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Bengal famine of 1943 was man-made. Drought and Famine in India, 1870–2016 Full text. Britain should pay reparations.

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Explained: How researchers used science to show Bengal famine was man-made

Between 2 and 3 million are estimated to have died in the Bengal famine of 1943. Previous historical research and literature, as well as Satyajit Ray’s Ashani Sanket (1973), have described how the Bengal famine was a result of British policy.


Explained: How researchers used science to show Bengal famine was man-made

The simulations showed that a majority of famines were caused by large-scale and severe soil moisture droughts that hampered food production.

Researchers have used old weather data and modern simulation methods to reach a conclusion long acknowledged by historians — the Bengal famine of 1943-44 was not caused by an agricultural drought but was man-made. The new study, led by Prof Vimal Mishra of IIT Gandhinagar’s civil engineering department, has been published in Geophysical Research Letters.
Soil moisture & famine
Using observations from weather stations and simulations with a hydrological model that estimated soil moisture content, the research reconstructed agricultural droughts and established a link between famines and agricultural droughts in India in the half-century between 1870-2016.
While precipitation data from 1901 onwards was available from the India Meteorology Department, the scientists developed a compatible product for 1870-1900, using observations from 1,690 stations spread across India. They estimated a measure called soil moisture percentile, or SMP. When the SMP was less than 20, it was categorised as drought.
How researchers used science to show Bengal famine was man-made
A family in Calcutta during the Bengal famine of 1943.


Odd one out
The simulations showed that a majority of famines were caused by large-scale and severe soil moisture droughts that hampered food production. Out of six major famines during the period (1873-74, 1876, 1877, 1896-97, 1899, 1943), the researchers concluded that the first five were linked to soil moisture. The Bengal famine was completely due to the failure of policy during the British era, Prof Mishra said, describing the research as “part history and part science”.
All but two of the famines were found consistent with the drought periods identified by the analysis. The exceptions were 1873-1874 and 1943-1944. The paper says there could be two reasons why the analysis did not identify these as drought periods — they were too localised, or the famine was caused by factors other than soil moisture deficits. For the 1873-1874 famine, which was localised to Bihar and Bengal, the paper concludes that it was the first of these two reasons. “Since the soil moisture drought in 1873 was centered on a relatively small domain, it was not identified by the… analysis,” it says.


On the other hand, Mishra said: “The 1943 Bengal famine was not caused by drought but rather was a result of a complete policy failure during the British era.”
Known & reinforced
Between 2 and 3 million are estimated to have died in the Bengal famine of 1943. Previous historical research and literature, as well as Satyajit Ray’s Ashani Sanket (1973), have described how the Bengal famine was a result of British policy. During World War II, market supplies and transport systems were disrupted. This is attributed to British policies, and prioritisation of distribution of supplies to the military and other select groups.

The new study identified 1937-1945 as a “period under drought based on severity, area, and duration”. “We find the drought was most widespread during August and December 1941 — prior to the famine. This was the only famine that does not appear to be linked directly to soil moisture drought and crop failures,” Mishra said.
He cited British policies: “We find that the Bengal famine was likely caused by other factors related at least in part to the ongoing Asian threat of World War II including malaria, starvation, and malnutrition. In early 1943, military and political events adversely affected Bengal’s economy, which was exacerbated by refugees from Burma. Additionally, wartime grain import restrictions imposed by the British government played a major role in the famine.”


Geophysical Research Letters.January 2019 

Drought and Famine in India, 1870–2016



















Archaeological attestation that aṣṭāśri yūpa is a metaphor to signifty infusion of carbon element into molten metal in a fire-altar to create aṣṭāśrī 'eight forms of wealth'

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https://tinyurl.com/y6jolc6p

The monograph is organized in three sections:

Section 1. The octagonal aṣṭāśri becomes the Rudra bhāga of Śivalinga
Section 2. Binjor yūpa, Indus script inscription (seal), Sarasvati river basin  
Section 3. 19 Yupa inscriptions attest performance of Soma samstha yajña
Section 4. caṣāla metaphor described in Śatapatha Brāhmaṇa

The octagonal shape is a pun on the expression aṣṭāśri as a signifier of eight-fold wealth, venerated in Veda tradition as aṣṭalakṣmi'eight forms of wealth' metaphored as eight angles or corners of a pillar. The context is the rebus reading in Indus Script cipher tradition: aṣṭāśrī or श्री f. (prob. to be connected with √1. श्रि and also with √1. श्री in the sense of " diffusing light or radiance " rebus: श्री śrī श्री f. [श्रि-क्विप् नि˚ Uṇ.2.57] 1 Wealth, riches, affluence, prosperity, plenty; अनिर्वेदः श्रियो मूलम् Rām.

Section 1. The octagonal aṣṭāśri becomes the Rudra bhāga of Śivalinga
No photo description available.

See: बहुसुवर्णक bahusuvarṇaka aṣṭāśri yupa, Vaidika roots of Śivalinga Rudra bhāga; Binjor 4MSR Epigraphia Indus Script deciphered https://tinyurl.com/y9hukh9p 
Section 2. Binjor yūpa, Indus script inscription (seal), Sarasvati river basin  

See: 

 https://tinyurl.com/y7mu3rdl





Section 3. 19 Yupa inscriptions attest performance of Soma samstha yajña

I have posited that the octagonal shape of the linga is sourced from the Skambha,Yupa used in Soma Samstha yajna described in the veda texts. This is the pillar of flame, fire and light which infuses carbon element into molten metal to harden it. A celebration and veneration of an extraordinary metallurgical process of our Pitr-s. See 19 Yupas with inscriptions proclaiming performance of such yajna. The yuipas are octagonal in shape.aṣṭāśri is the term in the Veda.

No photo description available.
See: Nr̥simha signifying a Skambha, Yupa with caṣāla 'wheat chaff' carbon infusion 
https://www.academia.edu/…/Nr_simha_signifying_a_Skambha_Yu…

Section 4. caṣāla metaphor described in Śatapatha Brāhmaṇa


See: 

1. Binjor's aṣṭāśri yupa (octagonal pillar) has caāla, dhumaketu for metalwork with astronomy parallels of Rāhu & Ketu in R̥gveda https://tinyurl.com/ycy2txsf


2. चषालःcaṣāla on Yupa, an Indus Script hieroglyph like a crucible to carburize ores into steel/hard alloys 
3. caṣāla aṣṭāśri caturaśri ‘godhuma ring, octagonal, quadrangular’ yupa skambha, 'cosmic pillar' components in Śivalinga iconography 
4. What is the function of caṣāla? 
Comment of Vipin Kumar: on https://tinyurl.com/yagemuwv

अष्टा* श्रि mfn. having eight corners (Śatapatha Brāhmaṇa) Explained as a compound expression: अष्टन् + अश्रि 'eight angles, eight corners'.

I submit that there is a poetic pun on the expressions in R̥gveda; see for e.g., श्री in the sense of "diffusing light or radiance"; To diffuse light; श्रीणन्युप स्थाद् दिवं भुरण्युः Ṛv.1.68.1 

I submit that the compound expression अष्टा* श्रि can also be rendered as a metaphor for eight riches and eight diffusions of light and flame from eight directions. 

Hence, the combined expression in Śatapatha Brāhmaṇa of अष्टा* श्रि यूप Yūpa describing its functions together the caṣāla which is a ring atop the pillar.  Thus, the expression अष्टा* श्रि यूप signifies eight-angled pillar yielding eight riches and providing eight diffusions of light an flame from eight directions. This is the metaphor of infusion of carbon by the flame of caṣāla which is godhuma 'fumes of wheat chaff diffusing carbon element into the molten metal in the yajñakuṇḍa, fire altar. Such a Yūpa is attested archaeologically in Binjor (Sarasvati river basin,near Anupgarh) and in 19 Yūpa inscriptions of India and Borneo. (cf. inscriptions of King Mulavarman, From Koetei (East Borneo). Vogel, J.Ph., 1918, 

The Yupa, Inscriptions of King Mulavarman, From Koetei (East Borneo), in: in Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia, Vol. 74, Issue 1 https://doi.org/10.1163/22134379-90001650 (Embedded)


यूप Yūpa m. (prob. fr. √ युप् ; but according to Un2. iii , 27 , fr. √2. यु) a post , beam , pillar , (esp.) a smooth post or stake to which the sacrificial victim is fastened , any sacrificial post or stake (usually made of bamboos or खदिर wood ; in R. i , 13 , 24 ; 25, where the horse sacrifice is described , 21 of these posts are set up , 6 made of बिल्व , 6 of खदिर , 6 of पलाश , one of उडुम्बर , one of श्लेष्मातक , and one of देव-दारुRV. &c; a column erected in honour of victory , a trophy (= जय-स्तम्भ).



Anvaya: śrīan 'maturing'; divam 'heaven'; upa sthāt 'reached (and) aktūn 'the nights'; vi ūrot 'illuminated'.


(Grifith) RV 1.68.1. COMMINGLING, restless, he ascends the sky, unveiling nights and all that stands or moves,
As he the sole God is preeminent in greatness among all these other Gods.

(Sayana/Wilson) RV 1.068.01-02 The bearer (of the oblations), Agni, mixing them (with other ingredients), ascends to heaven, and clothes all things, moveable and immoveable, and the nights themselves, (with light), radiant amongst the gods, and in himself alone comprehending the virtues of all these (substances). [Comprehending the virtues of all these: alternative, 'he alone surpasses the glories (mahitva) of all these gods']. 

शब्दकल्पद्रुमः presents distinct explanations for the words अश्री, and अश्रिः 

अश्री, स्त्री, अश्रिः । अस्त्रादेरग्रभागः ॥ इत्यमर-टीका ॥
अश्रिः, स्त्री, (अश्नाति अश्नुते वा । अश भोजने अशूव्याप्तौ वा । आश्रीयते प्राहारार्थम् । आङि-श्रिहनिभ्यां ह्रस्वश्चेति इण् स च डित् डित्वात्टिलोप आङो ह्रस्वश्च ।) गृहादेः कोणः । इतिहेमचन्द्रः ॥ अस्त्रादेरग्रभागः । इत्यमरः ॥:(“वृत्तस्य हन्तुः कुलिशं कुण्ठिताश्रीव लक्ष्यते” ।इति कुमारे ।“वज्रो वा एष यद्यूपः सोऽष्टाश्रिः कर्त्तव्योऽष्टाश्रिःवै वज्रः” । इति ऐतरेयब्राह्मणे ।) https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः
वाचस्पत्यम् considers the two words to be phonetic variants, presenting a combined explanation for both the words. Following this वाचस्पत्यम् exposition, Apte lexicon considers the words अश्रिः श्री to have the same meaning, considering them to be phonetic variants.


अश्रि(श्री) स्त्री अश्यते संहन्यतेऽनया अश--वङ्क्र्या० क्रि ।१ गृहादेः कोणे । आश्रीयते संघातार्थम् आ + श्री- “आङिश्रीहनिभ्यां ह्रस्वश्च” उपा० इन् स च डित् । २ खड्गादेरग्रभागेउभयत्र वा ङीप् । “वृत्रस्य हन्तुः कुलिशं कुण्ठिताश्रीव-लक्ष्यते” कुमा० वाजपेययूपं प्रकृत्य । “स वा अष्टाश्रिर्भवतितस्मादष्टाश्रिर्भवति” शत० ब्रा० । चतुःपूर्ब्बादस्मात्अच्समा० चतुरश्रः । “कॢप्तोपचारां चतुरश्रवेदीम्” कुमा०योगविभागात् अत्यस्माठप्यच । तेन त्र्यश्रं षड़श्रमित्यादि“आयताश्चतुरश्राश्च त्र्याश्रा मण्डलिनस्तथा” शस्त्रलक्षणेसुश्रुतः “वृत्तान्तस्त्र्यश्रपूर्ब्बाणां नावाश्राणां पृथक् पृथक्”लीला० । समासान्तविधेरनित्यत्वात् क्वचिन्नाच् । “त्रिरश्रिंहन्ति चतुरश्रिरुग्रः ऋ० १, २५२, २ ।
अष्टन् अष्ट्/औ ([ RV. AV. &c ]) or अष्ट्/आ ([ RV. viii , 2 , 41]) or अष्ट्/अ ([ RV. x , 27 , 15 AV. &c ]) pl. eight (other forms are: gen. अष्टानाम् Mn. &c instr. अष्टभ्/इस् RV. ii , 18 , 4 S3Br. &c loc. अष्टास्/उ S3Br. &c ) ;([Lat. octo ; Goth. ahtau ; Mod. 
Germ. acht ;Eng. eight ; Lith. asztuni ; Slav. osmj.]) (Monier-Williams) अष्टन्   aṣṭan अष्टन् num. a. [अश-व्याप्तौ कनिन् तुट् च Uṇ.1.154.] (nom., acc. अष्ट-ष्टौ) Eight. It often occurs in comp. as अष्टा with numerals and some other nouns; as अष्टादशन्, अष्टाविंशतिः, अष्टापद &c. [cf. L. octo; Gr. okto; Zend astani Pers. hasht.].-अस्रम् an octagon. -अस्रः A kind of single-storeyed building octangular in plan. -अस्रिय a. octangular. (Apte)

अश्रि f. the sharp side of anything , corner , angle (of a room or house) , edge (of a sword) S3Br. Ka1tyS3r.  often ifc. e.g. अष्टा*श्रि , त्रिर्-/अश्रि , च्/अतुर्-श्रि , शता*श्रि q.v. (cf. अश्र) ; ([cf. Lat. acies,acer; Lith. assmu3])(Monier-Williams) अश्रिः श्री aśriḥ śrī अश्रिः श्री f. [अश्यते संहन्यते अनया अश् वङ्क्यादि˚ क्रि; cf. Uṇ.4.137] 1 A corner, angle (of a room, house &c. changed to अश्र at the end of comp. with चतुर्, त्रि, षट् and a few other words; see चतुरस्र); अष्टाश्रिर्वै वज्रः Ait. Br. -2 The sharp side or edge (of a weapon &c.); वृत्रस्य हन्तुः कुलिशं कुण्ठिताश्रीव लक्ष्यते Ku.2.2. -3 The sharp side of anything.(Apte). 

