennium BCE..

A Dilmun Seal in Met Museum

Dilmun. Steatite or chlorite. 2nd m.BCE; 0.47 in. (1.19 cm) Accession Number 1987.96.22 The field symbol is dominated by a caprid. Caprid is a member of the goat family. A seal from Dholavira shows a kid which becomes the artistic model adopted as the Dilmun standard on hundreds of Persian Gulf seals.

117 antelope/caprid; sun motif. Dholavira seal impression. arka 'sun' Rebus: araka, eraka 'copper, moltencast' PLUS करडूं karaḍū 'kid' Rebus: करडा Hard from alloy--iron, silver &c. Thus, together, the rebus message: hard alloy of copper.

Hieroglyph: करडूं karaḍū 'kid' Rebus: खरड kharaḍa f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch. 2 Vehement reviling or abusing. v काढ g. of o. निघ g. of s. 3 The ashes and earth which gather about an ingot of metal during its formation. So called because to be detached they must be scraped off.; खरडणें kharaḍaṇēṃ v c To scrape or rub off roughly: also to abrade or graze. 2 To rub up; to grub up; to root out (grass, weeds &c.) by pushing the instrument along. 3 To shave roughly, to scrape: also to write roughly, to scrawl: also to jot or note down; to make brief memoranda: also to draw roughly; to plough roughly; to grind roughly &c. &c.; खरडा kharaḍā m (खरडणें) Scrapings (as from a culinary utensil). 2 Bruised or coarsely broken peppercorns &c.: a mass of bruised मेथ्या &c. 3 also खरडें n A scrawl; a memorandum-scrap; a foul, blotted, interlined piece of writing. 4 also खरडें n A rude sketch; a rough draught; a foul copy; a waste-book; a day-book; a note-book.

करडा ṭ karaḍā m The arrangement of bars or embossed lines (plain or fretted with little knobs) raised upon a तार of gold by pressing and driving it upon the अवटी or grooved stamp. Such तार is used for the ornament बुगडी, for the hilt of a पट्टा or other sword &c. Applied also to any similar barform or line-form arrangement (pectination) whether embossed or indented; as the edging of a rupee &c. kolmo 'three' rebus: kolimi 'smithy, forge'.

The back of the Dilmun seals has three lines and dotted circles. These hieroglyphs signify smithy/forge of a smelter.

Circular seal, of steatite, from Bahrein, found at Lothal.

http://www.penn.museum/sites/expedition/shipping-and-maritime-trade-of-the-indus-people/ baṭa 'six' rebus: baṭa 'iron' bhaṭa 'furnace'.PLUS करडूं karaḍū 'kid' Rebus: खरड kharaḍa 'wealth-accounting ledger', karaḍā करडा 'hard metal alloy'

Dotted circle as a hypertext: dhã̄i 'strand' PLUS vaṭa 'string' vaṭṭa 'circle' rebus:dhāvaḍ 'smelter'.PLUS kolmo 'three'rebus: kolimi 'smithy, forge'. Thus, smithy/forge of smelter.

117 antelope/caprid; sun motif. Dholavira seal impression. arka 'sun' Rebus: araka, eraka 'copper, moltencast' PLUS करडूं karaḍū 'kid' Rebus: karaḍā करडा Hard from alloy--iron, silver &c. Thus, together, the rebus message: hard alloy of copper..

kuṭhāru कुठारु a monkey; Rebus: kuṭhāru कुठारु 'armourer' फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड 'manufactory, company, guild, public place' Ta. kōl stick, staff, branch, arrow. Ma. kōl staff, rod, stick, arrow. Ko. ko·l stick, story of funeral car. To. kwï·s̱ stick. Ka.kōl, kōlu stick, staff, arrow. Koḍ. ko·lï stick. Tu. kōlů, kōlu stick, staff. Te. kōla id., arrow; long, oblong; kōlana elongatedness, elongation; kōlani elongated. Kol. (SR.) kolā, (Kin.) kōla stick. Nk. (Ch.) kōl pestle. Pa. kōl shaft of arrow. Go. (A.) kōla id.; kōlā (Tr.) a thin twig or stick, esp. for kindling a fire, (W. Ph.) stick, rod, a blade of grass, straw; (G. Mu. Ma. Ko.) kōla handle of plough, sickle, knife, etc. (Voc. 988); (ASu.) kōlā stick, arrow, slate-pencil; (LuS.) kola the handle of an implement. Konḍakōl big wooden pestle. Pe. kōl pestle. Manḍ. kūl id. Kui kōḍu (pl. kōṭka) id. Kuwi (F.) kōlū (pl. kōlka), (S. Su.) kōlu (pl.kōlka) id. Cf. 2240 Ta. kōlam (Tu. Te. Go.). / Cf. OMar. (Master) kōla stick. (DEDR 2237). Rebus: kol 'working in iron' kolhe 'smelter'.

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Copper tablets, 212 Indus Script catalogues deciphered, karaḍā wealth-accounting ledgers archives detail kunda, कच्छप nidhi-s, treasures of Kubera

February 6, 2019, 12:12 am

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https://tinyurl.com/y9wzbcrk

Asko Parpola provides an excellent analysis of the corpus of inscriptions on copper tablets of Mohenjo-daro. The 230+ inscriptions are divided into the following 46 categories of inscriptions, many of which include vivid field symbols or pictorial motifs.

Appended is A Note on decipherment of 'fist' sign

Sign 358 which signifies a goldsmith in Meluhha Indian sprachbund. Scores of islands found as archaeological sites in Persian Gulf in contact with Meluhha affirm the meaning assigned to 'meluhha' in Indian tradition; the Meluhha (mleccha) are Bhāratam Janam, called dvīpavāsin, 'island dwellers'. द्वैपायनः dvaipāyanḥ द्वैपायनः [द्वीपः अयनं जन्मभूमिर्यस्य स द्वीपायनः, स्वार्थे-अण्] 1 'The island-born, N. of Vyāsa.

This monograph posits that the field symbols or pictorial motifs are Indus Script hypertexts to signify rebus Meluhha renderings of kunda, kachchapa nidhi-s, कुबेर's treasures and hence, the inscriptions are descriptive wealth-accounting ledgers, catalogues of metalwork. म्लेच्छ is a person who lives by agriculture or by making weapons. The decipherment of 212 copper plate inscriptions point to the work of metalsmiths, armourers reinforcing the scribes to be from mleccha, Meluhha speakers' region of Sarasvati Civilization. The word also means 'copper'; cognate milakkhu 'copper' (Pali) and Malacca (near Malay straits) with links to the Ancient Far East for sourcing tin ore from the largest tin belt of the globe in Ancient Far East, along the river basins of Himalayan rivers -- Irrawaddy, Salween, Mekong.

m1532b On this copper tablet, the emphasis is clearly on the turtle's shell like that of Meiolania's shell.

Meiolania tortoise. Megalochelys atlas is an extinct species of giant cryptodiran tortoise from the Miocene through to the Pleistocene periods. During the dry glacial periods it ranged from western India and Pakistan (possibly even as far west as southern and eastern Europe) to as far east as Sulawesi and Timor in Indonesia.

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

Skeleton of Megalochelys atlas at the American Museum of Natural History

Fibre Glass life size models of Megalochelys atlas an extinct Giant Turtle, which once lived in the Siwalik Hill ranges, i.e. locus of Sarasvati Civilization.

Source: https://en.wikipedia.org/wiki/Megalochelys_atlas#/media/File:GiantTurtle-SiwalikHills.JPG

kassa 'turtle' rebus: kãsā 'bell-metal' (Oriya), kamaṭha 'turtle' rebus: kãsā kammaṭa 'bell-metal coiner, mint, portable furnace'.

A synonym is kachhapa (tortoise or turtle shell) which is one of the nine treasures of Kubera.कच्छप one of the nine treasures of कुवेर.

Executive Summary

Kuwait gold disc summarizes the hypertext repertoire gleaned from these 212 Copper plate Indus Script inscriptions.' See Annex A.Kuwait Gold Disc with Indus Script Inscriptions.

A deterministic affirmation of the entire Indus Script Corpora as catalogus catalogorum of metalwork comes from data mining of a Mohenjo-daro copper tablet with hieroglyph writing. A hieroglyph 'archer' signifies 'mint, coiner'. The archer is horned. koḍ 'horn' rebus: koḍ 'workshop'.Thus, the catalog entry of this side of the copper tablet signifies a coiner's workshop: kammaṭa koḍ (Prakritam aka Meluhha, mleccha, Indian sprachbund). See: http://bharatkalyan97.blogspot.in/2016/01/data-mining-explains-indus-script.html

Hieroglyph: Gujarati:kāmṭhiyɔ m. ʻ archer ʼ.

Rebus: Kannada:kammaṭa 'coinage, mint, coiner'

m1540A archer hieroglyph: kamāṭhiyo 'archer' rebus: kammaṭa 'coiner, mint'.

Hieroglyph: kamāṭhiyo 'archer' rebus: kammaṭa 'coiner, mint'. The hieroglyph is evidenced by terracotta cake of Kalibangan and copper plate inscrption of Mohenjo-daro. Another hieroglyph: kola 'tiger' rebus: kolhe 'smelter', kol 'working in iron' is evidenced by terracotta cake of Kalibangan and copper plate inscriptions of Mohenjo-daro. Kalibangan terracotta cake also shows hieroglyph-multiplex of a 'tiger' dragged by a rope by a person to be tied to yupa 'pillar' synonym: mēḍha मेढ Stake or post rebus: मृदु mṛdu, mẽṛhẽt, meḍ 'iron'
(Samskritam. Ho.Mu.Santali) med 'copper' (Slavic languages)

For a color image of 'archer' see m1540A image of copper tablet, Mohenjodaro. Two copper tablets. Mohenjo-daro. Showing two allographs: archer hieroglyph; ficus + crab hieroglyph. ḍato = claws of crab (Santali); dhātu = mineral (Skt.) loa ‘ficus religiosa’ (Santali) rebus: loh ‘metal’ (Skt.) kamaṛkom ‘fig’.kamaḍha ‘crab’. kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Skt.lex.) Rebus: kammaṭi a coiner (Kannada); kampaṭṭam coinage, coin, mint (Tamil) kammaṭa = mint, gold furnace (Telugu)

kamaṭha m. ʻ bamboo ʼ lex. 2. *kāmaṭha -- . 3. *kāmāṭṭha -- . 4. *kammaṭha -- . 5. *kammaṭṭha -- . 6. *kambāṭha -- . 7. *kambiṭṭha -- . [Cf. kambi-- ʻ shoot of bamboo ʼ, kārmuka -- 2 n. ʻ bow ʼ Mn., ʻ bamboo ʼ lex. which may therefore belong here rather than to kr̥múka -- . Certainly ← Austro -- as. PMWS 33 with lit. -- See kāca -- 3]1. Pk. kamaḍha -- , °aya -- m. ʻ bamboo ʼ; Bhoj. kōro ʻ bamboo poles ʼ.2. N. kāmro ʻ bamboo, lath, piece of wood ʼ, OAw. kāṁvari ʻ bamboo pole with slings at each end for carrying things ʼ, H. kã̄waṛ, °ar, kāwaṛ, °ar f., G. kāvaṛ f., M. kāvaḍf.; -- deriv. Pk. kāvaḍia -- , kavvāḍia -- m. ʻ one who carries a yoke ʼ, H. kã̄waṛī, °ṛiyā m., G. kāvaṛiyɔ m.
3. S. kāvāṭhī f. ʻ carrying pole ʼ, kāvāṭhyo m. ʻ the man who carries it ʼ.4. Or. kāmaṛā, °muṛā ʻ rafters of a thatched house ʼ;G. kāmṛũ n., °ṛī f. ʻ chip of bamboo ʼ, kāmaṛ -- koṭiyũ n. ʻ bamboo hut ʼ.5. B. kāmṭhā ʻ bow ʼ, G. kāmṭhũ n., °ṭhī f. ʻ bow ʼ; M. kamṭhā, °ṭā m. ʻ bow of bamboo or horn ʼ; -- deriv. G. kāmṭhiyɔ m. ʻ archer ʼ.6. A. kabāri ʻ flat piece of bamboo used in smoothing an earthen image ʼ.7. M. kã̄bīṭ, °baṭ, °bṭī, kāmīṭ, °maṭ, °mṭī, kāmṭhī, kāmāṭhī f. ʻ split piece of bamboo &c., lath ʼ.(CDIAL 2760)
Rebus 1: కమ్మటము (p. 0247) [ kammaṭamu ] Same as కమటము. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste. కామాటము (p. 0272) [ kāmāṭamu ] kāmāṭamu. [Tel.] n. Rough work. మోటుపని. R. viii. కామాటి kāmāṭi. n. A labourer, a pioneer. adj. Rustic. Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint.

Ka. kammaṭa id.; kammaṭi a coiner(DEDR 1236)

Rebus 2: కమటము (p. 0246) [ kamaṭamu ] kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి.

"చ కమటము కట్లెసంచియొరగల్లును గత్తెర సుత్తె చీర్ణముల్ ధమనియుస్రావణంబు మొలత్రాసును బట్టెడ నీరుకారు సా నము పటుకారు మూస బలునాణె పరీక్షల మచ్చులాదిగా నమరగభద్రకారక సమాహ్వయు డొక్కరుడుండు నప్పురిన్" హంస. ii.

Rebus 3: కమతము (p. 0246) [ kamatamu ] or కమ్మతము kamatamu. [Tel. n. Partnership. అనేకులు చేరిచేయుసేద్యము. The cultivation which an owner carries on with his own farming stock. Labour, tillage. కృషి, వ్యవసాయము. కమతకాడు or కమతీడు or కమతగాడు a labourer, or slave employed in tillage.కమ్మతము (p. 0247) [ kammatamu ] Same as కమతము. కమ్మతీడు Same as కమతకాడు.

कुन्द one of कुबेर's nine nidhi or treasures [N. of a गुह्यक (Demetrius Galanos's Lexiko: sanskritikes, anglikes, hellenikes )]

According to Amarakośa, the nine nidhis are:

Mahapadma "great lotus flower"
Padma "lotus flower"
Śankha "conch"
Makara "crocodile"
Kachchhapa "tortoise"
Kumud "a particular precious stone"
Kunda "jasmine"
Nīla "sapphire"
Kharva "dwarf"

When considered as mines, minerals, earthenware and ocean resources, the nine treasures of Kubera are interpreted as:

mahapadma (lake double the size of padma in Himalaya with minerals and jewels)
padma (lake in Himalaya with minerals and jewels)
śankha (conch shell)
makara (synonym of Padmini, black antimony)
kachhapa (tortoise or turtle shell)
kumud (cinnabar, or quicksilver)
kunda (arsenic)
nīla (antimony)
kharva (cups or vessels baked in fire); karb 'iron'.

The suprise is in the seventh nidhi which is called kunda. This is a rebus reading kõda 'young bull' rebus:kunda 'treasure, wealth'.

Thus, the field symbol with the two hypertexts (lathe + portable furnace; young bull+ one horn+ pannier) signify sangar kammaṭa kunda 'mint fortification treasure'.

The soldiers who accompany the treasure into the treasury are signified by the sãghāṛɔ 'lathe' of standard device: Such armoured guards are called jangadiyo 'military guard carrying treasure into the treasury'. jangad 'entrusted for approval'. See: sãgaṛh 'fortification', koṭṭa 'fortified settlement', koṭiya ʻsailing vessel' signified on Indus Script inscriptions http://tinyurl.com/zpojmat

Ka. kunda a pillar of bricks, etc. Tu. kunda pillar, post. Te. kunda id. Malt. kunda block, log. ? Cf. Ta. kantu pillar, post (DEDR 1723)

Pictographs of clump, cluster, husk (haystack) kuntam குந்தம்³ kuntam, n. perh. kuñja. Hay-stack; வைக்கோற்படப்பு. Loc.

kuṇḍa3 n. ʻ clump ʼ e.g. darbha -- kuṇḍa -- Pāṇ. [← Drav. (Tam. koṇṭai ʻ tuft of hair ʼ, Kan. goṇḍe ʻ cluster ʼ, &c.) T. Burrow BSOAS xii 374]Pk. kuṁḍa -- n. ʻ heap of crushed sugarcane stalks ʼ; WPah. bhal. kunnū m. ʻ large heap of a mown crop ʼ; N. kunyũ ʻ large heap of grain or straw ʼ, baṛ -- kũṛo ʻ cluster of berries ʼ.

*kuṇḍaka ʻ husks, bran ʼ.Pa. kuṇḍaka -- m. ʻ red powder of rice husks ʼ; Pk. kuṁḍaga -- m. ʻ chaff ʼ; N. kũṛo ʻ boiled grain given as fodder to buffaloes ʼ, kunāuro ʻ husk of lentils ʼ (for ending cf. kusāuro ʻ chaff of mustard ʼ); B. kũṛā ʻ rice dust ʼ; Or. kuṇḍā ʻ rice bran ʼ; M. kũḍā, kõ˚ m. ʻ bran ʼ; Si. kuḍu ʻ powder of paddy &c. ʼAddenda: kuṇḍaka -- in cmpd. kaṇa -- kuṇḍaka -- Arthaś.(CDIAL 3266, 3267)

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

B2, B3

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

raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1]Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562)*raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.(CDIAL 10567)

B5, B15a, B15b, B16

gaṇḍá4 m. ʻ rhinoceros ʼ lex., ˚aka -- m. lex. 2. *ga- yaṇḍa -- . [Prob. of same non -- Aryan origin as khaḍgá -- 1: cf. gaṇōtsāha-- m. lex. as a Sanskritized form ← Mu. PMWS 138]1. Pa. gaṇḍaka -- m., Pk. gaṁḍaya -- m., A. gãr, Or. gaṇḍā. 2. K. gö̃ḍ m., S. geṇḍo m. (lw. with g -- ), P. gaĩḍā m., ˚ḍī f., N. gaĩṛo, H. gaĩṛā m., G. gẽḍɔ m., ˚ḍī f., M. gẽḍā m. Addenda: gaṇḍa -- 4. 2. *gayaṇḍa -- : WPah.kṭg. geṇḍɔ mirg m. ʻ rhinoceros ʼ, Md. genḍā ← H.(CDIAL 4000) rebus: kaṇḍa .'fire-altar','equpment'

kariba ‘trunk of elephant’ ibha ‘elephant’ rebus: karb ‘iron’ ib ‘iron’.

B8, B9, B11

meḍho a ram rebus: mẽṛhẽt, meḍ 'iron' (Mu.) mr̥du ‘iron’ (Samskritam) med 'copper' (Slavic languages)

B10

Antithetical bulls with two heads joined to a body is comparable to the antithetical turtles of B17a, B17b and B18. This hypertext field symbols is read rebus: dula 'pair' rebus: dul 'metal casting' PLUS barad, barat 'ox' Rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c.(Marathi). Thus, metalcaster category using cire perdue metalcasting technique of an alloy metal of copper, pewter, tin.

B12, B13

Horned tiger is the field symbol. kol ‘tiger’ (Santali); rebus: kollan ‘blacksmith’ (Ta.) kod. ‘horn’; rebus: kod. ‘artisan’s workshop’

B19

m1540a

Field symbol, hunter: कौटिलिकः kauṭilikḥ कौटिलिकः 1 A hunter.-2 A blacksmith. कौटिलिक [p= 315,2] m. (fr. कुटिलिका Pa1n2. 4-4 , 18) " deceiving the hunter [or the deer Sch.] by particular movements " , a deer [" a hunter " Sch.] Ka1s3. f. ( Pa1n2. 4-4 , 18) कुटिलिका crouching , coming stealthily (like a hunter on his prey ; a particular movement on the stage) Vikr. कुटिलिक " using the tool called कुटिलिका " , a blacksmith ib. कुटिलक [p= 288,2] f. a tool used by a blacksmith Pa1n2. 4-4 , 18 Ka1s3.mfn. bent , curved , crisped Pan5cat. Rebus: कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin) cf. āra-kūṭa, 'brass' Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984).

kamāṭhiyo=archer;kāmaṭhum =a bow; kāmaḍī ,kāmaḍum=a chip of bamboo (G.) kāmaṭhiyo bowman; an archer(Skt.lex.) kamaṛkom= fig leaf (Santali.lex.)kamarmaṛā(Has.), kamaṛkom(Nag.); the petiole or stalk of a leaf (Mundari.lex.)kamaṭha= fig leaf, religiosa(Skt.) dula‘tw' Rebus: dul 'cast metal ’Thus, cast loh ‘copper casting’ infurnace:baṭa= wide-mouthed pot; baṭa= kiln (Te.) kammaṭa=portable furnace(Te.) kampaṭṭam 'coiner,mint' (Tamil) kammaṭa (Malayalam)

ḍato = claws of crab (Santali) ḍato ‘claws or pincers (chelae) of crabs’; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhātu = mineral (Skt.) kamaṭha crab (Skt.) Rebus: kammaṭa = portable furnace (Te.) kampaṭṭam coiner, mint (Ta.)

Indus Script Meluhha words for alloy, bronze, zinc (pewter): भरत bharat 'alloy'कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin), sattva 'zinc (pewter)'

Mirror: http://tinyurl.com/nmfwvnv

Now that the Indus Script Corpora has reached the size of a significant statistical data set of about 7000 inscriptions, deploying variables of over 600 hieroglyph-multiplexes (hypertexts of 500 signs with ligatures PLUS 100 multiplexed pictorial motifs), a reasonable deduction -- falsifiable by cryptography and statistical analyses -- can be made on the lexis of Meluhha (Proto-Prakritam) which was the language or vernacular of Indian sprachbund signified for cipher of the inscriptions.

Lexis, the vocabulary of Meluhha or Proto-Prakritam, is principally related to metalwork, since the Meluhha inscriptions are all catalogus catalogorum of metalwork. The metalwork catalogue lexis has over 1500 words in homophone (similar-sounding speech) sets of 750 pairs of words, since some components of hieroglyph-multiplexes are signified by allographs [i.e. hieroglyphs signified by distinct 'image' words as for e.g.: ibha 'elephant' karibha 'trunk of elephant' both read rebus: karba 'iron'(Tulu)].

From this structural evidential framework, it should be possible to reconstruct the morphology, syntax and semantics of Proto-Prakritam or Meluhha.

This note suggests three glosses for this Proto-Prakritam or Meluhha Lexis:

alloy: भरत bharat;

bronze: कुटिल kuṭila, katthīl;

zinc (pewter): sattva.

The suggested entries of the Lexis are based on rebus-metonymy renderings signified by hieroglyph-multiplexes of Indus Script Corpora.

There are 200 copper plate inscriptions in Indus Script Corpora. One set (demonstrated by Asko Parpola as B19 categor illustrated below) had 'hunter' hieroglyph PLUS text with 7 hieroglyph-multiplexes (as hypertexts). Rebus-metonymy rendering of the cipher in Proto-Prakritam was shown as: कौटिलिकः kauṭilikḥ कौटिलिकः A hunter.-Rebus: A blacksmith.

http://bharatkalyan97.blogspot.in/2015/08/indus-script-corpora-cipher-hypertexts.html

This expression कौटिलिकः kauṭilikḥ, 'blacksmith' has the root kuṭila 'bronze' and hence, the expression should more precisely be signified semantically as 'bronze worker'.

B19 copper plate epigraph: hunter-blacksmith: कौटिलिकः kauṭilikḥ कौटिलिकः 1 A hunter.-2 A blacksmith. कौटिलिक [p= 315,2] m. (fr. कुटिलिका Pa1n2. 4-4 , 18) " deceiving the hunter [or the deer Sch.] by particular movements " , a deer [" a hunter " Sch.] Ka1s3. f. ( Pa1n2. 4-4 , 18) कुटिलिका crouching , coming stealthily (like a hunter on his prey ; a particular movement on the stage) Vikr. कुटिलिक " using the tool called कुटिलिका " , a blacksmith ib. कुटिलक [p= 288,2] f. a tool used by a blacksmith Pa1n2. 4-4 , 18 Ka1s3.mfn. bent , curved , crisped Pan5cat.

kamaṭh a crab (Skt.) kamāṭhiyo=archer;kāmaṭhum =a bow; kāmaḍī ,kāmaḍum=a chip of bamboo (G.) kāmaṭhiyo bowman; an archer(Skt.lex.) kamaṛkom= fig leaf (Santali.lex.)kamarmaṛā(Has.), kamaṛkom(Nag.); the petiole or stalk of a leaf (Mundari.lex.)kamaṭha= fig leaf, religiosa(Skt.) dula‘tw' Rebus: dul 'cast metal ’Thus, cast loh ‘copper casting’ infurnace:baṭa= wide-mouthed pot; baṭa= kiln (Te.) kammaṭa=portable furnace(Te.) kampaṭṭam 'coiner,mint' (Tamil) kammaṭa (Malayalam)

Same inscription as on B19 sets of copper plates appears on C6 sets of copper plates but with a distinct hieroglyph-multiplex of ficus PLUS crab (pincers, tongs) on the obverse of the copper plate.

C6 copper plate epigraph: ficus PLUS pincers: metalsmith: लोह--कार [p= 908,3] m. a worker in iron , smith , blacksmith R. Hit. Hieroglyph component: loa 'ficus glomerata' Rebus: loha 'copper, iron' Hieroglyph component: kāru pincers, tongs. Rebus: khār खार् । लोहकारः 'blacksmith' (Kashmiri)

Since loha signifies 'copper' and kammaTa signifies 'mint' this hieroglyph multiplex on the obverse of C6 set of copper plate inscriptions (ficus PLUS crab+pincers) should more precisely signify semantically: mint-master, coppersmith.

The text of the epigraph common to both sets of copper plates (B16, hunter and C9 ficus+crab/pincers) has hieroglyph-multiplexes

Inscription message: Supercargo bronze cast metal, ingots (of different shapes), metal implements smithy/forge On C9 set of copper plates, these come from लोहकारः lohakAra kammaTa the mint-master, coppersmith's workshop. On B16 set of copper plates, these come from कौटिलिकः kauṭilikḥ bronze worker's (smithy/forge).

mū̃h ‘ingot’ (Santali) PLUS (infixed) kolom 'sprout, rice plant' Rebus: kolimi 'smithy, forge' Thus, ingot smithy

Notes: dula 'pair' Rebus: dul 'cast metal' Ellipse is split into two curves of parenthesis: ( ) Thus, dula 'cast metal' signified by the curves joined into an ellipse.

mū̃h ‘ingot’ (Santali) dula 'pair' Rebus: dul 'cast metal' Thus, cast metal ingot.

dhollu 'drummer' (Western Pahari) Rebus: dul 'cast metal'

kola 'tiger' Rebus: kolle 'blacksmith' kol 'working in iron'

kolimi 'smithy, forge' j̈asta, dasta 'five' (Kafiri) jasta, sattva 'zinc'

dula ‘pair’ Rebus: dul ‘cast (metal)’ PLUS kana, kanac = corner (Santali); Rebus: kañcu = bronze (Telugu) Thus, cast bronze or bronze casting.

This is a hieroglyph-multiplex: slant PLUS notch: DhAL 'slanted' Rebus: DhALako 'large ingot' PLUS खांडा (p. 202) [ khāṇḍā ] A jag, notch, or indentation (as upon the edge of a tool or weapon). Rebus: Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) khaṇḍa id. (Santali)

kolom 'rice-plant, sprout' Rebus: kolimi 'smithy, forge'

goṭ 'seed, rounded object' Rebus: खोट (p. 212) [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge (Marathi)

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

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

kaṇḍa kanka ‘rim of jar’ Rebus: karṇīka ‘account (scribe)’karṇī‘supercargo’.
kaṇḍa ‘fire-altar’.

Unicorn seal,detail of head, H95-2491, scanning electron microscope photo. (After Figure 6.2, Kenoyer J., 2013)

There is a ring on the neck of the Unicorn. The ring signifies:

The expressions are explained in the context of hypertexts on a Harappa tablet where a standing person contests with two young bulls: dula 'pair' rebus: dul 'metal casting' PLUS कोंद kōnda ‘young bull' Rebus: कोंद kōnda ‘engraver, कोंदण kōndaṇa n (कोंदणें) Setting or infixing of gems, lapidary setting or infixing gems’ (Marathi) Rebus 2: kundaṇa pure gold (Tulu) Rebus 3: kũdār, 'turner' (Bengali)

Unicorn contest with a standing person with wristlets in the middle. Harappa tablet. H97-3416/8022-50

Side A: dula 'pair' rebus: dul 'metal casting' PLUS कोंद kōnda ‘young bull' Rebus: कोंद kōnda ‘engraver, कोंदण kōndaṇa n (कोंदणें) Setting or infixing of gems, lapidary setting or infixing gems’ (Marathi) Rebus 2: kundaṇa pure gold (Tulu) Rebus 3: kũdār, 'turner' (Bengali) PLUS standing person in context with the two young bulls: karã̄ n. pl.wristlets, bangles Rebus: khãr 'blacksmith, iron worker' (Kashmiri) PLUS mē̃d, mēd 'body' rebus: mē̃d, mēd 'iron', med 'copper' (Slavic). PLUS karṇika 'spread legs' rebus: karṇika कर्णिक 'steersman'.

Side B: aya ḍhāḷ ‘alloy metal ingot’ (aya 'fish' rebus: ayas 'alloy metal'; ḍhāḷ ‘slope' rebus: ḍhāḷ ‘metal ingot')

ranku 'antelope' rebus: ranku 'tin'

कुटिल kuṭila, 'curve' Rebus: कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin)

Cylinder seal in black steatite. (After Fig. in: Area MR SB, period VIII...Sibri. Jarrige, C, J. F. Jarrige, R. H. Meadow, G. Quivron, eds (1995/6), Mehrgarh Field Reports 1974-85: From Neolithic times to the Indus Civilization).

पोळ [pōḷa], 'zebu' Rebus: पोळ [pōḷa], magnetite, ferrite ore' arya 'lion' (Akkadian) rebus: āra 'brass' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon).Rebus: khaṇḍa 'implements' kāṇḍa 'tools, pots and pans and metal-ware' (Marathi). Thus, brass and magnetite ore implements, metalware.

Hieroglyph on Sibri cylinder seal (plant):

kolmo ‘rice plant’ (Munda) Rebus: kolami ‘furnace,smithy’ (Telugu)

Indus Script Inscriptions Discovery Sites of Sarasvati-Sindhu civilization

Category A - 13 with field symbols + text messages on square copper tablets

Category B - 21 with field symbols + text messages on rectangular copper tablets

Category C - 12 with text messages + field symbols normalised as 'signs' on rectangular copper tablets

karaḍā ‘currycomb’ Rebus: Daybook, Wealth-accounting ledger

karaḍā ‘currycomb’ rebus: account, turner karaḍā ‘Hard from alloy--iron, silver &c.’ (Marathi)

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

karaḍāis the instrument used for forming raised lines (raised script) evidenced on inscribed copper tablets as found in Harappa.

Copper tablet (H2000-4498/9889-01) with raised script found in Trench 43. Harappa. (Source: Slide 351. harappa.com) Eight such tablets have been found (HARP 2005) 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 (Santali). PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). khaṇḍa 'implements'. Pk. karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ.( (CDIAL 2670) rebus: karaDa 'hard alloy'

baraḍo 'spine, backbone' rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)

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

करड्याचीअवटी (p. 78) karaḍyācī avaṭī ...f An implement of the goldsmith. A stamp for forming the bars or raised lines called karada. It is channeled or grooved with (or without) little cavities.

करडा (p. 78) karaḍā m The arrangement of bars or embossed lines (plain or fretted with little knobs) raised upon a तार of gold by pressing and driving it upon the अवटी or grooved stamp. Such तार is used for the ornament बुगडी, for the hilt of a पट्टा or other sword &c. Applied also to any similar barform or line-form arrangement (pectination) whether embossed or indented; as the edging of a rupee &c. करडा (p. 78)

karaḍā a Hard from alloy--iron, silver &c. करड्याचीअवटी (p. 78) karaḍyācī avaṭī f An implement of the goldsmith. A stamp for forming the bars or raised lines called करडा. It is channeled or grooved with (or without) little cavities.

కరడము (p. 250) karaḍamu or కరడు or కరుడు karaḍamu. [Tel.] n. A wave. అల. Parij. ii. 59. కరుళ్లు waves, billows. కరటము (p. 249) karaṭamu karaṭamu. [Skt.] n. A crow. కాకి

கரடன்karaṭaṉ , n. A kind of rat; எலி வகை. (W.)

kārdār कार््दार्् m. the Hindū overseer of a village, a government official whose duty it is to collect the Mahārāja's share of the grain (El.; K.Pr. 139; L. 42, 421; H. ix, 1). (Kashmiri)

கரடா karaṭā, n. < U. kartha. cf. கரடு¹. Coarse country paper; ஒருவகைமுருட்டுக்காகிதம். Mod.

காரடம் kāraṭam, n. [T. gāraḍamu, K. gāraḍa.] See காரடவித்தை.

காரடவித்தை kāraṭa-vittai, n. < காரடம் +. Juggling, legerdemain; சாலவித்தை.காரடன் kāraṭaṉ, n. < id. Juggler; சாலவித்தைக்காரன்.

காரடையாநோன்பு kāraṭaiyā-nōṉpu, n. < காரடை + ஆம் +. A ceremonial fast observed by women when the sun passes from Aquarius to Pisces, praying for the longevity of their husbands; மாசியும்பங்குனியும்கூடும்நாளில்தம்கணவரின்தீர்க்காயுளைக்கருதிக்காரடையைஉணவாகக்கொண்டுமகளிர்கைக்கொள்ளும்ஒருவிரதம்.

Karva Chauth (Hindi: करवाचौथ) is a one-day festival celebrated by Hindu women in many countries in which married women fast from sunrise to moonrise for the safety and longevity of their husbands. The fast is traditionally celebrated in the states of Madhya Pradesh, Rajasthan, parts of Uttar Pradesh, Himachal Pradesh, Haryana and Punjab. The festival falls on the fourth day after the full moon in the Hindu lunisolar calendar month of Kartik. https://en.wikipedia.org/wiki/Karva_Chauth

Total number of inscriptions deciphered:

Category A 34

Category B 39

Category C 139

Total 212

Category A (13 items), 34 inscriptions

The 7 examples of inscriptions A1a and A1b with Indus Script hypertexts, signify supercargo, scribe, helmsman working on tin smelter blacksmithy, alloy metal ingots and implements, bharat mixed alloys of copper, zinc and tin.