श्री mfn. (ifc.) mixing , mingling , mixed with; f. mixing , cooking (Monier-Williams)

श्री f. (prob. to be connected with √1. श्रि and also with √1. श्री in the sense of " diffusing light or radiance " ; nom. श्र्/ईस् accord. to some also श्री) light , lustre , radiance , splendour , glory , beauty , grace , loveliness (श्रिय्/ए and श्रिय्/ऐ , " for splendour or beauty " , " beauteously " , " gloriously " cf.श्रिय्/असे ; du. श्रियौ , " beauty and prosperity " ; श्रिय आत्मजाः , " sons of beauty " i.e. horses [cf. श्री-पुत्र] ; श्रियः पुत्राः , " goats with auspicious marks ") RV. &c; prosperity , welfare , good fortune , success , auspiciousness , wealth , treasure , riches (श्रिया , " according to fortune or wealth ") , high rank , power , might , majesty , royal dignity (or " Royal dignity " personified ; श्रियो भाजः , " possessors of dignity " , " people of high rank ") AV. &c; mfn. diffusing light or radiance , splendid , radiant , beautifying , adorning (ifc. ; » अग्नि- , अध्वर- , क्षत्र- , गण- , जन-श्री &c RV. iv , 41 , 8. [The word श्री is frequently used as an honorific prefix (= " sacred " , " holy ") to the names of deities (e.g. श्री-दुर्गा , श्री-राम) , and may be repeated two , three , or even four times to express excessive veneration. (e.g. श्री-श्री-दुर्गा &c ) ; it is also used as a respectful title (like " Reverend ") to the names of eminent persons as well as of celebrated works and sacred objects (e.g. श्री-जयदेव , श्रीभागवत) , and is often placed at the beginning or back of letters , manuscripts , important documents &c ; also before the words चरण and पाद " feet " , and even the end of personal names.](Monier-Williams)

श्री (cf.  श्रा) cl.9 P. A1. ( Dha1tup. xxxi , 3) श्रीण्/अति , श्रीणीत्ए  (Gr. also pf. शिश्राय ,
शिश्रीये ; aor. अश्रैषीत् , अश्रेष्ट &c ; for अशिश्रयुः » 2. अभि- श्री) , to mix , mingle , cook (cf. अभि- and आ- श्री) RV. TS. VS. Br.  ; (= √1. श्रि) , to burn , flame , diffuse light RV. i , 68 , 1. (Monier-Williams)  श्री   śrī श्री 9 U. (श्रीणाति, श्रीणीते) 1 To cook, dress, boil, prepare. -2 To diffuse light; श्रीणन्युप स्थाद् दिवं भुरण्युः Ṛv.1.68.1.(Apte) 

श्री śrī-करणम् a pen (Apte) श्री symbol or insignia of royalty Vikr. iv , 13 (Monier-Williams)

श्री śrī N. of लक्ष्मी (as goddess of prosperity or beauty and wife of विष्णु , produced at the churning of the ocean , also as daughter of भृगु and as mother of दर्पS3Br. &c; N. of सरस्वती (» -पञ्चमी)

श्री śrī श्री f. [श्रि-क्विप् नि˚ Uṇ.2.57] 1 Wealth, riches, affluence, prosperity, plenty; अनिर्वेदः श्रियो मूलम् Rām.; साहसे श्रीः प्रतिवसति Mk.4 'fortune favours the brave'; कर्माव्यारभमाणं हि पुरुषं श्रीर्निषेवते Ms.9.3; Ki.7.28. -2 Royalty, majesty, royal wealth; श्रियः कुरूणामधिपस्य पालनीम् Ki.1.1. -3 Dignity, high position, state; श्री- लक्षण Ku.7.45 'the marks or insignia of greatness or dignity'; दुराराध्याः श्रियो राज्ञां दुरापा दुष्परिग्रहाः Pt.1.67; विद्युल्लेखाकनकरुचिरं श्रीवितानं ममाभ्रम् V.4.13. -4 Beauty, grace, splendour, lustre; (मुखं) कमलश्रियं दधौ Ku.5.21; 7.32; R.3.8. -5 Colour, aspect; तेषामाविरभूद् ब्रह्मा परि- म्लानमुखश्रियाम् Ku.2.2. -6 The goddess of wealth, Lak- ṣmī, the wife of Viṣṇu; आसीदियं दशरथस्य गृहे यथा श्रीः U.4.6; Ś.3.14; Śi.1.1. -7 Any virtue or excellence. -8 Decoration. -9 Intellect, understanding. -1 Super- human power. -11The three objects of human exis- tence taken collectively (धर्म, अर्थ and काम). -12 The Sarala tree. -13 The Bilva tree. -14 Cloves. -15 A lotus. -16 The twelfth digit of the moon. -17 N. of Sarasvatī, (the goddess of speech). -18 Speech. -19 Fame, glory. -2 The three Vedas (वेदत्रयी); श्रिया विहीनैरधनैर्नास्तिकैः संप्रवर्तितम् Mb.12.1.2. ('ऋचः सामानि यजूंषि । सा हि श्रीरमृता सताम्'इति श्रुतेः । com.). -m. N. of one of the six Rāgas or musical modes. -a. Splendid, radiant, adorning. (The word श्री is often used as an honorific prefix to the names of deities and eminent persons; श्रीकृष्णः, श्रीरामः, श्रिवाल्मीकिः, श्रीजयदेवः; also cele- brated works, generally of a sacred character; श्रीभागवत, श्रीरामायण &c.; it is also used as an auspicious sign at the commencement of letters, manuscripts &c; Māgha has used this word in the last stanza of each canto of his Śiśupālavadha, as Bhāravi has used लक्ष्मी).(Apte) 


श्रीमत्   śrīmat श्रीमत् a. 1 Wealthy, rich. -2 Happy, fortunate, prosperous, thriving. -3 Beautiful, pleasing; श्रियः पतिः श्रीमति शासितुं जगत् Śi.1.1. -4 Famous, celebrated, glo- rious, dignified; (the word is often used as a respectful affix to celebrated or revered names of persons and things as श्रीमद्भागवत, श्रीमत्छंकराचार्य &c.). -m. 1 An epithet of Viṣṇu. -2 Of Kubera. -3 Of Śiva. -4 The Tilaka tree. -5 The Aśvattha tree. -6 A parrot. -7 A bull kept for breeding.(Apte)

श्रि   śri श्रि 1 U. (श्रयति-ते, शिभ्राय-शिश्रिये, अशिश्रियत्-त, श्रयिष्यतिते, श्रयितुम्, श्रित; Caus. श्राययति-ते; desid. शिश्रीषति-ते, शिश्र- यिषति-ते) 1 To go to, approach, resort to, have recourse to, approach for protection; यं देशं श्रयते तमेव कुरुते बाहु- प्रतापार्जितम् H.1.15; R.3.7;19.1; श्रितासि चन्दनभ्रान्त्या दुर्विपाकं विष्रद्रुमम् U.1.46. -2 To go or attain to, reach, undergo, assume (as a state); परीता रक्षोभिः श्रयति विवशा कामपि दशाम् Bv.1.83; द्विपेन्द्रभावं कलभः श्रयन्निव R.3.32. -3 To cling to, lean or rest on, depend on; नीलः स्निग्धः श्रयति शिखरं नूतनस्तोयवाहः U.1.33. -4 To dwell in, in- habit. -5 To honour, serve, worship. -6 To use, em- poly. -7 To devote oneself to, be attached to. -8 To assist, help.(Apte)

श्रि light , lustre (= 3. श्री q.v.) at end of adj. comp. (Monier-Williams)

श्रि cl.1 P. A1. ( Dha1tup. xxi , 31) श्रयति , °ते (pf. शिश्र्/आय , शिश्रिय्/ए ; aor. /अश्रेत् , आश्रियन् RV. ; अश्रैत् AV. ; /अशिश्रियत् ib. &c ; अश्रायिष्ट Gr. [Ved. forms belonging either to the pf. or aor. type are also अशिश्रेत् , °श्रेम , °श्रयुः , शिश्रीत्/अ] ; fut. श्रयिता Gr. ; श्रयिष्यति,°ते Br. &c ; inf. श्रयितुम् MBh. ; श्रयितव्/ऐ Br. ;ind.p. श्रयित्वा MBh. &c , -श्र्/इत्य Br. &c ) P. to cause to lean or rest on , lay on or in , fix on , fasten to , direct or turn towards , (esp.) spread or diffuse (light or radiance or beauty) over (loc.) RV. TS. Br.  श्रि (A1. or Pass. , rarely P.) to lean on , rest on , recline against (acc.) , cling to (loc.) , be supported or fixed or depend on , abide in or on(acc.loc. or adv.ib. A1s3vGr2. ChUp. MBh.  ; (A1. P.) to go to , approach , resort or have recourse to (for help or refuge) , tend towards (acc.MBh. Ka1v. &c  ; (A1.) to go into , enter , fall to the lot or take possession of (acc. or loc.Ka1v. Katha1s.(A1. P.) to attain , undergo , get into any state or condition (acc.ib. &c  ; to assume (with श्राविका-त्वम् , " to assume the form of a श्राविका ", q.v.Katha1s. HParis3.;to show , betray (heroism) R.  ; to honour , worship Dha1tup. Pass. श्रीयते (aor. /अश्रायिcf. above ) RV. &c &c Caus. श्रापयति (in उच्-छ्र्°VS.  ; श्राययति (aor. अशिश्रयत् ; for अशिश्रियत् » above) Gr.Desid. शिश्रयिषति , °ते or शिश्रीषति , °ते Gr.Intens. शेश्रीयते , शेश्रयीति , शेश्रेतिib. [cf. Lat. clino , clivus ; Lith. szly4ti , szle14ti , szlai4tas ; Goth. hlains ; hlaiw ; Germ. hline7n , line7n , lehnen ; Angl.Sax. hlinian ; Eng. lean.] (Monier-Williams) 

Source: https://brill.com/view/journals/bki/74/1/article-p167_4.xml 

The Yupa, Inscriptions of King Mulavarman, From Koetei (East Borneo)





































































Zinc metal casting assembly signified five 5 svastika on a Harappa tablet. jasta 'svastika glyph' rebus jasta 'zinc' PLUS mōṝẽ 'five' rebus munda 'Toda village or assembly'

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https://tinyurl.com/yym5ut4m

--Zinc sublimation assembly signified on a Harappa tablet. jasta 'svastika glyph' rebus jasta 'zinc' PLUS mōṝẽ 'five' rebus: munda 'Toda village or assembly' 

This is an addendm to 

 https://tinyurl.com/y69rudwsThe drummer hieroglyph is associated with svastika glyph on this tablet (har609) and also on h182A tablet of Harappa with an identical text.



h182A, h182B


Text of 3 signs

Decipherment of the Indus Script inscription on h182 Harappa tablet & another identical tablet

The pictorial motif and text message together signify rebus rendering of the following expressions: 

jasta, sattva mund'svastika, 'zinc' assembly'

dul mũhã̄ कर्ण kara metal casting zinc ingot account

Pictorial motif of five svastika

jasta, sattva'svastika glyph' rebus jasta, sattva'zinc' PLUS mōṝẽ 'five' rebus munda 'Toda village or assembly'

Text message on h182

dul mũhã̄ ' metal casting, bun ingot' .
dul'two' rebus: dul'metal casting'
karṇī, 'Supercargo responsible for cargo of a merchant vessel'; karṇika 'scribe, account'.

Sign 403 is a duplication of 'oval or rhombus' hieroglyph Sign 267 which has the shape of a bun ingot: mũhã̄ 'bun ingot' . Duplication signifies dula 'two' rebus: dul'metal casting'. Thus Sign 403 reads: dul mũhã̄ ' metal casting, bun ingot' .

This semantics is reinforced by the two linear strokes || dula 'two' rebus: dul 'metal casting'

The third sign of the text is a rim-of-jar Sign 342.
 Rebus reading of Sign 342: kanda kanka 'rim of jar' कार्णिक 'relating to the ear' rebus: kanda kanka 'fire-trench account, karṇika 'scribe, account' karṇī 'supercargo',कर्णिक helmsman'. Note: Hieroglyph: कर्ण [p= 256,2] the handle or ear of a vessel RV. viii , 72 , 12 Śatapatha Brāhmaṇa ix (कात्यायन-श्रौत-सूत्र)

&c Rebus: कर्ण the helm or rudder of a ship R. कर्णी f. of °ण ifc. (e.g. अयस्-क्° and पयस्-क्°) Pa1n2. 8-3 , 46" N. of कंस's mother " , in comp. Rebus: karṇī, 'Supercargo responsible for cargo of a merchant vessel'.

Sign 267 is oval=shape variant, rhombus-shape of a bun ingot. Like Sign 373, this sign also signifies mũhã̄ 'bun ingot' PLUS kanac 'corner' rebus: kancu 'bell-metal'.ka1 m. ʻ metal cup ʼAV., m.n. ʻ bell -- metal ʼ Pat. as in S., but would in Pa. Pk. and most NIA. lggs. collide with kāˊṁsya -- to which L. P. testify and under which the remaining forms for the metal are listed. 2. *kasikā -- .1. Pa. kasa -- m. ʻ bronze dish ʼ; S. kañjho m. ʻ bellmetal ʼ; A. ̄h ʻgong ʼ; Or. kãsā ʻ big pot of bell -- metal ʼ; OMarw. kāso (= ̄ -- ?) m. ʻ bell -- metal tray for food, food ʼ; G. ̄sā m. pl. ʻ cymbals ʼ; -- perh. Wokasṓṭ m. ʻ metal pot ʼ Buddruss Wo 109.2. Pk. kasiā -- f. ʻ a kind of musical instrument ʼ;  A. ̄hi ʻ bell -- metal dish ʼ; G. ̄śī f. ʻ bell -- metal cymbal ʼ, ̄śiyɔ m. ʻ open bellmetal pan ʼ. (CDIAL 2756)

Pictorial motif of tiger and drummer


dhollu ‘drummer’ (Western Pahari) Rebus: dul ‘cast metal’. The 'drummer' hieroglyph thus announces a cast metal. The technical specifications of the cast metal are further described by other hieroglyphs on side B and on the text of inscription (the text is repeated on both sides of Harappa tablet 182).



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


Pk. kōla -- m.; B. kol ʻ name of a Muṇḍā tribe ʼ.(CDIAL 3532) 
Ta. kol working in iron, blacksmith; kollaṉ blacksmith. 
Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith(Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.)kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge.(DEDR 2133)




ḍhol ‘drum’ (Gujarati.Marathi)(CDIAL 5608) Rebus: large stone; dul ‘to cast in a mould’. Kanac ‘corner’ Rebus: kancu ‘bronze’. dula 'pair' Rebus: dul 'cast metal'. kanka ‘Rim of jar’ (Santali); karṇaka  rim of jar’(Skt.) Rebus:karṇaka ‘scribe’ (Telugu); gaṇaka id. (Skt.) (Santali) Thus, the tablets denote blacksmith's alloy cast metal accounting including the use of alloying mineral zinc -- satthiya 'svastika' glyph.





Count of five svastika; an alternative to the reading mōṝẽ'five' rebus: munda'Toda village or assembly' 





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




*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).







Hence, the gloss to denote sulphate of zinc: తుత్తము [ tuttamu ] or తుత్తరము tuttamu. [Tel.] n. Vitriol. పాకతుత్తము white vitriol, sulphate of zinc. మైలతుత్తము sulphate of copper, blue-stone. తుత్తినాగము [ tuttināgamu ] tutti-nāgamu. [Chinese.] n. Pewter. Zinc. లోహవిశేషము.துத்தம்² tuttam, n. < tuttha. 1. A prepared arsenic, vitriol, sulphate of zinc or copper; வைப்புப்பாஷாணவகை. (சூடா.) 2. Tutty, blue or white vitriol used as collyrium; கண் மருந்தாக உதவும் துரிசு. (தைலவ. தைல. 69.)


சத்து³ cattun. prob. šilā-jatu. 1. A variety of gypsum; கர்ப்பூரசிலாசத்து. (சங். அக.) 2. Sulphate of zinc; துத்தம். (பைஷஜ. 86.)


Hieroglyphs, allographs: தட்டல் taṭṭal Five, a slang term; ஐந்து என்பதன் குழூஉக்குறி. (J.) Rebus: தட்டான்¹ taṭṭāṉ, n. < தட்டு-. [M. taṭṭān.] Gold or silver smith, one of 18 kuṭimakkaḷ, q. v.; பொற்கொல்லன். (திவா.) Te. taṭravã̄ḍu goldsmith or silversmith. Cf. Turner,CDIAL, no. 5490, *ṭhaṭṭh- to strike; no. 5493, *ṭhaṭṭhakāra- brassworker; √ taḍ, no. 5748, tāˊḍa- a blow; no. 5752, tāḍáyati strikes.

*ṭhaṭṭha ʻ brass ʼ. [Onom. from noise of hammering brass? -- N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- 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).


Hieroglyph: five (items): 

Rebus: Ta. maṉṟu hall of assembly, golden hall of Chidambaram, court of justice, arbitration court, cow-stall, herd of cows, raised platform under a tree for village meetings, centre of a garden, junction of four roads or streets; maṉṟam hall, assembly, court, meeting place under a tree in a village, open space used for riding horses, plain, open space, central place in a battlefield, Chidambaram, house, cowshed, long street; maṉṟalmarriage, long street; maṉṟaṉ Śiva; maṉṟ-il courtyard of a house; maṉṟu (maṉṟi-) to fine, punish. Ma.mannu place of judgement or assembly; mannam standing place, place of judgment or discussion. Ko. manḏToda mund (i.e. village); burning place for dry funeral; mandm (obl. mandt-) meeting. To. moḏ (obl. moṟt-)locus of tribal activity, including village with dairy, dairy apart from village, and funeral place; patrilineal clan. Ka. mandu hamlet of the Todas on the Nilagiri. Koḍ. mandï village green.(DEDR 4777)

mōṝẽ jasta, sattva 'zinc assembly' kol 'tiger', kole.l 'temple' kolhe 'smelter' mandari 'drummer' mẽṛhẽt 'iron' munda 'Toda village or assembly' mondir 'temple'

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What does the assembly of five svastika signify? It is a veneration of a zinc subimation assembly process, it is a temple just as kole.l 'smithy, forge' is kole.l 'temple'.

I suggest a rebus Santali Meluhha reading: mōṝẽ jasta, sattva 'five svastika' rebus: mōṝẽ jasta, sattva 'zinc assembly'. Drummer hiroglyph is a semantic determinative:  mandari 'drummer' munda 'Toda village or assembly'  mondir 'temple'

This monograph demonstrates that the hypertext combination of 1. five svastika; 2. drummer;'and 3.tiger signifies kol 'alloy of five metals', mōṝẽ'five', mondir'temple'. mẽhẽt 'metal (iron)' Related text message signifies मृदु mṛdu, mẽhẽtme 'metal'. Thus, kol mẽhẽt is an expression which is a wealth-accounting, metalwork ledger of kolhe'smelter' producing jasta, sattva'svastika' rebus: jasta, sattva'zinc' PLUS mẽhẽt 'metal (iron)' mondir 'temple'.




-- kol 'tiger' rebus kol 'alloy of five metals' kol 'working in iron', five, mōṝẽ svastika Indus Script hypertext  signifies assembly, mondir temple

--Tiger, drummer, five svastika signify mōṝẽ 'five' rebus mandari 'drummer' munda 'Toda village or assembly'  mondir 'temple

This is an addendum to: Zinc metal casting assembly signified five 5 svastika on a Harappa tablet. jasta 'svastika glyph' rebus jasta 'zinc' PLUS mōṝẽ 'five' rebus munda 'Toda village or assembly' https://tinyurl.com/yym5ut4m

--Zinc sublimation assembly signified on a Harappa tablet. jasta 'svastika glyph' rebus jasta 'zinc' PLUS mōṝẽ 'five' rebus: munda 'Toda village or assembly'

This is an addendm to 

 https://tinyurl.com/y69rudwsThe drummer hieroglyph is associated with svastika glyph on this tablet (har609) and also on h182A tablet of Harappa with an identical text.



h182A, h182B



Text of 3 signs
Rebus:Ta. maṉṟu hall of assembly, golden hall of Chidambaram, court of justice, arbitration court, cow-stall, herd of cows, raised platform under a tree for village meetings, centre of a garden, junction of four roads or streets; maṉṟam hall, assembly, court, meeting place under a tree in a village, open space used for riding horses, plain, open space, central place in a battlefield, Chidambaram, house, cowshed, long street; maṉṟalmarriage, long street; maṉṟaṉ Śiva; maṉṟ-il courtyard of a house; maṉṟu (maṉṟi-) to fine, punish. Ma.mannu place of judgement or assembly; mannam standing place, place of judgment or discussion. Ko. manḏToda mund (i.e. village); burning place for dry funeral; mandm (obl. mandt-) meeting. To. moḏ (obl. moṟt-)locus of tribal activity, including village with dairy, dairy apart from village, and funeral place; patrilineal clan. Ka. mandu hamlet of the Todas on the Nilagiri. Koḍ. mandï village green.(DEDR 4777)









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

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


Text message on h182




dul mũhã̄ ' metal casting, bun ingot' .


dul 'two' rebus: dul 'metal casting'


karṇī, 'Supercargo responsible for cargo of a merchant vessel'; karṇika 'scribe, account'.






Sign 403 is a duplication of 'oval or rhombus' hieroglyph Sign 267 which has the shape of a bun ingot: mũhã̄ 'bun ingot' . Duplication signifies dula 'two' rebus: dul 'metal casting'. Thus Sign 403 reads: dul mũhã̄ ' metal casting, bun ingot' .





This semantics is reinforced by the two linear strokes || dula 'two' rebus: dul 'metal casting'







The third sign of the text is a rim-of-jar Sign 342.


 Rebus reading of Sign 342: kanda kanka 'rim of jar' कार्णिक 'relating to the ear' rebus: kanda kanka 'fire-trench account, karṇika 'scribe, account' karṇī 'supercargo',कर्णिक helmsman'. Note: Hieroglyph: कर्ण [p= 256,2] the handle or ear of a vessel RV. viii , 72 , 12 Śatapatha Brāhmaṇa ix (कात्यायन-श्रौत-सूत्र)




&c Rebus: कर्ण the helm or rudder of a ship R. कर्णी f. of °ण ifc. (e.g. अयस्-क्° and पयस्-क्°) Pa1n2. 8-3 , 46" N. of कंस's mother " , in comp. Rebus: karṇī, 'Supercargo responsible for cargo of a merchant vessel'.







Sign 267 is oval=shape variant, rhombus-shape of a bun ingot. Like Sign 373, this sign also signifies mũhã̄ 'bun ingot' PLUS kanac 'corner' rebus: kancu 'bell-metal'.ka1 m. ʻ metal cup ʼAV., m.n. ʻ bell -- metal ʼ Pat. as in S., but would in Pa. Pk. and most NIA. lggs. collide with kāˊṁsya -- to which L. P. testify and under which the remaining forms for the metal are listed. 2. *kasikā -- .1. Pa. kasa -- m. ʻ bronze dish ʼ; S. kañjho m. ʻ bellmetal ʼ; A. ̄h ʻgong ʼ; Or. kãsā ʻ big pot of bell -- metal ʼ; OMarw. kāso (= ̄ -- ?) m. ʻ bell -- metal tray for food, food ʼ; G. ̄sā m. pl. ʻ cymbals ʼ; -- perh. Wokasṓṭ m. ʻ metal pot ʼ Buddruss Wo 109.2. Pk. kasiā -- f. ʻ a kind of musical instrument ʼ;  A. ̄hi ʻ bell -- metal dish ʼ; G. ̄śī f. ʻ bell -- metal cymbal ʼ, ̄śiyɔ m. ʻ open bellmetal pan ʼ. (CDIAL 2756).








munda loha is cast iron





The Munda Epic: An Interpretation




K. S. SINGH







India International Centre Quarterly



India International Centre Quarterly



Vol. 19, No. 1/2, INDIGENOUS VISION: PEOPLES OF INDIA ATTITUDES TO THE ENVIRONMENT (SPRING-SUMMER 1992), pp. 75-89 (15 pages)







https://www.jstor.org/stable/23002221











































Itihāsa. ‘This is as big as Pokhran in 1998’ ‘A-Sat a completely desi baby’ Kudos to ISRO scientists team

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‘DRDO presented tech to previous govt, but there was no reply’: VK Saraswat

INDIA Updated: Mar 28, 2019 06:59 IST
Anonna Dutt
Anonna Dutt 
Hindustan Times, New Delhi



India news,VK Saraswat,DRDO
VK Saraswat, former director general of DRDO (File photo)
With India successfully testing an anti-satellite (ASAT) missile on Wednesday, Hindustan Times speaks to VK Saraswat, former director general of DRDO about what India’s technological capacity in outer space means .
Q: What does this demonstration mean for India?
A: We have shown the world that we are capable of neutralising enemy satellites. This will ensure space security for the country and protect our satellites. It will also be deterrence for any future weapon or anti-satellite technologies. We have to reiterate that the demonstration was a peaceful one and not against any country.
Q: What were the technical challenges of the mission?
A: When it comes to the technology, precision was the biggest challenge. The satellites travel around 7,000 to 8,000 metre per second. Add to that the speed of the interceptor that travels around 2,000 metre per second. At this speed, even if we miscalculate by a millisecond, we will miss the satellite by 10 metres.
Q: Can we target satellites that are in other orientations?
A: Yes we can. In fact, we have already demonstrated capability of reaching up to 800 km with Agni V.
Q: We have had this technology since 2010, why test it now?
A: We have had this technology for year now. The delay has nothing to do with any international treaty or embargo. When DRDO had presented the technology to the previous government, there was no response. This type of demonstration can’t be carried out without support from the government. And, the government needs to have conviction and courage to approve such demonstrations.
.
First Published: Mar 27, 2019 23:44 IST
https://www.hindustantimes.com/india-news/drdo-presented-tech-to-previous-govt-but-there-was-no-reply-vk-saraswat/story-zFjHpYRYQ8880k3gLWqa2L.html

Mission Shakti,Anti-satellite missile,ASATDRDO chairman G Satheesh Reddy has said that the anti-satellite missile project went into ‘mission mode’ six months ago.(ANI)

ASAT missile project went into ‘mission mode’ 6 months ago, says DRDO chief

DRDO chief G Satheesh Reddy has said that preparation for anti-satellite missile project began years ago but Mission Shakti went into ‘mission mode’ only six months ago.

INDIA Updated: Mar 28, 2019 09:57 IST
Asian News International
Asian News International 
New Delhi
After successfully conducting an A-SAT or anti-satellite missile test yesterday, the Chairman of the DRDO (Defence Research and Development Organisation) revealed in an interview with ANI that the project to develop this rare missile capability was green-lit two years ago.
“The NSA (Ajit Doval) whom we report to on strategic matters gave the direction to go ahead with the test and he had the concurrence from the Prime Minister. The development started a few years back and we went into mission mode in the last 6 months,” said DRDO’s Chairman G Satheesh Reddy in an exclusive interview to ANI.
Reddy also added that in the last 6 months when the A-SAT missile programme entered “mission mode” level, about 100 scientists worked round-the-clock to reach the intended launch date target that was set.


The A-SAT missile was launched at approximately 11:16 AM on Tuesday from Odisha’s Balasore and within three minutes of launch, it successfully hit the intended target, a de-commissioned Indian satellite, in a “Low-Earth Orbit” at roughly 300 km from the Earth’s surface.
“Some time ago, our scientists shot down a live satellite 300 kilometres away in space, in Low-Earth Orbit... It was conducted under Mission Shakti, which was completed in three minutes,” PM Modi said in his 10-minute televised address.
When asked the reason behind choosing a 300 km-altitude range for the target, Reddy said that protecting nearby space assets had to be considered. “As a responsible nation we wanted to be sure all space assets were safe and all the debris decayed fast,” added DRDO Chairman Reddy.
Shortly after PM Modi’s televised address announcing the success of “Mission Shakti”, India’s Ministry of External Affairs released a detailed note informing the World that India’s actions were only to augment its deterrence capabilities and did not intend to trigger an arms race in space.
The Chinese Foreign Ministry released a statement responding to India’s A-SAT test which read, “We have noticed reports and hope that each country will uphold peace and tranquillity in outer space.”
With the success of “Mission Shakti”, India has now entered an elite club of three nations - United States, Russia and China, with similar missile technology. This sort of missile application enables a country to attack and disrupt enemy satellites, thereby affecting communication networks. India’s A-SAT missile was an indigenous build.
“We have hit the target by ‘Kinetic kill’- that means by directly hitting the satellite. This calls for many technologies which we have developed completely indigenously in the country and we have achieved accuracy within a few centimetres...a very high level of accuracy,” said Reddy in an exclusive interview to ANI.
(This story has been published from a wire agency feed without modifications to the text. Only the headline has been changed.)
https://www.hindustantimes.com/india-news/mission-shakti-asat-missile-project-went-into-mission-mode-6-months-ago-says-drdo-chief/story-oZROs7ULiJ9Zr6kL20j1lM.html

Svastika and Souvastika – My Tryst -- Ajit Padmanabh

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I deem it  privilege to post this monograph by Ajit Padmanabh.

I am enthralled by Ajit Padmanabh's 4 min. Carnatic fusion, from his album 'Think Void'. Brilliant.

Musical fusion is also a form comparable to alchemical transmutation as the musical notes engage the ātman.

https://youtu.be/yeSnUjkQSGU (4:19)  WildFilmsIndia
[quote] Published on Sep 3, 2017

 s)
"One, The World Over" is from the album "Think Void" by World Void Web (Ajit Padmanabh) featuring the legendary Rock Guitarist Baiju Dharmajan. It's Ajit's debut album, centered around the concepts of our life's webs, this world and the Void. Musically the song is an instrumental Carnatic Rock fusion piece. The song talks about our oneness. It was inspired by deep sea creatures like Ctenophores who live without boundaries. Why then, can't we exist in unity, across the world? Realising that we are all spiritual beings immersed in a human experience can bring about a paradigm shift in our thinking, thereby helping overcome our individualistic web and becoming one, the world over![unquote]

Ajit Padmanabh's explanation of svastika in the context of the Cosmic dancer as the embodiment of ākāśa in Chidambaram is simply scintillating. -काश m. (Ved.) or (later) n. (ifc. f(आ).) a free or open space , vacuity AitBr. S3Br. MBh. &c; the ether , sky or atmosphere Naigh. S3Br. Mn. &c; n. (in philos.) the subtle and ethereal fluid (supposed to fill and pervade the universe and to be the peculiar vehicle of life and of sound) Veda1ntas. &c; -काश--भाषित n. (in theatrical language) speaking off the stage (to one out of sight) Comm. on n. (in theatrical language) speaking off the stage (to one out of sight) Comm. on मृच्छकटिका (Monier-William

Ajit Padmanabh's insights both in his Carnatic fusion and in the embedded monograph should provide a framework for understanding the significance of svastika symbol across civilizations, across millennia.