Text message of A1a inscription: Split parenthesis (lozenge): mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.'.PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, ingot forge.

ayo ‘fish’ rebus: aya 'iron' ayas 'alloy metal' (R̥gveda) PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot'

Pk. karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ.( (CDIAL 2670) rebus: karaDa 'hard alloy'

baraḍo 'spine, backbone' rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)

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

Field symbol: short-tailed markhor looks back: The short-tailed antelope or markhor is a caprid kid, comparable to the hieroglyph shown on 1) a Dholavira seal in front of 'sun' hleroglyph and 2) a Dholavira seal ion front of a horned person within a ficus glomerata arch, and monkey

करडूं karaḍū 'kid' Rebus: karaḍā 'hard alloy'. Rebus 2: karaḍā 'daybook (accounting ledger)(Marathi); Rebus 3: kharādī ' turner' (Gujarati). PLUS క్రమ్మర krammara. adv. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు 'look back' (Telugu). Rebus: krəm backʼ(Kho.)(CDIAL 3145) Rebus: kamar 'artisan, smith' + short-tail: xolā 'fish tail' rebus: kol 'working in iron', kolhe 'smelter'.

Thus, together, the rebus message: smelter, hard alloy of copper. Alternative to identification as 'kid' is that of an antelope: ranku ‘antelope’ rebus: ranku ‘tin’.

Text message on obverse of A1b (together with hieroglyph of an antelope looking back)

ranku 'liquid measure' rebus: ranku 'tin'.

kūdī, kūṭī ‘bunch of twigs’ (Sanskrit) Rebus: kuṭhi ‘smelter furnace’ (Santali) kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kauśika Sūtra (Bloomsfield’s ed.n, xliv. Cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).
kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe, helmsman'. Thus, the text message is: tin smelter supercargo

This alternative reading is jusfied and consistent with the hieroglyph on the text of the message which signifies ranku 'liquid measure' rebus: ranku 'tin'.

Dholavira Seal 117 antelope; sun motif (Dholavira excavation report)

Hieroglyph: arka 'sun' Rebus: arka 'copper' (Kannada) eraka 'moltencast copper'(Tulu)
அருக்கம்¹ arukkam, n. < arka. (நாநார்த்த.) 1. Copper; செம்பு.

(Tamil) అగసాలి (p. 0023) [ agasāli ] or అగసాలెవాడు agasāli. [Tel.] n. A goldsmith. కంసాలివాడు.(Telugu) Kannada (Kittel lexicon):

Hieroglyph: करडूं or करडें (p. 137) [ karaḍū or ṅkaraḍēṃ ] n A kid. कराडूं (p. 137) [ karāḍūṃ ] n (Commonly करडूं) A kid. (Marathi) Rebus: करडा (p. 137) [ karaḍā ] Hard from alloy--iron, silver &c. (Marathi) G. karãḍɔ m. ʻ wicker or metal box ʼ,(CDIAL 2792)

Allograph: Pk. karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ.Tir. mar -- kaṇḍḗ ʻ back (of the body) ʼS. kaṇḍo m. ʻ back ʼ, L. kaṇḍ f.,kaṇḍā m. ʻ backbone ʼ, awāṇ. kaṇḍ, °ḍī ʻ back ʼ; P. kaṇḍ f. ʻ back, pubes ʼ(CDIAL 2670)

Hieroglyph: mlekh 'goat' Rebus: milakkhu 'copper' mleccha 'copper'

Dholavira Seal No. 56, Acc. No. 13204 (p. 272 Excavation report). Early Stage IIIA. A horned deity standing erect, between two branches of a tree, each with 3 leaves on outer side and one at the top of a devotee kneeling with bent R leg and L being drawn at the knee and the hands touching the ground before he deity, R lower side of a goat, with outstretched wavy horns, upturned tail, standing facing the deity. Knob: wagon-vault, with a vertical perforation. Saw marks visible on the back.

कुठारु monkey; rebus: कुठारु an armourer कुठार m. an axe R. Bhartr2. &c; N. of a man g. शिवा*दि; of a नाग MBh. i , 2156

'markhor'.Hieroglyph: miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.)

Hieroglyph: Person with markhor horns: meD 'body' Rebus: meD 'iron' (Ho. Munda)

Hieroglyph: loa 'ficus religiosa' Rebus: lo, loh 'copper, metal' (Samskritam)Rebus: lo 'copper' lōhá ʻ red, copper -- coloured ʼ ŚrS., ʻ made of copper ʼ ŚBr., m.n. ʻ copper ʼ VS., ʻ iron ʼ MBh. [*rudh -- ] Pa. lōha -- m. ʻ metal, esp. copper or bronze ʼ; Pk. lōha -- m. ʻ iron ʼ, Gy. pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻ steel ʼ; Kho. loh ʻ copper ʼ; S. lohu m. ʻ iron ʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃un., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā, Ku. luwā, N. lohu, °hā, A. lo, B. lo, no, Or. lohā, luhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H. loh, lohā m., G. M. loh n.; Si. loho, lō ʻ metal, ore, iron ʼ; Md. ratu -- lō ʻ copper ʼ. WPah.kṭg. (kc.) lóɔ ʻ iron ʼ, J. lohā m., Garh. loho; Md. lō ʻ metal ʼ.(CDIAL 11158)

kaula 'worshipper' (Samskritam); *kōla4 ʻ curved, crooked ʼ. [Cf. kaula -- m. ʻ worshipper of Śakti according to left -- hand ritual ʼ, khōla -- 3 ʻ lame ʼ s.v. khōra -- 1. Prob. < *kaura -- (IE. *qou -- lo -- cf. WP i 371?) in Khot.kūra -- ʻ crooked ʼ BSOS ix 72 and poss. Sk. kōra -- m. ʻ movable joint ʼ Suśr.] Ash. kṓlə ʻ curved, crooked ʼ; Dm. kōla ʻ crooked ʼ, Tir. kṓolə; Paš. kōlāˊ ʻ curved, crooked ʼ, Shum. kolāˊṇṭa; Kho. koli ʻ crooked ʼ, (Lor.) also ʻ lefthand, left ʼ; Bshk. kōl ʻ crooked ʼ, Tor. kōl (Grierson Tor 161 < kuṭila -- : rejected by Morgenstierne AO xii 181), Phal. kūulo; Sh. kōlṷ ʻ curved, crooked ʼ.(CDIAL 3533) Rebus: kolhe 'kole, smelters' (Santali)

khaṇḍiyo [cf. khaṇḍaṇī a tribute] tributary; paying a tribute to a superior king (Gujarti) Rebus: khaṇḍaran, khaṇḍrun ‘pit furnace’ (Santali) kaṇḍ ‘furnace’. fire-altar (Santali)

Field symbol: markhor looks back + cobrahooded tail:

करडूं karaḍū 'kid' Rebus: karaḍā 'hard alloy'. Rebus 2: karaḍā 'daybook (accounting ledger)(Marathi); Rebus 3: kharādī ' turner' (Gujarati). PLUS క్రమ్మర krammara. adv. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు 'look back' (Telugu). Rebus: krəm backʼ(Kho.)(CDIAL 3145) Rebus: kamar 'artisan, smith' +फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड 'manufactory, company, guild, public office'.

Split parenthesis (lozenge): mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.'.PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, ingot forge.

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

loa 'ficus glomerata' Rebus: loha 'copper’ (Slavic) ‘iron’ (Mu.Ho.Santali)

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

In the following notes of decipherment, two alternatives should be noted and substituted:

Sign

Signs 162, 169 appear in identical text combinations. It is possible that Sign 169 signifies a unique metalwork semantic classification: kūdī, kūṭī ‘bunch of twigs’ (Sanskrit) Rebus: kuṭhi ‘smelter furnace’ (Santali) kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kauśika Sūtra (Bloomsfield’s ed.n, xliv. Cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).

Sign

may also signify: kāṅga 'comb' Rebus: kanga 'brazier, fireplace' Rebus 2:

kamsa 'bronze'.

Field symbol: endless knot: meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ (Marathi) (CDIAL 10312) rebus: meḍ ‘iron’ medha ‘yajna, dhanam’

Text message A3a: aḍar 'harrow' Rebus: aduru 'native metal' (Kannada)

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

karã̄ n. pl. wristlets, bangles Rebus: khār खार् 'blacksmith'

kolmo 'rice plant' rebus: kolimi 'smithy, forge'.

Text message A3b: ranku ‘liquid measure’ rebus: ranku‘tin’

kolmo 'rice plant' rebus: kolimi 'smithy, forge'.+

bhaṭā 'warrior' rebus: bhaṭa 'furnace'

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

goṭā ‘round pebble’ Rebus: goṭā 'gold-braid'khoṭa 'ingot, wedge' Rebus: गोटी [ gōṭī ] f (Dim. of गोटा) A lump of silver: as obtained by melting down lace or fringe.

aḍar 'harrow' Rebus: aduru 'native metal' (Kannada)

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

karã̄ n. pl. wristlets, bangles Rebus: khār खार् 'blacksmith'

kolmo 'rice plant' rebus: kolimi 'smithy, forge'.

Field symbol: Three hieroglyphs constitute the field symbol in obverse of tablets: goṭā ‘round pebble’ Rebus: goṭā 'gold-braid' khoṭa 'ingot, wedge' Rebus: गोटी [ gōṭī ] f (Dim. of गोटा) A lump of silver: as obtained by melting down lace or fringe.

kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass' Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ.(CDIAL2984) कौटिलिकः kauṭilikḥ कौटिलिकः 1 A hunter.-2 A blacksmith.

mẽḍhā ʻcrook, hook' rebus: meD ‘iron’, med ‘copper’ (Slavic)

Text message of A4: meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic) PLUS koḍa 'one' rebus: koḍ

'workshop'.

khaṇḍa 'division'. rebus: kaṇḍa 'implements' PLUS dula 'two' rebus: dul 'metal casting' PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). khaṇḍa 'implements'. Thus, ingots and implements

kolom‘three’ rebus:kolimi‘smithy, forge’

kolmo 'rice plant' rebus: kolimi 'smithy, forge'(Semantic determinative)

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

Text message of A5: kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’ rebus: kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’; Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) kauṭilikḥ कौटिलिकः 1 A hunter.-2 A blacksmith PLUS kanac ‘corner’ rebus: kancu ‘bell-metal’

baraḍo 'spine, backbone' rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)

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

ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' (R̥gveda) PLUS khambhaṛā 'fish-fin rebus: kammaṭa 'mint, coiner, coinage'.

kolmo 'rice plant' rebus: kolimi 'smithy, forge'

Text message of A6: ayo ‘fish’ rebus: aya 'iron' ayas 'alloy metal' (R̥gveda) PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot'

kamaḍha 'crab' Rebus: kammaṭa 'mint, coiner, coinage'. ḍato = claws of crab (Santali) Rebus: dhātu 'mineral ore' (Rigveda).

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

Inscription A7: The field symbol has a variant of Field symbol A6 prefixed with two additional hieroglyph: kolom 'three' rebus: kolimi 'smithy, forge' PLUS baṭa 'rimless pot' rebus: baṭa 'iron' bhata 'furnace'.

Text message of A7: koḍa 'sluice'; Rebus: koḍ 'artisan's workshop'

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

baraḍo 'spine, backbone' rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)

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

Field symbol: dotted circle? dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, haetite, laterite) -- ferrite ores PLUS copper ore dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'; dhāvḍā 'smelter'
Text message of A8: kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe, helmsman'

Field symbol: Two hieroglyphs constitute the field symbol in obverse of tablets:taṭṭal 'five' rebus: ṭhaṭṭha brass (i.e. alloy of copper + zinc) *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) PLUS Svastika shape: sattva 'svastika' glyph Rebus: sattu, satavu, satuvu 'pewter' (Kannada) సత్తుతపెల a vessel made of pewter त्रपुधातुविशेषनिर्मितम् jasth जस्थ । त्रपु m. (sg. dat. jastas जस्तस्), zinc, spelter; pewter

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

Text messageA9: ayo ‘fish’ rebus: aya 'iron' ayas 'alloy metal' (R̥gveda) PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot'

koḍa 'sluice'; Rebus: koḍ 'artisan's workshop'

kolmo 'rice plant' rebus: kolimi 'smithy, forge'

Field symbol: Five slanted strokes constitute the field symbol in obverse of tablets:taṭṭal 'five' rebus: ṭhaṭṭha brass (i.e. alloy of copper + zinc) *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) PLUS Svastika shape: sattva 'svastika' glyph Rebus: sattu, satavu, satuvu 'pewter' (Kannada) సత్తుతపెల a vessel made of pewter त्रपुधातुविशेषनिर्मितम् jasth जस्थ ।त्रपु m. (sg. dat. jastas जस्तस्), zinc, spelter; pewter

Text message A10:aḍar ‘harrow’ Rebus: aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Kannada) dula 'pair' Rebus: dul ‘casting’.

PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'

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

Field symbol: short-tailed caprid kid: ranku‘antelope’ rebus: ranku‘tin’ + xolā 'fish tail' rebus: kolhe 'smelter',

kol 'working in iron'

Text A11: Glyph ‘mountain’: మెట్ట [ meṭṭa ] or మిట్ట meṭṭa. [Tel.] n. Rising ground, high lying land, uplands. A hill, a rock. ఉన్నతభూమి, మెరక, పర్వతము, దిబ్బ. மேடு mēṭu , n. [T. meṭṭa, M. K. mēḍu.] 1. Height; உயரம். (பிங்.) 2. Eminence, little hill, hillock, ridge, rising ground; சிறுதிடர். (பிங்.) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) med 'copper' (Slavic)

khaṇḍa 'division'. rebus: kaṇḍa 'implements'

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

Category B (21 items), 139 inscriptions

Field symbol: feeding trough + one-horned young bull: kondh ‘young bull’. kũdār ‘turner, brass-worker’.kōḍu horn (Kannada. Tulu. Tamil) खोंड [khōṇḍa] m A young bull, a bullcalf. (Marathi) Rebus: कोंड [kōṇḍa] A circular hamlet; a division of a मौजा or village, composed generally of the huts of one caste. खोट [khōṭa] Alloyed--a metal (Marathi).

PLUS

pattar ‘trough’ rebus: pattar‘goldsmiths’ guild’

Text B1:loa 'ficus glomerata' Rebus: loha 'copper, iron' PLUS dula ‘duplicated’ rebus: dul ‘metalcasting’ PLUS kamaḍha 'crab' Rebus: kammaṭa 'mint, coiner, coinage'. ḍato = claws of crab (Santali) Rebus: dhātu 'mineral ore'.

khura ‘hoof’ rebus: ċhúrɔ ‘dagger’ (WPah.) 3727 kṣurá m. ʻ razor ʼ RV., ʻ sharp barb of arrow ʼ R., ˚rī -- f. ʻ knife, dagger ʼ lex., ˚rikā -- f. Rājat. [√kṣur]
ch -- forms, esp. in sense ʻ knife ʼ, are wide -- spread outside dial. bounds: -- Sk. chū˘rī -- f. ʻ knife, dagger ʼ lex., churikā -- f. Kathās., chūr˚ lex., Pa. churikā -- f., NiDoc. kṣura; Pk. chura -- m. ʻ knife, razor, arrow ʼ, ˚rī -- , ˚riā -- f. ʻ knife ʼ; Gy. pal. číri ʻ knife, razor ʼ, arm. čhuri ʻ knife ʼ, eur. čuri f., SEeur. čhurí, Ḍ. čuri f., Kt. c̣urīˊ, c̣uī; Dm. c̣húri ʻ dagger ʼ; Kal. c̣hūˊŕi ʻ knife ʼ; Bshk. c̣hur ʻ dagger, knife ʼ, Tor. c̣hū, Phal. c̣hūr f.; Sh. (Lor.) c̣ūr ʻ small knife ʼ; S. churī f. ʻ knife with a hooked blade ʼ; L. churī f. ʻ knife ʼ, awān. churā m.; P. churā m. ʻ large knife ʼ, ˚rī f. ʻ small do. ʼ, Ku. churo, ˚rī; N. churā ʻ razor ʼ, ˚ri ʻ knife ʼ; A. suri ʻ knife ʼ, B. churi; Or. churā ʻ dagger ʼ, ˚rī ʻ knife ʼ; Bi. chūrā ʻ razor ʼ; Mth. chūr, ˚rā ʻ dagger, razor ʼ, ˚rī ʻ small knife ʼ; Bhoj. Aw. lakh. chūrā ʻ razor ʼ; H. churā m. ʻ dagger, razor ʼ, ˚rī f. ʻ knife ʼ; G. charo m. ʻ large knife ʼ, ˚rī f. ʻ small do. ʼ (Bloch LM 415 wrongly < tsáru -- : churī ← H. or M.), M. surā m., ˚rī f.; Si. siriya ʻ dagger ʼ; -- Woṭ. čir ʻ dagger ʼ ← Psht. ← IA. Buddruss Woṭ 96.
kh -- forms: Pa. khura -- m. ʻ razor ʼ; Pk. khura -- m. ʻ knife, razor ʼ; K. khūru m. ʻ razor ʼ; S. khuryo m. ʻ grass -- scraper, tip of silver at the bottom of a scabbard ʼ; WPah. bhal. khuro m. ʻ razor ʼ; Ku. khuro -- muṇḍo ʻ the shaving of heads ʼ; N. khuro ʻ head of a spear, ferrule of a stick, pin at the top or bottom of a door; A. B. khurʻ razor ʼ (whence A. khurāiba ʻ to shave ʼ), Or. khura; Bi. khūr ʻ razor ʼ, khurā, ˚rī ʻ spiked part of the blade of a chopper which fits into the handle ʼ; H. khurā m. ʻ iron nail to fix ploughshare ʼ; Si. karaya ʻ razor ʼ.
kṣaura -- ; kṣurapra -- , kṣurabhāṇḍa -- ; *prakṣurikā -- ; gōkṣura -- , trikṣura -- .
Addenda: kṣurá -- : WPah.kṭg. ċhúrɔ m. ʻ dagger ʼ, Garh. khur, churī ʻ knife ʼ, A. spel. churī AFD 216.

3728 *kṣuraṇa ʻ scraping ʼ. [√kṣur]
Bi. mag. khurnī ʻ a kind of spade ʼ.

3729 kṣuráti ʻ cuts, scratches, digs ʼ, churáti ʻ cuts off, incises ʼ Dhātup. [√kṣur]
Pa. khurati ʻ scrapes ʼ, Pk. churaï ʻ breaks ʼ; G. chɔrvũ ʻ to dig up with a sharp spade ʼ. -- Ext. with -- ḍ -- : S. khurṛaṇu ʻ to scrape ʼ, khurṛi f. ʻ scrapings ʼ; -- with -- kk -- : S. khurka f. ʻ itching ʼ; L. khurkaṇ ʻ to scratch ʼ, P. khurkṇā; N. khurkanu ʻ to scrape ʼ; -- with -- cc -- : P. khurcṇā ʻ to scrape (a pot) ʼ; G. khurcā m. pl. ʻ scrapings ʼ. -- X trōṭayati: M. khurtuḍṇẽ ʻ to nip off ʼ.

3730 kṣurapra ʻ sharp -- edged like a razor ʼ BhP., m. ʻ sharp- edged arrow ʼ MBh., ʻ sharp -- edged knife ʼ Pañcat., ʻ a sort of hoe ʼ lex. [Cf. *prakṣurikā -- . -- kṣurá+?]
Pa. khurappa -- m. ʻ arrow with a horseshoe head ʼ; Pk. khurappa -- , ˚ruppa -- m. ʻ a kind of arrow, knife for cutting grass ʼ; S. khurpo m. ʻ a pot -- scraper ʼ; P. khurpā m., ˚pī f. ʻ pot -- scraper, grubber for grass ʼ; N. khurpo ʻ sickle ʼ, ˚pi ʻ weeding knife ʼ; B. khurpā ʻ spud for grubbing up grass ʼ (X khanítra -- q.v.), Or. khurapa, ˚pā, ˚pi, ˚rupā, ˚pi;; Bi. khurpā ʻ blade of hoe ʼ, ˚pī ʻ small hoe for weeding ʼ; Mth. khurpā, ˚pī ʻ scraper ʼ; H. khurpā m. ʻ weeding knife ʼ, ˚pī f. ʻ small do. ʼ; G. kharpɔ m. ʻ scraper ʼ, ˚pī f. ʻ grubber ʼ (X kāpvũ in karpī f. ʻ weeding tool ʼ); M. khurpẽ n. ʻ curved grubbing hoe ʼ, ˚pī f. ʻ grub -- axe ʼ. -- Deriv. H. khurapnā, ˚rupnā ʻ to scrape up grass ʼ; G. kharapvũ ʻ to cut, dig, remove with a scraper ʼ; M. khurapṇẽ ʻ to grub up ʼ.

3731 kṣurabhāṇḍa n. ʻ razor -- case ʼ Pañcat. [Cf. kṣura- dhāná -- n. ŚBr. -- kṣurá -- , bhāṇḍa -- ]
H. churã̄ṛī f. ʻ razor -- case ʼ.

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

ranku ‘liquid measure’rebus:ranku ‘tin’

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

khaṇḍa 'division'. rebus: kaṇḍa 'implements' PLUS dula 'two' rebus: dul 'metal casting'

Field symbol: feeding trough + shor-horned bull: pattar 'trough' rebus: pattar 'goldsmiths' guild' PLUS barad, balad 'ox'

rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)

Text B2:khaṇḍa 'division'. rebus: kaṇḍa 'implements'

ranku‘antelope’ rebus: ranku‘tin’ + xolā 'fish tail' rebus: kolhe 'smelter',

kol 'working in iron'

ranku‘liquid’ rebus: ranku‘tin’

Text message B3:dula‘two’rebus: dul ‘metal casting’

aḍaren,'lid' Rebus: aduru 'native unsmelted metal' PLUS koḍa 'one' rebus: koḍ 'workshop'. Thus, unsmelted native metal workshop.

kolmo‘rice plant’ rebus: kolimi‘smithy, forge’

Field symbol: duplicated feeding trough + duplicated (antithetical bulls) PLU short-horned bulls: dula 'pair' rebus: dul 'metal casting' Duplication is an orthographic style to signify cire perdue (lost-wax) casting.PLUS pattar 'trough' rebus: pattar 'goldsmiths' guild' PLUS barad, balad 'ox'

rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)

Text B10: dula 'two' rebus: dul 'metal casting'

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

baraḍo 'spine, backbone' rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)

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

Field symbol: feeding trough + buffalo: pattar 'trough' rebus: pattar 'goldsmiths' guild' PLUS rango 'buffalo' Rebus: rango 'pewter' raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1]Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562)

Text B4:bicha 'scorpion' Rebus: bica 'haetite, sandstone ferrite ore' PLUS मेंढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ 'iron' (Semantic determinative)

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

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

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

Field symbol: feeding trough + rhinoceros:pattar 'trough' rebus: pattar 'goldsmiths' guild' PLUS : kāṇṭā'rhinoceros. Rebus: kāṇḍa 'tools, pots and pans and metal-ware' (Gujarati)

Text B5: మెట్ట [ meṭṭa ] or మిట్ట meṭṭa. [Tel.] n. Rising ground, high lying land, uplands. A hill, a rock. ఉన్నతభూమి, మెరక, పర్వతము, దిబ్బ. மேடு mēṭu , n. [T. meṭṭa, M. K. mēḍu.] 1. Height; உயரம். (பிங்.) 2. Eminence, little hill, hillock, ridge, rising ground; சிறுதிடர்.

(பிங்.) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) med 'copper' (Slavic)

khaṇḍa 'division'. rebus: kaṇḍa 'implements'

kanka, karṇika 'rim of jar' rebus: karṇī

'supercargo, scribe, helmsman'

Field symbol B6: feeding trough: elephant: pattar 'feeding trough' rebus: pattar 'goldsmiths, guild' PLUS karibha, ibha‘elephant’ rebus: karba, ib‘iron’ ibbo mjerchant’

Text B6:baṭa 'rimless, wide-mouthed pot' rebus: bhaṭa 'furnace' PLUS ḍabu 'an iron spoon' (Santali) Rebus: ḍab, ḍhimba, ḍhompo 'lump (ingot?).

kolom ‘three’ rebus: kolimi ‘smithy, forgek

kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’ rebus: kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’; Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) kauṭilikḥ कौटिलिकः 1 A hunter.-2 A blacksmith PLUS dula ‘duplicated’ rebus: dul ‘metal casting’

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

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

Field symbol B14: horned elephant + cobrahood tail + ligatured to thigh and hind legs of bovine: feeding trough: elephant: pattar 'feeding trough' rebus: pattar 'goldsmiths, guild' PLUS karibha, ibha ‘elephant’ rebus: karba, ib ‘iron’ ibbo mjerchant’ PLUS

फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड 'manufactory, company, guild, public office' PLUS Hieroglyph: Buttock, back, thigh: (b) Pk. ṭaṁka -- m., °kā -- f. ʻ leg ʼ, S. ṭaṅga f., L. P. ṭaṅg f., Ku. ṭã̄g, N. ṭāṅ; Or. ṭāṅka ʻ leg, thigh ʼ, °ku ʻ thigh, buttock ʼ.2. B. ṭāṅ, ṭeṅri ʻ leg, thigh ʼ; Mth. ṭã̄g, ṭãgri ʻ leg, foot ʼ; Bhoj. ṭāṅ, ṭaṅari ʻ leg ʼ, Aw. lakh. H. ṭã̄g f.; G. ṭã̄g f., °gɔ m. ʻ leg from hip to foot ʼ; M. ṭã̄g f. ʻ leg ʼ.Addenda: 1(b): S.kcch. ṭaṅg(h) f. ʻ leg ʼ, WPah.kṭg. (kc.) ṭāṅg f. (obl. -- a) ʻ leg (from knee to foot) ʼ.(CDIAL 5428)

Hieroglyph: ḍāg, 'waist': *ḍhākka ʻ back, waist ʼ. Wg. ḍakāˊ ʻ waist ʼ; Dm. ḍã̄k, ḍaṅ ʻ back ʼ, Shum. ḍäg, Woṭ. ḍāg, Gaw. ḍáka; Kal. rumb. ḍhak ʻ waist ʼ, urt. ḍhã̄k ʻ back ʼ; Bshk. ḍāk ʻ waist ʼ, d(h)āk ʻ back ʼ AO xviii 233; Tor. ḍāk, ḍāgʻ back ʼ, Mai. ḍāg, ḍā; Phal. ḍōk ʻ waist, back ʼ; Sh. ḍāki̯ f. ʻ back, small of back ʼ, pales. ḍāko; S. ḍhāka f. ʻ hip ʼ, L. ḍhāk; P. ḍhāk f. ʻ side, hip ʼ.(CDIAL 5582)

Rebus: mint, pure gold: Ta. taṅkam pure gold, that which is precious, of great worth. Ma. taṅkam pure gold. /? < Skt. ṭaṅka- a stamped (gold) coin.(DEDR 3013) टङ्क m. a stamped coin Hit.; m. a weight of 4 माषs S3a1rn3gS. i , 19 Vet. iv , 2÷3; m. a sword L.

ṭaṅkaśālā -- , ṭaṅkakaś° f. ʻ mint ʼ lex. [ṭaṅka -- 1, śāˊlā -- ] N. ṭaksāl, °ār, B. ṭāksāl, ṭã̄k°, ṭek°, Bhoj. ṭaksār, H. ṭaksāl, °ār f., G. ṭãksāḷ f., M. ṭã̄ksāl, ṭāk°, ṭãk°, ṭak°. -- Deriv. G. ṭaksāḷī m. ʻ mint -- master ʼ, M. ṭāksāḷyā m.Addenda: ṭaṅkaśālā -- : Brj. ṭaksāḷī, °sārī m. ʻ mint -- master ʼ.(CDIAL 5434) ṭaṅka2 m.n. ʻ spade, hoe, chisel ʼ R. 2. ṭaṅga -- 2 m.n. ʻ sword, spade ʼ lex.1. Pa. ṭaṅka -- m. ʻ stone mason's chisel ʼ; Pk. ṭaṁka -- m. ʻ stone -- chisel, sword ʼ; Woṭ. ṭhõ ʻ axe ʼ; Bshk. ṭhoṅ ʻ battleaxe ʼ, ṭheṅ ʻ small axe ʼ (< *ṭaṅkī); Tor. (Biddulph) "tunger" m. ʻ axe ʼ (ṭ? AO viii 310), Phal. ṭhō˘ṅgif.; K.ṭŏnguru m. ʻ a kind of hoe ʼ; N. (Tarai) ṭã̄gi ʻ adze ʼ; H. ṭã̄kī f. ʻ chisel ʼ; G. ṭã̄k f. ʻ pen nib ʼ; M. ṭã̄k m. ʻ pen nib ʼ, ṭã̄kī f. ʻ chisel ʼ.2. A. ṭāṅgi ʻ stone chisel ʼ; B. ṭāṅg, °gi ʻ spade, axe ʼ; Or. ṭāṅgi ʻ battle -- axe ʼ; Bi. ṭã̄gā, °gī ʻ adze ʼ; Bhoj. ṭāṅī ʻ axe ʼ; H. ṭã̄gī f. ʻ hatchet ʼ. (CDIAL 5427) ṭaṅka1 m.n. ʻ weight of 4 māṣas ʼ ŚārṅgS., ʻ a stamped coin ʼ Hit., °aka -- m. ʻ a silver coin ʼ lex. 2. ṭaṅga -- 1 m.n. ʻ weight of 4 māṣas ʼ lex. 3. *ṭakka -- 1. [Bloch IA 59 ← Tatar tanka (Khot. tanka = kārṣāpaṇa S. Konow Saka Studies 184)]1. Pk. ṭaṁka -- m. ʻ a stamped coin ʼ; N. ṭã̄k ʻ button ʼ (lw. with k); Or. ṭaṅkā ʻ rupee ʼ; H. ṭã̄k m. ʻ a partic. weight ʼ; G. ṭã̄k f. ʻ a partic. weight equivalent to 1/72 ser ʼ; M. ṭã̄k m. ʻ a partic. weight ʼ.2. H. ṭaṅgā m. ʻ a coin worth 2 paisā ʼ.3. Sh. ṭăk m. ʻ button ʼ; S. ṭako m. ʻ two paisā ʼ, pl. ʻ money in general ʼ, ṭrakaku ʻ worth two paisā ʼ, m. ʻ coin of that value ʼ; P. ṭakā m. ʻ a copper coin ʼ; Ku. ṭākā ʻ two paisā ʼ; N. ṭako ʻ money ʼ; A. ṭakā ʻ rupee ʼ, B. ṭākā; Mth. ṭakā, ṭakkā, ṭakwā ʻ money ʼ, Bhoj. ṭākā; H. ṭakā m. ʻ two paisā coin ʼ, G. ṭakɔ m., M. ṭakā m.*uṭṭaṅka -- , *ṣaṭṭaṅka -- , ṭaṅkaśālā -- .Addenda: ṭaṅka -- 1 [H. W. Bailey in letter of 6.11.66: Khot. tanka is not = kārṣāpaṇa -- but is older Khot. ttandäka ʻ so much ʼ < *tantika -- ](CDIAL 5426) *ṭaṅkati2 ʻ chisels ʼ. [ṭaṅka -- 2] Pa. ṭaṅkita -- mañca -- ʻ a stone (i.e. chiselled) platform ʼ; G. ṭã̄kvũ ʻ to chisel ʼ, M. ṭã̄kṇẽ.(CDIAL 5433)

Text B14: dula 'two' rebus: dul 'metal casting' PLUS aya 'fish' rebus: aya 'iron' ayas 'alloy metal'

aḍar ‘harrow’ Rebus: aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Kannada) dula 'pair' Rebus: dul ‘casting’.

PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'

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

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

Text B7:aya, ayo'fish' rebus: aya'iron'ayas'metal' PLUS adaren'lid' rebus: aduru 'unsmelted metal' PLUS gaNDA 'four' rebus: kaṇḍa 'implements'. Thus metal implements of unsmelted metal.

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

dula ‘two’ rebus: dul ‘metalcasting’

karã̄ n. pl. wristlets, bangles

Rebus: khār खार् 'blacksmith' kolmo 'riceplant' rebus: kolimi 'smithy, forge'.

kolmo‘rice plant’ rebus: kolimi‘smithy, forge’.

ranku ‘antelope’ rebus: ranku ‘tin’ PLUS koḍa 'one' rebus: koḍ 'workshop'

kolmo‘rice plant’ rebus: kolimi‘smithy, forge’

Field symbol: feeding trough + short-tailed markhor :pattar 'trough' rebus: pattar 'goldsmiths' guild' PLUS Wkh. merg f. 'ibex' (CDIAL 9885) Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet'iron' (Munda.Ho.). Alternative rebus: करडूं karaḍū 'kid' Rebus: karaḍā 'hard alloy'. Rebus 2: karaḍā 'daybook (accounting ledger)(Marathi); Rebus 3: kharādī ' turner' (Gujarati) PLUS qola 'tail' rebus: kol 'working in iron' kolhe 'smelter'.

Text B8: kolom‘three’ rebus: kolimi ‘smithy,forge’ PLUS gaṇḍa 'four' rebus: khaṇḍa 'implements'. PLUS kolmo‘rice plant’ rebus: kolimi‘smithy, forge’. Thus, implements forge.

baraḍo 'spine, backbone' rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)

bhaṭā 'warrior' rebus: bhaṭa 'furnace'

kanka, karṇika 'rim of jar' rebus: karṇī

'supercargo, scribe, helmsman'

An example of a copper plate inscribed on two sides m2045 which records a descriptive catalogue of work of a goldsmith (guild).

Field symbol: feeding trough + markhor ligatured to body of a bull: pattar 'trough' rebus: pattar 'goldsmiths' guild' PLUS Wkh. merg f. 'ibex' (CDIAL 9885) Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.) PLUS barad, balad 'ox'

rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)

Text B11: మెట్ట [ meṭṭa ] or మిట్ట meṭṭa. [Tel.] n. Rising ground, high lying land, uplands. A hill, a rock. ఉన్నతభూమి, మెరక, పర్వతము, దిబ్బ. மேடு mēṭu , n. [T. meṭṭa, M. K. mēḍu.] 1. Height; உயரம். (பிங்.) 2. Eminence, little hill, hillock, ridge, rising ground; சிறுதிடர். (பிங்.) Rebus: mẽṛhẽt

khaṇḍa 'division'. rebus: kaṇḍa 'implements'

muṣṭi 'fist' rebus: muṣṭika 'goldsmith'

kanka, karṇika 'rim of jar' rebus: karṇī

'supercargo, scribe, helmsman'

Field symbol: horned tiger: kola 'tiger' rebus: kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’; kolhe (iron-smelter; kolhuyo, jackal) kol, kollan-, kollar = blacksmith; kol‘to kill’ (Tamil) PLUS koḍu 'horn' rebus: kod 'artisan's workplace'.