On svastika in the context of Indus Script inscriptions, see: 

mōṝẽ jasta, sattva 'zinc assembly' kol 'tiger', kole.l 'temple' kolhe 'smelter' mandari 'drummer' mẽṛhẽt 'iron' munda 'Toda village or assembly' mondir 'temple' https://tinyurl.com/y6tzzqoo


Namaskaram.

Kalyanaraman, Sarasvati Research Centre


Svastika and Souvastika – My Tryst -- Ajit Padmanabh

In 2016, while working on the concept of my debut music album “Think Void”, I was seeking an answer to the question – Of all 5 elements depicted visually as “icons”, how is Ether depicted?

My research took me to the physical embodiment of the Ether “Akasha” element i.e. The Nataraja Temple at Chidambaram, Tamil Nadu. The temple is dedicated to the element of Ether and its metaphysical realization as Sadashiva. Each facet of the temple, its placement or its direction is a physical representation of the metaphysical. The element of “Ether” or “Akasha” is associated with the Throat Chakra and denotes purity of thought, action and words. Creativity is the noblest with purity of thoughts, actions and words. This might be the reason why the temple is dedicated to Nataraja, the cosmic dance of creation and destruction. It’s the only temple with all the positions of Bharatanatyam depicted visually.

While it did help me appreciate the depths of our ancient seekers and the multi-skilled intellectuals that they were, the visual depiction of Akasha, the origin of my quest, was still elusive. Raja Dikshitar, the man responsible for spreading the knowledge of the Nataraja temple far and wide, had written this about the temple.

This principle of symmetry is expressed in the ancient doctrine by a geometrical symbol which is both extreme in its simplicity as well as in its effectiveness in conveying the concept of super symmetry in all its implications in all its implications. In the ancient cosmological map, which is the temple of Shiva Nataraja, it is embodied in the total form of the structure. The temple layout has the shape of a sauvastika, an anti-clockwise svastika. This ancient symbol can now be understood as representing the Akasha, the Ether, as well as expressing the concept of super symmetry in modern physics.

There it was. The ubiquitous symbol that I had always seen throughout my life. My question was answered. This has led me to a deeper quest, which has taken me places, in the inner world, and will continue till the end.

The term sauvastika (or sauwastika) is sometimes used to distinguish the left-facing from the right-facing svastika symbol, a meaning which developed in 19th century scholarship. The left-facing variant is favoured in Bon and Gurung 
Dharma; it is called yungdrung in Bon and Gurung Yantra in Gurung Dharma. Both the right-facing and left-facing variants are employed in Hinduism
 and Buddhism. However, the left-facing is more commonly used in Buddhism than Hinduism and the right-facing is more commonly used in Hinduism than Buddhism. The sauvastika is imprinted on the chest, feet, palms of Buddha and also the first of the 65 auspicious symbols on the footprint of the Buddha. In Hinduism the left-facing sauwastika
 is associated with esoteric tantric practices and often stands for Goddess Kali.

Svastika - Symbol of Coherence and Symmetry in Sankhya Philosophy1

Lokmanya Tilak, a mathematician, Sanskrit scholar and patriot, was intrigued by the fact that quite often translations of profound Vedic texts lacked clarity and logical precision. It failed to establish an unequivocal connection with the real world the ancient authors were trying to portray. Through his two classical works, the “The Orion” and “The Arctic Home in the Vedas” he provided a logical explanation for the apparent lack of cogency in many Vedic translations and quite specifically the Rigveda. The Lokmanya boldly pushed back the Vedic chronology to the pre-glacial era, based on his mathematical expertise. It not only seemed plausible but it had to be true if one had to logically reconcile numerous scientific facts the Vedas had exposed. He hypothesized that the present generations of humanity were the survivors of a global flooding cataclysm caused by the melting of glaciers in the Polar Regions.
The first sloka of the Rigveda theorised the availability of free energy in space, for Vedic scientific logic defined it as being substantial, dynamic and holographic; not empty and vacuous. This again, for my tryst with Void, was resonant. The Sanathana school of thought always thought Ether Akasha and Void are one and the same – Supreme, Holographic, All-encompassing. It is bigger than the biggest yet smaller than the smallest in the whole universe (Manifest).

The Sankhya Karika by Ishwara Krishna (Sankhya), containing axiomatic theorems of logic, confirmed this possibility. Sankhya logic split interactive events in space into a sequence of cyclic oscillatory actions when observable, else it was in ‘simultaneous, coherent or synchronised (apparently static)’ state. The pseudo static restful state provided the ground state or 'potential sink' for higher activity levels to drift or gravitate towards it in attaining a state of equilibrium.

Humanity should forever be grateful to Maharishi Kapila for having introduced the concept of a positive intellectual self-affirmation process defined as Siddhi in Sanskrit and doubly confirmed its perfection, by laying bare the axiomatic operating principles of phenomenon in just 70 Suthras, with its own internally derived proof, by an extra-ordinary and unequivocal numerical value. By establishing the fact that the observer need only deal with vibratory counts in measuring cyclic phenomenon, he dislodged the concept of clock time that experimental physics now has raised to a position of eminence. Through rigorous logic, time in Sankhya, is shown to be an indicator of a relative delay in the completion of an interactive event. This factor shown is the measure of slackness, flexibility or degree of freedom to move in states that interact in the simultaneous mode, normally described as coherent, synchronised or symmetric space. He must also be credited with deriving a precise mathematical method to deal with simultaneous or instantaneous phenomenon identifying the coherent potential, that eliminates the pain of dividing by “zero” time and has taught man to discover the large spectrum of coherent phenomenon hidden behind the infinitesimal, by mathematically peeping over the zero time barrier. The cyclic period of coherent and symmetric phenomena is symbolically represented by the mystic symbol the Svastika which can never turn into a cross for the ultimate Moolaprakriti activity cannot be destroyed. Above all, he has raised the so-called empty vacuum of space to its pivotal and deified role as the source of all power in manifesting phenomenon.

Svastika in Music as Spirit/Energy – Ancient Repetitive Patterns2

The repetitive patterns of meditation music can relax taut nerves and induce quasi-hypnotic states in which the mind may become quiet as a lake reflecting the sky. Archaic magic used repetition and in so doing reflected the cosmogonic process. All material organizations' generate a great deal of inertia, and at the beginning of the universe the undifferentiated matter of chaos has to be whirled for immense periods into spirals of cosmic motion through the repetitive operation of forces which in their unity aspect constitute creative spirit. The acts of spirit are immensely repetitive (spirit has been symbolized by the hammer of Thor, the whirling svastika).

Svastika, hence, becomes a symbol of cyclicity of music, be it a beat, a rhythm or a combination of notes. And to think of it, Svastika is the aniconic symbolism of Sun, the life-force. Music, Art, Dance, Life and facets associated with it, all being cyclic, can thus be encompassed within this symbol.

Svastika in Metallurgy:

In a research paper, Dr S Kalyanaraman links the Svastika glyph in the Sindhu Sarasvati Script to denote Zinc, an ingredient of the Alloy of Brass. His paper got me intrigued and I tried to link the common symbolism of luck, love and happiness that Svastika is associated with, and if it has a bearing in terms of neurosciences.

A bit about Zinc in terms of Indian Metallurgy. Zinc production may have begun in India, and ancient northwestern India is the earliest known civilization that produced zinc on an industrial scale. The distillation technique was developed around 1200 CE at Zawar in Rajasthan. In 1738, William Champion is credited with patenting in Britain a process to extract zinc from calamine in a smelter, a technology that bore a strong resemblance to and was probably inspired by the process used in the Zawar zinc mines in Rajasthan. His first patent was rejected by the patent court on grounds of plagiarising the technology common in India. However, he was granted the patent on his second submission of patent approval. Postlewayt's Universal Dictionary of 1751 still wasn't aware of how Zinc was produced!3

The total content of zinc in the adult human body averages almost 2 g. This is approximately half the total iron content and 10 to 15 times the total body copper. In the brain, zinc is with iron, the most concentrated metal. The highest levels of zinc are found in the hippocampus in synaptic vesicles, boutons, and mossy fibers. Zinc is also found in large concentrations in the choroid layer of the retina which is an extension of the brain. Zinc plays an important role in axonal and synaptic transmission and is necessary for nucleic acid metabolism and brain tubulin growth and phosphorylation. Lack of zinc has been implicated in impaired DNA, RNA, and protein synthesis during brain development. For these reasons, deficiency of zinc during pregnancy and lactation has been shown to be related to many congenital abnormalities of the nervous system in offspring.4

Interestingly, when I look at neuroscientific research, the element Zinc comes across as the main bringer of happiness to the human body, be it in terms of synapses in the brain or in the heart.5 What a beauty that Svastika was referred to as denotion of happiness, good life, light etc since the ancient times.

Svastika - Misconceptions

Myth: The svastika is mostly associated with Buddha in India, China, and Japan. Early Chinese symbolism (Source)

Fact: Svastika is associated with the Vedic civilization and even finds mentions in Civilizations across the world, eons before the birth of Buddha or Christ. For more, jump to the book reference6 at the end of this blog.
Myth: Nazi symbol, outrages the west

Fact:



Fig 1: Spain Swastika - A Roman mosaic at Barcelona.JPG Caption: Pre-christian Europe also made use of the symbol - A Roman mosaic at Barcelona (Source)



Fig 2: 20th Century usage.PNG Caption: Svastika was used in USA and Europe widely in 20th century. (Source)

Svastika was always used in the west until 1920s across sports, military and pop culture, as shown above. It’s banned in Germany, with rest of Europe thinking about it. The fear psychosis it generates in the west can be understood from the Microsoft Apology stated below (Source).

Microsoft has learned of a mistake in the Bookshelf Symbol 7 font... we failed to identify, prior to the release, the presence of two svastikas2 within the font. We apologize for this and for any offense caused.
– Steven Sinofsky, senior vice-President, Microsoft

Another instance when the symbol caused outrage occurred in 2005, when Prince Harry appeared at a fancy dress party wearing a desert uniform of Rommel's Afrika Korps tunic complete with svastika armband and German Wehrmacht (defence force) collar badge.

Summary:

What started with an innocuous query to satiate my curiosity turned out to be a life-long quest to seek knowledge from sources ancient and the modern, on the depth of our ancestors’ acumen. The Svastika is ubiquitous in various spheres of life, be it in temple architecture, music, astronomy, astrology, metallurgy, the very working of cosmos and everything within it, apart from a symbol of happiness and luck.

Education would be more beneficial than a ban.

– Director of the human rights group Liberty

It’s time the west is sensitized on the ancient symbolism and the positivity associated with the symbol, spanning across ancient civilizations, on all continents. The svastika continues to represent life, love, light and good luck to billions of people globally, with it denoting Zinc, the happiness element for the human body.

References and Further Reading:

1                   - 1. Secret Of Sankhya: Acme Of Scientific Unification by G Srinivasan
2                   - Magic of Tone and Art of Music by Dane Rudhyar
3                   -2.  Zinc in Ancient India
4                   - 3. Zinc in Human Brain
5                   - 4. Zinc - The Happiness Element
6                   - 5. Worldwide Usage of Svastika across Ancient Civilizations


Croatia and links to Indus Script. Sanskrit in Croatia: From Sarasvati to Hravati -- James Cooper

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Let me add one more to the words listed by James Cooper.
med in Slavic languages means 'copper'.This is cognate mr̥du 'iron' (Sanskrit) and med 'iron' (Mu.Ho.), Santali:
 This word occurs frequently on Indus Script Corpora which are inscriptions of wealth-accounting, metalwork ledgers.





So, the cognates of Croatia and Indian sprachbund, 'language union' dates back to the Bronze Age.
Kalyanaraman, Sarasvati Research Centre
Sanskrit in Croatia: From Sarasvati to Hravati 
by James Cooper November, 2015
Glagojica Script
For most of the Croatian people (or as they call themselves, Hrvati) when it comes to defining their origins and tracing their ancient roots they turn towards the land of Iran and Persia. According to academia the name Hrvat comes from Hrovat which comes from the Slavic Horvatwhich originates from the Indo/Slavic Harvat and which is ultimately traced to Persia and the name Harahvaiti.
Harahvaiti however, is the corrupted name of Sarasvati, the great Vedic Goddess, the Mother of Sanskrit, the great river of the Rig Veda and the Goddess of learning. The Persians had a tendency to replace a Sanskrit ‘S’ with a Persian ‘H’, and so the word Haravaiti is actually Sarasvati.
This tendency can be seen in their word for ‘week’, hapta, which is in the Sanskrit sapta meaning week. Their name for the ‘Sun’,Hvar, is the Sanskrit Svar meaning the same. In the Avestan we find the seven rivers of the Aryan land are described as hapta hendu, an obvious corruption of sapta sindhu, the seven rivers of India. Finally there are the rivers of Iran, Haravaiti and Harayu which are the Vedic rivers of Sarasvati and Sarayu. And so if the name of Croat (Hrvat) comes from Harvat and this in turn comes from Harahvaiti, we must conclude that the source is Sarasvati.
Sarasvati is one of many words which are cognate with the Croatian language.
Med is a Croatian word meaning honey and this comes from the Sanskrit Madhu, a name for Krsna. The Russian Medvedev and the Croatian Medvjed both mean ‘honey eater’ a name for the bear and they both come from the Sanskrit Madhava, a name for Krsna which means ‘he who intoxicates like honey’. Below are some of the many similarities which are shared between the Sanskrit and Croatian language.
Croatia Waterfalls
Krka Waterfalls in Croatia
Sanskrit
Croatian
English
Kada
Kada
When
Phena
Pjena
Froth
Tamas
Tama
Dark
Da
Dar
Gift
Kuta
Kuća
House
Sabha
Soba
Room
Tada
Tada
Then
Dadati
Dan/Dati
Give
Matr
Mater
Mother
Tata
Tata
Father
Jiva
Živ/Živa
Alive
Krs
Krš
Ruin
According to academia, the oldest recorded name Harvat, was found in the Mittani/Hurrian documents spoken by King Tusratta some 3500 years ago. In the documents he refers to his Kingdom as Huravat Ehillaku.
We should note, however, that the King who spoke this 3,500 year old inscription was a Vedic/Hindu King, Tusratta being a corruption of Dasarathadasa being Sanskrit for ‘ten’ and ratha Sanskrit for ‘chariot’.
King Dasaratha, according to academia, was one of many Vedic Kings who ruled the Kingdom of Mittani. The chronology of these Mittani Kings are as follows: Kirta - Suttarna - Baratarna - Parsatatar - Saustatar - Rtadharma - Suttarna II - Artashumara - Dasaratha - Mativasa - Sattuara - Vashasatta - Sattuara II.
These names are all Sanskrit/Vedic. Suttarna is Sanskrit for ‘good son’; Dasaratha is Sanskrit for ‘ten chariots’; Parsatatar is a variation of Sanskrit Parasu, ‘he who rules with the axe’; Mativasa is Sanskrit for ‘the abode of prayer’; Ritadharma is Sanskrit for ‘the law of dharma’ and Artashumara is Sanskrit for ‘the winds of righteousness’.
It is an academic fact that the Kingdom of Mittani was ruled by Vedic Kings. Here we note that the capital of Mittani was called VasukhaniVasu being Sanskrit for ‘wealth’ and Khani means ‘mine’ – ‘a mine of wealth’. So if the roots of Croatian civilization are intimately connected with Iran and Persia, and in particular Mittani and the Hittites, one should take into consideration the Vedic influence behind it all.
The Croatian name for God is Bog which once again comes from the Sanskrit Bhaga, meaning Bhagavan, ‘the supreme Lord’. We see a nice example of this in the capital of Iraq, Bhagdad, Bhagbeing the Sanskrit Bhaga and dad coming from the Sanskrit dadati meaning ‘gift’ – ‘the gift of God’. Below are more similarities between the Sanskrit and Croatian languages.
Sanskrit
Croatian
English
Niska
Niska
Beads
Znata
Poznata/Poznati
Know
Kesa
Kosa
Hair
Sanskrit
Croatian
English
Zara
Žar
Fervid
Loka
Luka
Province
Pluta
Pluta
Floats
Mus
Miš
Mouse
Sanskrit
Croatian
English
Gir
Gor/Gora
Mountain
Bhavati
Bivati
Exist
Zvana
Zvana
Called
Griva
Griva
Mane
Istra is a magical region of Croatia, known as Terra Magica, ‘the magic land’. Its name comes from an equally magical source known as the Illyrians, an Indo/European civilisation who populated these lands some 4000 years ago. The regions of Istra, their islands and surrounding area, all the way to north-eastern area known as Slavonia, and down the Dalmatian coast, read like a page from a Sanskrit dictionary - Rupa - Raša - Rukavac - Kršan - Sukošan - Daruvar - Kali - Duga Uvala - Duga Resa - Isa - Siverić - Nos Kalik - Kalinić - Kalinovac - Budimir - Rajakovići - Kuje - Sava - Budva - Dvigrad - Ruda - Rava - Mandal - Radovani - Loka - Bogdanov Vrh - Predloka - Radoboj - Sveta Nedelja - Sit - Štanjel - Antignana - Grisignana - Galignana - Lisignana - Dignano - Visignano - Hvar.
Spotted in isolation, they would deserve nothing more than a raised eyebrow, but seeing a number of them, and taking in consideration the similarity between the Croatian and Sanskrit languages, we can only conclude that at some time in the distant past there was a presence of Vedic India in those lands.
The island of Hvar is said to be the number one hotspot of Europe, seeing more sunshine in a year than anywhere else. Its name, Hvar, is a Persian word meaning the ‘Sun’, in the Avesta, Hvar is the name for the ‘God of the Sun’. This once again reflects the relationship between Croatia and Persia, however, it should be observed that Hvar is a corruption of the Sanskrit Svar meaning ‘Sun’ or ‘heaven’ and once again reflects the Persian tendency to turn a Sanskrit ‘S’ into a Persian ‘H’.
We can also find this Svar in the Croatian Slavic folklore, with divine personalities such as Svarogand Mater SvaSvarog means the ‘God of the Sun’, the ‘God of heaven’ and Mater Sva is a solar Goddess known as the ‘Mother of heaven’.
Viđen is a Croatian word which means ‘to see’, originating from the Sanskrit vid meaning ‘to see’ or ‘to know’. From this Sanskrit vid we get the German wit which means ‘to know’, we also get the Latin videre which means ‘to see’, and the word video which means ‘to record’. Below is a continuation table of the many Croatian words which are cognate with Sanskrit.
Sanskrit
Croatian
English
Bhratr
Brat
Brother
Dve
Dva
Two
Dasa
Deset
Ten
Bala
Bijela
White
Tri
Tri
Three
Plavate
Plivati
Swim
Prastara
Prostor
Expanse
Budh
Buđenje
Awaken
Nabhasa
Nebesa
Heaven
Priminati
Preminuti
Perish
Nas
Nos
Nose
The Croatian town of Bogdanov Vrh is an interesting placename, meaning the ‘gift of God’. Bogcomes from the Sanskrit words Bhaga (‘God’) and dan or dana meaning ‘gift’.
Bogdan and Bogdanovic are also popular Slavic names, Bogdanovic meaning ‘son of Bogdan’.
We see the same roots in the name of the Capital of Iraq, Bhagdad.
In Sanskrit we have the word Sveta which means ‘light’, ‘bright’, ‘white’. Vedas speak of the heavenly region of SvetadvipaDvipa (‘island’) and Sveta (‘milky’ or ‘white’), Svetadvipa means ‘an island surrounded by a milky white ocean’.
From the Sanskrit Sveta we get the Croatian first names: Sveta or Svjetlana or Sveto - all of them pertaining to ‘light’, ‘bright’ and by extension ‘pure’ or ‘saintly’.
(In many other Slavic nations we get the variations of the same word, so in Russia for example, we have Svetlana, in Czechoslovakia Svetla and in Bulgaria its Svetul.)
The Slavic tradition of Croatia also has the God Svetovid, from Sanskrit Sveta (‘light’) and vid (‘to see’). The God Svetovid is portrayed as white and bright with white hair, white beard, white clothes and white horse, all reflecting this white, bright meaning to his name, Svata-vid. Throughout Croatia we see this Sanskrit sveta in many place names such as Sveta Marija - Sveta Nedelja - Sveti Durd - Sveti Ivan - Sveti Juraj - Sveti Lovrec - Sveti Martin - Sveti Peter - Svetvinčenat.
The Croatian word for home is dom, originating from Sanskrit dam (‘house’). We see this dom in English words such as domestic and Kingdom meaning ‘of the home’ and ‘the home of the King’, and in Sanskrit we have dampati which means the ‘Lord of the house’. Below are further examples of the relationship between the Croatian and Sanskrit languages.
Sanskrit
Croatian
English
Bhrza
Brza
Swift
Bhagavan
Bogovan
Divine
Dvara
Dvari
Door
Sus
Suh/Suhi/Suši
Dried
Val
Val
Wave
Rasa
Rosa
Dew
Vesha
Veš
Clothes
Sthanaka
Stanica
Station
Pad
Pad
Fall
Snusha
Snaha
Daughter
Treta
Treća
Third
Sveta
Svjetla
Light
The coastal town of Umag may also reflect the Croatian/Iranian/Vedic relationship.
turanj tukljaca krug
Umag was originally called Magus, a name most relevant to the Iranians whose priests were known as Magi, men of magic and Magus which in Latin meant wizard. Magus was once part of Illyria which was known as a place of magic, In 11th century BC Istria was inhabited by the Histri – the Illyrian tribe after whom Istria was named. It is also known as Terra Magica, ‘the magical land’. As usual the grey academics paint a different story explaining how Magus is a Celtic word meaning fertile land and while this happens to be true, it does not necessarily apply to Umag. The Celts were intimately connected to the Persian Zoroastrians, they knew the esoteric meaning of Magi and Magus – the term Druid has the same meaning as in ‘seer’, and even the Bible mentions the Magi as a gifted seer and prophet.
A Celtic King was also known as Magus and his name did not mean ‘fertile land’, rather it described him as a man of great wisdom. The Persians and Croats were obviously intimate and so were the Druids and Magi. Magus, the original name for this coastal town now known as Umag may have meant much more than ‘fertile land’ - it may have reflected the magic of Istra and the Illyrians.
The source of these names however, is Vedic/Sanskrit, Magu (‘magician’; ‘priest of the sun’), the word that is the very source of the word Magic, just as the Vedas are the influence and knowledge behind the Zoroastrian religion.
The Croatian word for water is voda, this comes from the Sanskrit Uda or Udaka meaning the same. (From the Sanskrit Udaka we also get the Russian beverage known as Vodka which is Russian for water.) Below are more Croatian words which are cognate with Sanskrit.
Sanskrit
Croatian
English
Nipatati
Napadati
Attack
Purva
Prvo
First
Dina
Dan
Day
Sedati
Sjediti
Sit
Mrtaka
Mrtvac
Death/Corpse
Parsati
Prašiti
Sprinkle
Adatta
Neudata
Unweded
Vartate
Vrtjeti
Rotate
Patha
Put
Path
In Sanskrit the word for knowledge is jnana, from jnana we get the Greek gnosis meaning knowledge, and from gnosis we get the English word knowledge - Jna-na - Gno-sis - Kno-wledge.
Istra islands in Croatia
Istra Islands in Croatia
In Croatia, on the enchanted islands of Istra, there are regions which bear this very same name, jnana. There is Grisignana - Lisignana - Galignana - Antignana - Dignano and Visignano. We find little information on these places except they are very ancient having been inhabited for over 7000 years.
Kali is an island off the coast of Istra, the name is an obvious Vedic/Hindu name, yet here it is as an island of Croatia in a land whose language is hardly distinguishable from Sanskrit. Throughout the region we also find names such as Kalinovac, Kalik and Kalinić.
Ancient port of Budava is a region which was once the main port of Istra; in Sanskrit buddhvameans to awaken.
In Croatia we also find rivers which have names which are decidedly Sanskrit. The Drava river is a major river which flows from Italy and travels through Austria, Slovenia, Croatia and Hungary. In ancient times it was known as the Dravus, so named by the Celts. The source of the name however is Sanskrit, Drava being Sanskrit for flowing, fluidity and stream. The Raša is a Croatian river whose name is very much related to Vedic India, Rasa being Sanskrit for water, liquid, juice, taste, elexir, nectar, essence, love. In the holy town of Vrindavan, India, the Gopis, who are great devotees of Lord Krsna, dance with the Lord and this is known famously as the rasa dance, expressing the highest rasa - the love of God.
River in Croatia
The Sava is a major river of Croatia, its name in Sanskrit means ‘water’ and ‘pouring out’. The Sava is a tributary of the river Danube which also flows throughout Croatia, Danube being named after the Vedic Goddess Devi Danu.
Stan in Croatia means place, residence, the source of this stan is the Sanskrit sthana which means province, abode, place, domain, region, state, land.
We see this sthana being used as a suffix for many countries such as Turkistan, meaning the land of the Turks and we also see it in Kurdistan - Uzbekistan - Kazikstan - Pakistan - Tajikistan - Afghanistan, ect. Below is the last table of words whose similarities show the ancient relationship between the two countries Croatia and Vedic India.
Sanskrit
Croatian
English
Nava
Nova/Novi
New
Trnaka
Trnjak
Bush
Purna
Pun/Puna
Full
Laghu
Lagan
Light
Catur
Četri
Four
Muska
Mišica
Muscle
Sada
Sada
Now
Pus
Pusti
Release
"The original name of the Indo/Iranian Goddess was Sarasvati ‘she who possesses waters’. In India she continued to be worshipped by this name which she gave to a small but very holy river in Madhyadesa (Punjab) whereas in Iran Sarasvati became, by normal sound changes Harahvati, a name preserved in the region called in Avestan Harakhvaiti and known to the Greeks as Anacosia, a region rich in rivers and lakes. Originally, Harahvaiti was the personification of the great river which flows down from the high Hara into the sea Vourukasa and is the source of the waters of the world, and just as the wandering Iranians called the great mountains near which they lived Hara, they gave Harahvaitis name to the life giving rivers and their Indian cousins did the same."
A history of Zoroastrianism - the early period by Mary Boyce
“But it was more faithfully preserved by the Zoroastrians who migrated from India to the northwest and whose religion has been preserved to us in the Zind Avesta, though in fragments only. The Zoroastrians were a colony from northern India."
The science of language by Professor Max Muller
"The oldest actual contact, as the Zagreb linguist Radoslav Katičić has pointed out in a recent colloquy dedicated to Indo-Yugoslav relations, is to be found in the primeval religion of the Slavs, which was by origin Indian, partly through Persian intermediation. However this fact, proven by the analysis of the expressions for deities, is common to all Slavonic people ".
India and the Yugoslavs, a survey of the cultural links 
by Ivan Slamnig, Department of comparative literature faculty of arts, Zagreb University.

Rakhigarhi, capital of Indus-Sarasvati Civilization, links riverine waterways of Brahmaputra, Ganga, Sarasvati, Persian Gulf

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https://tinyurl.com/yxjh6xsb

Rakhigarhi is the capital because it is located on the water-divide along the Mt. Abu ridge (which explains the hydrological patterns of east-flowing and west-flowing Himalayan rivers diverging from this point), a paṭṭaṇa, a re-packaging, transhipment riverine port linking riverways for trade transactions of the civilization. The transactions are recorded on Indus Script seals and inscriptions. This is one reason why the Script has to be deciphered which will help document the key components of the wealth of the  Rāṣṭram of the Bronze Age.

See: 

 http://tinyurl.com/zat4ty2

S. Kalyanaraman, Sarasvati Research Centre

https://www.youtube.com/watch?v=iiQ9cB95wnk (10:07)
Mirror: https://www.facebook.com/Archaeology.org/videos/179434139612992/ 
Published on Aug 22, 2018



A FILM ON THE LARGEST HARAPPAN SITE EXCAVATED IN HARYANA - NORTH INDIA .SITE DATES BACK TO 5000 YERAS .Film for DEPARTMENT OF ARCHAEOLOGY AND MUSEUMS HARYANA By NSB PRODUCTIONS
https://www.youtube.com/watch?v=biySJJtpWxk (5:19)

HistoricallyUrs
Published on Feb 25, 2017


Hello Friends, we all must have heard about Indus Valley civilization & the famous sites of Harappa & Mohenjo-Daro, but do you know that among the settlements there are total of 5 major urban centers. Along with Harappa, Mohenjo-Daro & Ganeriwala that lie in present day Pakistan, 2 sites of Dholavira & Rakhigarhi lie in present India.

Today we’ll have a peek at Rakhigarhi, the largest of all Indus River Valley sites. Rakhigarhi is a village in Hisar District in the state of Haryana in India, situated 150 kilometers to the northwest of Delhi. Most scholars believe it to be between 80 hectares to about 100 hectares in area. Some Indian archaeologists, however, have claimed that the earliest settlements in Rakhigarhi predate the Indus Valley Civilization, and the site itself is 300 hectares in area. Rakhigarhi is located in the valley of the prehistoric Drishadvati River. In 1963, Archaeological Survey of India i.e. ASI began excavations at this site. Further excavations were conducted by ASI between 1997 and 2000. However, recent excavations starting from 2011 till present have been proved to be the most fruitful with findings of new pottery, seals, burials, etc. Deccan College and the Haryana archaeological department have been jointly carrying out the excavation at the site from last three years. Experts from the Seoul National University, College of Medicine in South Korea are also involved in the excavation. There are nine mounds in Rakhigarhi which are named RGR-1 to RGR-9

Archaeological findings and scientific data have indicated that Rakhigarhi had been the more important centre of the Indus Valley Civilisation than the townships of Harappa and Mohenjo-Daro located in Pakistan
The team of archaeologists revealed that the excavation at this site is all set to change the view that Mohenjo-Daro was the capital city of the Indus Valley Civilisation. Instead, the scientific data collected on the basis of excavations here have strongly pointed that Rakhigarhi, was a metropolis and was perhaps the capital of its time about 5,000 years ago.