Text B12:kolom‘three’ rebus: kolimi ‘smithy,forge’ PLUS gaṇḍa 'four' rebus: khaṇḍa 'implements'. PLUS kolmo‘rice plant’ rebus: kolimi‘smithy, forge’. Thus, implements forge. Text on obverse of B12 together with field symbol: baṭa 'rimless, wide-mouthed pot' rebus: bhaṭa 'furnace' PLUS ḍabu 'an iron spoon' (Santali) Rebus: ḍab, ḍhimba, ḍhompo 'lump (ingot?).

kolom ‘three’ rebus: kolimi‘smithy, forgek

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

Text B13:kamaḍha 'crab' Rebus: kammaṭa 'mint, coiner, coinage'. ḍato = claws of crab (Santali) Rebus: dhātu 'mineral ore'.

ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' (R̥gveda) PLUS khambhaṛā 'fish-fin rebus: kammaṭa 'mint, coiner, coinage'.

khaṇḍa 'implements'. karã̄ n. pl. wristlets, bangles Rebus: khārखार्'blacksmith' kanka

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

kolmo‘rice plant’ rebus: kolimi‘smithy, forge’

Field symbol: feeding trough + rhinoceros: pattar 'trough' rebus: pattar 'goldsmiths' guild' PLUS : kāṇṭā'rhinoceros. Rebus: kāṇḍa 'tools, pots and pans and metal-ware' (Gujarati)

Text B15a:aya 'fish' Rebus: aya 'metal (alloy)' PLUS aḍaren 'lid' Rebus: aduru 'unsmelted metal'

aya 'iron' ayas 'alloy metal' (R̥gveda) PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' . Alternative to the rebus reading of 'lid' hieroglyph in hypertext: ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article' Thus, to signify, excellent, bright, blazing alloy metal article.

dāntā 'tooth, tusk' rebus: dhāˊtu 'ore of red colour' (ferrite ores, copper ores. PLUS circumscript (lozenge) Split parenthesis: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting Split parenthesis (lozenge): mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.'.PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, ingot forge.furnace.' PLUS ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' (R̥gveda)

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

Text B15b:kanac 'corner' rebus: kancu 'bell-metal' PLUS sal 'splinter' rebus: sal 'workshop'. Thus bronze/bell-metal workshop.

ḍhāla f (S through H) The grand flag of an army directing its march and encampments: also the standard or banner of a chieftain rebus: ḍhālako 'ingot'

meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic). PLUS xolā 'fish tail' rebus: kolhe

'smelter', kol 'working in iron'

khaṇḍa 'division'. rebus: kaṇḍa 'implements' PLUS dula 'two' rebus: dul 'metal casting'

aya 'fish' Rebus: aya 'metal (alloy)' PLUS aḍaren 'lid' Rebus: aduru 'unsmelted metal'

aya 'iron' ayas 'alloy metal' (R̥gveda) PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' Alternative to the rebus reading of 'lid' hieroglyph in hypertext: ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article' Thus, to signify, excellent, bright, blazing alloy metal article.

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

Text B16:Split parenthesis (lozenge): mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.'.PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, ingot forge.

aya 'fish' Rebus: aya 'metal (alloy)' PLUS aḍaren 'lid' Rebus: aduru 'unsmelted metal'

aya 'iron' ayas 'alloy metal' (R̥gveda) PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot'

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

dhāḷ 'slanted stroke'rebus: dhāḷako 'ingot' PLUS kolom ‘three’ rebus: kolimi ‘smithy, forge’

koḍa ‘sluice’; Rebus: koḍ ‘artisan’s workshop (Kuwi)

kolmo 'rice plant' rebus: kolimi 'smithy, forge'.

Field symbol: Antithetical turtles: dula 'pair' rebus: dul 'metal casting' (Cire perdue or lost-wax casting) signified by antithesis in orthography.

On this copper tablet, the correct identification of the animal heads will be turtle species comparable toMeiolania, a horned large turtle of New Guinea.See: http://tinyurl.com/jfwgzyo dula'pair, duplicated' rebus: dul'cast metal' PLUS kassa 'turtle' rebus: kãsā 'bell-metal' kamaṭha'turtle' rebus: kãsā kammaṭa'bell-metal coiner, mint, portable furnace'.

Text B17a: dāntā 'tooth, tusk' rebus: dhāˊtu 'ore of red colour' (ferrite ores, copper ores) PLUS kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin)

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

ranku ‘liquid measure’rebus:ranku ‘tin’ PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). khaṇḍa 'implements'

meḍ 'body' rebus: meḍ 'iron' med

'copper' (Slavic). PLUS koḍa 'one' rebus: koḍ 'workshop'.

khaṇḍa 'division'. rebus: kaṇḍa 'implements' PLUS dula 'two' rebus: dul 'metal casting'

Text B17b:dāntā 'tooth, tusk' rebus: dhāˊtu 'ore of red colour' (ferrite ores, copper ores) kolom 'three' rebus: kolimi 'smithy, forge'.

ḍhāla f (S through H) The grand flag of an army directing its march and encampments: also the standard or banner of a chieftain rebus: ḍhālako 'ingot'

sal ‘splinter’ rebus: sal ‘workshop’

kolom ‘three’ rebus: kolimi ‘smithy, forge’

kolmo ‘rice plant’ rebus: kolimi ‘smithy, forge’ (Semantic determinative).

dāntā 'tooth, tusk' rebus: dhāˊtu 'ore of red colour' (ferrite ores, copper ores) PLUS kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin)

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

ranku ‘liquid measure’rebus:ranku ‘tin’ PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). khaṇḍa 'implements'

meḍ 'body' rebus: meḍ 'iron' med

'copper' (Slavic). PLUS koḍa 'one' rebus: koḍ 'workshop'.

khaṇḍa 'division'. rebus: kaṇḍa 'implements' PLUS dula 'two' rebus: dul 'metal casting'

Text B18:gaṇḍa 'four' rebus: khaṇḍa 'implements' PLUS kolom 'rice plant' rebus: kolimi 'smithy, forge’

koḍa 'sluice'; Rebus: koḍ'artisan's workshop

loa 'ficus glomerata' Rebus: loha 'copper, iron'. PLUS karNI ‘ears’ rebus: karṇī 'supercargo, scribe'

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

Field symbol: horned archer:kamaḍha 'archer, bow' Rebus: kammaṭa 'mint, coiner

Text B 19: (lozenge) Split parenthesis: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smkankelting furnace.' PLUS kolmo 'rice plant'rebus: kolimi 'smithy, forge'. Thus, ingot forge.

karã̄ n. pl. wristlets, bangles Rebus: khārखार्‘blacksmith’dula'two' rebus: dul'metalcasting'

dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS खांडा (p. 116) khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). khaṇḍa 'implements'.

kolmo 'rice plant' rebus: kolimi 'smithy, forge'.

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

Category C (12 items), 39 inscriptions

Field symbol: double-axe:kuṭhāra m. ʻ axe ʼ R., °raka -- m. VarBr̥S., °rī -- f. lex., °rikā -- f. Suśr. [kuṭhātaṅka -- m., °kā -- f. lex. Prob. ← Drav. and conn. with √kuṭṭ EWA i 223 with lit.]Pa. kuṭhārī -- f., Pk. kuḍhāra -- m., kuhāḍa -- m., °ḍī -- f. (for ṭh -- r ~ h -- ḍ see piṭhara -- ), S. kuhāṛo m., L. P. kuhāṛā m., °ṛī f., P. kulhāṛā m., °ṛī f., WPah. bhal. kurhāṛi f., Ku. kulyāṛo, gng. kulyāṛ, B. kuṛā̆l, °li, kuṛul, Or. kuṛāla, kurāṛha, °ṛhi, kurhāṛi, kuṛāri; Bi. kulhārī ʻ large axe for squaring logs ʼ; H. kulhāṛā m., °ṛī f. ʻ axe ʼ, G. kuhāṛɔ m., °ṛī f., kuvāṛī f., M. kurhāḍ, °ḍī f., Si. keṇeri Hettiaratchi Indeclinables 6 (connexion, if any, with keṭeri,°ṭēriya ʻ long -- handled axe ʼ is obscure).Addenda: kuṭhāra --: WPah.kṭg. khəṛari, kəṛari f. ʻ axe ʼ.(CDIAL 3244) Rebus: kuThAru 'armourer' कुठारु [p= 289,1] an armourer L.

Text C1 is the same as Text B1:loa 'ficus glomerata' Rebus: loha 'copper, iron' PLUS dula ‘duplicated’ rebus: dul ‘metalcasting’ PLUS kamaḍha 'crab' Rebus: kammaṭa 'mint, coiner, coinage'. ḍato = claws of crab (Santali) Rebus: dhātu 'mineral ore'.

3728 *kṣuraṇa ʻ scraping ʼ. [√kṣur]
Bi. mag. khurnī ʻ a kind of spade ʼ.

3731 kṣurabhāṇḍa n. ʻ razor -- case ʼ Pañcat. [Cf. kṣura- dhāná -- n. ŚBr. -- kṣurá -- , bhāṇḍa -- ]
H. churã̄ṛī f. ʻ razor -- case ʼ.

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

ranku ‘liquid measure’rebus:ranku ‘tin’

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

khaṇḍa 'division'. rebus: kaṇḍa 'implements' PLUS dula 'two' rebus: dul 'metal casting'.

Field symbol: spoked wheel within a fisted hand:arā 'spokes' Rebus: āra 'brass' eraka 'knave of wheel' Rebus: eraka 'moltencast' PLUS muṣṭi 'fist' rebus: muṣṭika 'goldsmith'. Thus, goldsmith working with moltencast brass.

Text C2:ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' (R̥gveda) aya aDaren,'fish+superscript lid' Rebus: aya aduru 'iron/metal native unsmelted metal'

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

dula‘two’ rebus: dul ‘metal casting’

karã̄ n. pl. wristlets, bangles Rebus: khār खार्'blacksmith' PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot'. Thus, ingots (worked on by) blacksmiths.

kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, blacksmiths working in forge.

ranku‘antelope’ rebus: ranku‘tin’ + xolā 'fish tail' rebus: kolhe 'smelter',

kol 'working in iron'

kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, smelters working in smithy.

Field symbol: rim-of-jar with inlaid 3+3 short strokes + pair of 'short tails':ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' (R̥gveda) aya aDaren,'fish+superscript lid' Rebus: aya aduru 'iron/metal native unsmelted metal' PLUS dula ‘duplicated’ rebus: dul ‘metal casting’ Alternative rebus reading: ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article' Thus, to signify, excellent, bright, blazing alloy metal article. PLUS dula 'duplicated' rebus: dul 'metal casting'. Thus, cast metal blazing articles.

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

PLUS sal ‘splinter’ rebus: sal ‘workshop, school’ PLUS dula ‘duplicated’ rebus: dul ‘metal casting’ PLUS xolā 'fish tail' rebus: kolhe 'smelter', kol 'working in iron'

Text C3:ayo ‘fish’ rebus: aya 'iron' ayas 'alloy metal' (R̥gveda)

bicha 'scorpion' Rebus: bica 'haetite, sandstone ferrite ore' PLUS मेंढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ 'iron' (Semantic determinative)

dāṭu 'cross' rebus: dhatu = mineral (Santali) Hindi. dhāṭnā 'to send out, pour out, cast (metal)' (CDIAL 6771)

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

Text C4a, C4b (like a sealing, a mirror image of C4a reversed):Split parenthesis (lozenge): mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.'.PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, ingot forge.

ayo ‘fish’ rebus: aya 'iron' ayas 'alloy metal' (R̥gveda) PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' Thus, native metal ingot.

loa 'ficus glomerata' Rebus: loha 'copper’ (Slavic) ‘iron’ (Mu.Ho.Santali)

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

Field symbol: pair of ficus glomerata leaves ligatured to a rimless pot with inlaid claws of crab: loa 'ficus glomerata' Rebus: loha 'copper’ (Slavic) ‘iron’ (Mu.Ho.Santali) PLUS dula ‘duplicated’ rebus: dul‘metal casting’

baṭa 'rimless, wide-mouthed pot' rebus: bhaṭa 'furnace' PLUS kamaḍha 'crab' Rebus: kammaṭa 'mint, coiner, coinage'. ḍato = claws of crab (Santali) Rebus: dhātu 'mineral ore'. Thus, mint with metal casting and copper, iron, mineral ores ingots furnace.

Text C5a, C5b (mirror image):kolmo 'rice plant' rebus: kolimi 'smithy, forge'. dula ‘duplicated’ rebus: dul‘metal casting’. Thus, metal casting smithy/forge.

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

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

koḍa 'sluice'; Rebus: koḍ 'artisan's workshop'

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

Text C6:Split parenthesis (lozenge): mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.'.PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, ingot forge.

karã̄ n. pl. wristlets, bangles Rebus: khār खार्'blacksmith' PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot'. Thus, ingots (worked on by) blacksmiths.

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

Text C9: Text C9: baṭa 'rimless, wide-mouthed pot' rebus: bhaṭa 'furnace' PLUS ḍabu 'an iron spoon' (Santali) Rebus: ḍab, ḍhimba, ḍhompo 'lump (ingot?).

kolom ‘three’ rebus: kolimi ‘smithy, forge’

bicha 'scorpion' Rebus: bica 'haetite, sandstone ferrite ore'

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

khareḍo = a currycomb rebus: खरडें 'a daybook' (Accountig ledger of wealth produced)

A hypertext is the hieroglyph which signifies ‘an account, a day-book, a rough ledger entry’. Rebus readings are: khareḍo = a currycomb (Gujarati) खरारा [ kharārā ] m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: 1. करडा [karaḍā]Hard from alloy--iron, silver &c. (Marathi) 2. kharādī ‘turner’ (Gujarati) This is a remarkable idiom to signify: खरड (p. 113) kharaḍa f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch. खरडघाशा (p. 113) kharaḍaghāśā m (खरड& घासणें) A term of abuse for a bad writer, barber, carpenter &c.; quill-driver, scraper, chips. खरडणें (p. 113) kharaḍaṇēṃ v c To scrape or rub off roughly: also to abrade or graze. 2 To rub up; to grub up; to root out (grass, weeds &c.) by pushing the instrument along. 3 To shave roughly, to scrape: also to write roughly, to scrawl: also to jot or note down; to make brief memoranda: also to draw roughly; to plough roughly; to grind roughly &c. &c. 4 To break by rubbing between stones; to bruise (peppers &c.) 5 (More frequently खरडकाढणें) To abuse or revile vehemently and coarsely. खरडनिशी (p. 113) kharaḍaniśī f Scrawling, scribbling, bad writing. खरडनीस (p. 113) kharaḍanīsa c खरडनिशा a (खरड& P) A scrawler or bad writer. खरडपट्टी (p. 113) kharaḍapaṭṭī f (See under पट्टी) Vehement reviling, abusing, scolding, rating, vociferous vituperation. v काढ, निघ, g. of o. or s. 2 Inflicting a loss or damage upon. v काढ, निघ g. of o. or s. खरडा (p. 113) kharaḍā m (खरडणें) Scrapings (as from a culinary utensil). 2 Bruised or coarsely broken peppercorns &c.: a mass of bruised मेथ्या&c. 3 also खरडें n A scrawl; a memorandum-scrap; a foul, blotted, interlined piece of writing. 4 also खरडें n A rude sketch; a rough draught; a foul copy; a waste-book; a day-book; a note-book. 5 A spotted and rough and ill-shaped pearl: also the roughness or knobbiness of such pearls. 6 A variety of musk-melon. 7 Heat in stomach and bowels during small-pox, measles &c.

Field symbol: A hypertext of a pair of bangles PLUS short-tail constitute the field on obverse of copper plates:karã̄ n. pl. wristlets, bangles Rebus: khār खार्'blacksmith' PLUS xolā 'fish tail' rebus: kolhe 'smelter',

kol 'working in iron'. Thus, blacksmith working with smelter.

Text C7:kolom ‘three’ rebus: kolimi‘smithy, forge’

ranku ‘liquid measure’ rebus: ranku ‘tin’

kolmo 'rice plant' rebus: kolimi 'smithy, forge'.

kanka, karṇika 'rim of jar' rebus: karṇī

'supercargo, scribe'karṇika 'helmsman'

Field symbol: scorpion stinger: bicha 'scorpion' Rebus: bica'haetite, sandstone ferrite ore' PLUS karṇi ‘ears’ rebus: karṇi ‘supercargo’. Thus, supercargo responsible for haetite sandstone, ferrite ore.

Text C6: kammaṭa 'mint, coiner, coinage'. ḍato = claws of crab (Santali) Rebus: dhātu 'mineral ore'

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

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

kolom‘three’ rebus: kolimi‘smithy, forge’

bhaṭā 'warrior' rebus: bhaṭa 'furnace' kuṭi 'water-carrier' rebus: kuṭhi 'smelter' PLUS kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman'.

Field symbol C10: dotted circle? dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, haetite, laterite) -- ferrite ores PLUS copper ore dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'; dhāvḍā 'smelter'

Text C10:kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’ rebus: kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’; Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) kauṭilikḥ कौटिलिकः 1 A hunter.-2 A blacksmith PLUS dula‘duplicated’ rebus: dul ‘metal casting’

dula‘two’ rebus: dul ‘metal casting’ (Semantic determinative)

A Note on decipherment of 'fist' sign

Sign 358

B11: ranku 'antelope' rebus:ranku 'tin'. raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1]Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gām. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562) PLUS pattar 'trough' rebus: pattar 'guild of goldsmiths'. (Note on alternative reading: The curved horns of the antelope indicate a possible semantics of 'markhor': miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus:mr̥du, mẽṛhẽt, meḍ 'iron' (Skt. Santali.Mu.Ho.) med 'copper' (Slavic) Rebus: meḍho'merchant'(Hemacandra,

deśīnāmamālā).

The inscriptions on B11 category copper tablets signify: supercargo equipment, goldsmith metalcasting furnace.

1. dhangar 'smith'

2. kaṇḍa .'fire-altar','equpment'

3. muṣṭíka dul bhaṭa 'goldsmith metalcasting furnace'

4. karaṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.'

The inscriptions on B5 category copper tablets are a subset of B11 category (excluding the signifier of pair of fists, i.e. muṣṭíka dul bhaṭa 'goldsmith metalcasting furnace':

Bt category copper tablets sigify signify: supercargo equipment, smith.

1. dhangar 'smith'

2. kaṇḍa .'fire-altar','equpment'

3. karaṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.'

The inscription on the m557 copper plate is deciphered:

ḍāṅgā 'mountain' rebus: dhangar 'smith'. N. ḍāṅro ʻ term of contempt for a blacksmith ʼ (CDIAL 5324)

khaṇḍa 'division' rebus: kaṇḍa .'fire-altar','equpment'

Sign 458 is a ligature of fists ligatured to the jar with a rim. Thus there are two hieroglyphs which compose a composite sign, a hypertext: 1. closed fists 2. jar with a rim.

Jar is read as: baṭa 'rimless pot' rebus: bhaṭa 'furnace'. Ligatured to a pair of fists, the composite hypertext Sign 458 is read as: dula 'pair' rebus: dul 'metal casting' PLUS baṭa 'rimless pot' rebus: bhaṭa 'furnace' PLUS मुष्टिक 'fist' rebus: मुष्टिक goldsmith. Thus, the reading is:muṣṭíka dul bhaṭa 'goldsmith metalcasting furnace.'

This Sign 358 shown on Indus Script inscriptions signifies मुष्टिक 'fist' rebus: मुष्टिक goldsmith. dula 'two' rebus: dul 'metal casting' PLUS muka 'blow with fist' (Sindhi)(CDIAL 10150). Rebus: mũhe 'ingot' (Santali).

Derivation of orthography of Sign 458:

Sign 358 variants (ASI concordance)

Detachable perforatedarms of an alabaster statue. Source: Lothal, Vol. II: Plate CCLXIIB. Image inverted to show fisted hands. "The object is interpreted by us as the physical basis of the Indus Ideogram, depicting a pair of raised hands with folded fingers, conveying the intended meanings 'dexterity, skill, competence'. "

http://www.iiserpune.ac.in/userfiles/files/Evidence_for_the_Artisan_in_the_Indus_Script.pdf

This insightful presentation by Iravatham Mahadevan & MV Bhaskar, 'Evidence for the Artisanin Indus Script' identifies the closed fist orthography on Sign 358 which occurs on Mohenjodaro copper tablets.

I agree with the interpretation that the raised pai of hands as shown on the Lothal alabaster statue (image compared with Sign 358), signifies an artisan.

kanda kanka 'rim of jar' Rebus: कर्णिक m. a steersman (Monier-Williams) karaṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.' (Marathi).

Thus, together, the rebus Meluhha reading is: dhangar mũhe kanda kanka 'blacksmith furnace ingot (from) goldsmith (for) supercargo/steersman'. Thus, the catalogue (samgaha) entry of wealth accounting ledger related to metalwork is documented on the inscription. Meaning of 'goldsmith' is validated by the etyma which are semantic expansions of the Bhāratīya sprachbund word: muka 'blow with fist' (Sindhi) rebus: mũhe 'ingot' (Santali): मुष्टिक a partic. position of the hands rebus: मुष्टिक a goldsmith L.; (pl.) of a despised race (= डोम्बास्) R.;N. of an असुर Hariv. अ-क्षर--मुष्टिका f. the art of communicating syllables or ideas by the fingers (one of the 64 कलाs) वात्स्यायन

The etyma Kur. muṭkā ʻfistʼ Prj. muṭka ʻblow with fistʼ are cognate with phonetic forms: Ku. muṭhagī, muṭhkī f. ʻblow with fistʼ, N. muṭki, muṛki, M. muṭkā (CDIAL 10221). This suggests the basis for a hypothesis that an early spoken form in Bhāratīya sprachbund is: muka 'blow with fist' (Sindhi)(CDIAL 10150). This is read 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).

*mukka1 ʻ blow with fist ʼ. [Prob. ← Drav., Prj. muṭka ʻ blow with fist ʼ, Kur. muṭkā ʻ fist ʼ, DED. 4041]K. muköli f. ʻ blow with fist ʼ, (El.) mukāl m. ʻ fist ʼ; S. muka f. ʻ blow with fist ʼ, L. mukk, °kī f.; P. mukk m. ʻ fist ʼ, °kī f.; WPah.bhal. mukki f. ʻ blow with fist ʼ; N. mukkā, °ki ʻ fist ʼ, H. mūkā, mukkā m., °kī f., mukkhī f. (X muṭṭhī < muṣṭí -- ); G. mukkɔ m., °kī f. ʻ blow with fist ʼ.(CDIAL 10150).

muṣṭí m.f. ʻ clenched hand, fist ʼ RV., ʻ handful ʼ ŚBr. Pa. Pk. muṭṭhi -- f. ʻ fist, handful, handle of an instrument ʼ; Ash. mušt ʻ fist ʼ NTS ii 267, mūst NTS vii 99, Wg. müṣṭ, Kt. muṣṭ, miṣṭ; Bashg. "misht"ʻ hilt of sword ʼ; Pr. müšt ʻ fist ʼ, muṣ (?) ʻ hilt of knife ʼ; Dm. muṣṭ ʻ fist ʼ, muṣṭi ʻ handle ʼ; Paš. uzb. muṣṭī ʻ fist ʼ, lauṛ. muṭhīˊ; Gaw. muṣṭ ʻ handle (of plough) ʼ, muṣṭāˊk, muṣṭīke ʻ fist ʼ, muṣ -- kaṭāˊrī ʻ dagger ʼ; Kal.rumb. muṣṭí ʻ fist ʼ; Kho. muṣṭi ʻ fist, grip ʼ; Phal. muṣṭ ʻ a measure of length (elbow to end of fist) ʼ, múṣṭi f. ʻ fist ʼ, muṭṭi f. ʻ arm below elbow ʼ (← Ind.?) → Bshk. mut (= *muṭh?) ʻ fist ʼ AO xviii 245; Sh.gil. muṭ(h), pl. muṭí m. ʻ fist ʼ, muṣṭí ʻ handle of plough ʼ, jij. mv́ṣṭi ʻ fist ʼ, koh. gur. mŭṣṭăkf., pales. muṭh ʻ arm, upper arm ʼ; K. mŏṭh, m&obrevdotdot;ṭhü f. ʻ fist ʼ; S. muṭhi f. ʻ fist, fistful, handle ʼ; L. muṭṭh ʻ fist, handle ʼ, muṭṭhī f. ʻ handful ʼ, awāṇ. muṭh; P. muṭṭh, muṭṭhī f. ʻ fist ʼ, muṭṭhā m. ʻ handle, bundle ʼ; Ku. muṭhī f. ʻ fist, handful ʼ, muṭho ʻ handle ʼ; N. muṭh ʻ handle ʼ, muṭhi ʻ fist ʼ, muṭho ʻ handful ʼ; A. muṭhi ʻ fist, handful, handle ʼ, muṭhan ʻ measure of length (elbow to middle joint of little finger) ʼ; B. muṭh, muṭi ʻ fist, handful ʼ, muṭ(h)ā ʻ handful ʼ; Or. muṭhi ʻ fist ʼ, muṭha ʻ hilt of sword ʼ, muṭhā ʻ clenched hand ʼ; Bi. mūṭh, muṭhiyā ʻ knob on body of plough near handle ʼ, mūṭhā, muṭṭhā ʻ the smallest sheaf (about a handful) ʼ; Mth. muṭhā ʻ handle of mattock ʼ; Bhoj. mūṭhi ʻ fist ʼ; OAw. mūṭhī f. ʻ handful ʼ; H. mūṭh f., mūṭhā m. ʻ fist, blow with fist ʼ, mūṭhī, muṭṭhī f. ʻ fist, handful ʼ, muṭṭhā m. ʻ handful, handle (of plough), bundle ʼ; G. mūṭh f. ʻ fist ʼ, muṭṭhī f. ʻ handful ʼ; M. mūṭh f. ʻ fist ʼ, Ko. mūṭ; Si. miṭa, pl. miṭi ʻ fist, handful ʼ, miṭiya ʻ hammer, bundle ʼ; Md. muři ʻ hammer ʼ: the forms of P. H. Si. meaning ʻ bundle ʼ perh. rather < *muṭṭha -- 2 s.v. mūta -- ; -- in Gy. wel. mušī, gr. musī ʻ arm ʼ loss of ṭ is unexpl. unless -- ī is secondary. -- Poss. ← or infl. by Drav. (Prj. muṭka ʻ blow with fist ʼ &c., DED 4041: see *mukka -- 1): Ku. muṭhagī, muṭhkī f. ʻ blow with fist ʼ, N. muṭki, muṛki, M. muṭkā m.

nimuṣṭi -- .Addenda: muṣṭí -- : WPah.kṭg. mvṭ -- (in cmpd.), múṭṭhi f. ʻ clenched hand, handful ʼ; J. muṭhā m. ʻ handful ʼ, Garh. muṭṭhi; A. muṭh (phonet. muth) ʻ abridgement ʼ AFD 94; Md. muř ʻ fist, handle ʼ, muři ʻ hammer ʼ.(CDIAL 10221). Pa. muṭṭ-

to hammer; muṭkablow with fist. Ga. (P.) muṭa fist. Go. (Mu.) muṭ (Ko.) muṭiya

hammer (Mu.) muṭka a blow (Voc. 2874). Pe. muṭla hammer. Manḍ.

muṭla id. Kuwi (Su.) muṭla id. Kur. muṭga'ānā to deal a heavy blow with the fist; muṭgā, muṭkā clenched hand or fist, hammering with the fist; muṭka'ānā to hit or hammer at with the fist. / Cf. Skt. muṭ- to crush, grind, break; Turner, CDIAL, no. 10186: root, muṭáti ʻ *twists ʼ (ʻ kills, grinds ʼ Dhātup.) . (DEDR 4932) Muṭṭhi (f.) [Vedic muṣṭi, m. f. Does defn "muṭ=mad- dane" at Dhtm 125 refer to muṭṭhi?] the fist VvA 206.; Muṭṭhika [fr. muṭṭhi] 1. a fist -- fighter, wrestler, boxer Vin ii.105 (malla˚); J iv.81 (Np.); vi.277; Vism 31 (+malla). -- 2. a sort of hammer J v.45.(Pali) मुष्टि the clenched hand , fist (perhaps orig. " the hand closed to grasp anything stolen ") RV. &c; a compendium , abridgment सर्वदर्शन-संग्रह (Monier-Williams).

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

Copper plates,Mohenjo-daro conveying Sign 358 (pair of closedfists ligatured to rim of jar) on identical inscriptions:

Figure 1. Examples of Copper plate inscriptions including Sign 358 (two upraised, closed fists)

(Kalyanaraman,S., 2017, Epigraphia Indus Script, Hypetexts and meanings, Vol. 2, Amazon, USA,pp.757, 758)

ḍāṅgā 'mountain' rebus: dhangar 'smith'. N. ḍāṅro ʻ term of contempt for a blacksmith ʼ (CDIAL 5324) gaṇḍa 'four' rebus: kaṇḍa 'equipment' PLUS kolom 'three' rebus:kolimi 'smithy, forge'PLUS dula 'pair' rebus: dul 'metal casting' PLUS baṭa 'rimless pot' rebus: bhaṭa 'furnace' PLUS मुष्टिक 'fist' rebus: मुष्टिक goldsmith. Thus, the reading is:muṣṭíka dul bhaṭa 'goldsmith metalcasting furnace. Thus, smith equipment, goldsmith furnace.

Annex A Kuwait Gold Disc with Indus Script Inscriptions.

Indus Script Hieroglyph-multiplex hypertext on al-Sabah Kuwait gold disc Meluhha brassworker's artisanal repertoire
Thanks to Benoy Behl for disseminating the photograph of an exquisite gold disc now in al-Sabah collection of Kuwait National Museum. This gold disc is a veritable metalwork catalogue, consistent with the entire Indus Script Corpora as catalogus catalogorum of metalwork. The uniqueness of the collection of hieroglyph-multiplexs on this gold disc is that a large number of metalwork catalogue items (more than 12) have been presented on a circular space with 9.6 cm diameter validating the Maritime Tin Route which linked Hanoi to Haifa through the Persian Gulf.

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

Source: http://tinyurl.com/nom5kkv
In the context of the bronze-age, the hieroglyphs are read rebus in Meluhha (mleccha) speech as metalware catalogs.
http://bharatkalyan97.blogspot.in/2013/05/indus-writing-as-metalware-catalogs-and_21.html
http://bharatkalyan97.blogspot.in/2013/05/tokens-and-bullae-evolve-into-indus.html

See examples of Dilmun seal readings at http://bharatkalyan97.blogspot.in/2013/05/see-httpbharatkalyan97.html
See examples of Sumer Samarra bowls: http://bharatkalyan97.blogspot.in/2013/04/bronze-age-writing-in-ancient-near-east.html

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

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

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

3. Ficus religiosa leaves on a tree branch (5) loa 'ficus leaf'; rebus: loh 'metal'. kol in Tamil means pancaloha'alloy of five metals'. PLUS flanking pair of lotus flowers: tAmarasa 'lotus' Rebus: tAmra 'copper' dula 'pair' Rebus: dul 'cast metal' thus, denoting copper castings.

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

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

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

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

7. A pair of combs kāṅga 'comb' Rebus: kanga 'brazier, fireplace'

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

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

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

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

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

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

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

mũh ‘face’; rebus: mũh ‘ingot’ (Mu.)

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

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

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

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

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

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

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

Why are animals shown in pairs?

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

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

http://bharatkalyan97.blogspot.in/2016/01/data-mining-of-indus-script-corpora.html?view=flipcard

Asko Parpola, 2008, Copper tablets from Mohenjo-daro and the study of the Indus Script, in: Eric Olijdam, Richard . Spoor, Intercultural relations between South and Southwest Asia: Studies in commemoration of ECL During Caspers (1934-1996), Archaeopress.

B.M.Pande, 1979, Inscribed copper tablets from Mohenjo-daro: a preliminary analysis, in Gregory L. Possehl (ed.), Ancient cities of the Indus, New Delhi, Vikas Publishing House Pvt. Ltd., pp. 268 to 283

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CAPEEM Lawsuit: UNsealed pages reveal a diabolical plot -- PGurus

February 6, 2019, 1:03 am

≫ Next: Kris Hirst re-opens a Farmer et al discovery of Harappan illiteracy. Zebu on Nausharo pottery signifies पोळ pōḷa magnetite ferrite ore in Indus writing wealth-accounting ledgers

≪ Previous: Copper tablets, 212 Indus Script catalogues deciphered, karaḍā wealth-accounting ledgers archives detail kunda, कच्छप nidhi-s, treasures of Kubera

CAPEEM Lawsuit: Unsealed pages reveal a diabolical plot

PGurus has obtained a copy of the unsealed pages and has unearthed a wealth of information that substantiates the claims of CAPEEM

Sree Iyer

February 5, 2019PGurus has obtained a copy of the unsealed pages and has unearthed a wealth of information that substantiates the claims of CAPEEM

Regardless of the outcome of this lawsuit, it is a tribute to the courage of CAPEEM that they have taken on the might of the academia and powerful politicians.

On February 2nd, 2019, the California Parents for the Equalization of Educational Materials (CAPEEM) issued a Press Release[1] announcing that Judge Charles Breyer had unsealed emails showing the California Department of Education officials solicited and coordinated professors’ anti-Hindu reports on the 2016 drafts of the California-History Social Science Framework and falsely presented them as “public comment.” PGurus has obtained a copy of the unsealed pages and has unearthed a wealth of information that substantiates the claims of CAPEEM.

Their effort to “undermine the legitimacy of Hinduism” manifested itself elsewhere in their draft report when they accused Hindus and Hinduism of appropriating their sacred works and claimed that these texts do not mention the word “Hindu.”

CAPEEM’s claim that Tom Adams, the Deputy Superintendent at the California Department of Education, secretly contacted a group of professors with whom he had worked in the past to create an anti-Hindu curriculum does seem to have merit, when one looks at the Unsealed pages (see Figure 1):

Figure 1. Email communication among anti-Hindu professors calling themselves South Asia Faculty Group (SAFG)

Interestingly, Kamala Visweswaran, who seems to be the lead activist in this effort, states very clearly that their “mission” was to use “smoke and mirrors” to preclude the inputs of Hindu groups. In an email sent to other members of the group of professors, she says, “I know there is still some confusion about our task. We are not to respond directly to the [Hindu groups’] proposals… but… to preclude those recommendations having any traction. This does create a smoke and mirrors situation… So that is our mission.”

Critics point out that the group seems to be dominated by Christians with even Kamala Visweswaran herself being the daughter of a White Christian mother, and Jonathan Kenoyer being the son of Christian missionaries who worked in India.

The SAFG report seems to be an inside job of the Dept. of Education

Two of the members copied in the email written by Kamala Visweswaran, Sudipta Sen and Robert Goldman, are not only part of the anti-Hindu group, but are also listed as contributors to the California History-Social Science Frameworks document, a point highlighted by CAPEEM in its Motion to the court[2]. Other emails obtained by PGurus confirms that another staff member of the Department of Education, Kenneth McDonald, helped coordinate the activities of the SAFG. Combined with the fact that Tom Adams solicited the inputs of this group makes it clear that the report submitted by the group was not “public comment” but an inside job of the Department of Education.

Are these the Subject matter experts?

To claim this group as “Subject Matter Experts” is laughable. Here is an example (Figure 2):

Figure 2. Mis-correction of a mis-spelled word

The second recommendation is ludicrous! The correct spelling is Telugu. That they found Telagu was wrong was indeed right but to say it should be spelled Telegu, beggars belief! Is it mediocrity or ignorance of these professors? Either way, it is an insult to close to 100 million Telugus who live all over the world.

As to the other recommendation, this is contrary to facts. Women were always respected and as a matter of fact, there are matrilineal societies in existence in India, even today (Nairs). These are some examples that go to show that the so-called “expertise” of this group is rather shallow.

Outright hostility towards Hindus

SAFG’s draft report exhibits outright hostility towards Hinduism. Recognizing this fact, Tom Trautmann who is part of the anti-Hindu group wrote to other professors describing their draft report as “inventedness of Hinduism” and went on to state:

“And readers of our report can imagine that it is meant to undermine the legitimacy of Hinduism as a religion (and Hinduism uniquely among religions, at that)… I worry that we are not thinking enough about writing to our readership and persuading them with arguments that will be seen to be reasonable. We need to persuade, not just to inform our readers of the present state of scholarly thinking (i.e. our own!)”

Their effort to “undermine the legitimacy of Hinduism” manifested itself elsewhere in their draft report when they accused Hindus and Hinduism of appropriating their sacred works and claimed that these texts do not mention the word “Hindu.” (see Figure 3). This is a dishonest argument because the word ‘caste’ too does not appear in Hindu texts and originated with the Portuguese, yet, the same professors pushed for its inclusion in a narrative about the ancient world.

It is possible for Bharatvarshis (and anyone who was born there but may have since migrated) to practice any religion but at heart, they are a Sanatani (a follower of the Sanatana Dharma). Technically there never was a religion called Hinduism because it is all Sanatana Dharma. The term Hindoo (Hindu) was a tool used by the British to keep Bharat divided.

Figure 3. A hostile accusation that Hinduism appropriated works such as the Vedas and that the words Hindu or Hinduism are not mentioned.

The draft report also does not hide their motives to attack Hinduism and conflates it with politics in a note which is part of the draft report and says:

“I wonder if it can be suggested that the period 300-1200 in South Asia can be framed as that of religious evolution and mixture all around in which Hinduism, Buddhism, and Islam play significant parts at various points in time based on geographical region and the political situation within India. That would disassociate Islam from being political regime first and religion later, and, inversely, highlight the historicity and political contexts of the Hindu-Buddhism developments as well. We are not clear whether this can or cannot be accomplished in the context of the existing narrative.”

One of CAPEEM’s filings with the court points out the hostile nature of the writers of the report and claims that Tom Adams of the Department of Education would advance his anti-Hindu views. According to CAPEEM:

“Adams knew the professors he selected would advance his anti-Hindu views. An excerpt from Visweswaran’s book, the SAFG member with whom Adams spoke, makes the bigoted and bizarre assertion that “violence has been Hinduism’s principal mechanism of control. That is why many of the Hindu Gods were weapon-wielders in distinct contrast to the Gods of all other religions.”

The correct way to describe those who live in the Bharata Varsha (an area that comprises modern-day India (Bharat), Pakistan, Afghanistan, Iran, Bangladesh, and Myanmar) is that they are the followers of Sanatana Dharma (The Eternal Order, The Eternal Dharma)[3]. One of the definitions of Dharma is Dharayati Iti Dharma (धारयति इति धर्मा) i. e. one that flows. One can thus say that these people are also followers of the Eternal Flow.

Opposition to Sanatana Dharma

Sanatana Dharma is an Open Architecture, one that allows all to co-exist. The founding principle is Sarva Dharma Sama Bhava (All dharmas are treated with the same respect). Bhakti Yoga in Sanatana Dharma provides for the worship of a Personal God (i. e. Jesus, Allah). It is possible for Bharatvarshis (and anyone who was born there but may have since migrated) to practice any religion but at heart, they are a Sanatani (a follower of the Sanatana Dharma). Technically there never was a religion called Hinduism because it is all Sanatana Dharma. The term Hindoo (Hindu) was a tool used by the British to keep Bharat divided. California Board of Education had a golden opportunity to set the record straight. They missed it and instead aligned themselves with professors hostile to Sanatana Dharma.

During their previous lawsuit between 2006 and 2009, CAPEEM uncovered another email exposing the hostility of Jonathan Kenoyer in which he wrote, “If you know of any scholars in the Bay area who might attend the meeting to counter their demands for including “Sanatana Dharma” etc in the texts it would be an additional impact to reinforce any letters that are being sent.” That lawsuit had also uncovered the coordination of the anti-Hindu professors with churches one of which worked with the now disgraced Congressman and evangelical Christian activist Trent Franks, and offered its services “in DC” to the professors. Regardless of the outcome of this lawsuit, it is a tribute to the courage of CAPEEM that they have taken on the might of the academia and powerful politicians and exposed their connections and shenanigans.

References:

[1] Press Release: Federal Court Unseals Records of California Department of Education’s Religious Bias Scheme – Feb 3, 2019, PGurus.com

[2] HSS Framework – Curriculum Frameworks – CDE.CA.GOV Pages x and xi.

[3] With Padma Bhushan Dr. Nagaswamy on ManuDharma, Bharat’s Constitution –

https://www.pgurus.com/capeem-lawsuit-unsealed-pages-reveal-a-diabolical-plot/

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Kris Hirst re-opens a Farmer et al discovery of Harappan illiteracy. Zebu on Nausharo pottery signifies पोळ pōḷa magnetite ferrite ore in Indus writing wealth-accounting ledgers

February 6, 2019, 7:14 pm

≫ Next: Kernos' rings and Kernunno's cauldron celebrate smelters, seafaring kārṇī 'helmsman, supercargo'

≪ Previous: CAPEEM Lawsuit: UNsealed pages reveal a diabolical plot -- PGurus

https://tinyurl.com/yalshmuy

This monograph presents a recent (February, 2019) article by K. Kris Hirst which reviews the $1000 prize-challenge posed by Farmer et al in 2004 with a free pdf to download. (Steve Farmer, Richard Sproat, and Michael Witzel. 2004. The Collapse of the Indus-Script Thesis: The Myth of a Literate Harappan Civilization. EJVS 11-2: 19-57).

Were the Harappans who wrote ca. 30000 inscriptions, really illiterates? See: Itihāsa. With a large cache of Dilmun seals, Indus Script Corpora has grown to c. 30,000 insciptions of wealth-accounting ledgers

https://tinyurl.com/y8rj5xpd

An answer to this profound question lies in the meaning assumed for an ancient writing system and in an answer to another related rhetorical question: Were the early scribes of Egyptian hieroglyphs illiterates? Can there not be a writing system to list products (using a spoken language) made by ancient artisans and records of their sources?

It is well-known that Egyptian hieroglyphs also started as a system of tokens to document product lists produced by artisans. For example, bone and ivory tags and clay seal impressions which bore hieroglyphs unearthed at Abydos, 300 miles south of Cairo (dated ca. 3400 and 3200 B.C.E), making them the oldest known examples of Egyptian writing system. Were the scribes of these bone and ivory tags illiterates? (cf. Larkin Mitchell, 1999, Earliest Egyptian Glyphs, in: Archaeology Archive, Volume 52 Number 2, March/April 1999).

https://archive.archaeology.org/9903/newsbriefs/egypt.html

Let us take a look at the early token systems of Harappans as revealed in very selective pictographs shown on pot from Nausharo.

Some of the pottery from Nausharo shows similarities to that found in Afghanistan, Turkmenistan, Uzbekistan and eastern Iran. The pottery suggests that different cultures coexisted with the Harappan.

Background on Baluchistan archaeology

"Baluchistan. Many sites in Baluchistan (Stein 1929, 1931, Franke-Vogt website, Fairservis 1971, Dales1979, Besenval 1994, 1999) reveal signs of contact with the Harappan Civilisation, but the sites with distinct Harappan occupational levelsare not many. In northeast Baluchistan the majorHarappan site is Dabarkot. This shows thickHarappan deposits high up in the section of amound which is about 376m in diameter. The site is a part of the Gomal system which marksthe route toward the Ghazni-Kandahar area of south Afghanistan.TheKachiPlain has two major sites, Judeirjodaro in the southern section of the plain and Nausharo in its northern edge near Mehrgarh.These sites lead toward the mouth of the Bolan Pass, but as the Kachi Plain is agriculturally prosperous and has a good reputation for local bullocks, it is possible that Judeirjodaro and Nausharo might have been agriculturally important settlements in their own righ... In its excavated form Nausharo has revealed aMature Harappan settlement…A report of the 1960s described it as being equal to Mohenjodaro in size and importance. No further work seems tohave taken place at this site…. in the room which had its floor decorated withintersecting circles. A hearth, a buried storagejar and a drain formed by a broken pot werealso found in this room. The ordinary room sizeat Balakot was 2.20m x 3.20 m. One large kiln was found associated with a few smaller ones. These kilns were used possibly for bakingterracotta animal figurines. There is no evidence of a surrounding wall or fortification at Balakot.On the western side of the Las Bela Plain thereis a smaller Harappan site called Khairiakot.The Kanrach Valley is in the hilly sectionadjoining the Las Bela Plain on the east, with the seasonal stream of the Kanrach flowingthrough it. The valley is framed by the Mor (1400m) and the Chapar (1500 m) ranges. BakkarButhi, a small Harappan site located on a terraced hill above the Kharari (a tributary rivulet of theKanrach) and overlooking its valley, comprisesa fortified southern mound and about two houses and open spaces related to chert production outside it. Much of the pottery is identical withthat found at the classical Harappan sites butthere is also an element of local production. A huge stone-built dam blocked the Kharari beforeit entered the Kanrach Valley and was theeasternmost in a series of three dams. The sitehas been dated around 2400BCE...More to the southeast, the Hab Valley provides access from Sind to the interior of Baluchistan." (D.K. Chakrabarti, Distribution and features of the Harappan settlements, https://www.academia.edu/10640140/distribution_and_features_of_the_Indus_Civilization

Location of Nausharo in relation to other sites of Sarasvati (Indus) Civilization

Ceramic from Nausharo ID showing transition from Early to Mature Harappan phases (after Jarrige 1989).

Ceramic from Nausharo ID showing transition fromEarly to Mature Harappan phases.

Large painted jars from Nausharo.

Nausharo: céramique de la période I (c. 2500 BC) © C. Jarrige

http://www.guimet.fr/La-mission-archeologique-de-l,636

Is there an underlying language which explains the pictographs on these Nausharo pots, of the zebu (bos indicus) tid to a ficus religiosa (or glomerata) tree and the bird perched behind the fatty hump on the shoulder of the zebu? An associated imagery is that of an antelope or markhor similarly tied to another tree. What did the large storage jars contain? Is it possible that the hieroglyphs and hypertexts of zebu, markhor, ficus leaves signify some product stored in these jars?

I suggest that the storage jars painted with Indus Script hypertexts/hieroglyphs stored steel ingots based on the following rebus readings of the Indus Script inscriptions found on these Nausharo pots. I also suggest that the zebu and markhor tied to stylized trees (with, say, ficus glomerata leaves) and a black drongo perched on the zebu, signify wealth-accounting ledgers, metalwork catalogues of merchandise. The meḍh 'markhor, ram'markhor is rebus meḍho 'merchant'. The black drongo is pōlaḍu 'black drongo bird' (Telugu) Rupaka, 'metaphor' or rebus: पोलाद pōlāda n ( or P) Steel. पोलादी a Of steel. (Marathi) bulad 'steel, flint and steel for making fire' (Amharic); fUlAd 'steel' (Arabic) pōlāda 'steel', pwlad (Russian), fuladh (Persian) folādī (Pashto).

The trees to which a markhor or a zebu are tied, orthographically signify leaves of loa 'ficus glomerata' Rebus: loha 'copper, iron'.

The tying of the two animals signifies dāẽ 'tied' rebus dhā̆vaḍ 'iron smelter.'

Thus, the Indus Script hypertexts are a writing system to create document archives of wealth-accounting ledgers, metalwork catalogues (as marketing promotions/presentations as seen on imageries of hieroglyphs taken on procession.

See:

Indus Script hypertext पोळ pōḷa, 'zebu, bos indicus' signifies pōḷa ‘magnetite, ferrous-ferric oxide Fe3O4', पोलाद pōlāda, 'crucible steel cake'

https://tinyurl.com/y9so6ubv

I submit that the oval spots on a zebu terracotta figurine signify पोलाद pōlāda, 'crucible steel cake' explained also as mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali)

Image result for zebu ingot shape bharatkalyan97

Slide 33. Early Harappan zebu figurine with incised spots from Harappa. Some of the Early Harappan zebu figurines were decorated. One example has incised oval spots. It is also stained a deep red, an extreme example of the types of stains often found on figurines that are usually found in trash and waste deposits. Approximate dimensions (W x H(L) x D): 1.8 x 4.6 x 3.5 cm. (Photograph by Richard H. Meadow) http://www.harappa.com/figurines/33.html

The oval spots are shaped like the copper ingots shown on this photograh of Maysar, c. 2200 BCE:

Maysar c.2200 BCE Packed copper ingots INGOTS

mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali)

Another artifact which compares with the described shape of mūhā mẽṛhẽt 'steel ingot' is shown in the characteristic oval shape of a crucible steel buttton.

Crucible steel button. Steel smelted from iron sand in a graphite crucible.https://commons.wikimedia.org/wiki/File:Crucible_steel_button.jpg

Decipherment of zebu hieroglyphs on Nausharo pots

पोळ [pōḷa], 'zebu' Rebus: magnetite, citizen.(See: http://bharatkalyan97.blogspot.in/2015/08/zebu-archaeometallurgy-legacy-of-india.html )
mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali)
खोट (p. 212) [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. (Marathi)

The figurine signifies ingots of पोळ [pōḷa], ‘magnetite’. This is a metalwork catalogue message in Indus Script Corpora.

The following proverb indicates the exalted status of the zebu, bos indicus which read rebus as पोळ‘magnetite, ferrite ore’ is the life-sustaining wealth of the artisans: ज्याची खावी पोळी त्याची वाजवावी टाळी. Of whom you eat the salt, him laud and exalt. टाळी (p. 196) ṭāḷī f (ताल S) Beating the hands together.

A rare e.g. of a Kernos ring from the subcontinent. It was apprently smuggled to japan from a site in what's today Balochistan

Top view of same: Kernos rings were made frequently in bronze age and later West Asia and Greece. This e.g. from subcontinent suggests that it was made using local motifs but inspired closely by west Asian Kernos design.

Bottom view of same along with a stand alone bull from what's today Balochistan showing similar techinique of manufacture.

Terracotta tripartite kernos. Louvre Museum.https://www.pinterest.com/pin/457748749602706628/
A SYRIAN CERAMIC TRIPARTITE VESSEL WITH IBEX FIGURE

A SYRIAN CERAMIC TRIPARTITE VESSEL WITH IBEX FIGURE

Syrian ceramic tripartite vessel with ibex figure. https://www.pinterest.com/pin/457748749602703821/

Fig.5 Ring kernoi from Cyprus “…an example of a ring-kernos of the White Painted II variety from Cyprus has, over an elaborately painted ring with a basket handle, bull’s and goat’s heads, pomegranates and miniature vases (fig.5).”(BM Pande, opcit., p.318).

Hypertext: miṇḍā́l 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati) Rebus: meḍ 'iron' (Mu.Ho.) med 'copper' (Slavic languages), mr̥du 'iron' (Skt.) Rebus: meḍho'merchant':

I suggest that this terracotta ring object is an Indus Script Hypertext with the following hieroglyph components:

1.. Zebu, bos indicus: पोळा [ pōḷā ] 'zebu, bos indicus taurus' Rupaka, 'metaphor' or rebus (similar sounding homonym): पोळा [ pōḷā ] 'magnetite, ferrite ore: Fe3O4'.

pōḷa 'zebu' Rebus: pōḷa 'magnetite ore'. पोळ (p. 534) [ pōḷa ] m A bull dedicated to the gods, marked with a trident and discus, and set at large.पोळा (p. 534) [ pōḷā ] m (पोळ) A festive day for cattle,--the day of new moon of श्रावण or of भाद्रपद. Bullocks are exempted from labor; variously daubed and decorated; and paraded about in worship.पोळींव (p. 534) [ pōḷīṃva ] p of पोळणें Burned, scorched, singed, seared. (Marathi)

2.Bird, black drongo: pōlaḍu 'black drongo bird' (Telugu) Rupaka, 'metaphor' or rebus: पोलाद pōlāda n ( or P) Steel. पोलादी a Of steel. (Marathi) bulad 'steel, flint and steel for making fire' (Amharic); fUlAd 'steel' (Arabic) pōlāda 'steel', pwlad (Russian), fuladh (Persian) folādī (Pashto)

Zebu, bos indicus PLUS black drongo bird (perched on the back of the bull) This bird is called పసులపోలిగాడు pasula-pōli-gāḍu 'friend of cattle'.

3. Circle:*varta2 ʻ circular object ʼ or more prob. ʻ something made of metal ʼ, cf. vartaka -- 2 n. ʻ bell -- metal, brass ʼ lex. and vartalōha -- . [√vr̥t?] Pk. vaṭṭa -- m.n., °aya -- m. ʻ cup ʼ; Ash. waṭāˊk ʻ cup, plate ʼ; K. waṭukh, dat. °ṭakas m. ʻ cup, bowl ʼ; S. vaṭo m. ʻ metal drinking cup ʼ; N. bāṭā, ʻ round copper or brass vessel ʼ; A. bāṭi ʻ cup ʼ; B. bāṭā ʻ box for betel ʼ; Or. baṭā ʻ metal pot for betel ʼ, bāṭi ʻ cup, saucer ʼ; Mth. baṭṭā ʻ large metal cup ʼ, bāṭī ʻ small do. ʼ, H. baṭṛī f.; G. M. vāṭī f. ʻ vessel ʼ.(CDIAL 11347)

dāẽ 'tied' rebus dhā̆vaḍ 'iron smelter.' Rupaka, 'metaphor' or Rebus: bhaṭa, 'furnace'' baṭa 'iron'(Gujarati).

4. Pot: kuṇḍá1 n. (RV. in cmpd.) ʻ bowl, waterpot ʼ KātyŚr., ʻ basin of water, pit ʼ MBh. (semant. cf. kumbhá -- 1), °ḍaka -- m.n. ʻ pot ʼ Kathās., °ḍī -- f. Pāṇ., °ḍikā -- f. Up. 2. gōṇḍa -- . [← Drav., e.g. Tam. kuṭam, Kan. guṇḍi, EWA i 226 with other ʻ pot ʼ words s.v. kuṭa -- 1]1. Pa. kuṇḍi* -- , °ḍikā -- f. ʻ pot ʼ; Pk. kuṁḍa -- , koṁ° n. ʻ pot, pool ʼ, kuṁḍī -- , °ḍiyā -- f. ʻ pot ʼ; Kt. kuṇi ʻ pot ʼ, Wg. kuṇḍäˊi; Pr. künǰúdotdot; ʻ water jar ʼ; Paš. weg. kuṛã̄ ʻ clay pot ʼ < **kũṛā* IIFL iii 3, 98 (or poss. < kuṭa -- 1), lauṛ. kuṇḍalīˊ ʻ bucket ʼ; Gaw. kuṇḍuṛīˊ ʻ milk bowl, bucket ʼ; Kal. kuṇḍṓk ʻ wooden milk bowl ʼ; Kho. kúṇḍuk, °ug ʻ milk bowl ʼ, (Lor.) ʻ a kind of platter ʼ; Bshk. kūnḗċ ʻ jar ʼ (+?); K. kŏnḍ m. ʻ metal or earthenware vessel, deep still spring ʼ, kọ̆nḍu m. ʻ large cooking pot ʼ, kunāla m. ʻ earthenware vessel with wide top and narrow base ʼ; S. kunu m. ʻ whirlpool ʼ, °no m. ʻ earthen churning pot ʼ, °nī f. ʻ earthen cooking pot ʼ, °niṛo m.; L. kunnã̄ m. ʻ tub, well ʼ, °nī f. ʻ wide -- mouthed earthen cooking pot ʼ, kunāl m. ʻ large shallow earthen vessel ʼ; P. kū̃ḍā m. ʻ cooking pot ʼ(←H.), kunāl, °lā m., °lī f.,

kuṇḍālā m. ʻ dish ʼ; WPah. cam. kuṇḍ ʻ pool ʼ, bhal. kunnu n. ʻ cistern for washing clothes in ʼ; Ku. kuno ʻ cooking pot ʼ, kuni, °nelo ʻ copper vessel ʼ; B. kũṛ ʻ small morass, low plot of riceland ʼ, kũṛi ʻ earthen pot, pipe -- bowl ʼ; Or. kuṇḍa ʻ earthen vessel ʼ, °ḍā ʻ large do. ʼ, °ḍi ʻ stone pot ʼ; Bi. kū̃ṛ ʻ iron or earthen vessel, cavity in sugar mill ʼ, kū̃ṛā ʻ earthen vessel for grain ʼ; Mth. kũṛ ʻ pot ʼ, kū̃ṛā ʻ churn ʼ; Bhoj. kũṛī ʻ vessel to draw water in ʼ; H. kū̃ḍ f. ʻ tub ʼ, kū̃ṛā m. ʻ small tub ʼ, kū̃ḍā m. ʻ earthen vessel to knead bread in ʼ, kū̃ṛī f. ʻ stone cup ʼ; G. kũḍ m. ʻ basin ʼ, kũḍī f. ʻ water jar ʼ; M. kũḍ n. ʻ pool, well ʼ, kũḍā m. ʻ large openmouthed jar ʼ, °ḍī f. ʻ small do. ʼ; Si. ken̆ḍiya, keḍ° ʻ pot, drinking vessel ʼ.2. N. gũṛ ʻ nest ʼ (or ← Drav. Kan. gūḍu ʻ nest ʼ, &c.: see kulāˊya -- ); H. gõṛā m. ʻ reservoir used in irrigation ʼ.Addenda: kuṇḍa -- 1: S.kcch. kūṇḍho m. ʻ flower -- pot ʼ, kūnnī f. ʻ small earthen pot ʼ; WPah.kṭg. kv́ṇḍh m. ʻ pit or vessel used for an oblation with fire into which barley etc. is thrown ʼ; J. kũḍ m. ʻ pool, deep hole in a stream ʼ; Brj. kū̃ṛo m., °ṛī f. ʻ pot ʼ.(CDIAL 3264) Rupaka, 'metaphor' or Rebus: kō̃da -कोँद ।'kiln'; kundanace' (Kashmiri)

Indus Seals and the Indus Civilization Script

Updated February 03, 2019 K.Kris Hirst

K. Kris Hirst is an archaeologist with 30 years of field experience. She is the author of The Archaeologist's Book of Quotations and her work has appeared in Science and Archaeology.

Does the Indus Civilization Script Represent a Language?

Examples of the 4500 year old Indus script on seals and tablets. Image courtesy of J.M. Kenoyer / Harappa.com

The Indus Civilization—also called the Indus Valley Civilization, Harappan, Indus-Sarasvati or Hakra Civilization—was based in an area of some 1.6 million square kilometers in what is today eastern Pakistan and northeastern India between about 2500-1900 BC. There are 2,600 known Indus sites, from enormous urban cities like Mohenjo Daro and Mehrgarhto small villages like Nausharo.

Although quite a bit of archaeological data has been collected, we know almost nothing about the history of this massive civilization, because we haven't deciphered the language yet. About 6,000 representations of glyph strings have been discovered at Indus sites, mostly on square or rectangular seals like the ones in this photo essay. Some scholars—notably Steve Farmer and associates in 2004—argue that the glyphs don't really represent a full language, but rather simply a non-structured symbol system.

An article written by Rajesh P.N. Rao (a computer scientist at the University of Washington) and colleagues in Mumbai and Chennai and published in Science on April 23, 2009, provides evidence that the glyphs really do represent a language. This photo essay will provide some context of that argument, as well as an excuse to look at pretty pictures of Indus seals, provided to Science and us by researcher J.N. Kenoyer of the University of Wisconsin and Harappa.com.

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What Exactly Is a Stamp Seal?

Examples of the 4500 year old Indus script on seals and tablets. Image courtesy of J.M. Kenoyer / Harappa.com

The script writing of the Indus civilization has been found on stamp seals, pottery, tablets, tools, and weapons. Of all these types of inscriptions, stamp seals are the most numerous, and they are the focus of this photo essay.

A stamp seal is something used by the—well you absolutely have to call it the international trade network of the Bronze age Mediterraneansocieties, including Mesopotamia and pretty much anybody who traded with them. In Mesopotamia, carved pieces of stone were pressed into the clay used to seal packages of trade goods. The impressions on the seals often listed the contents, or the origin, or the destination, or the amount of goods in the package, or all of the above.

The Mesopotamian stamp seal network is widely considered the first language in the world, developed because of the need for accountants to track whatever was being traded. CPAS of the world, take a bow!

03 What are the Seals of the Indus Civilization Like?

Examples of the 4500 year old Indus script on seals and tablets. Image courtesy of J.M. Kenoyer / Harappa.com

Indus civilization stamp seals are usually square to rectangular, and about 2-3 centimeters on a side, although there are larger and smaller ones. They were carved using bronze or flint tools, and they generally include an animal representation and a handful of glyphs.

Animals represented on the seals are mostly, interestingly enough, unicorns—basically, a bull with one horn, whether they're "unicorns" in the mythical sense or not is vigorously debated. There are also (in descending order of frequency) short-horned bulls, zebus, rhinoceroses, goat-antelope mixtures, bull-antelope mixtures, tigers, buffaloes, hares, elephants, and goats.

Some question has arisen about whether these were seals at all—there are very few sealings (the impressed clay) which have been discovered. That's definitely different from the Mesopotamian model, where the seals were clearly used as accounting devices: archaeologists have found rooms with hundreds of clay sealings all stacked and ready for counting. Further, the Indus seals don't show a lot of use-wear, compared to Mesopotamian versions. That may mean that it wasn't the seal's impression in clay that was important, but rather the seal itself that was meaningful.

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What Does the Indus Script Represent?

So if the seals weren't necessarily stamps, then they don't necessarily have to include information about the contents of a jar or package being sent to a far away land. Which is really too bad for us—decipherment would somewhat easier if we know or could guess that the glyphs represent something that might be shipped in a jar (Harappans grew wheat, barley, and rice, among other things) or that part of the glyphs might be numbers or place names.

Since the seals aren't necessarily stamp seals, do the glyphs have to represent language at all? Well, the glyphs do recur. There's a fish-like glyph and a grid and a diamond shape and a u-shape thing with wings sometimes called a double-reed that are all found repeatedly in Indus scripts, whether on seals or on pottery sherds.

What Rao and his associates did was try to find out if the number and occurrence pattern of glyphs was repetitive, but not too repetitive. You see, language is structured, but not rigidly so. Some other cultures have glyphic representations that are considered not language, because they appear randomly, like the Vinč inscriptions of southeastern Europe. Others are rigidly patterned, like a Near Eastern pantheon list, with always the head god listed first, followed by the second in command, down to the least important. Not a sentence so much as a list.

So Rao, a computer scientist, looked at the way the various symbols are structured on the seals, to see if he could spot a non-random but recurring pattern.

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Comparing Indus Script to Other Ancient Languages

What Rao and his associates did was compare the relative disorder of the glyph positions to that of five types of known natural languages (Sumerian, Old Tamil, Rig Vedic Sanskrit, and English); four types of non-languages (Vinčainscriptions and Near Eastern deity lists, human DNA sequences and bacterial protein sequences); and an artificially-created language (Fortran).

They found that, indeed, the occurrence of glyphs is both non-random and patterned, but not rigidly so, and the characteristic of that language falls within the same non-randomness and lack of rigidity as recognized languages.

It may be that we will never crack the code of the ancient Indus. The reason we could crack Egyptian hieroglyphs and Akkadian rests primarily on the availability of the multi-language texts of the Rosetta Stone and the Behistun Inscription. The Mycenaean Linear B was cracked using tens of thousands of inscriptions. But, what Rao has done gives us hope that one day, maybe somebody like Asko Parpola may crack the Indus script.

Sources and Further Information

Rao, Rajesh P. N., et al. 2009 Entropic Evidence for Linguistic Structure in the Indus Script. Science Express 23 April 2009

Steve Farmer, Richard Sproat, and Michael Witzel. 2004. The Collapse of the Indus-Script Thesis: The Myth of a Literate Harappan Civilization. EJVS 11-2: 19-57. Free pdf to download

https://www.thoughtco.com/seals-and-the-indus-civilization-script-171330

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Kernos' rings and Kernunno's cauldron celebrate smelters, seafaring kārṇī 'helmsman, supercargo'

February 6, 2019, 9:57 pm

≫ Next: Itihāsa, historic discovery in 1999 of a Rosetta stone of Indus Script, Dholavira signboard; a prayer to karandi ‘fire divinity’

≪ Previous: Kris Hirst re-opens a Farmer et al discovery of Harappan illiteracy. Zebu on Nausharo pottery signifies पोळ pōḷa magnetite ferrite ore in Indus writing wealth-accounting ledgers

https://tinyurl.com/ya962z9b

This is an addendum to:

Kris Hirst re-opens a Farmer et al discovery of Harappan illiteracy. Zebu on Nausharo pottery signifies पोळ pōḷa magnetite ferrite ore in Indus writing wealth-accounting ledgers https://tinyurl.com/yalshmuy

There is a possibility that the metaphor of Kernos' rings is echoed in Kernunno's Gundestrup cauldron. Both metaphors celebrate animal hieroglyphs which signify wealth-accounting ledgers, metalwork catalogues.

Both the metaphors are celebration of wealth-creation by metalwork artisans. His name is written as kernunno. This is cognate: kārṇī m. ʻprime minister, supercargo of a ship'; kanahār m. ʻ 'helmsman, fishermanʼ. Since k(c)ernunno is also derivable from शृङ्गम् śṛṅgam 'horn', which adorns Kernunnos's head, the semantics of jangaḍ 'cargo invoiced on approval basis' are also echoed.

On the significance of Indus Script hypertexts in Gundestrup Cauldron, see:

Cernunnos/Kernunno of Gundestrup Cauldron/Pilier des Nautes, is Tvaṣṭṛ Triśiras r̥ṣi of R̥gveda on Indus Script seal m0304, evokes cognate kārṇī 'supercargo of a ship' https://tinyurl.com/y7gf3r8b

The seated, bearded person on the Pillar of Boatmen, wears a shawl wich echoes the cotton shawl worn by Mohenjo-daro priest with neatly trimmed beard.

The person seated in penance on one register of the Pillar of Boatmen, wears three strands as shawl. tri-dhātu 'three strands' rebus: tri-dhātu 'three ferrite ores' PLUS two torcs on the stag-horns which constitute his hair-dress. dhāu 'strand (of rope or plait)' rebus: dhāū 'red stone minerals. panca 'shawl, dhoti' rebus: panja 'kiln, furnace, smelter'.

↧

Itihāsa, historic discovery in 1999 of a Rosetta stone of Indus Script, Dholavira signboard; a prayer to karandi ‘fire divinity’

February 7, 2019, 9:42 pm

≫ Next: Indus Script hypertexts, accounting ledgers of two metalwork treasures Kunda, Mukunda. Mehergarh crucible of innovation -- Mathieu Thoury

≪ Previous: Kernos' rings and Kernunno's cauldron celebrate smelters, seafaring kārṇī 'helmsman, supercargo'

https://tinyurl.com/ydaoxfle

-- An advertisement hoarding atop city gate; a proclamation of Koṭḍa artisans' metallurgical competence

I have great pleasure in acknowledging the video narration of the great discovery of the Dholavira signboard under the direction of Serge Tigneres and Tomomi Nagazawa.

It is a breath-taking presentation of how the artisans involved in the archaeological discovery wait with bated breath as the signboard unravels by the painstaking work of the team of archaeologists coordinated by Ravindra Singh Bisht. The team should be complimented for recording for posterity this historic moment of discovery which defines the history of Sarasvati Civilization.

Koṭḍa is the name of the village where Dholavira settlement was uncovered by Archaeological Survey of India.

The signboard is called a Rosetta stone because the archaeological context of its discovery points to its use as an advertisement hoarding of the metallurgical competence of Koṭḍa (Dholavira) artisans.

This Rosetta stone has been deciphered as a wealth-accounting daybook, metalwork catalogue.

https://youtu.be/vxgMODHZ5hE (4:30) Title: Discovery of a Rosetta stone of Indus Script. Video clip excerpted from https://www.youtube.com/watch?v=DV_5fI_9b3M (52:19)

Title: The Indus Valley Civilisation Mohenjodaro and Harappa

Directed by Serge Tigneres, Tomomi Nagazawa

Script Serge Tigneres

Narrator: Simon Chilvers

Script and subtitles: George Burchett, Keith McLennan

That this is a signboard makes it a Rosetta Stone. A signboard is meant to proclaim the nature of work performed in the workplace which shows the Signboard on a gateway.

The hieroglyphs on the Signboard relate to metalwork competence of the artisans of the workshop.