Evidences of massive manufacturing and trade activities in this town, which revealed the economic organisation and the foreign links of people here, have been collected. People here had trade links with people in Rajasthan, Gujarat, Baluchistan and even Afghanistan. The city flourished during the early Harappan era dating back to around 3,300 BC and existed till 2000 BC. Moreover, the DNA samples collected from the skeletons at the cemetery here are set to crack a major mystery surrounding their lives, character, diseases and race of the people who lived here 5,000 years ago.
Since Rakhigarhi was turning out to be the biggest and most crucial Harappan site in the world, the state government had decided to set up a museum, research centre and a hostel for the researchers in the village.
The excavation work at the Harappan site has got a major breakthrough with the recovery of around 15 human skeletons from mound no.7 during the ongoing excavation. The leader of the research team and head of Deccan College Post-Graduate and Research Institute, Vasant Shinde, said that the deposits they have found in various layers at Rakhigarhi go as deep as 22 metre. No other site has such extensive deposits. For example, deposits at Mohenjo-Daro go down to only 17 metre. This shows, Rakhigarhi area was a bustling metropolis as long back as 5000 to 5500 BC and continued to thrive. People continued to live there for long. There is an interesting question arising nowadays, that whether people now living in Haryana's Hisar district is the oldest continuous living habitat in the world. Scientists are anxiously awaiting complete results of the DNA tests of samples taken from Rakhigarhi. Officials have taken DNA samples from skeletons recovered from the archeological dig as well as residents of Rakhigarhi village of today. Although initial results have been exciting, the full results of the research project are not out yet. There are difficulties in excavating in this area for example take the case of mound RGR-5 which is thickly populated by establishment of Rakhishahpur village and is not available for excavations. However, these are definitely great moments in study of pre-historic India and new excavations might reveal findings that might just shed new light about links between Indus valley civilization & current Bharat. The size and uniqueness of Rakhigarhi has drawn much attention of archaeologists all over the world. It is nearer to Delhi indicating the spread of Indus Valley Civilization up to this distance of North India. Thanks for watching the video, I hope you liked it. I’ll keep posting videos regarding historical figures & events. Please subscribe & guide me with your constructive comments.


Published on Mar 17, 2018



Deciphering Indus Valley Seals --Rakhi Garhi Session 7 part -2

Itihāsa. Wealth of manuscripts on Indian astronomy and mathematics -- MD Srinivas (March, 2019)

Itihāsa. CM Modi explains rich heritage of Dholavira, Sindhu-Sarasvati Civilization, asks Centre to revive Sarasvati river

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December 16, 2011

Gujarat Chief Minister inaugurates International Sindhi Conference

Published on Dec 17, 2011
Shri Narendra Modi asks Centre to check the surplus water from dam on the Indus River in Pakistan to Kutch, and revive Sarasvati
Ahmedabad, Friday: Gujarat Chief Minister Narendra Modi today urged the Union Government to check the water flowing down the dam across Indus River in Pakistan to Rann of Kutch and divert the same surplus water into the landmass in the semi-arid Kutch region.
Inaugurating a three-day international Sindhi conference in Ahmedabad, he said that at present the subsurface water from the river go waste into the sea. It is also an occasion to revive the extinct Saraswati River which used to flow through Gujarat 400 years ago.
The Chief Minister said that 5,000-year-old Indus Valley Civilization remains show the how developed it was in town planning, culture, vast playgrounds and merchandise. He said that excavations at Lothal showed that the period was rich in maritime trade too.
Paying his tributes to the people responsible for a flourishing civilization five thousands ago, Mr. Modi fervently called upon particularly the new generation to keep alive the civilization. There is no place for complacency. A nation which neglects its history cannot build a new nation.
The Chief Minister recalled his old association with Sindhi families as he praised the Sindhi community for maintaining their culture, family bond, mother tongue, dress and food habits. He had a word of praise for the Sindhi food festival on the occasion.
Sindhi Council of India President Amar Doltani welcomed the guests and spoke on the rich Sindhi culture. Noted industrialist Shrichand Hinduja delivered the keynote address on the enterprising spirit, business acumen and the capacity to work hard of the Sindhi people.
https://www.narendramodi.in/gujarat-chief-minister-inaugurates-international-sindhi-conference-4243

Honorable CM Modi explains the rich heritage and civilization of Indus Valley addressing gathering at International Sindhi Conferance, Ahmedabad.


https://www.youtube.com/watch?time_continue=175&v=wB8MYj00xFQ (49:42) 

https://www.youtube.com/watch?v=TJN9EK_lcNI (3:40)





Rakhigarhi seal 1 deciphered. metalware, temple mint, goldsmithy guild

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Text message --Pewter factory, smelter metalware, metalware supercargo

-- guḍi temple dul kolimi 'metal casting smithy, forge' PLUS Scribe, supercargo 'a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.'


Pictorial motif is composed of one-horned young bull PLUS standard device hypertexts. 

The decipherment of the combined pictorial motif  hypertext of young bull PLUS standard device PLUS portable furnace. 

The device1.sangada ‘lathe’ rebus: sangarh ‘fortification’;2.kamaṭa ‘portable furnace’ rebus:kammaṭa ‘mint’ Animal bos primigenius indicus kõda 'young bull' rebus:konda ‘furnace’, kõdā 'turner' kundaṇa 'fine gold'. Fortified mint, goldsmithy guild.

Sign 293
Hieroglyph: pupil of eye: Ka. guḍḍu, guḍḍi eyeball, egg; guḍasu anything round; guḍi a circle, halo. Tu. kuḍu testicles of dogs, cats, etc. Te. g(r)uḍḍu
 eyeball, egg; guḍusu a circle, round; goḍḍacylindrical stone; guḍi halo round the sun or moon. Kol. guḍ (pl. guḍl) testicle. Nk. (Ch.) guḍ (pl. -l) egg; 
kanta guḍḍa eyeball;? gaḍḍa stone, pestle made of stone. Go. (Ko.)
 guḍi variety of small bead (Voc. 1114). Konḍa guḍu eyeball, egg, testicle (< Te.); gurḍu, (Sova dial.) gurzu pupil, eyeball. Kuwi (Su.) guḍu egg (< Te.). Cf. 1695 Ta. kuṇṭu. / Cf. Skt. guṭikā-, guḍa- globe, ball, pill; Turner, CDIAL, no. 4181.(DEDR 1680) guḍá1 m. ʻ globe, ball ʼ MBh., guḍikā -- f. ʻ kernel ʼ VarBr̥S., gula -- m. ʻ glans penis ʼ, ˚lī -- f. ʻ pill ʼ lex., ˚likā -- f. ʻ globule ʼ Kād. [Cf. gōla -- 1, *gōṭṭa -- ]Pa. guḷa -- ʻ cluster ʼ in mālā -- g˚guḷikā -- f. ʻ little ball ʼ; Pk. guḍiā -- f. ʻ pellet ʼ, gulia -- m., ˚iā -- f. ʻ ball ʼ; A. guri ʻ minute particle ʼ, gurāgulī ʻ sinker on fishing net or line ʼ; B. guṛ ʻ globe, mouthful ʼ; Or. guṛāguḷāʻ pill ʼ, goṛi ʻ pebble ʼ, guḷī ʻ round clod ʼ; Mth. guriā ʻ bead ʼ; H. guriyā f. ʻ glass bead ʼ, gulā m. ʻ ball, bullet ʼ, gullā m. ʻ small pellet ʼ; Si. guḷiya ʻ pill, ball, lump *nimbagulikā -- .Addenda: guḍa -- 1: WPah.kṭg. 
gvḷɔ m. ʻ buttock ʼ, kc. gvḷkho m.; kṭg. guḷċhu ʻ thigh, hind thigh of farm animal ʼ; J. guḷchu m. ʻ flesh of the buttocks ʼ; Md. guḷa ʻ a kind of game; a pasty, a ball of something edible ʼ.(CDIAL 4181)

Rebus: Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛi f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) 

Hieroglyph: pupil of eye: dōla1 ʻ swinging ʼ MBh.,  Pk. ḍōla -- m. ʻ eye ʼ (X lōcana -- in ḍōaṇa -- n.), ḍōlā -- f. ʻ swinging to and fro, litter ʼ; B. dolā ʻ litter ʼ; Or. doḷadoḷādoḷi ʻ cradle, swing, sedan -- chair ʼ, doḷāḍoḷā ʻ pupil of eye ʼ; M. ḍoḷā m. ʻ eye ʼ, ḍoḷī f. ʻ litter ʼ.(CDIAL 6582)

Rebus: dul 'metal casting' (Santali)

 Sign 123

Hieroglyph: splice: badhi ‘to ligature, to bandage, to splice, to join by successive rolls of a ligature’ (Santali) batā bamboo slips (Kur.); bate = thin slips of bamboo (Malt.)(DEDR 3917). Rebus: baḍhi = worker in wood and metal (Santali) baṛae = blacksmith (Ash.)

Vikalpa: Sign 123 which is a compound of 'slice' hieroglyph + 'notch' hieroglyph: kuṭi = a slice, a bit, a small piece (Santali.lex.Bodding) Rebus: kuṭhi. 'iron smelter furnace' (Santali) kuṭhī factory (A.)(CDIAL 3546). takṣ तक्ष् 1, 5. P. (तक्षति, तक्ष्णोति, तष्ट) 1 To chop, cut off, pare, chisel, slice, split; आत्मानं तक्षति ह्येष वनं परशुना यथा Mb; निधाय तक्ष्यते यत्र काष्ठे काष्ठं स उद्घनः Ak. -2 To fashion, shape, form (out of wood &c.). -3 To make, create in general. -4 To wound, hurt; अन्योन्यं च शरैः क्रुद्धौ ततक्षाते परस्परम् Mb.6.45.18. -5 To invent, form in the mind. -6To make one's own, appropriate. -7 To cover. -8 To peel. -9 To make thin. -With निस् 1 to slice out of. -2 to form, create. takṣ Rebus: तक्ष् a. (At the end of comp.) Paring, cutting &c.; also तक्ष; Bṛi. S.87.2,24; also तक्षक q. v.; R.15.89.takṣakḥ तक्षकः [तक्ष् ण्वुल्] 1 A carpenter, wood-cutter (whether by caste or profession) PLUS खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon. Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’. Thus, kuṭi khāṇḍā
 'carpenter metalware'.
Sign 343

Variants of Sign 343khāṇḍā karṇī 'metalware supercargo'.

 Sign pair: 293, 23
Cluster1

 Sign 293 kanac kuṭila 'pewter'; kuṭhi 'iron smelter furnace', 'factory';

Sign 123 

Hieroglyph: splice: badhi ‘to ligature, to bandage, to splice, to join by successive rolls of a ligature’ (Santali) batā bamboo slips (Kur.); bate = thin slips of bamboo (Malt.)(DEDR 3917). Rebus: baḍhi = worker in wood and metal (Santali) baṛae = blacksmith (Ash.)

Vikalpa: kuṭi 'a slice, a bit, a small piece'(Santali) Rebus: kuṭhi. 'iron smelter furnace' (Santali) kuṭhī factory (A.)(CDIAL 3546) PLUS 'notch' hieroglyph:  खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā 'tools, pots and pans, metal-ware'. Thus, kuṭhi khāṇḍā smelter metalware.

Sign 343 kanda kanka 'rim of jar' कार्णिक 'relating to the ear' rebus: kanda kanka 'fire-trench account, karṇika 'scribe, account' karṇī 'supercargo',कर्णिक helmsman' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā 'tools, pots and pans, metal-ware'. Thus, khāṇḍā karṇī 'metalware supercargo'.

The inscription message:Hieroglyph 1. kanac kuṭila 'pewter'; kuṭhi 'iron smelter furnace', 'factory'; 
Hieroglyph 2: baḍhi = worker in wood and metal (Santali) baṛae = blacksmith (Ash.)
Hypertext 3:  khāṇḍā karṇī 'metalware supercargo'. khāṇḍa 'tools, pots and pans, and metal-ware'.

Pewter factory, smelter metalware, metalware supercargo.


Sign 347 is a duplication of Sign 162   dula 'duplicated' rebus: dul 'metal casting' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, together, dul kolimi 'metal casting smithy, forge'.

Sign MSign 193 Suggested rebus reading: guḍi temple (Telugu)
The orthography (M-shape) is similar to the orthography of mangalasūtra (marriage badge) used in some Indian traditions and worn by Indian brides. (Assuming that the gyph orthographically connotes the architecture of a warehouse with a roof: कोठी [ kōṭhī ] f (कोष्ट S) A granary, garner, storehouse, warehouse, treasury, factory, bank. (Marathi) कोठी The grain and provisions (as of an army); the commissariatsupplies. Ex. लशकराची कोठी चालली-उतरली- आली-लुटली. कोठ्या [ kōṭhyā ] कोठा [ kōṭhā ] m (कोष्ट S) A large granary, store-room, warehouse, water-reservoir &c. 2 The stomach. 3 The chamber of a gun, of water-pipes &c. 4 A bird's nest. 5 A cattle-shed. 6 The chamber or cell of a hunḍí in which is set down in figures the amount. कोठारें [ kōṭhārēṃ ] n A storehouse gen (Marathi) krvṛI f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu)[Notes on hunḍí: हुंडी [ huṇḍī ] f ( H) A bill of exchange. हुंडी लावणें To present a hunḍí.हुंडी [ huṇḍī ] f ( H) A bill of exchange. हुंडी लावणें To present a hunḍí. हुंडाभाडा [ huṇḍābhāḍā ] m ( H) sometimes हुंडेंभाडें n Contract or agreement (for the transportation of goods &c.) in which the payment of all tolls and duties, and of all charges for hire &c. is included; a lump-contract. (Marathi)
Thus, I submit that the Sign342 signifies कर्णक karṇaka'rim-of-jar' and is read rebus in Meluhh (Bharatiya sprachbund, speech union) as karī 'supercargo', 'engraver, scribe.' 

That is, the most frequently used sign of Indus Script, Sign 342 is a signifier for a scribe, supercargo 'a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.'

Itihāsa. Mahabharata in Indic Arts -- Speaking Tree Team

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The Mahabharata is one of the two great epics of India that has had a great impact on Indian civilisation. C P Ramaswami Aiyar Institute of Indological Research organised a three-day conference (March 14-16,2019), in Chennai, on ‘The Mahabharata in Indian Art and Culture’. Over 60 papers were presented by several eminent scholars from India and abroad on various subjects such as the archaeology and dating of the epic, and philosophical discussions on dharma in it.

There were several papers on the Mahabharata in the various arts of India. The conference was inaugurated by Professor Arvind Jamkhedkar, chairman, The Indian Council of Historical Research. Sudha Seshayyan, vice-chancellor, The Tamil Nadu Dr MGR Medical University, delivered the keynote address. Professor Koenraad Elst from Belgium summed up the issues discussed in the conference in his valedictory address.