The inscription or advertisement hoarding is a metalwork catalogue, consistent with the purpse served by over 8000 Indus Script inscriptions of the Corpora. (The Corpora has grown to over 30000 inscriptions with a large cache of discoveries from Persian Gulf sites). See:

Itihāsa. With a large cache of Dilmun seals, Indus Script Corpora has grown to c. 30,000 insciptions of wealth-accounting ledgers https://tinyurl.com/y8rj5xpd

Each of the 10 hieroglyphs on the advertisement hoarding signifies descriptions of metallurgical competence of the artisans of the Koṭḍa 'fortification' workplace.

The inscription can be divided into three parts with unique descriptions of metallurgical competence of the artisans' workshop of Koṭḍa (Dholavira).

Part 1 of the inscription signifies, mint (for) mineral ore, gold mint producing blazing, bright, metal, brass, metalcasting articles.

Part 2 of the inscription signifies gold, brass, metalcasting equipment, metal ingots and blazing, bright metalware.

Part 3 of the inscription signifies inscribed copper objects, fine gold, brass, metalcasting equipment.

Part 1

ḍato 'claws or pincers (chelae) of crabs' rebus: dhatu 'mineral' PLUS kamaḍha 'crab' Rebus: kammaṭa 'mint, coiner, coinage' rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236)

dula 'pair' rebus: dul 'metal casting' PLUS kunda 'knave of wheel, axle' rebus: kunda 'Kubera's treasure'; kundaṇa 'fine gold' PLUS eraka 'nave of wheel' rebus: eraka 'molten cast' PLUS ārā 'spokes' rebus: āra 'brass'.

Thus, fine gold treasure and brass metal castings.

Thus, Part 1 of the inscription signifies, mint (for) mineral ore, gold mint producing blazing, bright, metal, brass, metalcasting articles.

Part 2

Hieroglyph, notch:खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā 'tools, pots and pans, metalware'

Hieroglyph, lid: dhamkaṇa 'lid' rebus: ṭaṅka 'mint' tankam 'gold'. Rebus: dhakka 'excellent, bright, blazing metal article'.

Hieroglyph, corner:

Sign'oval/lozenge/rhombus' hieoglyph orthographic variants are shown on Signs 261, 263, 266, 267 and Sign 373. Sign 373 has the shape of oval or lozenge is the shape of a bun ingot. mũhã̄ = 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'.

Tu. kōḍi corner; kōṇṭu angle, corner, crook. Nk. kōnṭa corner (DEDR 2054b) G. khū̃ṭṛī f. ʻangleʼ Rebus:kõdā ‘to turn in a lathe’(B.) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) kunda 'a treasure of Kubera'. Thus, the Sign 261 on the Dholavira advertisement hoarding is read rebus as kunda 'a treasure of Kubera', i.e. kundaṇa 'fine gold'.

Hieroglyph, knave of spoked wheel:

kunda 'knave of wheel, axle' rebus: kunda 'Kubera's treasure'; kundaṇa 'fine gold' PLUS eraka 'nave of wheel' rebus: eraka 'molten cast' PLUS ārā 'spokes' rebus: āra 'brass'. Thus, gold, brass, metalcasting articles.

Thus, Part 2 of the inscription signifies gold, brass, metalcasting equipment, metal ingots and blazing, bright metalware.

Part 3

Sign 327 hieroglyph is a ‘ficus glomerata leaf’ with ligatures of 'ears': karaṇa 'ears' rebus: karaṇa 'scribe' PLUS loa 'ficus glomerata' rebus: loh 'iron, copper'. Thus, inscribed copper (objects).

Sign 256 kunda 'pillar' Ka. kunda a pillar of bricks, etc. Tu. kunda pillar, post. Te. kunda id. Malt. kunda block, log. ? Cf. Ta. kantu pillar, post. (DEDR 1723) Rebus:

kunda 'a treasure of Kubera'; kundaṇa'fine gold'.

Hieroglyph, knave of spoked wheel: kunda 'knave of wheel, axle' rebus: kunda 'Kubera's treasure'; kundaṇa 'fine gold' PLUS eraka 'nave of wheel' rebus: eraka 'molten cast' PLUS ārā 'spokes' rebus: āra 'brass'. Thus, gold, brass metalcasting articles.

Thus, Part 3 of the inscription signifies inscribed copper objects, fine gold, brass, metalcasting equipment.

Note on two pairs of hieroglyphs in the Advertisement of Dholavira

The two pairs of hieroglyphs are explained with fine shades of meaning conveyed about metallurgical competence of the artisans of Dholavira, i.e., Koṭḍa fortification.

signify fine goldtreasure and brass metal castings.

signify, fine gold PLUS gold, brass metalcasting articles.

The rebus Meluhha decipherment has demonstrated that the Advertisement hoarding is a proclamation of metallurgical competence of the Dholavira citadel artisans,

Dholavira Indus Script Signboard proclamation of engraved molten casts, implements, dula thã̄bh, 'two pillars' rebus dul tã̄bā 'copper castings' http://tinyurl.com/z7h7336 stambha m. ʻ pillar, post ʼ Kāṭh., ˚aka -- m. Mahāvy. [√stambh]Pa. thambha -- m. ʻ pillar ʼ, Aś.rum. thabhe loc., top. thaṁbhe, ru. ṭha(ṁ)bhasi, Pk. thaṁbha -- , ˚aya -- , taṁbha -- , ṭhaṁbha -- m.; Wg. štɔ̈̄ma ʻ stem, tree ʼ, Kt. štom, Pr. üštyobu; Bshk. "ṭam"ʻ tree ʼ NTS xviii 124, Tor. thām; K. tham m. ʻ pillar, post ʼ, S. thambhu m.; L. thamm, thammā m. ʻ prop ʼ, (Ju.) tham, ˚mā, awāṇ. tham, khet. thambā; P. thamb(h), thamm(h) ʻ pillar, post ʼ, Ku. N. B. thām, Or. thamba; Bi. mar -- thamh ʻ upright post of oil -- mill ʼ; H. thã̄bh, thām, thambā ʻ prop, pillar, stem of plantain tree ʼ; OMarw. thāma m. ʻ pillar ʼ, Si. ṭäm̆ba; Md. tambu, tabu ʻ pillar, post ʼ; -- ext. -- ḍ -- : S. thambhiṛī f. ʻ inside peg of yoke ʼ; N. thāṅro ʻ prop ʼ; Aw.lakh. thãbharā ʻ post ʼ; H. thamṛā ʻ thick, corpulent ʼ; -- -- ll -- ; G. thã̄bhlɔ, thã̄blɔ m. ʻ post, pillar ʼ. -- X sthūˊṇā -- q.v.*ut -- stambha -- , *kāstambha -- ; *kūpastambha -- .Addenda: stambha -- : S.kcch. thambhlo m. ʻ pillar ʼ, A. thām, Md. tan̆bu.(CDIAL 13682)

Meluhha hieroglyphs. Local people remember an ancient name of the Dholavira citadel. The name is: Koṭḍa. कोठ kōṭha m (कोट्ट S) A fort: also a castle. 2 The wall of a fort. कोठडी kōṭhaḍī f ( H) A chamber, room, apartment. (Marathi)

kōṭṭai கோட்டை² kōṭṭai, n. < kōṭṭa. 1. [T. kōṭa, K. M. kōṭṭa.] Fort, castle, stronghold; மதிலரண். (சூடா.) kōṭṭa1 m. (n. lex.) ʻ fort ʼ Kathās., kōṭa -- 1 m. Vāstuv.Aś. sn. koṭa -- ʻ fort, fortified town ʼ, Pk. koṭṭa -- , kuṭ˚ n.; Kt. kuṭ ʻ tower (?) ʼ NTS xii 174; Dm. kōṭ ʻ tower ʼ, Kal. kōṭ; Sh. gil. kōṭ m. ʻ fort ʼ (→ Ḍ. kōṭ m.), koh. pales. kōṭ m. ʻ village ʼ; K. kūṭh, dat. kūṭas m. ʻ fort ʼ, S. koṭu m., L. koṭ m.; P. koṭ m. ʻ fort, mud bank round a village or field ʼ; A. kõṭh ʻ stockade, palisade ʼ; B. koṭ, kuṭ ʻ fort ʼ, Or. koṭa, kuṭa, H. Marw. koṭ m.; G. koṭ m. ʻ fort, rampart ʼ; M. koṭ, koṭh m. ʻ fort ʼ, Si. koṭuva (Geiger EGS 50 < kōṣṭhaka -- ).kōṭṭapāla -- .*kōṭṭa -- 2 ʻ breaking ʼ see kuṭṭa -- 1.*kōṭṭana -- ʻ breaking ʼ see kuṭṭana -- .Addenda: kōṭṭa -- 1: A. kõṭh ʻ fort ʼ and other lggs. with aspirate and meaning ʻ fort ʼ perh. X kṓṣṭha -- 2 Add2 (AFD 206).kōṭṭha -- 2 see kúṣṭha -- 2 Add2.kōṭṭapāla m. ʻ commander of a fort ʼ Pañcat. [kōṭṭa -- 1, pāla -- ]Pk. koṭṭavāla -- , kuṭ˚ m. ʻ police officer ʼ; K. kuṭawāl m. ʻ captain of a fort, chief of police, city magistrate ʼ; S. koṭāru m. ʻ district officer who watches crops, police officer ʼ; L. kuṭvāl m. ʻ a kind of village constable ʼ; WPah. bhal. kuṭwāl m. ʻ hon. title of a Ṭhakkur ʼ; B. koṭāl ʻ watchman, constable ʼ (ODBL 329 < *kōṣṭhapāla -- ); Or. kaṭuāḷa ʻ town policeman ʼ; H. koṭwār, ˚wāl m. ʻ police officer ʼ (→ L. koṭvāl m., S. koṭvālu m.), G. koṭvāḷ m.(CDIAL 3500, 3501)

Spoked wheel. Focus on the nave of wheel. Occurs four times on Dholavira sign board with ten hieroglyphs which adorned the northern gateway, as an advertisement hoarding, welcoming entry into the citadel.

Altar, offered by Tukulti-Ninurta I, 1243-1208 BCE, in prayer before two deities carrying wooden standards, Assyria, Bronze Ishtar temple, Assur. Shows the king standing flanked by two standard-bearers; the standard has a spoked-wheel hieroglyph on the top of the staffs and also on the volutes of the altar frieze.The mediation with deities by king is adopted by Assurnasirpal II.

The two standards (staffs) are topped by a spoked wheel. āra 'spokes' Rebus: āra 'bronze'. cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) Glyph: eraka

This rebus reading is consistent with the prayer offered to the karaṇḍa 'hard alloy'; karandi 'fire god' (Remo)

Glyphic element: erako nave; era = knave of wheel. Glyphic element: āra ‘spokes’. Rebus: āra ‘brass’ as in ārakūṭa (Skt.) Rebus: Tu. eraka molten, cast (as metal); eraguni to melt (DEDR 866) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tu.lex.) Glyphic element: kund opening in the nave or hub of a wheel to admit the axle (Santali) Rebus: kunda ‘turner’ kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295).

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)

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

Rebus: karaḍa 'hard alloy' of arka 'copper'.

Photograph of excavation site. Shows three culd stands in situ in Room 6 of Ishtar temple of Tukulti-Ninurta I at Ashur. Courtesy: Vorderaslatisches Museum.

Andrae, 1935, 57-76, pls. 12, 30 1. Jakob-Rust, in Vorderaslatisches Museum 1992, 160, no. 103; Andrae, 1935, 16, figs. 2,3.

The करडी [ karaḍī ] safflowers flanking the sculptural frieze signify a prayer to karandi ‘fire divinity’ (Remo)

करंडा [karaṇḍā] A clump, chump, or block of wood. 4 The stock or fixed portion of the staff of the large leaf-covered summerhead or umbrella. करांडा [ karāṇḍā ] m C A cylindrical piece as sawn or chopped off the trunk or a bough of a tree; a clump, chump, or block.

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

[quote]Description: Although the cult pedestal of the Middle Assyrian king Tukulti-Ninurta mentions in its short inscription that it is dedicated to the god Nuska, the relief on the front that depicts the king in a rare kind of narrative, standing and kneeling in front of the very same pedestal was frequently discussed by art-historians. More strikingly on top of the depicted pedestal there is not the lamp, the usual divine symbol for the god Nuska, but most likely the representation of a tablet and a stylus, symbols for the god Nabû. (Klaus Wagensonner, University of Oxford)[unquote] http://cdli.ox.ac.uk/wiki/doku.php?id=pedestal_tukulti_ninurta

No, it is not a representation of a tablet and a stylus, but a chump, a block of wood, karaṇḍā read rebus: karandi 'fire-god' (Munda). Thus, the chump is the divine symbol of fire-god.

The hieroglyphs on the fire-altar confirm the link to metallurgy with the use of 'spoked-wheel' banner carried on one side of the altar and the 'safflower' hieroglyph flanking the altar worshipped by Tukulti-Ninurta. It is rebus, as Sigmund Freud noted in reference to the dream. 'I have revealed to Atrahasis a dream, and it is thus that he has learned the secret of the gods.' (Epic of Gilgamesh, Ninevite version, XI, 187.)(Zainab Bahrani, 2011, The graven image: representation in Babylonia and Assyria, Univ. of Pennsylvania Press, p. 185).

kund opening in the nave or hub of a wheel to admit the axle (Santali) Rebus: kunda ‘turner’ kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295). कुन्द a turner's lathe; one of कुबेर's nine treasures [N. of a गुह्यक (Demetrius Galanos's Lexiko: sanskritikes, anglikes, hellenikes)] kunda1 m. ʻ a turner's lathe ʼ lex. [Cf. *cunda -- 1]N. kũdnu ʻ to shape smoothly, smoothe, carve, hew ʼ, kũduwā ʻ smoothly shaped ʼ; A. kund ʻ lathe ʼ, kundiba ʻ to turn and smooth in a lathe ʼ, kundowā ʻ smoothed and rounded ʼ; B. kũd ʻ lathe ʼ, kũdā, kõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibā, kū̃d˚ ʻ to turn ʼ (→ Drav. Kur. kū̃d ʻ lathe ʼ); Bi. kund ʻ brassfounder's lathe ʼ; H. kunnā ʻ to shape on a lathe ʼ, kuniyā m. ʻ turner ʼ, kunwā m.(CDIAL 3295)kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 1]A. kundār, B. kũdār, ˚ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, ˚rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ. (CDIAL 3297)

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

koṇḍa bend (Ko.); Tu. kōḍi corner; kōṇṭu angle, corner, crook. Nk. kōnṭa corner (DEDR 2054b) G. khū̃ṭṛī f. ʻangleʼ Rebus:kõdā ‘to turn in a lathe’(B.) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) koḍ ‘artisan’s workshop’ (Kuwi) koḍ = place where artisans work (G.) ācāri koṭṭya ‘smithy’ (Tu.) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) B. kõdā ‘to turn in a lathe’; Or.kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. Kū̃d ’ lathe’) (CDIAL 3295) A. kundār, B. kũdār, ri, Or.Kundāru; H. kũderā m. ‘one who works a lathe, one who scrapes’, rī f., kũdernā ‘to scrape, plane, round on a lathe’; kundakara— m. ‘turner’ (Skt.)(CDIAL 3297). कोंदण [ kōndaṇa ] n (कोंदणें) Setting or infixing of gems.(Marathi) খোদকার [ khōdakāra ] n an engraver; a carver. খোদকারি n. engraving; carving; interference in other’s work. খোদাই [ khōdāi ] n engraving; carving. খোদাই করা v. to engrave; to carve. খোদানো v. & n. en graving; carving. খোদিত [ khōdita ] a engraved. (Bengali) खोदकाम [ khōdakāma ] n Sculpture; carved work or work for the carver. खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving: also sculptured or carved work. खोदणावळ [ khōdaṇāvaḷa ] f (खोदणें) The price or cost of sculpture or carving. खोदणी [ khōdaṇī ] f (Verbal of खोदणें) Digging, engraving &c. 2 fig. An exacting of money by importunity. V लाव, मांड. 3 An instrument to scoop out and cut flowers and figures from paper. 4 A goldsmith’s die. खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engrave. खोद खोदून विचारणें or –पुसणें To question minutely and searchingly, to probe. खोदाई [ khōdāī ] f (H.) Price or cost of digging or of sculpture or carving. खोदींव [ khōdīṃva ] p of खोदणें Dug. 2 Engraved, carved, sculptured. (Marathi)

kunta1 ʻ spear ʼ. 2. *kōnta -- . [Perh. ← Gk. konto/s ʻ spear ʼ EWA i 229]
1. Pk. kuṁta -- m. ʻ spear ʼ; S. kundu m. ʻ spike of a top ʼ, ˚dī f. ʻ spike at the bottom of a stick ʼ, ˚diṛī, ˚dirī f. ʻ spike of a spear or stick ʼ; Si. kutu ʻ lance ʼ.

2. Pa. konta -- m. ʻ standard ʼ; Pk. koṁta -- m. ʻ spear ʼ; H. kõt m. (f.?) ʻ spear, dart ʼ; -- Si. kota ʻ spear, spire, standard ʼ perh. ← Pa.(CDIAL 3289)

eraka ‘knave of wheel’ Rebus: eraka ‘copper’ (Kannada) eraka ‘molten cast (metal)(Tulu).

कुटिल kuti-la bent, curved; crooked, winding; curly; going crooked ways, deceitful; adverse: -ka, a. winding; curly; -kesa, a. (î) curly-haired; -gati, a. going crookedly or stealthily; f. a metre; -gâ, f. river: -̮îsa, m. lord of rivers, ocean; -gâman, a. winding; capricious; -tâ, f. curliness; deceitfulness; -tva, n. id.; deviation from (--°); -mati, a. crooked-minded, deceitful; -manas, a. id.

कुटि kut-i bend, curve

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)

Sign 162 kolmo 'rice-plant' rebus: kolimi 'smithy, forge'. Sign 169: Konḍa dolu a creeper plant, shrub, plant of shoot height. Pe. dol plant; stem, trunk. Manḍ. dul plant; sapling. Kui.(Mah. p. 96) kūḍi-ḍoḍu rice plant; (p. 102) ḍoḍu tree. Kuwi (Mah.) kūli-dolu rice plant; (Isr.) dulomi plant.(DEDR 3517) Homonym: dula 'two, pair' Rebus: dul'casting metal'

இடங்கசாலை iṭaṅka-cālai இடங்கசாலை iṭaṅka-cālai, n. < ṭaṅka +. Mint; அக்கசாலை. வேங்கடாத்திரி தேவமகாராஜய் யனுக்குத் திருவையாறு இடங்கசாலை பாலிக்கையில் (S. I. I. v, 224). ṭaṅkaśālā -- , ṭaṅkakaś˚ f. ʻ mint ʼ lex. [ṭaṅka -- 1, śāˊlā -- ]N. ṭaksāl, ˚ār, B. ṭāksāl, ṭã̄k˚, ṭek˚, Bhoj. ṭaksār, H. ṭaksāl, ˚ār f., G. ṭãksāḷ f., M. ṭã̄ksāl, ṭāk˚, ṭãk˚, ṭak˚. -- Deriv. G. ṭaksāḷī m. ʻ mint -- master ʼ, M. ṭāksāḷyām.Addenda: ṭaṅkaśālā -- : Brj. ṭaksāḷī, ˚sārī m. ʻ mint -- master ʼ.(CDIAL 5434)Ta. taṅkam pure gold, that which is precious, of great worth. Ma. taṅkam pure gold. / ? < Skt. ṭaṅka- a stamped (gold) coin. (DEDR 3013)టంకము ṭaṅkamu ṭankamu. [Tel.] n. A piece of money: a coin: బంగారుటంకము a gold coin. A coin, of the value of 16 copper dubs. దీవారము. A composition of copper and pewter. A stonecutter's chisel. కాసెయులి. Borax వెలిగారము. టంకణము or టంకము ṭankaṇamu. n. Borax: subborate of soda. వెలిగారము. టంకసాల ṭanka-sāla. n. A mint. టంకవాటుor టంకసాలవాటు the name of a certain gold coin.

டங்கசாலை ṭaṅka-cālai டங்கசாலை ṭaṅka-cālai, n. < ṭaṅka-šālā. Mint. See தங்கசாலை. (ஈடு, 1, 9, 8, ஜீ.)
தங்கசாலை taṅka-cālai, n. < ṭaṅka +. Mint, place where money is coined; நாணயம் அடிக்குஞ்சாலை

Ta. ṭakkiyam, ṭakkayam, iṭakkiyam flag, swallow-tail banner, standard hoisted on a car. Ka. ṭakke, ṭekke, ṭekkeya, ṭhekke banner, standard. Te. ṭekkemu, ṭekkiyamu flag, banner. (DEDR 2938)

ṭaṅka3 (a) ʻ *rod, spike ʼ, (b) m. ʻ leg ʼ lex. 2. ṭaṅga -- 3 m. ʻ leg ʼ lex. [Orig. ʻ stick ʼ? Cf. list s.v. *ḍakka -- 2]1. (a) K. ṭang m. ʻ projecting spike which acts as a bolt at one corner of a door ʼ; N. ṭāṅo ʻ rod, fishing rod ʼ, ˚ṅi ʻ measuring rod ʼ; H. ṭã̄k f. ʻ iron pin, rivet ʼ (→ Ku. ṭã̄ki ʻ thin iron bar ʼ).(b) Pk. ṭaṁka -- m., ˚kā -- f. ʻ leg ʼ, S. ṭaṅga f., L. P. ṭaṅg f., Ku. ṭã̄g, N. ṭāṅ; Or. ṭāṅka ʻ leg, thigh ʼ, ˚ku ʻ thigh, buttock ʼ.2. B. ṭāṅ, ṭeṅri ʻ leg, thigh ʼ; Mth. ṭã̄g, ṭãgri ʻ leg, foot ʼ; Bhoj. ṭāṅ, ṭaṅari ʻ leg ʼ, Aw. lakh. H. ṭã̄g f.; G. ṭã̄g f., ˚gɔ m. ʻ leg from hip to foot ʼ; M. ṭã̄g f. ʻ leg ʼ.*uṭṭaṅka -- 2, *uṭṭaṅga -- .ṭaṅka -- 4 ʻ peak, crag ʼ see *ṭakka -- 3.Addenda: ṭaṅka -- 3. 1(b): S.kcch. ṭaṅg(h) f. ʻ leg ʼ, WPah.kṭg. (kc.) ṭāṅg f. (obl. -- a) ʻ leg (from knee to foot) ʼ.2. ṭaṅga -- 3: A. ṭāṅī ʻ wedge ʼ (CDIAL 5428)

ṭaṅka2 m.n. ʻ spade, hoe, chisel ʼ R. 2. ṭaṅga -- 2 m.n. ʻ sword, spade ʼ lex.
1. Pa. ṭaṅka -- m. ʻ stone mason's chisel ʼ; Pk. ṭaṁka -- m. ʻ stone -- chisel, sword ʼ; Woṭ. ṭhõ ʻ axe ʼ; Bshk. ṭhoṅ ʻ battleaxe ʼ, ṭheṅ ʻ small axe ʼ (< *ṭaṅkī); Tor. (Biddulph) "tunger" m. ʻ axe ʼ (ṭ? AO viii 310), Phal. ṭhō˘ṅgi f.; K. ṭŏnguru m. ʻ a kind of hoe ʼ; N. (Tarai) ṭã̄gi ʻ adze ʼ; H. ṭã̄kī f. ʻ chisel ʼ; G. ṭã̄k f. ʻ pen nib ʼ; M. ṭã̄k m. ʻ pen nib ʼ, ṭã̄kī f. ʻ chisel ʼ.2. A. ṭāṅgi ʻ stone chisel ʼ; B. ṭāṅg, ˚gi ʻ spade, axe ʼ; Or. ṭāṅgi ʻ battle -- axe ʼ; Bi. ṭã̄gā, ˚gī ʻ adze ʼ; Bhoj. ṭāṅī ʻ axe ʼ; H. ṭã̄gīf. ʻ hatchet ʼ.*ṭaṅkati2.(CDIAL 5427)

ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'.

Ta. takkai roll of palm leaves or plug put into a perforation of the ear to enlarge it, cork, roll of cloth or paper used as a cork, plug to stop up a crack, etc., sola pith, piece of pith attached to a fishing rod, clot, congealed mass, float, raft; takkal plug. Ma. takka what is placed in the ear instead of an ornament, ivory, wood, etc.(DEDR 3012)

Hieroglyph: *ḍhakk ʻ cover ʼ. 2. *ḍhaṅk -- . [Cf. ḍhakkana -- n. ʻ shutting ʼ Śīl.] 1. Pk. ḍhakkaï ʻ shuts ʼ; S. ḍhakaṇu ʻ to cover ʼ; L. ḍhakkaṇ ʻ to imprison ʼ; P. ḍhakkṇā ʻ to cover ʼ, Ku. ḍhakṇo, N. ḍhāknu, A. ḍhākiba, B. ḍhākā, Bhoj. ḍhākal, OMarw. ḍhakaï; -- Pk. ḍhakkiṇī -- f. ʻ lid ʼ, S. ḍhakkaṇī f., P. ḍhakṇā m., °ṇī f., WPah. bhad. ḍhakkaṇ n., Ku. ḍhākaṇ, N. ḍhakni, A. ḍhākni, B. ḍhākan, ḍhāknā, °ni; Bi. ḍhaknā ʻ cover of grain -- pot ʼ, Mth. ḍhākni; Bhoj. ḍhaknī ʻ lid ʼ. -- Poss. K. ḍākürü f. ʻ wide shallow basket ʼ; N. ḍhāki ʻ basket ʼ, ḍhākar ʻ a kind of large basket ʼ; Bi. mag. ḍhākā ʻ large open basket ʼ; -- P. ḍhakkā m. ʻ pass between two hills ʼ.2. Pk. ḍhaṁkissaï ʻ will cover ʼ; Kho. (Lor.) ḍaṅgeik ʻ to cover, shut, bury ʼ; Phal. ḍhaṅg -- ʻ to bury ʼ; Or. ḍhaṅkibā ʻ to cover ʼ, H. ḍhã̄knā, Marw. ḍhã̄kṇo, G. ḍhã̄kvũ, M. ḍhã̄kṇẽ; -- Pk. ḍhaṁkaṇa -- n., °ṇī -- f. ʻ cover, lid ʼ, Or. ḍhāṅkuṇi, H. ḍhãknī f., G. ḍhã̄kṇũ n., °ṇī f., M. ḍhã̄kaṇ n., ḍhã̄kṇī f. *ḍhagga -- ʻ defective ʼ see *ḍagga -- 2. *ḍhaṅk -- ʻ cover ʼ see *ḍhakk -- .*ḍhaṅkha -- ʻ defective ʼ see *ḍagga -- 2. Addenda: *ḍhakk -- 1: S.kcch. ḍhakṇū ʻ to cover, shut (a door) ʼ, WPah.kṭg. (kc.) ḍhàkṇõ, Garh. ḍhakṇu; A. ḍhākiba (phonet. dh -- ) ʻ to cover ʼ, G. ḍhākvũ, M. ḍhākṇẽ.(CDIAL 5574) *tāmradhāka ʻ copper receptacle ʼ. [tāmrá -- , dhāká -- ]Bi. tamahā ʻ drinking vessel made of a red alloy ʼ. (CDIAL 5785)

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

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Indus Script hypertexts, accounting ledgers of two metalwork treasures Kunda, Mukunda. Mehergarh crucible of innovation -- Mathieu Thoury

February 8, 2019, 5:18 am

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≪ Previous: Itihāsa, historic discovery in 1999 of a Rosetta stone of Indus Script, Dholavira signboard; a prayer to karandi ‘fire divinity’

http://tinyurl.com/ycbhu78c

This is an addendum to:

1. Itihāsa, historic discovery in 1999 of a Rosetta stone of Indus Script, Dholavira signboard; a prayer to karandi ‘fire divinity’ https://tinyurl.com/ydaoxfle

2. Copper tablets, 212 Indus Script catalogues deciphered, karaḍā wealth-accounting ledgers archives detail kunda, कच्छप nidhi-s, treasures of Kubera https://tinyurl.com/y9wzbcrk

This monograph presents an etymological journey of Meluhha (Indian sprachbund 'language union') based on Indus Script decipherment to explain two metalwork treasures of Kubera: kunda, mukunda. A third treasure कच्छप has been explained in the context of the tortoise hieroglyph on Indus Script Corpora. See:

Itihāsa. Navanidhi of Kubera identified in Indus Script Corpora as wealth-accounting ledgers, metalwork catalogues

https://tinyurl.com/ya2c9kmm కమఠి a female tortoise, a small tortoise. కమఠేంద్రుడు kamaṭhēndruḍu. n. The father of tortoises, or king of turtles. (Telugu) rebus: kammaṭa ‘mint, coiner,coinage’.

Orthography of Sign 391 spoked wheel, axle, knave, spokes in the context of Meluhha dialectical words related to metalwork catalogue, has been explained as a rebus rendering of the word kunda'a treasure'kundana'fine gold'. Hieroglyph, knave of spoked wheel: kunda 'knave of wheel, axle' rebus: kunda 'Kubera's treasure'; kundaṇa 'fine gold' PLUS eraka 'nave of wheel' rebus: eraka 'molten cast' PLUS ārā 'spokes' rebus: āra 'brass'. Thus, gold, brass, metalcasting articles. On a copper plate, Sign 391 is inscripted within Sign 358.

Sign 358 variants (ASI concordance)

Sign 358 is a ligature of fists ligatured to the jar with a rim. Thus there are two hieroglyphs which compose a composite sign, a hypertext: 1. closed fists 2. rimless pot. The hieroglyph is read rebus as: मुष्टिक 'fist' rebus: मुष्टिक goldsmith.

The expression मुष्टिक 'fist' is a semantic expansion of muka 'blow with fist' (Sindhi) rebus: mũhe 'ingot' (Santali): मुष्टिक a partic. position of the hands rebus: मुष्टिक a goldsmith L.; (pl.) of a despised race (= डोम्बास्) R.;N. of an असुर Hariv. अ-क्षर--मुष्टिका f. the art of communicating syllables or ideas by the fingers (one of the 64 कलाs) वात्स्यायन

to hammer; muṭkablow with fist. Ga. (P.) muṭa fist. Go. (Mu.) muṭ (Ko.) muṭiya

hammer (Mu.) muṭka a blow (Voc. 2874). Pe. muṭla hammer. Manḍ.

Field symbol: spoked wheel within a fisted hand: kunda 'knave of wheel, axle' rebus: kunda'Kubera's treasure'; kundaṇa 'fine gold' arā 'spokes' Rebus: āra 'brass' eraka 'knave of wheel' Rebus: eraka 'moltencast' PLUS muṣṭi 'fist' rebus: muṣṭika 'goldsmith'. PLUS मुष्टिक 'fist' rebus: मुष्टिक goldsmith.

Thus, muṣṭika kunda goldsmith working with moltencast brass, fine gold. There are two nidhi-s (treasures) of Kubera called kunda and mukunda.

In Bharatiya tradition, both nidhi-s, kunda and mukunda also signify the name of विष्णु.

ముకుందబల్లెము mukunda-ballemu. n. A halberd or broad bladed spear. kuntam

குந்தம்⁵ kuntam, n. < kunta. 1. Javelin for throwing; barbed dart; எறிகோல். வைவா ளிருஞ்சிலை குந்தம் (சீவக. 1678). 2. Spear, lance; வேல். குந்தமலியும் புரவி யான் (பு. வெ. 4, 7). 3. Pike, stake; குத்துக்கோல். பூந்தலைக் குந்தங் குத்தி (முல்லைப். 41).मुकु m. = मुक्ति (a word formed to explain , मुकुन्-द as " giver of liberation " ; othersassume मुकुम् ind. ) मुकुन्द m. (cf. मुकु) N. of विष्णु (sometimes transferred to शिव)(महाभारत. भागवत-पुराण). of a partic. treasure (मार्कण्डेय-पुराण)

It is, therefore, possible that a phonetic, dialectical Meluhha variant expression of muṣṭika kunda is mukunda with the same meaning as for the word कुन्द N. of विष्णु MBh. xiii. 7036

Identical Text messages of C2 and B7 signify a detailed metalwork catalogue of working in a smithy/forge with alloy metal: ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' (R̥gveda) aya aDaren,'fish+superscript lid' Rebus: aya aduru 'iron/metal native unsmelted metal'

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

dula ‘two’ rebus: dul ‘metal casting’

karã̄ n. pl. wristlets, bangles Rebus: khār खार् 'blacksmith' PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot'. Thus, ingots (worked on by) blacksmiths.

kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, blacksmiths working in forge.

ranku ‘antelope’ rebus: ranku ‘tin’ + xolā 'fish tail' rebus: kolhe 'smelter',

kol 'working in iron'

kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, smelters working in smithy.

In Mahadevan (ASI 1977) concordance, two inscriptions are idenified with this hieroglyph/hypertext.

B7 This may be a variant reading of the hypertext noted by Asko Parpola in the two examples of copper plates category B7.

Another ligatured hypertext which includes the hieroglyph, spoked-wheel is Sign 393.

Variant orthography of Sign 393. This hypertext is composed of three hieroglyph components: 1. manḍa 'arbour,canopy' rebus: mã̄ḍ ʻarray of instruments'; 2. spoked wheel: kunda 'knave of wheel, axle' rebus: kunda 'Kubera's treasure'; kundaṇa 'fine gold' arā 'spokes' Rebus: āra 'brass' eraka 'knave of wheel' Rebus: eraka 'moltencast'; splinter: sal 'splinter' rebus: sal 'workshop'. Thus, the rebus rendering singnifies a workshop for an array of instruments of moltencast brass, gold.

See:Ganweriwala tablet, catalogue of kammata mintwork

A tablet inscription of Ganweriwala is a ledger entry account of metalwork cargo of shipment http://tinyurl.com/yao6zzns
http://bharatkalyan97.blogspot.com/2017/06/ganweriwala-tablet-catalogue-of-kammata.html
h1518copperaxe

Spoked wheel and cakra of Viṣṇu
-- Mehergarh cire perdue spoked-wheel of copper alloy is a eraka arā hypertext, signifies moltencast alloy work

Here is a report which appeared in Washington Post.

https://www.youtube.com/watch?time_continue=3&v=Ow8VG-fi7RQ (1:04)

https://www.washingtonpost.com/video/national/the-mystery-of-the-amulet/2016/11/15/94345112-ab4a-11e6-8f19-21a1c65d2043_video.html (6:57) (Embedded video is appended).
The mystery of the amulet

This note details the archaeo-metallurgical and underlying language (Meluhha) framework related to a remarkable artifact which is 5 mm. dia. It is a spoked-wheel made of copper alloy. How did the artisans among Bharatam Janam of Sarasvati-Sindhu (Harappa) civilization accomplish this technological innovation? I suggest that this ‘amulet’ is a metalwork catalogue in Harappa (Indus) Script, comparable to a compartmental seal of BMAC or Gilund. The spoked-wheel is a recurrent hieroglyph on Harappa (Indus) Script corpora. It occurs four times within a 10-hieroglyph hypertext message on Dholavira advertisement board. The spoked-wheel hieroglyph is a proclamation: kunda 'axle, nave' rebus: kunda 'treasure', kundaṇa 'fine gold'; eraka ‘knave of wheel’ rebus: erako ‘moltencast copper’ PLUS arā ‘spokes’ rebus: āra ‘brass’.

[quote]The amulet doesn't look like much: A lopsided, six-spoke wheel barely an inch across, swollen and green from corrosion.
But the 6,000-year-old object, uncovered from the ruins of a Neolithic farming village in Pakistan, holds clues about the ancient world it came from. And the effort to decipher those clues required some of the most sophisticated technology of today.
In the journal Nature Communications on Tuesday, scientists describe how they used a powerful synchrotron beam to analyze the tiny amulet on a microscopic level, revealing secrets about its origins that were once thought lost.
Scientist carried out a detailed study to find out how amulets were made 6,000 years ago. (NPG Press)
Peering through the corrosion, “we discovered a hidden structure that is a signature of the original object, how it was made,” said lead author Mathieu Thoury, a physicist at Ipanema, the European center for the study of ancient materials. “You have a signature of what was happening 6,000 years ago.”
The study relied on an imaging technique called full-field photoluminescence. The researchers shined a powerful light at the amulet, exciting electrons in the atoms that compose it so that they emitted their own light in response. By analyzing the spectrum of this emission, the researchers could figure out the shape and composition of parts of the amulet they couldn't see.
The technique revealed something surprising: countless tiny, bristle-like rods of copper oxide scattered throughout the interior of the amulet. Their structure was very different from the copper-oxygen compounds that pervade the rest of the object as a result of heavy corrosion over the course of thousands of years.
Thoury believes that ancient metallurgists were trying to craft the amulet out of pure copper, but inadvertently allowed some oxygen in during the production process. Those early copper oxides hardened into the microscopic bristles in the amulet's interior.

Photoluminescence revealed tiny, bristle-like rods of copper oxide (top right) in the amulet's interior. (T. Séverin-Fabiani, M. Thoury, L. Bertrand, B. Mille/Ipanema CNRS MCC UVSQ/Synchrotron Soleil/C2RMF)
Their existence, paired with the fact that the amulet is not symmetrical, also suggests that the amulet was made via a process called lost-wax casting — one of the most important innovations in the history of metallurgy. The age-old process, which is still used to make delicate metal instruments today, involves crafting a model out of wax, covering it in clay, and baking the whole thing until the wax melts out and the clay forms a hard mold. Then molten metal is then poured into this cavity and cooled until it hardens. When the mold is broken open, a perfect metal model of the original wax structure remains.
At 6,000 years, the amulet is the oldest known example of this technique. Eventually, lost-wax casting would be used to produce countless functional objects — knives, water vessels, utensils, tools — as well as jewelry, religious figurines, impressive metal statues of gods, kings and heroes. The technique helped societies transition from the Stone Age to the ages of copper and bronze and gave rise to new and powerful types of culture. We have it to thank for the incredible bronze Buddha at Tōdai-ji temple in Japan and Faberge eggs. Investment casting, which is based on the process, is now used to produce equipment for NASA that has flown to the International Space Station and Mars.
[Man looking for a place to pee stumbles upon one of Australia's oldest prehistoric sites]
In terms of beauty or sophistication, the amulet cannot rival its more famous successors. But Thoury finds it impressive in other ways. Not only did the amulet's creators use a new casting technique, they also opted to craft the amulet entirely from copper — a rare and unusual choice, since pure copper is hard to acquire and corrodes more easily than an alloy.
“It is not the most beautiful object, but still it holds so much history,” he said. “It shows how the metalworkers at the time were so innovative and wanted to optimize and improve the technique.”

The archaeological site MR2 at Mehrgarh, where the amulet was found. (C. Jarrige/Mission Archéologique de l’Indus)
Mehrgarh, the ancient settlement where the amulet was uncovered 35 years ago, is already known as a “crucible” of innovation, Thoury added. The first evidence of proto-dentistry was uncovered at the site, which is more than 600 miles southwest of Islamabad. It also contains some of the most ancient evidence of agriculture and the oldest ceramic figurines in South Asia. It's thought that this small farming community was a precursor to the entire Indus Valley civilization, one of the most important cultures in the ancient world.
“I’m really impressed that these people at the time were so keen on experimenting,” Thoury said. As a scientist, that's an impulse he knows well. [unquote]

https://www.washingtonpost.com/news/speaking-of-science/wp/2016/11/15/this-6000-year-old-amulet-is-the-oldest-example-of-a-technology-still-used-by-nasa/?noredirect=on&utm_term=.c0e36ce631d8

Indus script hieroglyph: kunda 'axle, nave' rebus; kunda 'treasure' kundana 'fine gold' PLUS eraka ‘knave of wheel’ rebus: eraka ‘moltencast, metal infusion’; era ‘copper’. āra ‘spokes’ arā ‘brass’ erako molten cast (Tulu) Ka. eṟe to pour any liquids, cast (as metal); n. pouring; eṟacu, ercu to scoop, sprinkle, scatter, strew, sow; eṟaka, eraka any metal infusion; molten state, fusion.Tu. eraka molten, cast (as metal); eraguni to melt (DEDR 866) agasāle, agasāli, agasālevāḍu 89,1]m. ( √ अर्च्) , Ved. a ray , flash of lightning RV. &cthe sun RV. &c Rebus: copper L.அருக்கம்¹ arukkam, n. < arka. (நாநார்த்த.) 1. Copper; செம்பு. 2. Crystal; பளிங்கு. அக்கம்&sup4; akkam, n. < arka. An ancient coin = 1/12 காசு; ஒரு பழைய நாணயம். (S. I. I. ii. 123.) అగసాలి (p. 23) agasāli or అగసాలెవాడు agasāli.
[Tel.] n. A goldsmith. కంసాలివాడు.

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Itihāsa. Search for tin, search for Meluhha of Tin-Bronze Revolution

February 9, 2019, 7:47 pm

≫ Next: Itihāsa. Why mention Sarasvati while referrng to Harappans?

≪ Previous: Indus Script hypertexts, accounting ledgers of two metalwork treasures Kunda, Mukunda. Mehergarh crucible of innovation -- Mathieu Thoury

https://www.academia.edu/38319723/Search_for_tin_search_for_Meluhha.pdf

https://youtu.be/N2IBtyY9O3A (41:49)

A key geomorphological issue to be resolved is the location of Rakhigarhi as a riverine port linking both Sarasvati and Ganga-Yamuna-Brahmaputra rivers as navigable waterways prior to ca. 2nd millennium BCE.

Srinivasan Kalyanaraman

Published on Feb 9, 2019Search for tin, search for Meluhha of Tin-Bronze Revolution video presentation by S. Kalyanaraman, Sarasvati Research Centre (February 2019). The research project proposal has the potential to unravel the chronological history of Bharatiya Civilization from ca. 5th millennium BCE. This will be, in effect, a continuation of the Euro Union project carried out at a cost of Euro 3 million and completed in 2018 -- redefining the role of Hinduised States of Ancient Far East (AFE) in the Tin-Bronze Revolution of Eurasia and redefine the Ancient Maritime Tin Route which linked AFE and Ancient Near East (Europe). Presenting an overview of Epigraphia Indus Script in 3 vols. of over 8000 Inscriptions, evidence is presented for the extensive involvement of Sarasvati's children in advancing the first industrial scale Tin-Bronze revolution in civilizational history and enhancing the Wealth of Nations. In this perspective, the presentation is Economics 101 providing historical, chronological, archaeometallurgical and textual evidence from the Veda to Adam Smith's Wealth of Nations. Metaphors of Veda texts point to wealth-creation activities of the knowledge systems presented in the oldest human document, a treasure of knowledge systems, knowledge systems for the commonwealth of treasures, Kubera's navanidhi. Epigraphia Indus Script 3 vols. demonstrate that the 8000 + inscriptions are wealth-accounting ledgers, metalwork catalogues. Surprising evidence of hypertexts from Dong Son and Karen Bronze drums are presented, pointing to the role of Ancient Far East in harnessing the resources of the largest tin belt of the globe in the river basins of Mekong, Irrawaddy and Salween Himalayan rivers which ground down granite rocks to accumulate cassiterite, tin ore placer deposits. It is possible to define an Ancient Maritime Tin Route which linked Ancient Far East to Ancient Near East through Sarasvati civilization people of ancient India. This Tin Route predated Silk Road by two millennia.

↧

Itihāsa. Why mention Sarasvati while referrng to Harappans?

February 10, 2019, 2:03 am

≫ Next: Evidence shows that Shortugai seal documented boat cargo of metalware, Sign 190 of Indus Script. Did goods sail from Shortugai to the Black Sea in 3rd and 2nd millennia BCE? -- Sami William Devinck.

≪ Previous: Itihāsa. Search for tin, search for Meluhha of Tin-Bronze Revolution

https://www.academia.edu/38320482/Itih%C4%81sa._Why_mention_Sarasvati_while_referring_to_Harappans.pdf

A question is raised. Why mention Sarasvati while referring to Harappans? The answer is in the attached satellite image. The river basin, with a navigable waterway accounts for 2000 or 80% of all Harappan sites.

↧

Evidence shows that Shortugai seal documented boat cargo of metalware, Sign 190 of Indus Script. Did goods sail from Shortugai to the Black Sea in 3rd and 2nd millennia BCE? -- Sami William Devinck.

February 10, 2019, 4:31 am

≫ Next: Vinjnot jo daro, Chaion-jo-aro discoveries

≪ Previous: Itihāsa. Why mention Sarasvati while referrng to Harappans?

http://tinyurl.com/y2dz2joj

Shortugai was a trading outpost of Sarasvati Civilization, in the context of the Ancient Maritime Tin Route of 3^rd millennium BCE. “Another source of gold was along the Oxus river valley in northern Afghanistan where a trading colony of the Indus cities has been discovered at Shortughai. Situated far from the Indus Valley itself, this settlement may have been established to obtain gold, copper, tin and lapis lazuli, as well as other exotic goods from Central Asia.” (JM Kenoyer, 1998, Ancient Cities of the Indus Valley Civilization, OUP, p.96)

Shortugai (Shortughai) was an Indus Valley Civilization trading colony established around 2000 BC on the Oxus river (Amu Darya) near the lapis lazuli mines in northern Afghanistan. It is considered to be the northernmost settlement of the Indus Valley Civilization. According to Bernard Sergent, "not one of the standard characteristics of the Harappan cultural complex is missing from it".

The town consists of two hills called A and B by the excavators. One of them was once the town proper, the other one the citadel. Each of them is about 2 hectares large.

Typical finds of the Indus Valley Civilization include one seal with a short inscription, clay models of cattle with carts and painted pottery. Pottery with Harappan design, jars, beakers, bronze objects, gold pieces, lapis lazuli beads, other types of beads, drill heads, shell bangles etc. are other findings. Square seals with animal motiff and script confirms this as a site belonging to Indus Valley Civilisation (not just having contact with IVC). Bricks had typical Harappan measurements.

Shortugai was a trading post of Harappan times and it seems to be connected with lapis lazuli mines located in the surrounding area. It also might have connections with tin trade (found at Afghanistan) and camel trade.

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

This is an Indus Script seal discovered in Shortugai Francfort: (Fouilles de Shortughai, pl. 75, no. 7)

Decipherment of the Indus Script inscription of Shortugai: The unique hypertext of Sign 430 on Shortugai seal also occurs on other inscriptions of Sarasvati Civilization.

Decipherment of Sign 190

Sign 190 is read as four 'twigs' in a watery-field:कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 कौशिक-सूत्र, according to Sāyaṇa. = बदरी, "Christ's thorn")(Monier-Williams)

kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements.

Sign 190 which appears on Shortugai seal has a number of variants in other inscriptions:

Variants of Sign 190 (as reported by Wim Borsboom) and by Mahadevan

See: Translation of Sign 190 (four twigs on watery-field) on six inscriptions as Indus Script Hypertexts kaṇḍa, 'fire altar' kuṭhi'smelter' https://tinyurl.com/y7nrrpsa

The Indus Script inscriptions which appear with Sign 190 on seals and on copper tablets are shown below together with their decipherment as metalwork catalogues, wealth-accounting ledgers.

Shortugai seal

Mohenjo-daro seal

Mohenjo-daro copper plate

Mohenjo-daro seal

m0218

2175 Seal M-218 with inscription. Sign 190

Sign 69

aya 'fish' rebus: aya 'iron' ayas 'alloy metal'.

Sign 176

khareḍo 'a currycomb (Gujarati) Rebus: karaḍā खरडें 'daybook, wealth-accounting ledger'. Rebus: kharādī ' turner' (Gujarati).

See:

A dozen Indus Script inscriptions (incl. m495 text of 26 signs) with vivid pictorial hypertexts, metalwork wealth-accounting ledgers https://tinyurl.com/y8jernfy

Note: Signs and Sign Numbers used in this monograph are from 1977 Archaeological Survey of India Memoir, also called Mahadevan Concordance.

Sign 331

Variants of Sign 331

The ligature of this unique pictorial motif with the rimless pot is significant. The rimless pot signifies baṭa 'rimless pot' rebus:bhaṭa 'furnace'. The ligaturing sign is Sign 169

Variants of Sign 169

I suggest that the ligaturing sign is a semantic determinant of bhaṭa 'furnace' to emphasise that what is signified is a smelter furnace. Sign 169 signifies. kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali)

The same semantic significance is seen in another ligature of Sign 190.

h-48A kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' PLUS sangaḍa 'lathe, portable brazier' PLUS [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'.

Shortugai, Bactria (Jarrige 1984) h-48A kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. Field symbol:gaṇḍa 'rhinoceros'; rebus:khaṇḍa 'tools, pots and pans .

m-2047 AB kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. Field symbol: kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'.

n-1498AB (Copper tablet)

m-543A (Copper tablet)Field symbol: pāṭroṛo, pattar 'feeding trough' rebus paṭṭī 'inventory' పట్ర paṭra, patta'village, hamlet, maritime town' pāṭan; pattar 'goldsmith guild' PLUS कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' PLUS Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.) med 'copper' (Slavic languages)

kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. PLUS baraḍo 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi).PLUS khār खार 'backbone, spine' rebus: khār खार्'blacksmith' (Kashmiri) PLUS bhaṭa 'warrior' rebus: bhaṭa 'furnace'. कर्णक kárṇaka, 'rim of jar', karaṇī'scribe, supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.', kañi-āra 'helmsman'.PLUS गोटी [ gōṭī ] f (Dim. of गोटा) A roundish stone or pebble.rebus: गोटी [gōṭī ] 'A lump of silver'.

m-546A (Copper tablet) kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. PLUS baraḍo 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi).PLUS khār खार 'backbone, spine' rebus: khār खार् 'blacksmith' (Kashmiri) This could be a semantic re-inforcement, determinative of with bharat khār blacksmithy work (on) mixed alloys.

Referenced without comment, leaving the reader to judge the validity of the divergent translation/decipherment claims. See variant readings by Wim J Borsboom:
https://www.academia.edu/7751469/Decipherment_Interpretation_and_Translation_of_Indus_Script_Sign_430_Sinha "Decipherment, Interpretation and Translation of Indus Script Sign 430 (Sinha) "The Indus Script sign 430 (Sinha), consisting of four vertical uprights that look like sticks/twigs/branches and a number of cross-wise horizontals that look like woven-like twigs, had been identified by S. M. Sullivan in her “Indus Script Dictionary” (2011) as the phoneme ‘gat’, which together with ‘ja’ forms the Sanskrit word ‘jagat’ - ‘world’, ‘people’. Instead, I propose that it stands for the Sanskrit phoneme ‘gar’, as in ‘-nagar’, ‘garta’ - area, place (SP) and ‘gada’ - ‘fence’, ‘screen’, ‘enclosure’, (phonologically, the ‘d’ and ‘r’ are interchangeable). The grapheme resembles the way ‘wattle & daub’ walls and fences were constructed out of woven twigs." - Wim J Borsboom

Lothal seal 97 presents a variant of Sign 169.’twig’.

Translation of Sign 190 (four twigs on watery-field) on six inscriptions as Indus Script Hypertexts kaṇḍa, 'fire altar' kuṭhi 'smelter'

https://tinyurl.com/y7nrrpsa

The locus of the Sarasvati Civilization sites on the Sarasvati River Basin extending into the Ganga-Yamuna doab (typical site: Alamgirpur) are presented in the following maps. The monograph discusses a unique hypertext of Sign 190 found on six inscriptions of the Sarasvati Civilization:

Sign 190 is read as four 'twigs' in a watery-field: kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements.

Variants of Sign 190 (as reported by Wim Borsboom) and by Mahadevan

Variants of Sign 169

Even though the Sign 169 may be a variant of Sign 162, alternative reading is suggested because this hieroglyph is quadrupled in a unique hypertext discussed in this monograph.

Sign 162 is translated as kolmo 'rice-plant' rupaka 'metapor' of rebus: kolimi 'smithy, forge'.

Sign 169 is translated as kūdī rupaka 'metapor' of rebus: kuṭhi, 'smelter'.

Thus, a clear distinction may be drawn that Sign 162 signifies metal used in smithy/forge while Sign 169 signifies metal produced out of a smelter.

If interpretedd as a sprout, the reading is: sprouts (in watery field), twigs: kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali).

कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12

कौशिक-सूत्र, according to Sāyaṇa. = बदरी, "Christ's thorn")(Monier-Williams)

Sign 169 may be a variant of

Sign 162. Sign 162 is kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Both signs are circumscripted by an oval or lozenge-shaped glyph, Signs 387 and 389: the hypertexts are read: Sign 387 kolimi mũhã̄ 'smithy/forge ingot'. Sign 389 kuṭhi mũhã̄ , 'smelter ingot'

Lothal 97 seal

Text kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS kolom 'three' rebus: kolami 'smithy, forge' PLUS dula 'two' rebus: dul 'metal casting'.

The circumscript

has the shape of oval or lozenge is the shape of a bun ingot.

mũhã̄ = 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'.

h-48A kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' PLUS sangaḍa 'lathe, portable brazier' PLUS [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'.

Shortugai, Bactria (Jarrige 1984) h-48A kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. Field symbol:gaṇḍa 'rhinoceros'; rebus:khaṇḍa 'tools, pots and pans .

m-2047 AB kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. Field symbol: kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'.

n-1498AB (Copper tablet)

m-543A (Copper tablet)Field symbol: pāṭroṛo, pattar 'feeding trough' rebus paṭṭī 'inventory' పట్ర paṭra, patta'village, hamlet, maritime town' pāṭan; pattar 'goldsmith guild' PLUS कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' PLUS Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.) med 'copper' (Slavic languages)

kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. PLUS baraḍo 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi).PLUS khār खार 'backbone, spine' rebus: khār खार् 'blacksmith' (Kashmiri) PLUS bhaṭa 'warrior' rebus: bhaṭa 'furnace'. कर्णक kárṇaka, 'rim of jar', karaṇī'scribe, supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.', kañi-āra 'helmsman'.PLUS गोटी [ gōṭī ] f (Dim. of गोटा) A roundish stone or pebble.rebus: गोटी [gōṭī ] 'A lump of silver'.

m-546A (Copper tablet) kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. PLUS baraḍo 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi).PLUS khār खार 'backbone, spine' rebus: khār खार् 'blacksmith' (Kashmiri) This could be a semantic re-inforcement, determinative of with bharat khār blacksmithy work (on) mixed alloys.

Lothal 97 seal

Text kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS kolom 'three' rebus: kolami 'smithy, forge' PLUS dula 'two' rebus: dul 'metal casting'.

m0596At

m0596Bt

3313

Tablet M-596, B side with single-sign inscription

Sign 346

= Sign 342 PLUS duplicated ‘three linear strokes’

PLUS duplicate ‘splinters’

Sign 342 'rim-of-jar'कर्णक m. (ifc. f(आ).) a prominence or handle or projection on the side or sides (of a vessel &c ) , a tendril S3Br. Ka1tyS3r. Rebus: कर्णिक having a helm; a steersman; m. pl. N. of a people VP. (Monier-Williams) rebus:karṇī 'supercargo', 'engraver' (Marathi) .

Sign 389

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

कूदी[p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 कौशिक-सूत्र, according to Sāyaṇa. = बदरी, "Christ's thorn")(Monier-Williams)

kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali).

Sign 72

Modifier on Sign 72: sloping stroke: ḍhāḷiyum = adj. sloping, inclining (G.) The ligatured glyph is read rebus as: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati). Sign 59

aya 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, Sign 72 is a hypertext to signify: alloy metal ingot.

Sign 326

loa 'ficus glomerata' rebus: loh 'metal, copper'

Sign 342

'rim-of-jar'कर्णक m. (ifc. f(आ).) a prominence or handle or projection on the side or sides (of a vessel &c ) , a tendril S3Br. Ka1tyS3r. Rebus: कर्णिक having a helm; a steersman; m. pl. N. of a people VP. (Monier-Williams) rebus:karṇī 'supercargo', 'engraver' (Marathi) .

Ligatured ‘rim-of-jar’ appears on copper tablets. This same inscription appears on tablets designated A2, where an iconic animal takes the place of ligatured ‘rim-of-jar’ sign. This animal is a composite, with a bovine body and bearing short, curved horns, but with an apparent tiger’s tail. Parpola interprets this juxtaposition as indicating the sign represents the animal.

Tvaṣṭṛ takṣa 'engraver' is creator of takṣat vAk 'engraved speech'. Takṣa has made a significant contribution to the abhyudayam, 'welfare' of people: by creating a writing system which revolutionized and intensified peoples' contacts and resulted in exchanges of ideas and archaeometallurgical and other technological inventions for the benefit of mankind.

A unique feature of Mohenjo-daro inscriptions is that over 260 inscriptions (out of a total of 2951) are on copper tablets both engraved and painted. (See 262 tablets analysed in: Franke-Vogt, U. 1990. Die Glyptik aus Mohenjo-Daro. Uniformität und Variabilität in der Induskultur: Untersuchungen zur Typologie, Ikonographie und räumlichen Verteilung, I-III. Ph.D. dissertation, Freien Universität Berlin. [Published in 1992 in two parts as volume 13 in the series Baghdader Forschungen].

In addition, tens of inscriptions are written (in ferrous oxide red or white paint) on metal implements. Mackay (1938, Further excavations at Mohenjo-daro, p. 364) explained the red colour on the tablets: “After cleaning, if the tablet is not too corroded, the animal or inscription, as the case may be, appears in faint dark red lines upon the lighter red of the copper, the incisions being filled in with cuprous oxide.” Silver stamp seals are with intaglio text and iconography.

Copper tablets mostly rectangular in shape range in size from 1.2X0.5 in. to 1.5x1.0 in. They vary in thickness from -.07 in. to 0.12 in. The incised hypertext (hieroglyph compositions) inscriptions are cut with a burin.

Hypertexts include pictorial motifs of: elephant, antelope (with head turned to look behind), hare, rhinoceros, buffalo, short-horned bull, archer, goat, bos indicus (zebu), tiger, two-headed animal, composite animal (hind-quarters of a rhinoceros and fore-quarters of a leopard or tiger with the horn of a young bull with a standard device in front, body of antelope with a head on either end, monkey(?), rope pattern (endless knot motif).

Mohenjo-daro Copper plates with inscriptions

--An analysis of 205 copper tablets made by Asko Parpola (1973)

Note: Set A2 (six copper plates) have a pictorial motif of a composite animal on one side and an inscription on the obverse. The same inscription occurs on Set C4a (six copper plates) which have a ligatured sign Sign

The unique infixed ligatures to the 'rim-of-jar' hieroglyph Sign 342

are: pair of three linear strokes and a pair of 'twigs' joined together. The rebus readings are: kolmo 'three' rebus: kolimi 'smithy, forge'.

kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali). Thus, the composite hypertext of Sign 346 signifies:

Note: It is clear that the bunch of twigs ligatured on Sign 346 signify

kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali).

The dual of a pair of three linear strokes: dula 'pair' rebus: dul 'metal casting' PLUS kolmo 'three' rebus: kolimi 'smithy, forge'. The inscripted ligatured pair of 'three linear strokes' signifies metal casting smithy/forge.

Thus, together Sign 346 is a reading of a steersman, helmsman carrying and responsible as a seafaring merchant to manage the cargo metal products out of a smelter, smithy, forge.

The composite animal pictorial motif on set A2 (six copper plates) is an antelope which looks back and with a tail shaped like a cobra hood.

The readings of the hieroglyphs are: ranku 'antelope' rebus: ranku 'tin' PLUS krammara 'look back' rebus: kamar 'blacksmith' PLUS phaḍa 'cobrahood' rebus: phaḍa 'metals manufactory. Thus, the pictorial motif signifies blacksmith's tin and other alloy metal products out of a manufactory.

Sami William Devinck

Posted on Facebook Feb. 10, 2019

The shortugai site and Ellsworth Huntington's theoryAccording to the theory of this American geologist, there are still 3000 years water levels in the Caspian Sea and Aral were still so high in Central Asia, the Oxus River had a flow rate so much greater than it was possible that goods are sailing from Shortugai to the Black Sea. A waterway called Greeks Phase River, also connected the Caspian Sea to the Black Sea, and that since the Neolithic and the creation of it there 7500 BP.

On the satellite photos one sees perfectly the old bed of the river, dating 2200 BCE according to the rare studies. And we also see a huge circular structure that looks like an old port. Too bad the French teams led Henri Paul Frank did not go further in their search in this region. Nevertheless genetic studies of ancient burials show a strong Indian presence in the former Bactrio-margian space, I believe that one has not yet understood yet the full extent of the Indian economy of the Bronze Age ...

Note that the Greeks of the classical period have sought this waterway, especially in the time of Alexander, but it did not exist already at that time ...

And that according to Russian archaeologists this region around shortugaï would be the birthplace of the prophet Zarathustra around 2000 BCE, a region strongly influenced by ancient India.

I also put on line a rare document of the old channels dating from the 3rd and 2nd millennia BC. I think we should think about who built them ???

Photos from Sam William Devinck's post

https://www.facebook.com/groups/416065382227600/

↧

Vinjnot jo daro, Chaion-jo-aro discoveries

February 10, 2019, 5:52 pm

≫ Next: Pottery paintings, Indus Script inscriptions with peacock, composite animal signify Sarasvati Civilization artisans' metalwork competence

≪ Previous: Evidence shows that Shortugai seal documented boat cargo of metalware, Sign 190 of Indus Script. Did goods sail from Shortugai to the Black Sea in 3rd and 2nd millennia BCE? -- Sami William Devinck.

Saddled horse. Terracotta. Discovered in Vinjnot jo daro.TALUKO DAHARKI DISTRICT GHOTKI SIND PAKISTAN

https://zh-tw.facebook.com/groups/416065382227600/

https://www.facebook.com/402407416603376/videos/731072220403559/ (1:14:26)

Civilisation de L'Indus-Sarasvati, l'Inde du Rig-Veda Mirrored in

https://www.facebook.com/Dholavira-Sign-Board-deciphered-410460309710376/?modal=admin_todo_tour

https://www.facebook.com/402407416603376/videos/566659780178138/ (49:27) Le debut de l'Inde Védique

https://www.facebook.com/402407416603376/videos/564475663729883/ (51:17) Un bon récapitulatif.

Civilisation

Chaion-jo-daro

Geo News reports on the new French excavations at the site in Nawabshah district (Urdu), with the lead French archaeologist Dr. Aurore Didier interviewed in English. Nice shots of the mound, the many people working from various Pakistani universities.

https://www.youtube.com/watch?v=kLuuPRQGztc (2:16)

prince syed

Published on May 29, 2016

https://www.harappa.com/video/nawabshah-chaion-jo-daro-chahoon-jo-daro

↧

Pottery paintings, Indus Script inscriptions with peacock, composite animal signify Sarasvati Civilization artisans' metalwork competence

February 10, 2019, 7:10 pm

≫ Next: Itihāsa. Lahnda mohāṇā are boatmnn. Mohen-jo-daro is mound of boatmen., also meda 'plaiters of mats', plait of hair

≪ Previous: Vinjnot jo daro, Chaion-jo-aro discoveries

https://tinyurl.com/y4rg3582

I posit that paintings on pots of Sarasvati Civilization are Indus Script hypertext inscriptions signifying wealth-accounting ledgers. Thus, if a large storage jar is found in Cemetery H, it is a recollection and ccelebration, as a homage to the memory of the deceased artisan's competence in metalwork and wealth creation for the commonwealth of the guild. This is demonstrated in this monograph.
A sherd of pottery with humped bull and birds, Indus Valley, Harappa, c2600 BC.

A sherd of pottery with humped bull and birds, Indus Valley, Harappa, c2600 BC. (Photo by CM Dixon/Print Collector/Getty Images)

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 BCE.

I suggest that this composite animal shown on the dish or lid on the potsherd from Harappa is a composition of zebu + markhor with wavy horns + tail signified by three prongs. poḷa 'zebu' rebus: poḷa 'magnetite, ferrite ore' PLUS mr̤eka, melh 'goat' Rebus: milakkhu 'coppe' PLUS Wkh. merg f. 'ibex' (CDIAL 9885) Tor. miṇḍ'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.) PLUS ranku 'antelope' rebus: ranku 'tin' PLUS horn: koḍ 'horns' Rebus: koḍ'artisan's workplace PLUS 'tail' on Sign 184: Kur. xolā tail. Malt. qoli id. (DEDR 2135) rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith'. The star hieroglyphs between and surrounding the horns signify: मेढ 'Polar star' Rebus: mẽṛhẽt, meḍ 'iron' (Ho.Munda); medhā, 'yajña, dhanam'. Thus, the stars are semantic determinants of the wealth-accounting (dhanam) ledger message conveyed by the paintings and inscription on the pots showing the composite animal.

The lid or dish also signifies birds perched on the composite animal. The birds are: 1. Aquatic bird; and 2. black drongo.

Below the rim of the Susa storage pot, the contents are described in Sarasvati Script hieroglyphs/hypertexts: 1. Flowing water; 2. fish with fin; 3. aquatic + black drongo bird tied to a rope Rebus readings of these hieroglyphs/hypertexts signify metal implements from the Meluhha mint.

The birds are read rebus in Meluha

1. karaṇḍa‘duck’ (Samskrtam) rebus: karaḍā 'hard alloy'

2. pōlaḍu. [Tel.] n. An eagle. పసులపోలిగాడు the bird called the Black Drongo. Dicrurus ater. (F.B.I.)(Telugu) पोळ pōḷa 'zebu'& pōlaḍu 'black drongo' signify polad 'steel'.

3. kanku'crane, egret, heron' rebus: kangar'portable furnace'

See: Eureka moment. Like the storage pot described by Mortimer Wheeler in a Mohenjo-daro marketplace, Indus Script Hypertexts on Susa storage pot from Meluhha describe contents: metalware

https://tinyurl.com/yd64r2at This narration by Mortimer Wheeler demonstrates that the storage pots with inscriptions were kept in a market baazaar proclaiming the sale of metalwork products. The use of large storage pots to hold metalware and equipment is demonstrated by the Susa pot in Louvre (as vividly demonstrated by Maurizio Tosi). There is clear evidence that the Susa pot now kept in the Louvre Museum contained metalware.

See: http://bharatkalyan97.blogspot.com/2017/03/in-memoriam-prof-maurizio-tosi.html

See:

Indus Script examples of paired śabda-jāti (word sounds), artha-jāti (wealth-repository words/hypertext expressions)

http://bharatkalyan97.blogspot.com/2017/05/indus-script-examples-of-paired-sabda.html Mirror: http://tinyurl.com/l4uxwhn

https://www.facebook.com/srini.kalyanaraman/posts/10156201554499625

Clay storage pot discovered in Susa (Acropole mound), ca. 2500-2400 BCE (h. 20 ¼ in. or 51 cm). Musee du Louvre. Sb 2723 bis (vers 2450 avant J.C.)

The hieroglyphs and Meluhha rebus readings on this pot from Meluhha are: 1. kāṇḍa 'water' rebus: khāṇḍā 'metal equipment'; 2. aya, ayo 'fish' rebus: aya 'iron' ayas 'metal alloy'; khambhaṛā 'fish fin' rebus: kammaṭ a 'mint, coiner, coinage' 3. करड m. a sort of duck -- f. a partic. kind of bird ; S. karaṛa -ḍhī˜gu m. a very large aquatic bird (CDIAL 2787) karaṇḍa‘duck’ (Samskrtam) rebus: karaḍā 'hard alloy'; PLUS 4. meṛh 'rope tying to post, pillar’ rebus meḍ‘iron’ med ‘copper’ (Slavic)

Susa pot is a ‘Rosetta stone’ for Sarasvati Script

Water (flow)

Fish fish-fin

aquatic(?0 bird on wave (indicating aquatic nature of the bird), tied to rope, water

kāṇḍa 'water' rebus: kāṇḍa 'implements

The vase a la cachette, shown with its contents. Acropole mound, Susa.^[20]

It is a remarkable 'rosetta stone' because it validates the expression used by Panini: ayaskāṇḍa अयस्--काण्ड [p= 85,1] m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v.). The early semantics of this expression is likely to be 'metal implements compared with the Santali expression to signify iron implements: meď 'copper' (Slovāk), mẽṛhẽt,khaṇḍa (Santali) मृदु mṛdu,’soft iron’ (Samskrtam).

Santali glosses.

Sarasvati Script hieroglyphs painted on the jar are: fish, quail and streams of water;

aya 'fish' (Munda) rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda) khambhaṛā 'fin' rebus: kammaṭa 'mint' Thus, together ayo kammaṭa, 'metals mint'

baṭa 'quail' Rebus: bhaṭa 'furnace'.

karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा karaḍā 'Hard from alloy--iron, silver &c'. (Marathi) PLUS meRh 'tied rope' meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ (Lahnda)(CDIAL 10317) Rebus: mūhā mẽṛhẽt = iron smelted by the Kolhes and formeḍinto an equilateral lump a little pointed at each end; mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

Thus, read together, the proclamation on the jar by the painted hieroglyphs is: baṭa meṛh karaḍā ayas kāṇḍa 'hard alloy iron metal implements out of the furnace (smithy)'.