The Mahabharata was originally known as Jaya with 8,800 verses. Later, it was known as Bharata with 24,000 verses, as recited by Vaishampayana. Finally, the Mahabharata, as we know it today, was narrated by Ugrashrava Srauti with over 100,000 verses.


Panini refers to the epic in the 4th century BCE, while the oldest surviving Sanskrit text dates back to the Kushana period or 200 CE.

The Mahabharata clearly mentions the use of a variety of weapons and extensive use of chariots as war vehicles. Archaeologist K K Muhammed and Neera Misra discussed the archaeological excavations at the sites including Kampilya. Interestingly, they pointed out how all the sites continue to have the same names even today. A paper was presented on the excavations at Dwaraka, since Krishna created his capital city at the time of the Kurukshetra war. In the ruins of Dwaraka, antiquities like stones, sculptures, walls, pillars, bastions, seals, inscriptions, potteries, terracotta beads, bronze, copper and iron objects dating back to about 1,500 BCE, were discovered.


The archaeological artefacts establish the historicity of Krishna. The archaeo-astronomical opinion on the date of the Kurukshetra war centres on the date arrived at — through computer applications, by Hema and D K Hari — as February 18, 3,102 BCE; citing of this date has become widespread in the Indic tradition.


Professor Godabarisha Mishra spoke on transcending moral dilemmas with the help of wisdom in the epic, through reconciliation and compromises. V S Karunakaran explained the concept of dharma in the story, while Prashanth Krishna posed a question: Was Bhishma a hero or villain? Though Bhishma is celebrated as a pitamah, his actions, particularly towards women were misogynic. The Mahabharata is an epic with strong women characters and the many manifestations of women characters were presented by V Mohan.


The epic has provided rich iconography for Indian sculptors and artists who use the Mahabharata as their main source of inspiration. Understanding legends and executing themes — both from local and historical point of view — is essential. The Pallavas, Chalukyas, Rashtrakutas, Cholas, the Vijayanagar and Nayaka rulers used the epic for embellishing their wonderful architectural creations. The Hoysalas perfected the representations by carving the episodes in a sequence along the moulded plinth. “Almost all the important episodes were represented but the war scenes were the most preferred. The Vijayanagar and Nayaka dynasties depicted the episodes as murals at Lepakshi, Sibi, and Adiyamankottai,” T Satyamurthy pointed out. Finally, as the epic travelled to southeast Asia, they were represented on walls of the temples in Cambodia.


It is a little known fact that while Draupadi was the princess of Kampilya and queen of Hastinapura, there are no temples dedicated to her in north India. On the other hand, Draupadi is revered as a goddess in the south. Sandhiyalakshmi discussed the tradition of Draupadi Amman temples in Tamil Nadu, and S Madurambika discussed the many temples dedicated to Arjuna in Tamil Nadu. V V Subramanian spoke about how the Mahabharata influenced Tamil literature from the Sangam period: there are references to several events that took place in the epic.


Sumathi Krishnan spoke about the epic’s influence on music, particularly the compositions by the Gandharvas who practised music, because of which musicology was known as Gandharva Shastra.


Subramania Bharati created an epic, Panchaali Sabadam in Tamil, which is based on the game of dice and Draupadi’s vow. Draupadi is the ultimate symbol of womanhood — wronged, yet determined to fight back.


Although the Mahabharata is difficult to understand, since it is full of interpolations and references spread across epochs, scholars at the conference brought some clarity to help one understand it better. ■

Indus Script hypertexts which signify pattar an artificer guild praying to Pitr̥ with जानु+ दक्षिणतः+आ* च्य 'with the right knee bent' (RV 10.15.6)

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I submit that imageries on Indus Script inscriptions showing an adorant, a person with bent knees (for e.g. in front of a person seated in presence) signifies an adoration, a prayer of an artificer of Sarasvati Civilization.

Such a person with bent knee is: battuḍu, pattar is shown in a worshipful state kneeling in adoration on many inscriptions. pattar 'goldsmith guild'. An image which renders the rebus rendering of pattar is a feeding trough pattar (generally in front of animals which signify metalwork). Such a person with bent knee signifies an artificer  A worshipper. భక్తుడు. The caste title of all the five castes of artificers as వడ్లబత్తుడు a carpenter. కడుపుబత్తుడు one who makes a god of his belly. L. xvi. 230.(Telugu). pattar பத்தர்5 pattarn. perh. vartaka. Merchants; 
வியாபாரிகள். (W.)



The worshipful posture related to the following rebus rendering which signifies a sacred place like a smithy, forge:

kola 'tiger' rebus: kole.l 'smithy, forge' rebus:kole.l 'temple' (Kota). kol 'working in iron'; kolhe 'smelter'.

Anvaya:  

जानु n. (rarely m. MBh. iv , 1115 Ra1jat. iii , 345) the knee RV. x , 15 , 6 AV. ixf. VS. &c (°नुभ्याम् अवनिं-गम् " to fall to the ground on one's knees " MBh. , xiii , 935)

दक्षिण 'right' mf()n. (also °ण्/अ S3Br. ) (declined as a pron. when denoting relative position [" right " or , " southern "] Ka1tyS3r. A1s3vGr2. &c cf. Pa1n2. 1-1 , 34 ; vii , 1 , 16 ; but not necessarily inabl. and loc. sg. m. n. [°णे Ka1tyS3r. Mn. ii , 63] and nom. pl. m. ; except Hariv. 12390) able , clever , dexterous Pa1n2. 1-1 , 34 Ka1s3. S3atr. (ifc.)

आ* च्य ind.p. (fr. *च्) , bending (the knee) S3Br. A1s3vGr2.

Thus,  जानु+ दक्षिणतः+आ* च्य 'with the right knee bent'

RV 10.015.06 Having sat down on the right side with bended knee, do you all accept this sacrifice. Harm us not Pitr.s, for any offence which through human (infirmity) we may have committed towards you. 


There are two seals of Indus script (m1186 and m0488) depicting a kneeling person with some offerings on a stool/tray. In a vivid orthographic analysis, John C. Huntington identifies the nature of the offering on m1186: it is a bowl with ladles. The offering kept on a stool on m0488 is likely to be a similar glyph, though analysis of a higher resolution image is not possible because the tablet with this glyph is worn-out.
m1186 seal
 
kaula— m. ‘worshipper of Śakti according to left—hand ritual’, khōla—3 ‘lame’; Khot. kūra— ‘crooked’ BSOS ix 72 and poss. Sk. kōra— m. ‘movable joint’ Suśr.] Ash. kṓlƏ ‘curved, crooked’; Dm. kōla ‘crooked’, Tir. kṓolƏ; Paš. kōlā́ ‘curved, crooked’, Shum. kolā́ṇṭa; Kho. koli ‘crooked’, (Lor.) also ‘lefthand, left’; Bshk. kōl ‘crooked’; Phal. kūulo; Sh. kōlu̯ ‘curved, crooked’ (CDIAL 3533). 

Rebus: kol ‘pancaloha’ (Tamil)

bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)
saman 'make an offering (Santali) samanon 'gold' (Santali)
 miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ (Torwali) mẽḍhɔ 'ram' (Gujarati)(CDIAL 10310) Rebus: me~Rhet, meD 'iron' (Mu.Ho.Santali)
heraka 'spy' (Samskritam) Rebus:eraka 'molten metal, copper'
maNDa 'branch, twig' (Telugu) Rebus: maNDA 'warehouse, workshop' (Konkani)\karibha, jata kola Rebus: karba, ib, jasta, 'iron, zinc, metal (alloy of five metals)
maNDi 'kneeling position' Rebus: mADa 'shrine; mandil 'temple' (Santali)

dhatu 'scarf' Rebus: dhatu 'mineral ore' (Santali)

The rice plant adorning the curved horn of the person (woman?) with the pig-tail is kolmo; read rebus, kolme ‘smithy’. Smithy of what? Kol ‘pancaloha’. The curving horn is: kod.u = horn; rebus: kod. artisan’s workshop (Kuwi)

The long curving horns may also connote a ram on h177B tablet:


image.png
Person kneeling under a tree facing a tiger. [Chanhudaro Excavations, Pl. LI, 18]
  
Text on obverse of the tablet m453A: Text 1629. m453BC Seated in penance, the person is flanked on either side by a kneeling adorant, offering a pot and a hooded serpent rearing up. 
 
Text on obverse of the tablet m453A: Text 1629. m453BC Seated in penance, the person is flanked on either side by a kneeling adorant, offering a pot and a hooded serpent rearing up. 

Glyph: kaṇḍo ‘stool’. Rebus; kaṇḍ ‘furnace’. Vikalpa: kaṇḍ ‘stone (ore) metal’.  Rebus: kamaḍha ‘penance’. Rebus 1: kaṇḍ ‘stone ore’. Rebus 2: kampaṭṭa ‘mint’. 

Glyph: ‘serpent hood’: paṭa. Rebus: pata ‘sharpness (of knife), tempered (metal). padm ‘tempered iron’ (Ko.) 

Glyph: rimless pot: baṭa. Rebus: bhaṭa ‘smelter, furnace’. It appears that the message of the glyphics is about a mint  or metal workshop which produces sharpened, tempered iron (stone ore) using a furnace.

Rebus readings of glyphs on text of inscription:

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

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

ã= scales of fish (Santali); rebusaya ‘metal, iron’ (Gujarati.) cf. cognate to amśu 'soma' in Rigveda: ancu 'iron' (Tocharian)

G.karã̄ n. pl. ‘wristlets, bangles’; S. karāī f. ’wrist’ (CDIAL 2779).  Rebus: khār खार् ‘blacksmith’ (Kashmiri)

dula ‘pair’; rebus dul ‘cast (metal)’

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

The suggested rebus readings indicate that the Indus writing served the purpose of artisans/traders to create metalware, stoneware, mineral catalogs -- products with which they carried on their life-activities in an evolving Bronze Age.
image.pngGanweriwala tablet. Indus Script

uai stack of hay (Telugu) Ta. meṭṭu mound, heap of earth; mēu height, eminence, hillock; muṭṭu rising ground, high ground, heap. Ma. mēu rising ground, hillock; māu hillock, raised ground; miṭṭāl rising ground, an alluvial bank; (Tiyya) maṭṭa hill. Ka. mēu height, rising ground, hillock; miṭṭu rising or high ground, hill; miṭṭe state of being high, rising ground, hill, mass, a large number; (Hav.) muṭṭe heap (as of straw). Tu. miṭṭè prominent, protruding; muṭṭe heap. 
Te. meṭṭa raised or high ground, hill; (K.) meṭṭu mound; miṭṭa high ground, hillock, mound; high, elevated, raised, projecting; (VPK) mēu, mēa, mēstack of hay; (Inscr.) meṇṭa-cēnu dry field (cf. meṭṭu-nēla, meṭṭu-vari). Kol. (SR.) meṭṭā hill; (Kin.) meṭṭ (Hislop) met mountain. Nk. meṭṭ 
hill, mountain. Ga. (S.3LSB 20.3) meṭṭa high land. Go. (Tr. W. Ph.) maṭṭā, (Mu.)maṭṭa mountain; (M. L.) meā id., hill; (A. D. Ko.) meṭṭa, (Y. Ma. M.) mea hill; (SR.) meṭṭā hillock (Voc. 2949). Kona mea id. Kuwi (S.) metta hill; (Isr.) mea sand hill. (DEDR 5058) (b) Ta. mēai platform, raised floor, artificial mound, terraced house. Ma. mēa raised place, tower, upper story, palace. Te. mēa house with two or more stories, upper chamber. Pa. mēole bungalow. Go. (Ko.) mēā large house, bungalow (Voc. 2965). Kona mēa mide terraced building (see 5069). Pe. mē storied house, mansion.Kuwi (S.) mēa illu storied house; (Isr.) mēa upstair building. / Cf. Skt. (lex.) mea- whitewashed storied house; Pkt. meaya- id.  (DEDR 4796b) 


http://tinyurl.com/jfbeo7j
Glyphs on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a 3-glyph text. Observe shows a  person seated on a stool and a kneeling adorant below.
Ganweriwala tablet. Ganeriwala or Ganweriwala (Urduگنےریوالا‎ Punjabi: گنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan.

Canopy: Ku. pāl ʻ canopy ʼ; N. pāl ʻ tent ʼ; A. pāl ʻ sail, large sheet of cloth, palanquin ʼ; B. pāl ʻ sail ʼ, pāil ʻ sail, awning ʼ-- P. H. pallā m. ʻ cloth spread out for grain ʼ poss. < palya -- . Addenda: *palla -- 3: S.kcch. pāl m. ʻ big jute cloth ʼ.(CDIAL 7967).

phala2 n. ʻ point of arrow ʼ Kauś., ʻ blade of knife ʼ MBh. 2. *phara -- 1. [i.e. ʻ splitting ʼ ~ phala -- 3 ʻ what is split ʼ. -- √phal]1. Pa. phala -- n. ʻ point of arrow or sword ʼ, Pk. phala<-> n. ʻ point of arrow ʼ; K. phal ʻ tip of arrow, blade of mattock ʼ; S. pharu m. ʻ blade, arrowhead ʼ; L.awāṇ. P. N. phal ʻ blade ʼ, B. phal°lā; Or. phaḷā ʻ blade ʼ, phaḷī ʻ arrowhead ʼ; H. phal m. ʻ blade ʼ, G. M. phaḷ n.; M. phaḷẽ n. ʻ spear -- head ʼ.2. P. pharhā m. ʻ blade, nib ʼ.Addenda: phala -- 2. 1. Md. fali ʻ oar ʼ or < *phāla -- 2?(CDIAL 9052)

Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'.
Prakritam gloss: kamad.hakamat.hakamad.hakakamad.hagakamad.haya= a type of penance.

The venerated, person seated in a type of penance has been rendered in Indus Script cipher as kamaDha 'penance' (Prakritam) Rebus: kammaTTa 'coiner, mint'. What did the kneeling adorant as Signs 45 and 46 signifY? I have suggested the cipher: bhaTa 'worshipper' rebus: bhaTa 'furnace'.
Prakritam lexis.

Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner:

1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230) 

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

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

bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)

Hieroglyph: Ta. kump-iṭu (iṭuv-, iṭṭ-) to join hands in worship, make obeisance with the hands joined and raised, beg, entreat; n. worship. Ma. kump-iṭuka, kumm-iṭuka to bow down, prostrate oneself, worship. Ko. kub-iṛ- (iṭ-) to bow down, pray; kumiṭe· salutation used by Kota to Badaga or Kurumba. To. kub-ïḍ- (ïṭ-) to salute (not used of religious salutation); ? ku·ḍ- (ku·ḍQ-) to bow, bend down. Ka. kumbu bending, bowing down, obeisance; kumbiḍu to bow down, do obeisance (DEDR 1750)

Rebus: Ta. kumpiṭu-caṭṭi chafing-dish, portable furnace, potsherd in which fire is kept by goldsmiths; kumutam oven, stove; kummaṭṭi chafing-dish. Ka. kuppaḍige, kuppaṭe, kumpaṭe, kummaṭa, kummaṭe id. Te. kumpaṭi id. Cf. 1752 Ta. kumpu. Ta. kumpu (kumpi-) to become charred (as food when boiled with insufficient water); kumpal smell of charred rice; kumpi hot ashes; kumuṟu (kumuṟi-) to burst with distress; kumai (-v-, -nt-) to be hot, sultry. Ma. kumpi, kumpiri mirage; kumpal inward heat; kummu expr. descriptive of heat; kummal sultriness, mustiness; kumuṟuka, kumiṟuka to be hot, close; kumuṟal oppressive heat; ? kukkuka to be hot; ? kuppu heat. Ka. kome to begin to burn, as fire or anger. Tu.kumbi mirage; gumulu fire burning in embers; gumuluni to be hot, feel hot as in a fit of fever. Te. kummu smouldering ashes; kumulu to smoulder, burn slowly underneath without flame, be consumed inwardly, grieve, pine. Go. (Hislop) kum smoke (Voc. 763); (Tr.) gubrī fine ashes of burnt-out fire (Voc. 1141); (Koya Su.) kumpōḍ smoke. Cf. 1751 Ta. kumpiṭu-caṭṭi. / Cf. Pkt. (DNM) kumulī- fireplace. (DEDR 1751, 1752)

Hieroglyph of 'kneeling adorant' or 'worshipper' is such an abiding message that Mahadevan concordance treates the hieroglyph as a text 'sign'.
  Signs 45, 46 Mahadevan Concordance. In Sign 46, Sign 45 is ligatured with a pot held by the adoring hands of the kneeling adorant wearing a scarf-type pigtail. I suggest that the rimless pot held on Sign 46 is a phonetic determinant: baTa 'rimless pot' Rebus: bhaTa 'furnace'. So, is the kneeling adorant, a worshippper of a person seated in penance,  a bhaTa 'worshipper in a temple' Rebus: bhaTa 'furnace'. For him the kole.l 'temple' is kole.l 'smithy, forge' (Kota language).


Glyphs on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a 3-glyph text. Observe shows a  person seated on a stool and a kneeling adorant below.

Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'.
Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner:

1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230) 

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

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

Hieroglyph: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meD 'iron' (Mu.Ho.Santali)
meď 'copper' (Slovak)


Obverse of the tablets m0478, 0479, 0480 show this narrative. Pict-111: From R.: A woman with outstretched arms  flanked by two men holding uprooted trees in their hands; a person seated on a tree with a tiger below with its head turned backwards; a tall jar  with a lid.
 Reverse side of a two-sided tablets m0478, 0479, 0480. in bas relief. Kneeling adorant carrying a U-shaped rimless pot in front a tree. NOTE: The kneeling motif also occurs on Sit Shamshi bronze.

Three identical Mohenjo-daro tablets, with identical inscriptions. m 478-480.

Section A: Message on obverse of tablet                                                                                         

The narrative on the obverse (b) of the tablet is in three parts: Part 1. Rim-of-jar PLUS lid; Part 2. Tiger looks back at spy on tree branch; Part 3. A wristlet wearer pushes thwarts two contestants clearing jungle.Part 1. Rim-of-jar PLUS lid (Tablet m478b to m480b)

An orthographic variant of a jar to focus on 'rim-of-jar' is provided by a Daimabad seal. 

karnaka 'rim of jar' karn.aka = handle of a vessel; ka_n.a_, kanna_ 'rim, edge' 
kan.t.u = rim of a vessel; kan.t.ud.iyo = a small earthen vessel
kan.d.a kanka = rim of a water-pot; kan:kha, kankha = rim of a vessel rebus: kanda, kanduka 'trench, furnace'. 


Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) cylinder Seal with four hieroglyphs and four kneeling persons (with six curls on their hair) holding flagposts, c. 2220-2159 B.C.E., Mesopotamia. Akkadian (Metropolitan Museum of Art) Cylinder Seal (with modern impression). Cuneiform inscription: Sharpum, son of Shallum. The rest of the hieroglyph-multiplexes are a cypher signifying Sharpum's occupation as a merchant with diverse metallurgical competence.

image.png
Dholavira stone statue. ASI. More images at
image.pngm1186 seal

image.pngLocation: France. 19.6 cm (7.7 in) × 7.0 cm (2.8 in) × 14.8 cm (5.8 in)
The Worshipper of Larsa is a Mesopotamian statuette on display in Room 227 at the Louvre Museum, of the paleo-Babylonian era (2004-1595 BCE). It depicts a bearded man, kneeling and performing a ritual gesture with his hand to his mouth. The statuette was dedicated to the god Amurru by an inhabitant of Larsa, in order to safeguard the life of King Hammurabihttps://en.wikipedia.org/wiki/Worshipper_of_Larsa 

Circumscript of two linear strokes for 'body' hieroglyph: dula 'pair' Rebus: dul 'cast metal' koḍa ‘one’(Santali) Rebus: koḍ ‘artisan’s workshop' Thus, the circumscript signifies 'cast metal workshop' (with furnace) PLUS circumscribed body hieroglyph: me 'body' Rebus: mẽṛhẽt 'iron' (Santali) me 'iron' (Mu.Ho.); med 'copper' (Slavic).Together, the hypertext reds: dul me koḍ 'metal casting, cast iron workshop'.

Hieroglyph: khareo 'a currycomb' (Gujarati) Rebus: kharādī turner (Gujarati) 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. 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. खरडघाशा  kharaḍaghāśā m (खरड & घासणें) A term of abuse for a bad writer, barber, carpenter &c.; quill-driver, scraper, chips. 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. (Marathi).

The semantics of खरडें 'rough draft' explains why the hieroglyph occurs ONLY on tablets which are works-in-process documentation by scribes.

Thus, the inscriptions on tablets m478 to m480 complete the documentation of wealth-creating metalwork खरडा kharaḍā daybook.
Hieroglyph (alternative): aaren, aren lid, cover (Santali)



Location: Antichak, Bhagalpur Dt., Bihar State, India
Site: Antichak
Monument/Object: stupa/temple
Current Location: same as site location
Subject: Buddha (left) and kneeling figure (right)
Photo Depicts: plaques 3 and 4
Locator Information: southeast side, lower level, side 2
Period: Pala (India [Bihar, Jharkhand, West Bengal])
Date: 8th - 12th century CE
Religious Affiliation: Buddhist
Material: terracotta
Scan Number: 2892
Photo Date: 1969
Copyright: Huntington, John C. and Susan L.
Image Source: Huntington Archive

Buddha and kneeling figure. Antichak Stupa, Bhagalpur Dt., Bihar  http://dsalsrv02.uchicago.edu/cgi-bin/huntington/show_detail.py?ObjectID=4742
© 2019 The Huntington Archive | 






One  triangular terracotta tablet (Md 013); surface find at Mohenjo-daro in 1936. Dept. of Eastern Art, Ashmolean Museum, Oxford.  See: Three-sided Terracotta Seal By StephanieV. July 1st, 2015 "This beautiful three-sided terracotta sealing from 2000 BCE depicts a male cult figure seated in a yogic posture on a throne, a bull-like animal, and five characters in the Indus script. Today, the seal resides in the Ashmolean Museum at the University of Oxford." https://www.harappa.com/blog/three-sided-terracotta-seal
The composite animal is comparable tothe pictorial motif onm1186, h177B which show a markhor adorned with scarves on the neck. The Meluhha rebus readings are:  miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ (Torwali) mẽḍhɔ 'ram' (Gujarati)(CDIAL 10310) Rebus: me~Rhet, meD 'iron' (Mu.Ho.Santali) PLUS dhatu 'scarf' Rebus: dhatu 'mineral'

kuṭila, kuṭika— 'bent' MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, 'brass' (Sanskrit)
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) 
kanac 'corner' rebus: kanac 'bronze' 
bhaṭa 'warrior' rebus: bhaṭa 'furnace' 
कर्णक kárṇaka, kannā 'legs spread' rebus: कर्णक 'helmsman'. Thus, the text message of the inscription is a wealth-accounting ledger of a helmsman'smetalwork with bronze, minerals, brass furnaces

Triangula tablet. Horned seated person. crocodile. Split ellipse (parenthesis). On this tablet inscription, the hieroglyphs are: crocodile, fishes, person with a raised hand, seated in penance on a stool (platform). eraka 'raised hand' rebus: eraka 'molten cast, copper' arka 'copper'. manca 'platform' rebus: manji 'dhow, seafaring vessel' karA 'crocodile' rebus: khAr 'blacksmith'

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

Hieroglyph: kamaha 'penance' (Prakrit) kamaha, kamaha, kamahaka, kamahaga, kamahaya = a type of penance (Prakrit)

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

The composition of two hieroglyphs: kāru 'crocodile' (Telugu) + kamaha 'a person seated in penance' (Prakrit) denote rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi) + kamaa 'portable furnace'; kampaṭṭam 'coinage, coin, mint'. Thus, what the tablet conveys is the mint of a blacksmith. A copulating crocodile hieroglyph -- kāru 'crocodile' (Telugu) + kamḍa, khamḍa 'copulation' (Santali) -- conveys the same message: mint of a blacksmith kāru kampaṭṭa 'mint artisan'.
m1429B and two other tablets showing the typical composite hieroglyph of fish + crocodile. Glyphs: crocodile + fish ayakāra ‘blacksmith’ (Pali) kāru a wild crocodile or alligator (Telugu) aya 'fish' (Munda) The method of ligaturing enables creation of compound messages through Indus writing inscriptions. kāru a wild crocodile or alligator (Telugu) Rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi).
Pali: ayakāra ‘iron-smith’. ] Both ayaskāma and ayaskāra are attested in Panini (Pan. viii.3.46; ii.4.10). WPah. bhal. kamīṇ m.f.  labourer (man or woman) ; MB. kāmiṇā  labourer (CDIAL 2902) N. kāmi  blacksmith (CDIAL 2900). 

Kashmiri glosses:
khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -bühü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji or -güjü - लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), a blacksmith's smelting furnace; cf. hāl 5. -kūrü लोहकारकन्या f. a blacksmith's daughter. -kou - लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küü लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 - लोहकारमृत्तिका f. (for 2, see [khāra 3), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu  लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wānवान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -wah -वठ् । आघाताधारशिला m. (sg. dat. -waas -वटि), the large stone used by a blacksmith as an anvil.
Thus, kharva may refer to an anvil. Meluhha kāru may refer to a crocodile; this rebus reading of the hieroglyph is.consistent with ayakāra ‘ironsmith’ (Pali) [fish = aya (G.); crocodile = kāru (Telugu)]

Orthography of face of seated person on seal m0304 tvaṣṭṛ, ṭhaṭṭhāra 'smelter, brassworker', hypertexts on Indus Script Corpora signify iron smelters

I suggest that orthography of face of seated person on seal m0304 signifies tvaṣṭṛ, ṭhaṭṭhāra 'smelter, brassworker', so do similar hypertexts on Indus Script Corpora signify iron smelters as seen from inscriptions presented in this note.

Rigveda textual evidence reinforces the possibility that the orthography also indicates three faces on the seated person. Rigveda describes  tvaṣṭṛ as tri-s'iras 'three-headed' and the artist who signifies such a person seated in penance attempts to signify three faces of tvaṣṭṛ ṭhaṭṭhāra 'smelter, brassworker' as tri-s'iras consistent with the Vedic tradition.

The underlying assumption in chronology of the Indus Script Corpora and Vedic texts is that the Vedic texts predate the  Indus Script Corpora by ca. two or three millennia, given the language evidences argued forcefully for example see: http://bharatkalyan97.blogspot.in/2015/02/date-of-rigveda-ca-5th-millennium-bce.html
Image result for donal seated bharatkalyan97Thanks to Donal B Buchanan, the remarkable Indus Script seal m0304 has been virtually reconstructed except for the small fragment related to the hindlegs of a jumping, leaping, running tiger
Donal B Buchanan's reconstruction of Mohenjo-daro broken Pasupati seal m0304 unambiguous hieroglyphs read rebus as mint metalwork catalog
See:
http://bharatkalyan97.blogspot.in/2015/08/indus-script-evidence-pasupati-seal.html

The hieroglyph above the leaping, running tiger: karNika 'spread legs' rebus: karNIka 'helmsman'. Thus, the top 5 animal hieroglyphs signify a helmsman (seafaring merchant) handling the cargo of: karibha 'elephant' rebus: karba 'iron' kANDa 'rhinoceros' rebus: kaNDa 'implements', rango 'buffalo' rebus: rango 'pewter', kola 'tiger' rebus: kolhe'smelter'. The pair of antelopes or markhors on the base platform signify: miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (G.)(CDIAL 10120); rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) PLUS dula 'pair' rebus: dul 'metal casting'. kundavum = manger, a hayrick (Gujarati.) Rebus: kundār turner (Assamese).maṇḍā 'raised platform, stool' Rebus: maṇḍā 'warehouse'.

त्वष्ट [p= 464,1] mfn. ( √ त्वक्ष्= तष्ट L. तष्ट [p= 441,2]mfn. ( √ तक्ष्) pared , hewn , made thin L.fashioned , formed in mind , produced RV. AV. xi , 1 , 23विभ्व-तष्ट्/तष्टृ [p= 441,2] m. a carpenter , builder of chariots RV. i , 61 , 4 ; 105 , 18 ; 130 , 4 ii f. , vii , xविश्व-कर्मन् (cf. त्व्/अष्टृL. N. of one of the 12 आदित्यL.
தொட்டா toṭṭā, n. < TvaṣṭāTvaṣṭṛ. One of tuvātacātittar, q.v.; துவாத சாதித்தருள் ஒருவன்.நள்ளிரு ளெறிதொட்டா (கூர்மபு. ஆதவர்சிறப். 2). துவட்டர் tuvaṭṭar , n. < tvaṣṭṛ. Artificers, smiths; சிற்பியர். (சூடா.)  துவட்டன் tuvaṭṭaṉ n. < Tvaṣṭṛ. A deity representing the sun, one of the tuvātacātittar, q.v.;   துவாதசாதித்தருள் ஒருவன். (திவா.) துவட்டா tuvaṭṭān. < TvaṣṭāTvaṣṭṛ. Višvakarmā, the architect of the gods; தெய்வத்தச்சனாகிய விசுவகருமா. துவட்டா வீன்ற தனயன் (திருவிளை. இந்திரன்பழி. 8). 11) త్వష్ట (p. 573) tvaṣṭa tvashṭa. [Skt.] n. A carpenter, వడ్లవాడు. The maker of the universe. విశ్వకర్త. One of the 12 Adityas, ద్వాదశాదిత్యులలో నొకడు. 


ترکانړ tarkāṟṟṉ, s.m. (5th) A carpenter. Pl. ترکانړان tarkāṟṟṉān. (Panjābī).دروزګر darūz-gar, s.m. (5th) A carpenter, a joiner. Pl. دروزګران darūzgarān (corrup. of P درود گر). (Pashto) tŏrka त्वर्क in tŏrka-chān त्वर्क-छान् । कौटतक्षः m. a private carpenter, a village carpenter who