This is a jar closed with a ducted bowl. The treasure called "vase in hiding" was initially grouped in two containers with lids. The second ceramic vessel was covered with a copper lid. It no longer exists leaving only one. Both pottery contained a variety of small objects form a treasure six seals, which range from Proto-Elamite period (3100-2750 BCE) to the oldest, the most recent being dated to 2450 BCE (First Dynasty of Ur).

Therefore it is possible to date these objects, this treasure. Everything included 29 vessels including 11 banded alabaster, mirror, tools and weapons made of copper and bronze, 5 pellets crucibles copper, 4 rings with three gold and a silver, a small figurine of a frog lapis lazuli, gold beads 9, 13 small stones and glazed shard.

"In the third millenium Sumerian texts list copper among the raw materials reaching Uruk from Aratta and all three of the regions Magan, Meluhha and Dilmun are associated with copper, but the latter only as an emporium. Gudea refers obliquely to receiving copper from Dilmun: 'He (Gudea) conferred with the divine Ninzaga (= Enzak of Dilmun), who transported copper like grain deliveries to the temple builder Gudea...' (Cylinder A: XV, 11-18, Englund 1983, 88, n.6). Magan was certainly a land producing the metal, since it is occasionally referred to as the 'mountain of copper'. It may also have been the source of finished bronze objects."

"Susa... profound affinity between the Elamite people who migrated to Anshan and Susa and the Dilmunite people... Elam proper corresponded to the plateau of Fars with its capital at Anshan. We think, however that it probably extended further north into the Bakhtiari Mountains... likely that the chlorite and serpentine vases reached Susa by sea... From the victory proclamations of the kings of Akkad we also learn that the city of Anshan had been re-established, as the capital of a revitalised political ally: Elam itself... the import by Ur and Eshnunna of inscribed objects typical of the Harappan culture provides the first reliable chronological evidence. [C.J. Gadd, Seals of ancient style found at Ur, Proceedings of the British Academy, XVIII, 1932; Henry Frankfort, Tell Asmar, Khafaje and Khorsabad, OIC, 16, 1933, p. 50, fig. 22). It is certainly possible that writing developed in India before this time, but we have no real proof. Now Susa had received evidence of this same civilisation, admittedly not all dating from the Akkadian period, but apparently spanning all the closing years of the third millennium (L. Delaporte, Musee du Louvre. Catalogues des Cylindres Orientaux..., vol. I, 1920pl. 25(15), S.29. P. Amiet, Glyptique susienne,MDAI, 43, 1972, vol. II, pl. 153, no. 1643)... B. Buchanan has published a tablet dating from the reign of Gungunum of Larsa, in the twentieth century BC, which carries the impression of such a stamp seal. (B.Buchanan, Studies in honor of Benno Landsberger, Chicago, 1965, p. 204, s.). The date so revealed has been wholly confirmed by the impression of a stamp seal from the group, fig. 85, found on a Susa tablet of the same period. (P. Amiet, Antiquites du Desert de Lut, RA, 68, 1974, p. 109, fig. 16. Maurice Lambert, RA, 70, 1976, p. 71-72). It is in fact, a receipt of the kind in use at the beginning of the Isin-Larsa period, and mentions a certain Milhi-El, son of Tem-Enzag, who, from the name of his god, must be a Dilmunite. In these circumstances we may wonder if this document had not been drawn up at Dilmun and sent to Susa after sealing with a local stamp seal. This seal is decorated with six tightly-packed, crouching animals, characterised by vague shapes, with legs under their bodies, huge heads and necks sometimes striped obliquely. The impression of another seal of similar type, fig. 86, depicts in the centre a throned figure who seems to dominate the animals, continuing a tradition of which examples are known at the end of the Ubaid period in Assyria... Fig. 87 to 89 are Dilmun-type seals found at Susa. The boss is semi-spherical and decorated with a band across the centre and four incised circles. [Pierre Amiet, Susa and the Dilmun Culture, pp. 262-268].

See: http://tinyurl.com/kwshofn

Meluhha metalwork of Indus Script are paired śabda-jāti (word sounds), artha-jāti (wealth-repository words). This monograph presented the framework for Mlecchita vikalpa (Meluhha cipher) with examples of animal hieroglyphs as rebus representations of metalwork wealth repository.

More examples of this cipher from Indus Script Corpora are presented.

Black drongo bird
A Black drongo in Rajasthan state, northern India
https://en.wikipedia.org/wiki/Black_drongo

పసి (p. 730) pasi pasi. [from Skt. పశువు.] n. Cattle. పశుసమూహము, గోగణము. The smell of cattle, పశ్వాదులమీదిగాలి, వాసన. పసిపట్టు pasi-paṭṭu. To scent or follow by the nose, as a dog does a fox. పసిగొను to trace out or smell out. వాసనపట్టు. మొసలి కుక్కను పసిపట్టి when the crocodile scented the dog. పసులు pasulu. n. plu. Cattle, గోవులు. పసిగాపు pasi-gāpu. n. A herdsman, గోపకుడు పసితిండి pasi-tinḍi. n. A tiger, పెద్దపులి. పసులపోలిగాడు pasula-pōli-gāḍu. n. The Black Drongo or King crow, Dicrurusater. (F.B.I.) ఏట్రింత. Also, the Adjutant. తోకపసులపోలిగాడు the Raquet-tailed Drongo shrike. Jerdon. No. 55. 56. 59. కొండ పనులపోలిగాడు the White bellied Drongo, Dicrurus coerulescens. వెంటికపనుల పోలిగాడు the Hair-crested Drongo, Chibia hottentotta. టెంకిపనుల పోలిగాడు the larger Racket-tailed Drongo, Dissemurus paradiseus (F.B.I.) పసులవాడు pasula-vāḍu. n. A herdsman, గొల్లవాడు.

"With short legs, they sit upright on thorny bushes, bare perches or electricity wires. They may also perch on grazing animals."(Whistler, Hugh (1949). Popular handbook of Indian birds (4th ed.). Gurney and Jackson, London. pp. 155–157.) https://en.wikipedia.org/wiki/Black_drongo

Hieroglyph: eagle పోలడు [ pōlaḍu ] , పోలిగాడు or దూడలపోలడు pōlaḍu. [Tel.] n. An eagle. పసులపోలిగాడు the bird called the Black Drongo. Dicrurus ater. (F.B.I.)(Telugu) **पोळ pōḷa 'zebu'& pōlaḍu 'black drongo' signify polad 'steel**

A zebu bull tied to a post; a bird above. Large painted storage jar discovered in burned rooms at Nausharo, ca. 2600 to 2500 BCE. पोळ pōḷa, 'Zebu, bos indicus' pōlaḍu, 'black drongo' rebus: pōlaḍ 'steel'; पोळ pōḷa, 'Zebu, bos indicus' of Sarasvati Script corpora is rebus:pōlāda'steel', pwlad (Russian), fuladh (Persian) folādī (Pashto)
pōḷa 'zebu' rebus: pōḷa 'magnetite, ferrite ore) pōladu 'black drongo bird' rebus: pōḷad 'steel' The semantics of bull (zebu) PLUS black drongo bird are the reason why the terracotta bird is shown with a bull's head as a phonetic determinative to signify 'steel/magnetite ferrite ore'. పోలడు (p. 820) pōlaḍu , పోలిగాడు or దూడలపోలడు pōlaḍu. [Tel.] n. An eagle. పసులపోలిగాడు the bird called the Black Drongo. Dicrurus ater. (F.B.I.) rebus: pōlaḍu 'steel' (Russian. Persian) PLUS
wings/plumage

http://bharatkalyan97.blogspot.com/2018/10/an-inscribed-pot-with-indus-script.html

See: Eureka moment. An inscribed pot with Indus Script Hypertext described in archaeological context by Mortimer Wheeler (BBC video) is a metal brass ingots sale proclamation

https://tinyurl.com/yajea5yx The inscription on the pot described by Mortimer Wheeler in a BBC documentary is a proclamation that inscribed (authenticated) brass ingots, inscribed metal castings from furnace are offered for barter (sale) and contained in the storage pot. The reference to this pot in an archaeological context is detailed by Mortimer Wheeler from -16:31 to -15:44 of the video presented herein.

Heritage Society

July 8, 2017 at 3:55 PM ·

An old documentry on Mohenjo Daro by BBC.

Video URL https://www.facebook.com/HeritageNgo/videos/992997067535021/ (Video 28:51)

Sir Mortimer Wheeler's 1957 tour of Mohenjo-daro, although outdated in many ways, has some great footage, close shots of Indus objects, and an engaging host. Gripping to Indus fans.

The documentary provides a remarkable evidence on an artifact with Indus Script inscription which is a Hypertext.

The Indus Script Inscription is imprinted (from a seal) on a pot which has been used as a storage pot on the Mohenjo-daro market for sale.

Clearly, the inscription is a description of the item offered for sale and held in the pot.

A storage pot on the left front of this photograph has an Indus Script inscription -- a proclamation of product on sale held in the pot.

The inscription on the small pot is presented on this enlarged image of the small storage pot.

What does the Indus Script Hypertext which has two hypertexts signify?

This signifies brass ingot dula 'two' rebus: dul 'metal casting' PLUS kuṭi 'curve; kuṭika— 'bent' MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) bhaṭa ‘warrior’ rebus: baṭa‘iron’ (Gujarati)

Sign 15 This is composed of Sign 12 and Sign 342 This Hypertext Sign 15 signifies kuṭhi kaṇḍa kanka ‘smelting furnace account (scribe)’.

Thus, the two hypertexts together signify a proclamation that inscribed (authenticated) brass metal (iron) ingots, inscribed metal castings are offered for barter (sale) and contained in the storage pot.

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

See: http://download.docslide.us/uploads/check_up03/192015/5468918eb4af9f285a8b4c67.pdf

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

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

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

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

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

Sign 342

Sign 12

Vaiiants of Sign 12

This hypertext signifies the hypertext reads: dul kuṭila 'cast brass' (from) bhaṭa 'warrior' Rebus: bhaṭa 'furnace'.

bhaṭa 'warrior' Rebus: bhaṭa 'furnace'.PLUS dula 'two' rebus: dul 'metal casting' PLUS kuṭi 'curve; kuṭika— 'bent' MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin). Thus, the hypertext reads:dul kuṭila 'cast brass' (from) bhaṭa 'warrior' Rebus: bhaṭa 'furnace'.

The two parenthetical marks

which constitute the circumscript around the ''warrior' hieroglyph are a split lozenge or oval shape Sign 373

which is an Indus Script Sign.

Sign 373 signifies mũhã̄ 'bun ingot' Sign 373 has the shape of oval or lozenge is the shape of a bun ingot. mũhã̄ = 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'.

The sign occurs on a zebu, bos indicus to signify a crucible steel cake since poḷa 'zebu, bos indicus' rebus:poḷa 'magnetite, ferrite ore'.

Decipherment of Harappa zebu figurine with oval spots: magnetite ingots http://tinyurl.com/o75bok6 wherein a zebu figurine with oval spots has been presented.

I submit that these oval spots signify पोलाद pōlāda, 'crucible steel cake' explained also as mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali)

See: Indus Script hypertext पोळ pōḷa, 'zebu, bos indicus' signifies pōḷa ‘magnetite, ferrous-ferric oxide Fe3O4', पोलाद pōlāda, 'crucible steel cake' https://tinyurl.com/y9so6ubv

पोलाद pōlāda, 'steel' = ukku 'wootz steel' derived from Vedic utsa 'spring'; eraka, urku 'moltencast'

Slide 33. Early Harappan zebu figurine with incised spots from Harappa. Some of the Early Harappan zebu figurines were decorated. One example has incised oval spots. It is also stained a deep red, an extreme example of the types of stains often found on figurines that are usually found in trash and waste deposits. Approximate dimensions (W x H(L) x D): 1.8 x 4.6 x 3.5 cm. (Photograph by Richard H. Meadow) http://www.harappa.com/figurines/33.html

The oval spots are shaped like the copper ingots shown on this photograh of Maysar, c. 2200 BCE:
Maysar c.2200 BCE Packed copper ingots INGOTS
mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali)
Another artifact which compares with the described shape of mūhā mẽṛhẽt 'steel ingot' is shown in the characteristic oval shape of a crucible steel buttton.
Crucible steel button. Steel smelted from iron sand in a graphite crucible.https://commons.wikimedia.org/wiki/File:Crucible_steel_button.jpg
Decipherment of the Harappa figurine on Slide 33:
पोळ [pōḷa], 'zebu' Rebus: magnetite, citizen.(See: http://bharatkalyan97.blogspot.in/2015/08/zebu-archaeometallurgy-legacy-of-india.html )
mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali)
खोट (p. 212) [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. (Marathi)
The figurine signifies ingots of पोळ [pōḷa], ‘magnetite’. This is a metalwork catalogue message in Indus Script Corpora.

The following proverb indicates the exalted status of the zebu, bos indicus which read rebus as पोळ‘magnetite, ferrite ore’ is the life-sustaining wealth of the artisans: ज्याची खावी पोळी त्याची वाजवावी टाळी. Of whom you eat the salt, him laud and exalt. टाळी (p. 196) ṭāḷī f (ताल S) Beating the hands together.
There is a remarkable expression in Tamil which signifies the homonymous writing of similar sounding words as pictures in Indus Script. The expression is: போலியெழுத்து pōli-y-eḻuttu, n. < id +. 1. Syllable or letter resembling another in sound, as அய் for ஐ, அவ் for ஔ ஓர் எழுத்துக் குப் பிரதியாகஅவ்வொலியில் அமையும் எழுத்து. (நன். 124.) 2. Letter substituted for another different in sound, as in சாம்பர் for சாம்பல்; ஓர் எழுத்துக்குப் பிரதியாக வரும் எழுத்து. (நன்.)

போலியெழுத்து pōli-y-eḻuttu can thus be translated as rebus writing of Indus Script.

I suggest that since the majestic dewlap is the most characteristic feature of the zebu, the following etyma reinforce the identification of zebu,bos indicus as पोळ pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large: पोळी pōḷī fig. A dewlap. पोळी पिकणें g. of s. To begin to fare sumptuously; to get into good living.

The oval-shaped incised spots on the zebu figurine signify crucible steel cakes and hence may be calledपोळ pōḷa पोळें pōḷēṃ पोळा pōḷā पोळी pōḷī f. n C A cake-form or flat honeycomb; fig. Any squeezed and compressed cakeform body or mass. पोळी (p. 305) pōḷī f A plain wheaten cake: also a cake composed of rice-flour boiled and rolled up with wheaten. 2 The cake-form portion of a honeycomb. 3 fig. Any squeezed and compressed cakeform body or mass. 4 Cotton steeped in a dye of lác, lodhra &38;c., flattened into the form of a cake, and dried;--forming afterwards, with water, a sort of red ink. 5 fig. A dewlap. पोळी पिकणें g. of s. To begin to fare sumptuously; to get into good living.
The smelting processes involved in making such crucible steel cakes are expressed by the following semantics of cognate words: अहारोळी ahārōḷī f (अहार & पोळी) A cake baked on embers.पोळणें pōḷaṇēṃ v i To catch, burn, singe; to be seared or scorched. पोळा pōḷā A kindled portion flying up from a burning mass, a flake. पोळींव pōḷīṃva p of पोळणें Burned, scorched, singed, seared. पोळभाज pōḷabhāja f (पोळणें&38; भाजणें To burn &38;c.) In agriculture. A comprehensive term for the operations connected with the burning of the ground.

The cultural significance attached to the crucible steel cake may be seen from the practice of offering a cake atop the Holi festival fire which is called : होळीची पोळी (p. 527) hōḷīcī pōḷī f The right (of villagers, esp. of the मुखत्यार पाटील) of first placing a पोळी (or cake) upon the pile which is kindled at the close of the festival of the होळी. 2 The cake so designated and applied.

दुपोडी पोळी (p. 237) dupōḍī pōḷī f (दु, पूड, पोळी) A पोळी or stuffed cake doubled up. Sign 294 is a doubling of a curve.dula 'two' rebus: dul 'metal casting' PLUS kuṭi 'curve; kuṭika— 'bent' MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin).

Mehrgarh, Hakra Ware approximately 3300 BCE. The design embellishments surrounding he markhor appear to be orthographic variants of the trefoil hypertext the significance and rebus reading is provided in this monograph.

Storage jar, ca 2700–2000 BCE. Mature Harappan period. Chanhudaro. Pakistan. National Museum, New Delhi.

The Late Harappan Period at Harappa is represented by the Cemetery H culture (1900-1300 BCE) which is named after the discovery of a large cemetery filled with painted burial urns and some extended inhumations. The earlier burials in this cemetery were laid out much like Harappan coffin burials, but in the later burials, adults were cremated and the bones placed in large urns. (HARP)

https://www.harappa.com/indus2/162.html

Image result for indus pottery cemetery h

Late Harappan Period large burial urn with ledged rim for holding a bowl-shaped lid. The painted panel around the shoulder of the vessel depicts flying peacocks with sun or star motifs and wavy lines that may represent water. Cemetery H period, after 1900 BCE. These new pottery styles seem to have been introduced at the very end of the Harappan Period. The transitional phase (Period 4) at Harappa has begun to yield richly diverse material remains suggesting a period of considerable dynamism as socio-cultural traditions became realigned. https://www.harappa.com/indus2/164.html

Cemetery H pottery

A painted burial jar on display at the Harappan Civilisation Gallery at the National Museum, Delhi. (Arun Sharma/HT PHOTO)

Burial urn from ca 2000 BC from the Harappan civilization New Delhi National Museum
See:

Pottery with Indus Script hypertexts, wealth-accounting ledgers, metalwork catalogues https://tinyurl.com/yb7ucrfr

This is an addendum to:

1. Body, peacock, ficus Indus Script hypertexts on potsherds signify helmsman metalsmith expertise on calcining metal, copper, iron https://tinyurl.com/yaxhgoka

2.Itihāsa. Mohenjodaro dancing girls' posture is ಕರಣ (Kannada) rebus: करण m. writer,scribe; a class whose occupation is writing, accounts

https://tinyurl.com/yatjsetx

Image result for pottery indus markhor peacock

Pot from Indus Valley Sarasvati Civilization. National Museum , Delhi ca. 2000 BCE.

http://www.nationalmuseumindia.gov.in/pdfs/Harappan-Civilization.pdf

maraka 'peacock' rebus: marakaka'copper alloy, calcining metal'
miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.).
mēḍh 'pole star' rebus: mēḍ 'iron' med 'copper' (Slavic) .medhā 'dhana,yajna'
indus pot-2.jpg (6814 bytes)

Terracotta slip painted bowl depicting deer. Indus Valley Sarasvati Civilization http://heritage.gov.pk/html_pages/indus_pots.htm
Related image

kola 'woman' rebus: kol 'working in iron'
mēḍh 'pole star' rebus: mēḍ 'iron' med 'copper' (Slavic) .medhā 'dhana,yajna'
thattār 'buffalo horn' Rebus: taṭṭār 'brass worker'

See: http://www.bbc.co.uk/schools/primaryhistory/indus_valley/art_and_writing/teachers_resources.shtml Indus Valley Teachers' Resources

http://www.nationalmuseumindia.gov.in/pdfs/Harappan-Civilization.pdf Download the Museum's Activity Book for children.

See:

Vāhana of Sarasvati is peacock/hamsa, 'swan' which is an Indus Script hypertext signifies morakkaka 'calcining metal or calx, bhasma' or hanse 'artisan/merchant guild' https://tinyurl.com/y7wqaauw

Raja Ravi Varma's painting shows Devi Sarasvati with four hands and a peacock vāhana. mayūˊra m. ʻ peacock ʼ VS., in cmpds. RV., mayūrīˊ -- f. ʻ peahen ʼ RV. 2. *mōra -- . 3. *majjūra -- (< *mayyūra<-> with early eastern change -- yy -- > -- jj -- ?). [mayūka -- , marūka -- 1 m. lex. -- J. Bloch BSL 76, 16 ← Drav. (cf. DED 3793); J. Przyluski BSL 79, 100 ← Austro -- as. (cf. also Savara māˊrā ʻ peacock ʼ Morgenstierne); H. W. Bailey BSOAS xx 59, IL 21, 18 connects with Khot. murāsa -- as orig. an Indo -- ir. colour word. -- EWA ii 587 with lit.]1. Pa. mayūra -- m. ʻ peacock ʼ, Pk. maūra -- , maūla -- m.; Sh. (Lor.) maiyūr m. ʻ cock munāl pheasant ʼ; A. mairā ʻ peacock ʼ, B. maür, maur, Or. maïra m., °rī f., Si.mayurā, miyurā.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. mor m., °rī, °rin f., OMarw. moraḍī f., G. M. mor m., Si. mōrā; <-> H. (dial.) mhor, murhā m., Ko. mhōru.3. Aś.shah. man. majura -- , kāl. majula -- , jau. majūla -- , N. majur, mujur, Or. (Bastar) mañjura, OAw. maṁjūra m., Si. modara, monara.

*mayūrapakṣala -- .Addenda: mayūˊra -- : WPah.kṭg. (kc.) mōr ʻ peacock ʼ.(CDIAL 9865) Ta. maññai, mayil peacock. Ma. mayil. Ko. mi·l. To. mi·s̱. Ka. mayla, maylu. Koḍ. maylï. Tu. mairů. Pa. mañjil, mañil. Ga. (Oll.) mañgil; (S) mayŋīl, (P.) mayŋil. Go. (Tr. W. Ph. Mu. Ma. etc.) mal, (S. Koya Su.) mallu (Voc. 2749). Konḍa (BB) mīril, (K. Sova dial.) mrīlu. Pe. mal (pl. -ku). Manḍ. mel (pl. -ke). Kuimeḍu, melu. Kuwi (F.) mellū, (S.) mellu, (Isr.) melu. / Cf. Skt. mayūra- id.; Turner, CDIAL, no. 9865. (DEDR 4642)

I suggest that the early form of the word for peacock is: māˊrā (Savara); maraka 'peacock' with likely roots in Austro-Asiatic word forms. This may explain the signifier of peacock on Karen bronze drum as a catalogue item of metalwork. This may also explain the signifier of two bronze peacocks flanking a bronze pine cone, on a Vatican monument in the area around Hadrian's Mausoleum (117-138 C.E.) known today as Castel Sant'Angelo. It was a fountain in which pilgrims could wash themselves formed of the great bronze pine cone which now forms the focal point of the Cortile della Pigna in the Vatican Museums.
Image result for bharatkalyan97 marakaka

Image result for bharatkalyan97 marakaka

The pine cone and the peacocks are Indus Script hypertexts to signify metalwork catalogues: 1. Hieroglyph, signifier: kandə 'pine cone' Rebus, signified metalwork: khaṇḍa. A portion of the front hall, in a temple; kaṇḍ 'fire-altar' (Santali) kāṇḍa 'tools, pots and pans and metal-ware' (Marathi) Rebus:Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a fireplace during weddings. Pe. kanda fire trench. Kui kanda small trench for fireplace. Malt. kandri a pit. (DEDR 1214).

2. Hieroglyph, signifier: mora, 'peacock' Rebus signified metalwork: morakkhaka loha, 'a kind of copper'; moraka 'a kind of steel'. mora peacock; morā ‘peafowl’ (Hindi); rebus: morakkhaka loha, a kind of copper, grouped with pisācaloha (Pali). [Perhaps an intimation of the color of the metal produced which shines like a peacock blue feather.] moraka "a kind of steel" (Samskritam)Thus, Rupaka or metaphor is: marakaka 'copper alloy, calcining metal'. Peacock as a Meluhha hieroglyph

Hieroglyph pine-cone is kandə Rebus: khaṇḍa. A portion of the front hall, in a temple Hieroglyph peacock is maraka 'Rebus: maraca ‘death’, māraka ‘god of death’; smāraka, 'memorial for ancestors'. ' smará ʻ remembrance ʼ(CDIAL 13861).

In Pali (Rhys Davids' lexicon), jīvan-jīvaka (poss. onomatopoetic) means a bird, a sort of pheasant which utters a note sounding like jīvanjīva (Di_gha III.201)... Also cited is a Jain phrase: jīvanjīveṇa gacchai jīvanjīvenan ciṭṭhai [Weber Bhagavati_ pp. 289,290 with doubtful interpretation "living he goes with life"? or "he goes like the j. bird"?]

The Munda word for peacock marak/mara "cryer, peacock", later Sanskrit māra (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; merxā_ = sky, heaven ?may the soul go to heaven)

Parji. marp- (mart-)= to lighten; Kurux. merxā_ = sky, heaven; Malto. mergu = sky, heaven; see Te.merūmu = flash of lightning.

Large burial urn. Late Harappan Period large burial urn with ledged rim for holding a bowl-shaped lid. The painted panel around the shoulder of the vessel depicts flying peacocks with sun or star motifs and wavy lines that may represent water. Cemetery H period, after 1900 BC. These new pottery styles seem to have been introduced at the very end of the Harappan Period. The transitional phase (Period 4) at Harappa has begun to yield richly diverse material remains suggesting a period of considerable dynamism as socio-cultural traditions became realigned. Pine-cone as a Meluhha hieroglyph

Sgh. kaḍol mangrove. Ash. piċ -- kandə ʻ pine ʼ, Kt. pṳ̄ċi, piċi, Wg. puċ, püċ (pṳ̄ċ -- kəŕ ʻ pine -- cone ʼ), Pr. wyoċ, Shum. lyēwič (lyē -- ?).(CDIAL 8407). Cf. Gk. peu/kh f. ʻ pine ʼ, Lith. pušìs, OPruss. peuse NTS xiii 229. The suffix –kande in the lexeme: Ash. piċ-- kandə ʻ pine ʼ may be cognate with the bulbous glyphic related to a mangrove root: Koḍ. kaṇḍe root-stock from which small roots grow; ila·ti kaṇḍe sweet potato (ila·ti England). Tu. kaṇḍe, gaḍḍè a bulbous root; Ta. kaṇṭal mangrove, Rhizophora mucronata; dichotomous mangrove, Kandelia rheedii. Ma. kaṇṭa bulbous root as of lotus, plantain; point where branches and bunches grow out of the stem of a palm; kaṇṭal what is bulb-like, half-ripe jackfruit and other green fruits; R. candel. (DEDR 1171). Rebus: kaṇḍa ‘tools, pots and pans of metal’. kanda m. ʻ bulbous root ʼ MBh., n. ʻ garlic ʼ lex. [Prob. with gaṇḍa -- 1 ← Drav. T. Burrow BSOAS xii 369 and EWA i 152 with lit.] Pa. kanda -- m. ʻ bulb, bulbous root ʼ; Pk. kaṁda -- m. ʻ bulbous root ʼ, °dī -- f. ʻ radish ʼ; Or. kandā ʻ edible bulbous root; OMth. kã̄da ʻ bulb ʼ(CDIAL 2723). Rupaka, rebus: लोखंड (p. 723) [ lōkhaṇḍa ] n (लोह S) Iron लोखंडकाम (p. 723) [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.लोखंडी (p. 723) [ lōkhaṇḍī ] a (लोखंड) Composed of iron; relating to iron लोहोलोखंड (p. 723) [ lōhōlōkhaṇḍa ] n (लोह & लोखंड) Iron tools, vessels, or articles in general.

Water holes in the pine cone can be seen. The bronze piece was part of a water-fountain.

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

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

Drawing of St.Peter's fountain by Francisco de Hollanda (early 1500s)

One surmise is that the pinecone acted as a fountain in the Baths of Agrippa dated to 1st century BCE.
http://roma.andreapollett.com/S5/rione09.htm

The surmise is based on the following evidence:

Fontana della Pigna(fountain of the pine cone) in piazza San Marco. This fountain, very close to theAltare della Patria, celebrates the huge bronze sculpture called Pignone(kept in the Vatican museums today).The original statue, almost 4 meters tall, was found in middle ages in this area and gave the name to this neighborhood (rione della pigna). The Pignone was probably a decoration of the ancient roman temple of Isis and Serapis at campo Marzio.

http://www.romeinsiderguide.com/weird-fountains-in-rome.html

Pine-cone and sivalingas as a fountain of water found in a large archaeological complex dating back to the 3rd century BCE in largo di Torre Argentina of Palazzetto Venezia.

See: http://en.wikipedia.org/wiki/Largo_di_Torre_Argentina

Bronze Peacock in Hadrian museum, Vatican. See:

Two bronze peacocks, 11 ft. high bronze pine cone at Vatican are Meluhha hieroglyphs, metalwork catalogues. Archaeometallurgical analyses by Vatican suggested http://tinyurl.com/qz56u27

The original pine cone. Pigna (Fir cone) is the name of the quarter of Rome where this bronze sculpture was found; it was part of a fountain and it spouted water from holes on its top. It was probably placed in front of a Temple to Isis in Iseo Campense; the gilded peacocks decorated one of the entrances to Hadrian's Mausoleum. The Egyptian lions were added by Pope Gregory XVI; they came from Mostra dell'Acqua Felice and were replaced by copies. http://www.romeartlover.it/Vasi181.html

Peacocks. Braccio Nuovo Museum, Vatican.

Pigna is the name of rione IX of Rome. "Pigna ("pine-cone") refers to a famous bronze sculpture of Roman origin, in the shape of a huge pine-cone. It likely acted as a fountain in the Baths of Agrippa, the first establishment of this kind opened in Rome (late 1st century BC), at the back of the Pantheon's site."

http://roma.andreapollett.com/S5/rione09.htm

Logo of the Rione.

"Pigna. There used to be a tradition, wholly unfounded, but deeply rooted in the Roman mind, to the effect that the great bronze pine-cone, eleven feet high, which stands in one of the courts of the Vatican, giving it the name c Garden of the Pine-cone,’ was originally a sort of stopper which closed the round aperture in the roof of the Pantheon. The Pantheon stands at one cornerof the Region of Pigna, and a connection between the Region, the Pantheon, and the Pine-cone seems vaguely possible, though altogether unsatisfactory. The truth about the Pine-cone is perfectly well known; it was part of a fountain in Agrippa’s artificial lake in the Campus Martius, of which Pigna was a part, and it was set up in the cloistered garden of Saint Peter’s by Pope Symmachus about fourteen hundred years ago. The lake may have been near the Pantheon." (Crawford, Francis Marion, Ave Roma Immortals, 1898, London, Macmillan & Co. Ltd., p.345)

http://www.cristoraul.com/ENGLISH/BIBLIOGRAPHICA/HTML-Library/ROMANIKA/Ave-Roma-Immortalis.htm

"Composed of a large bronze pine cone almost four meters high which once spouted water from the top, the Pigna originally stood near the Pantheon next to the Temple of Isis. It was moved to the courtyard of the old St. Peter's Basilica during the Middle Ages and then moved again, in 1608, to its present location." -- Official history on the Vatican website.

The bronze peacocks on either side of the fountain are copies of those decorating the tomb of the Emperor Hadrian, now the Castel Sant' Angelo. http://en.wikipedia.org/wiki/Fontana_della_Pigna. The peacocks decorated the Mausoleum or the tomb of Hadrian erected between 134 and 139 CE. Copies of “Bronze peacocks” maybe from the Mausoleum of Hadrian. The originals are in the New Wing of the Chiaramonti Museum (Braccacio Museum)

Drawing of St.Peter's fountain by

Francisco de Hollanda (early 1500s)

St. Peter's fountain, in a pen drawing by anonymous (c. 1525) "Medieval chronicles such as the famous Mirabilia Urbis Romae (12th century) mentioned St. Peter's fountain among the city's noticeable features. The water gushed from hundreds of tiny holes on its surface...Scarce Renaissance drawings feature the fountain standing in the center of a square basin, covered by a canopy that rested over eight columns (originally they were four) and richly decorated with marbles of various types; in particular on its top parts were bronze peacocks; maybe from the mausoleum of Hadrian, which in the description provided by the chronicle are referred to as 'griffons' covered with a gold leaf...When St. Peter's was completely rebuilt (1506-1614), the fountain and the canopy were dismantled, and most of the precious materials were reused for other purposes. The only parts spared were the peacocks and the pine-cone, which around 1565 Pirro Ligorio set in the large niche of the Courtyard of Belvedere,, later renamed of the Pine-cone. The peacocks now on display in the courtyard are copies; the original ones, which still shine as gold (as the old chronicle says), are kept indoors, in the Braccio Nuovo (new wing) of the Chiaramonti Museum (Vatican Museums)." http://roma.andreapollett.com/S3/roma-ft1b.htm

These pine-cones were a customary feature of the classic fountain, as the scales of the cone present natural and graceful outlets for the falling water. Symmachus’s fountain was one of the beauties of Rome in the days when the great Gothic King Theodoric ruled and loved the city. Three hundred years later it captivated the fancy of Charlemagne, crowned Emperor in St. Peter’s on Christmas Day, 800; and the fountain afterward erected before his great cathedral at Aix [now Aachen Cathedral] is ornamented with a huge pine-cone like the one which he and his Franks had seen in the exquisite fountain of St. Peter’s.

http://www.garden-fountains.us/fount...rs-fountain/5/

One of the original bronze peacocks.

hellenismo: bronze peacock from Hadrian’s Mausoleum, now in the Vatican Museum…

One of the original peacocks now in Braccacio Museum. Two bronze peacocks are from Hadrian’s Mausoleum (tomb).

Bronze peacocks lent by Vatican to be shown in British Museum. http://www.standard.co.uk/arts/walltowall-hadrian-7408277.html

The present Pigna in the Vatican seems to be a left-over from the original Basilica of St. Peter. The left-over may be two bronze artifacts: 1. bronze pine-cone in original; 2. replicas of two bronze peacocks originals of which ar kept in Braccacio Nuovo Museum. The question is: how did the two bronze artifacts, the pine-cone and the pair of peacocks get lodged in St. Peter's Basilica. Some answers and some conjectures are discussed.

[quote]“Bronze Pine Cone” signed Publius Cincius Salvio from the area of the Baths of Agrippa, maybe fountain in the Temple of Isis (Note: Possible location discussed in Annex A).

It was eventually placed in the atrium of the old Basilica of St. Peter.

It gave the name to the central neighborhood called Rione Pigna, where the Temple of Isis was originally located. [unquote]

http://romapedia.blogspot.in/2014/10/vatican-museums-courtyard-of-pine-cone.html

One surmise is that the pinecone acted as a fountain in the Baths of Agrippa dated to 1st century BCE.
http://roma.andreapollett.com/S5/rione09.htm

The surmise is based on the following evidence:

Pine-cone and sivalingas as a fountain of water found in a large archaeological complex dating back to the 3rd century BCE in largo di Torre Argentina of Palazzetto Venezia.

See: http://en.wikipedia.org/wiki/Largo_di_Torre_Argentina

Map of the archaeological complex: Largo di Torre Argentina, Rome, Italy

This complex had 4 temples dated to A) 3rd cent BCE (Temple of Juturna), B) 101 BCE (Fortuna Huiusce Diei), C) 4th or 3rd cent. (Feronia), D) 2nd cent. BCE (Lares Permarini) devoted to various divinities revered by Gaius Lutalius Catulus, Quintus Lutalius Catulus . Further excavations may perhaps explain the reason for the fountain with the pine-cone surrounded by 4 sivalingas. In Meluhha archaeometallurgical tradition, the sivalingas were stambhas or pillars of light/fire used as ekamukha linga in smelter structures and metalwork areas (as shown in Bhuteshwar relief).

Temple: खंडेराव [ khaṇḍērāva ] m (खंड Sword, and राव) An incarnation of Shiva. Popularly खंडेराव is but dimly distinguished from भैरव. खंडोबा [ khaṇḍōbā ] m A familiar appellation of the god खंडेराव. खंडोबाचा कुत्रा [ khaṇḍōbācā kutrā ] m (Dog of खंडोबा. From his being devoted to the temple.) A term for the वाघ्या or male devotee of खंडोबा.

Hieroglyph: खंडोबाची काठी [ khaṇḍōbācī kāṭhī ] f The pole of खंडोबा. It belongs to the temples of this god, is taken and presented, in pilgrimages, at the visited shrines, is carried about in processions &c. It is covered with cloth (red and blue), and has a plume (generally from the peacock's tail) waving from its top.

The cultural link of metalwork with Rudra-Siva iconically denoted by 1) orthographic variants of linga, 2) ekamukhalinga evidences of Ancient Far East and 3) the presence of linga in the context of a metal smelter in a Bhuteshwar artifact of 2nd cent. BCE is thus an area for further detailed investigation in archaeometallurgy and historical linguistics of Indian Sprachbund.

Architectural fragment with relief showing winged dwarfs (or gaNa) worshipping with flower garlands, Siva Linga. Bhuteshwar, ca. 2nd cent BCE. Lingam is on a platform with wall under a pipal tree encircled by railing. (Srivastava, AK, 1999, Catalogue of Saiva sculptures in Government Museum, Mathura: 47, GMM 52.3625) The tree is a phonetic determinant of the smelter indicated by the railing around the linga: kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ Rebus: kuṭhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98. (CDIAL 3228).

Lingam, grey sandstone in situ, Harappa, Trench Ai, Mound F, Pl. X (c) (After Vats). "In an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I... in this jar, six lingams were found along with some tiny pieces of shell, a unicorn seal, an oblong grey sandstone block with polished surface, five stone pestles, a stone palette, and a block of chalcedony..." (Vats,MS, Excavations at Harappa, p. 370)

Cylindrical clay steles of 10 to 15 cms height occur in ancient fire-altars (See report by BB Lal on Kalibangan excavations).

A number of polished stone pillars were found in Dholavira. (See April 2015 published Dholavira excavation report: http://asi.nic.in/pdf_data/dholavira_excavation_report_new.pdf

I suggest that these are hieroglyphs signifying pillars of light: tã̄bṛā, tambira (Prakritam) Rebus: tamba, 'copper' (Meluhha. Indian sprachbund)

See: three stumps on Sit Shamshi bronze. [kūpa -- 2, stambha -- ] G. kuvātham m. ʻ mast of a ship ʼ.(CDIAL 3403) *ṭhōmba -- . 1. G. ṭhobrũ ʻ ugly, clumsy ʼ.2. M. ṭhõb m. ʻ bare trunk, boor, childless man ʼ, thõbā m. ʻ boor, short stout stick ʼ (LM 340 < stambha -- ).(CDIAL 5514) Rebus: tamba, 'copper' (Meluhha. Indian sprachbund) Numeral three: kolmo 'three' Rebus: kolami 'smithy, forge'.

A pair of Skambha in Dholavira close to kole.l'smithy, temple' ( (8-shaped stone structure): Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy.(DEDR 2133).

Hieroglyph: tamba 'pillar'; tambu id. (Sindhi) Rebus: tamba, tã̄bṛā, tambira 'copper' (Prakritam) http://bharatkalyan97.blogspot.in/2015/05/smithy-is-temple-of-bronze-age-stambha_14.html

The original statue, almost 4 meters tall, was found in middle ages in this area and gave the name to this neighborhood (rione della pigna). The Pignone was probably a decoration of the ancient roman temple of Isis and Serapis at campo Marzio.

http://www.romeinsiderguide.com/weird-fountains-in-rome.html

The hieroglyph membrum virile denoted rebus: copper, metal.

Hieroglyph: ``^penis'': So. laj(R) ~ lij ~ la'a'j ~ laJ/ laj ~ kaD `penis'.Sa. li'j `penis, esp. of small boys'.Sa. lO'j `penis'.Mu. lOe'j ~ lOGgE'j `penis'. ! lO'j Ho loe `penis'.Ku. la:j `penis'.@(C289)``^penis'':Sa. lOj `penis'. Mu. lOj `penis'.KW lOj @(M084)

Rebus: lo 'copper' lōhá ʻ red, copper -- coloured ʼ ŚrS., ʻ made of copper ʼ ŚBr., m.n. ʻ copper ʼ VS., ʻ iron ʼ MBh. [*rudh -- ] Pa. lōha -- m. ʻ metal, esp. copper or bronze ʼ; Pk. lōha -- m. ʻ iron ʼ, Gy. pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻ steel ʼ; Kho. loh ʻ copper ʼ; S. lohu m. ʻ iron ʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃un., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā, Ku. luwā, N. lohu, °hā, A. lo, B. lo, no, Or. lohā, luhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H. loh, lohā m., G. M. loh n.; Si. loho, lō ʻ metal, ore, iron ʼ; Md. ratu -- lō ʻ copper ʼ. WPah.kṭg. (kc.) lóɔ ʻ iron ʼ, J. lohā m., Garh. loho; Md. lō ʻ metal ʼ.(CDIAL 11158)

See: http://bharatkalyan97.blogspot.in/2015/01/meluhha-hieroglyphs-and-candi-sukuh.html

kandə 'pine cone' Rebus, signified metalwork: khaṇḍa. A portion of the front hall, in a temple; kaṇḍ 'fire-altar' (Santali) kāṇḍa 'tools, pots and pans and metal-ware' (Marathi)

लोखंड (p. 723) [ lōkhaṇḍa ] n (लोह S) Iron लोखंडकाम (p. 723) [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.

लोखंडी (p. 723) [ lōkhaṇḍī ] a (लोखंड) Composed of iron; relating to iron लोहोलोखंड (p. 723) [ lōhōlōkhaṇḍa ] n (लोह & लोखंड) Iron tools, vessels, or articles in general.

S. Kalyanaraman
Sarasvati Research Center
May 6, 2015

http://bharatkalyan97.blogspot.in/2014/10/pine-cone-is-meluhha-metalwork.html

Temple de Serapis

Temple of Serapis

This temple was built for the Egyptian merchants. It was located on the Commercial Agora near the western gate. There is also another entrance into the temple from the south-west corner of the Agora through stairs.

There are certain indications that suggest the temple was never finished fully. It is estimated that the construction of the temple was started in the 2nd century CE.

There is a statue found inside the temple made by using the Egyptian granite. Also some inscriptions found inside the temple indicate that the temple was constructed for those who believe in Serapis. In Ephesus Museum there is a monument on which the main Goddess of Ephesians, Artemis, and the principal god of Egypt, Serapis, take place together with garland as a symbol of peace.

It is well documented fact that Ephesus had a very strong commercial link with the influential port city of Egypt, Alexandria. During these ancient times Egypt was the biggest producer of wheat. They exchanged wheat with other commercial items from Ephesus and other Ionian cities.

It was converted to a church during the following Christian period. There are remains of a baptisterium in the eastern corner of the temple.

http://www.ephesus.us/ephesus/temple_of_serapis.htm

Temple of Isis, Pompeii. "the original building built under Augustan was damaged in an earlier earthquake of 62 CE...The cult of Isis is thought to arrived in Pompeii around 100 BCE."

http://www.crystalinks.com/isis.html

A detailed archaeological excursus on the roots of the pine-cone and peacock bronzes in the Vatican is warranted to further substantiate the hypothesis of Meluhha metalwork.

Pigna Vatican Museum Courtyard gilt bronze. Rome.

Originally a Roman fountain dating from 1st or 2nd century CE

The bronze pine cone (`Pigna`) at the Cortile della Pigna square. Peacocks from Hadrians Mausoleum (Castel Sant'Angelo) http://pictify.com/130116/pigna-vatican-museum-courtyard Pine cone at the Vatican, flanked by two peacocks.

It was at Campus Martius prior to it being moved to the Court of the Pigna.

glyph-type symbols below the animal (Courtyard of the Pinecone)

One version of the pine-cone origins: "Publius Cincius Slavius, whose name appears on the base of the sculpture, built the Pine Cone statue that now resides in the Court of the Pine Cone (Cortile della Pigna) in the Vatican, in the 1st century AD. The piece was originally a fountain that resided in the Temple of Isis in Campo Martius next to the Pantheon. The site of the Temple of Isis is now occupied by the Biblioteca Casanatense but the area is still to this day called Pigna. The fountain is described as having water gushing from the holes in the scales of the cone similar to the Meta Sudans (the sweating rock that was also topped by a pine cone according to some) that still stands outside the Coliseum. The Pine Cone was then moved to the hall of St Peter’s Basilica in the 8th century in the time of Popes John VI, John VII or Zachary (Pope Zachary seems the most likely as he did more than the other two to “Christianize” Rome by building churches over the old Roman temples). One of them moved the Pine Cone from the Temple of Isis to St Peter’s Basilica (the original built by Constantine the Great) where it was covered by a baldachin (it is recreated in this state in the game Assassin’s Creed: Brotherhood where it houses a Piece of Eden). In 1608, when St Peters was being enlarged to its present form the Pine Cone was moved to its current location by Pope Paul V...The bronze peacocks, however, were not part of the original sculpture but are thought to be originally taken from Hadrian’s mausoleum (now Rome’s fortress, the Castel St. Angelo)." http://thedailybeagle.net/2013/09/08/the-pigna-and-the-apollo-belvedere-two-treasures-of-the-vatican/

Another version of the pine cone origins:

[quote]The Huge statue known as the Pigna (pine) or the Fontana Della Pigna depicts a giant Pine Cone. It is located in St. Peter's, in an area called the court of the Pigna.The Court of the Pigna is the northern part of the grand renaissance Belvedere Courtyard that stretches between the Papal Palaces to the "palazzetto" which belonged to Innocent VII's . The courtyard was segmented into three parts after the construction of Sixtus V's Library and the Braccio Nuovo of Pius VII. The present courtyard derived its name form the beautiful pine cone statue set into the "nicchone", borders on the south side with the Braccio Nuovo, and on the east it borders with the Chiaromonti Gallery. To its north you can find Innocent VIII's Palazzetto and on the west the galleries of the Apostolic Library are located.

The pine cone was cast out of bronze in the 1st or 2nd century by the sculptor Publius Cincius Slavius. He was identified as its creator because his name was written on the base of the huge pine. The Statue's height is almost 4 meters and on both sides of the pine cone there are bronze peacocks which are copies of the ones in Hadrian's tomb.

Before it was moved to its current location, known as the Court of the Pigna, the statue of the Pine was situated in the Campus Martius. This area is still known today as "Pigna" after this statue. At its previous location it was used as a fountain with the water pouring from holes pierced in the scales of the cone. At the 8th century it was transferred to the entrance hall of the medieval basilica of St. Peter. It was placed decoratively in the middle of the fountain covered by ornate baldachin. We know this because the statue was identified in Renaissance drawings of the hall. Eventually, during the construction of the current basilica, in 1608, the giant pine cone fountain was moved and situated in its current location.

This statue is a beautiful and ancient one and it's definitely worth stopping by and admiring it as it has been part of Rome's landscape for almost 2000 years! [unquote]

http://vatican.com/photos/gallery/court_of_the_pigna-p45

Masonic cadueceus with pine cone.
pine cone staff of osiris, pine cone symbolism, occult pine cones, pine pollen benefits, pine pollen powder

A pair of eagle-headed Annunak flanking a staff capped with a pine-cone.

Assyrian) alabaster Height: 236.2 cm (93 in). Width: 135.9 cm (53.5 in). Depth: 15.2 cm (6 in). This relief decorated the interior wall of the northwest palace of King Ashurnasirpal II at Nimrud. On his right hand, he holds a pine cone. Examples of reliefs of king ashur-nasir-pal II

The Egyptian Staff of Osiris, dating back to approximately 1224 BC, depicts two intertwining serpents rising up to meet at a pinecone. (Photo: Egyptian Museum, Turin, Italy)

marduk pine cone, pine cone symbolism, pine pollen powder, pine pollen benefits

Marduk, winged, holding the pine-cone. Bracelet has safflower hieroglyph. Annunaki, Sumerian.

[quote] Detail of pine cone. Standard Inscription.Palace of Ashurnasirpal, priest of Ashur, favorite of Enlil and Ninurta, beloved of Anu and Dagan, the weapon of the great gods, the mighty king, king of the world, king of Assyria; son of Tukulti-Ninurta, the great king, the mighty king, king of Assyria, the son of Adad-nirari, the great king, the mighty king of Assyria; the valiant man, who acts with the support of Ashur, his lord, and has no equal among the princes of the four quarters of the world; the wonderful shepherd who is not afraid of battle; the great flood which none can oppose; the king who makes those who are not subject to him submissive; who has subjugated all mankind; the mighty warrior who treads on the neck of his enemies, tramples down all foes, and shatters the forces of the proud; the king who acts with the support of the great gods, and whose hand has conquered all lands, who has subjugated all the mountains and received their tribute, taking hostages and establishing his power over all countries. [unquote]

http://www.flickr.com/photos/brankoab/7673434338/

Technical information
Blessing genius Neo-Assyrian period, circa 721-705 BCE (reign of Sargon II)
Third gate of the palace of Sargon II, Khorsabad (ancient Dur-Sharrukin), Iraq

Bas-relief of gypseous alabaster
H. 4.09 m; L. 2.36 m; D. 0.75 m
Victor Place excavations, 1852-54
AO 19863
Near Eastern Antiquities [see: Musée du Louvre] ‘Maize’ and ‘pine-cone’ are two hieroglyphs depicted, respectively, on Indian sculptures at Somnathpur (Lakshmi, divinity of wealth) and on sculptures and reliefs of Ashur (Nimrud). Rebus readings are evidence of presence of Meluhha speakers in the Ancient Near East who participated in the bronze-age inventions of tin-bronzes and created the writing systems of deploying hieroglyphs together with cuneiform and Indus texts.

Halebid."Maize breeders in India, China, United States, and Great Britain, who have seen extensive collections of the illustrations, concur...only sculptors with abundant ears of maize as models could have created these illustrations of maize"(Click to enlarge). Photo by Carl L. Johannessen.

Somnathpur, Halebid. Lakshmi. Divinity of wealth holding maize cob or pine-cone.

Hieroglyphs: kandə ʻpineʼ, ‘ear of maize’. Rebus: kaṇḍa ‘tools, pots and pans of metal’. Rebus: kāḍ ‘stone’. Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298).

Hieroglyph: కండె [ kaṇḍe ] kaṇḍe. [Telugu] n. A head or ear of millet or maize. జొన్నకంకి.

Rebus:Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a fireplace during weddings. Pe. kanda fire trench. Kui kanda small trench for fireplace. Malt. kandri a pit. (DEDR 1214).

In Hindu tradition, vāhana of Sarasvati is also a hamsa. हंस m. (ifc. f(आ). ;

accord. to Un2. iii , 62 fr. √1. हन् , " to go? ") a goose , gander , swan , flamingo (or other aquatic bird , considered as a bird of passage ; sometimes a mere poetical or mythical bird , said in RV. to be able to separate सोम from water , when these two fluids are mixed , and in later literature , milk from water when these two are mixed ; also forming in RV. the vehicle of the अश्विन्s , and in later literature that of ब्रह्मा ; ifc. also = " best or chief among ") RV. &c; the soul or spirit (typified by the pure white colour of a goose or swan , and migratory like a goose ; sometimes " the Universal Soul or Supreme Spirit " , identified with विराज् , नारायण , विष्णु , शिव , काम

, and the Sun ; du. " the universal and the individual Spirit "; accord. to Sa1y.
resolvable into अहं स , " I am that ") Up. MBh. Hariv. &c; Rebus: हंस 'silver', 'an unambitious monarch'.

There is a possibility that the word hanse may be read rebus as a guild form comparable to the word śreṇi 'guild' in ancient Indian tradition. If so, the hamsa as Vāhana of Sarasvati may be rebus for the Germanic word, hanse 'guild -- artisan/merchant guild'. "The Hanseatic League (/ˌhænsiˈætɪk/; Middle Low German: Hanse, Düdesche Hanse, Hansa; Standard German: Deutsche Hanse; Latin: Hansa Teutonica) was a commercial and defensive confederation of merchant guilds and market towns in Northwestern and Central Europe. Growing from a few North German towns in the late 1100s, the league came to dominate Baltic maritime trade for three centuries along the coast of Northern Europe. It stretched from the Baltic to the North Sea and inland during the Late Middle Ages and declined slowly after 1450."

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

↧

Itihāsa. Lahnda mohāṇā are boatmnn. Mohen-jo-daro is mound of boatmen., also meda 'plaiters of mats', plait of hair

February 10, 2019, 9:11 pm

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≪ Previous: Pottery paintings, Indus Script inscriptions with peacock, composite animal signify Sarasvati Civilization artisans' metalwork competence

http://tinyurl.com/yytzxq6h

The following Dravidian and Indo-Aryan etyma are linked by the cognate base word: mēī 'fisherman, basket-maker or plaiter (of baskets or fish nets)'.

The name of the famous Sarasvati Civilization site,Mohen-jo-daro is derived from the same root word: mohāṇā 'boatmen' (Lāhṇḍa) PLUS daro 'mound'. Another derivative from the same root semantics is मेंढा 'sheep, ram' rebus: medha'yajna, dhanam';med 'iron''copper'.

Related imagery as hieroglyphs/hypertexts of Indus Script are explained in this monograph.

Mohenjo-daro
History

Shown within Sindh Show map of SindhShow map of PakistanShow all
Location	Larkana, Sindh, Pakistan
Coordinates	27°19′45″N 68°08′20″ECoordinates: 27°19′45″N 68°08′20″E
Type	Settlement.
Area	250 ha (620 acres)^[1]
Founded	26–25th century BCE
Abandoned	19th century BCE
Cultures	Indus Valley Civilization

UNESCO World Heritage Site
Official name	Archaeological Ruins at Moenjodaro
Criteria	Cultural: ii, iii
Reference	138
Inscription	1980 (4th Session)
Area	240 ha

mēda m. ʻ a mixed caste, any one living by a degrading occupation ʼ Mn. [→ Bal. mēd ʻ boatman, fisher- man ʼ. -- Cf. Tam. metavar ʻ basket -- maker ʼ &c. DED 4178] Pk. mēa -- m., mēī -- f. ʻ member of a non -- Aryan tribe ʼ; S. meu m. ʻ fisherman ʼ (whence miāṇī f. ʻ a fishery ʼ), L. mē m.; P. meũ m., f. meuṇī ʻ boatman ʼ. -- Prob. separate from S. muhāṇo m. ʻ member of a class of Moslem boatmen ʼ, L. mohāṇā m., ˚ṇī f.: see *mr̥gahanaka -- .(CDIAL 10320) Ta. mētaravar, mētavar a class of people who do bamboo work. Ka. mēda, mēdā̆ra, mādara man who plaits baskets, mats, etc. of bamboo splits, man of the basket-maker caste. Koḍ. me·dë man of caste who make baskets and leaf-umbrellas and play drums at ceremonies; fem. me·di.
Te. mēdara, mēdari the basket-maker caste, a basket-maker; of or pertaining to the basket-maker caste. Kuwi (S.) mētri, (Isr.) mētreˀ esi matmaker. / Cf. Skt. meda- a particular mixed caste; Turner, CDIAL, no. 10320.(DEDR 5090)

Hieroglyphs/hypertexts of Indus Script:

Votive figure from Altyn-Depe (the Golden Hill), Turkmenistan. Altyn-Depe is an ancient settlement of the Bronze Age (3,000 - 2,000 B.C.E.) on the territory of ancient Abiver. It's known locally as the "Turkmen Stonehenge". União Soviética.

I suggest that this figure has inscribed Indus Script hypertexts read rebus related to metal smelting of elements.

Hieroglyph: kola 'woman' (Nahali) rebus: kol 'working in iron'

Hieroglyph: *mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ] S. mī˜ḍhī

f., °ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ° m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.(CDIAL 10312) Ta. miṭai (-v-, -nt-) to weave as a mat, etc. Ma. miṭayuka to plait, braid, twist, wattle; miṭaccal plaiting, etc.; miṭappu tuft of hair; miṭalascreen or wicket, ōlas plaited together. Ka. meḍaṟu to plait as screens, etc. (Hav.) maḍe to knit, weave (as a basket); (Gowda) mEḍi plait. Ga.(S.3) miṭṭe a female hair-style. Go. (Mu.) mihc- to plait (hair) (Voc. 2850).(DEDR 4853) Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.)

Hieroglyph: kuṭhi ‘vagina’ 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) kuṭhi ‘a furnace for smelting iron ore to smelt iron’; kolheko kuṭhieda koles smelt iron (Santali) kuṭhi, kuṭi (Or.; Sad. koṭhi) (1) the smelting furnace of the blacksmith; kuṭire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of ēkuṭi 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; kuṭhi-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) kuṭhi = a factory; lil kuṭhi = an indigo factory (koṭhi - Hindi) (Santali.Bodding) kuṭhi = an earthen furnace for smelting iron; make do., smelt iron; kolheko do kuṭhi benaokate baliko dhukana, the Kolhes build an earthen furnace and smelt iron-ore, blowing the bellows; tehen:ko kuṭhi yet kana, they are working (or building) the furnace to-day (H. koṭhī ) (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-kuṭha = fireplace (Sv.); kōti wooden vessel for mixing yeast (Sh.); kōlhā house with mud roof and walls, granary (P.); kuṭhī factory (A.); koṭhābrick-built house (B.); kuṭhī bank, granary (B.); koṭho jar in which indigo is stored, warehouse (G.); koṭhīlare earthen jar, factory (G.); kuṭhī granary, factory (M.)(CDIAL 3546). koṭho = a warehouse; a revenue office, in which dues are paid and collected; koṭhī a store-room; a factory (Gujarat) koḍ = the place where artisans work (Gujarati)

Hieroglyph: sprig: ḍāla 5546 ḍāla1 m. ʻ branch ʼ Śīl. 2. *ṭhāla -- . 3. *ḍāḍha -- . [Poss. same as *dāla -- 1 and dāra -- 1: √dal, √d&rcirclemacr;. But variation of form supports PMWS 64 ← Mu.]1. Pk. ḍāla -- n. ʻ branch ʼ; S. ḍ̠āru m. ʻ large branch ʼ, ḍ̠ārī f. ʻ branch ʼ; P. ḍāl m. ʻ branch ʼ, °lā m. ʻ large do. ʼ, °lī f. ʻ twig ʼ; WPah. bhal. ḍām. ʻ branch ʼ; Ku. ḍālo m. ʻ tree ʼ; N. ḍālo ʻ branch ʼ, A. B. ḍāl, Or. ḍāḷa; Mth. ḍār ʻ branch ʼ, °ri ʻ twig ʼ; Aw. lakh. ḍār ʻ branch ʼ, H. ḍāl, °lām., G. ḍāḷi, °ḷī f., °ḷũ n.2. A. ṭhāl ʻ branch ʼ, °li ʻ twig ʼ; H. ṭhāl, °lā m. ʻ leafy branch (esp. one lopped off) ʼ.3. Bhoj. ḍāṛhī ʻ branch ʼ; M. ḍāhaḷ m. ʻ loppings of trees ʼ, ḍāhḷā m. ʻ leafy branch ʼ, °ḷī f. ʻ twig ʼ, ḍhāḷā m. ʻ sprig ʼ, °ḷī f. ʻ branch ʼ.*ḍāla -- 2 ʻ basket ʼ see *ḍalla -- 2.ḍālima -- see dāḍima -- .*ḍāva -- 1 ʻ box ʼ see *ḍabba -- .*ḍāva -- 2 ʻ left ʼ see *ḍavva -- .Addenda: ḍāla -- 1. 1. S.kcch. ḍār f. ʻ branch of a tree ʼ; WPah.kṭg. ḍāḷ m. ʻ tree ʼ, J. ḍā'l m.; kṭg. ḍaḷi f. ʻ branch, stalk ʼ, ḍaḷṭi f. ʻ shoot ʼ; A. ḍāl(phonet. d -- ) ʻ branch ʼ AFD 207.टाळा (p. 196) ṭāḷā ...2 Averting or preventing (of a trouble or an evil). 3 The roof of the mouth. 4 R (Usually टाहळा) A small leafy branch; a spray or sprig. टाळी (p. 196) ṭāḷī f R (Usually टाहळी) A small leafy branch, a sprig.ढगळा (p. 204) ḍhagaḷā m R A small leafy branch; a sprig or spray. डगळा or डघळा (p. 201) ḍagaḷā or ḍaghaḷā m A tender and leafy branch: also a sprig or spray. डांगशी (p. 202) ḍāṅgaśī f C A small branch, a sprig, a spray. डांगळी (p. 202) ḍāṅgaḷī f A small branch, a sprig or spray. डाहळा (p. 202) ḍāhaḷā लांख esp. the first. 2 (dim. डाहळी f A sprig or twig.) A leafy branch. Pr. धरायाला डाहळी न बसायाला सावली Used. Rebus: ḍhāla 'large ingot' (Gujarati)

1. The word plait is signified in Meluhha, Indian sprachbund by: मेढा mēḍhā m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling; A twist or tangle arising in thread or cord, a curl or snarl. *mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ]S. mī˜ḍhī f., ˚ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ˚ m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ. (CDIAL 10312) मेढा mēḍhā 'endless-knot' rūpaka medhā, 'yajña, dhanam' .meḍ 'iron' (Mu.Ho.). med 'copper' (Slavic languages)

2. मेंढा mēṇḍhā m (मेष S through H) A male sheep, a ram or tup.

krammara'look back'; rebus: kamar'blacksmith' PLUS

Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.).Rebus:

melh, mr̤eka'goat' rebus: meluhha 'merchant' (from Malacca or āmalaka island); milakkhu'copper', mleccha'copper'.

āmalaka, Phyllanthus emblica.

These rebus rendering semantics of blacksmith and merchant explain the choice of the signifier hieroglyph/hypertext on hundreds of Dilmun or Persian or Arabic Gulf seal inscriptions with Indus Script.

"There are several different spellings of the site name and in this article we have chosen to use the most common form, Mohenjo-daro (the Mound of Mohen or Mohan), though other spellings are equally valid: Mohanjo-daro (Mound of Mohan =Krishna), Moenjo-daro (Mound of the Dead), Mohenjo-daro, Mohenjodaro or even Mohen-jo-daro. Many publications still state that Mohenjo-daro is located in India (presumably referring to ancient India), but since the creation of Pakistan in 1947, the site has been under the protection of the Department of Archaeology and Museums, Government of Pakistan."

https://www.harappa.com/mohenjo-daro/mohenjodaroessay.html

"The first postcard is from the early 1900s, probably around 1905 in Sindh Province. The fishermen are getting read to swim out into the water using a "boatless" technology which involves floating on large round ceramic vessels and using hand-held sweep nets on forked poles. These men are most probably from the Mohana community in Sindh, who have been traditionally associated with fishing, boating and sailing along the southern Indus River."
https://www.harappa.com/blog/indus-river-fishing-and-fishmongers-look-back

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2. Sanauli gold & four types of bronze anthropomorphs of Sarasvati Civilization are professional calling cards, Indus Script metalwork dhamma samjñā responsibility signifiers https://tinyurl.com/y9uext8

3.Anthropomorphs as Indus Script hypertexts, professional calling cards and Copper Hoard Cultures of Ancient India https://tinyurl.com/y7qc7t73

The 'body' of man hieroglyph is ligatured with a series of diacritical marks to signify hypertexts of metalwork processes. This ligaturing results in 48 hypertext signs shown below (1977 Mahadevan ASI concordance).Helmsman, supercargo (metal)

Gulf (Dilmun) style cylinder seals

1. Itihāsa of Assur, metalsmiths of India, Ashur Ancient Near East. Two seals of Saar, Bahrain Indus Script hypertexts wealth-accounting metalwork ledgers https://tinyurl.com/ya5nzf6k

2. Itihāsa.Dilmun armourers, آهن ګران āhan-garān 'thunderbolt makers' of Sarasvati Civiliztion, Indus Script Meluhha Part 1 to 3 https://tinyurl.com/y7vsvtdm

3. Dilmun seals should be included in Indus Script Corpora, artisans and seafaring merchants of Sarasvati Civiization in Qal'at al-Bahrain, 2050 BCE

The Indus Valley Civilisation Mohenjodaro and Harappa

Pour citer ce billet

Corpus of Indus Seals and Inscriptions, Vol. 3.1

The Meluḫḫa Village: Evidence of Acculturation of Harappan Traders in Late Third Millennium Mesopotamia?

Twelve Indus Script imetalwork catalogues from one Mohenjo-daro house -- kole.l 'smithy/forge' guild artisans of kole.l 'temple' http://tinyurl.com/glaltdl

Hieroglyph: sãgaḍ, 'lathe' (Meluhha) Rebus 1: sãgaṛh , 'fortification' (Meluhha). Rebus 2:sanghAta 'adamantine glue'. Rebus 3:

sangāṭh संगाठ् 'assembly, collection'. Rebus 4: sãgaḍa 'double-canoe, catamaran'.

Hieroglyph: one-horned young bull: खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf. Rebus: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi)Hieroglyph: one-horned young bull: खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf.

Rebus: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving.

Lamberg-Karlovsky noted an Indus Script seal impression at Tepe Yahya.

Leopard (panthera pardus) is an Indus Script hypertext: खरडा kharaḍā 'A leopard' Rebus: karaḍā 'hard metal alloy'. This reading matches with the hypertext on Shahi-Tump lead weight. See:

Source: https://www.academia.edu/8164498/Early_lost-wax_casting_in_Baluchistan_Pakistan_the_Leopards_Weight_from_Shahi-Tump

According to archaeologist Massimo Vidale, Indus civilization weights, seals, and etched carnelian beads were found in the area, demonstrating the connections between these two cultures. (Andrew Lawler, The World in Between Volume 64 Number 6, November/December 2011 archaeology.org).

Presence of Meluhha speakers in the region of Tepe Yahya, Shahr-i-Soktha, Shahdad, Konar Sandal is attested by the following:

Section A. A seal impression with Indus Script hypertext has been found in Tepe Yahya

Section A. Seal impression with Indus Script hypertext found in Tepe Yahya

rango 'buffalo' rebus: rango 'pewter' (alloy of copper, zinc, tin),

Meluhha Hieroglyphs from Elamite Cylinder seal Corpus of KJ Roach (2008)

The evolution of writing

Summary

Main Text

Deciphering challenge

Rise and fall

Thus, the Meluhha word palṭan means 'army troop or team'; the expression kola palṭan signifies 'guild or community of kol-s'.

फड, phaḍa 'hood of cobra' rebus: फड, phaḍa 'metalwork artisan guild in charge of manufactory'

Living with the past: How Rakhigarhi residents share space with the remains of one of India’s ancient cities

Haryana’s Rakhigarhi is much like any other Indian village. Except that it was once a Harappan city. For residents, it is no longer a surprise to have scholars find history in their fields

Finding The Lost Town

A Shared Space

A Dilmun Seal in Met Museum

117 antelope/caprid; sun motif. Dholavira seal impression. arka 'sun' Rebus: araka, eraka 'copper, moltencast' PLUS करडूं karaḍū 'kid' Rebus: करडा Hard from alloy--iron, silver &c. Thus, together, the rebus message: hard alloy of copper.

The back of the Dilmun seals has three lines and dotted circles. These hieroglyphs signify smithy/forge of a smelter.

Dotted circle as a hypertext: dhã̄i 'strand' PLUS vaṭa 'string' vaṭṭa 'circle' rebus:dhāvaḍ 'smelter'.PLUS kolmo 'three'rebus: kolimi 'smithy, forge'. Thus, smithy/forge of smelter.

117 antelope/caprid; sun motif. Dholavira seal impression. arka 'sun' Rebus: araka, eraka 'copper, moltencast' PLUS करडूं karaḍū 'kid' Rebus: karaḍā करडा Hard from alloy--iron, silver &c. Thus, together, the rebus message: hard alloy of copper..

Thus, together, the rebus message: smelter, hard alloy of copper. Alternative to identification as 'kid' is that of an antelope: ranku ‘antelope’ rebus: ranku ‘tin’.

Text message on obverse of A1b (together with hieroglyph of an antelope looking back)

ranku 'liquid measure' rebus: ranku 'tin'.

This alternative reading is jusfied and consistent with the hieroglyph on the text of the message which signifies ranku 'liquid measure' rebus: ranku 'tin'.

Dholavira Seal 117 antelope; sun motif (Dholavira excavation report)

kamsa 'bronze'.

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

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

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

3. Ficus religiosa leaves on a tree branch (5) loa 'ficus leaf'; rebus: loh 'metal'. kol in Tamil means pancaloha'alloy of five metals'. PLUS flanking pair of lotus flowers: tAmarasa 'lotus' Rebus: tAmra 'copper' dula 'pair' Rebus: dul 'cast metal' thus, denoting copper castings.

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

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

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

7. A pair of combs kāṅga 'comb' Rebus: kanga 'brazier, fireplace'

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

The 'body' of man hieroglyph is ligatured with a series of diacritical marks to signify hypertexts of metalwork processes. This ligaturing results in 48 hypertext signs shown below (1977 Mahadevan ASI concordance).
Helmsman, supercargo (metal)

Hieroglyph: one-horned young bull: खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf. Rebus: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi)

Hieroglyph: one-horned young bull: खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf.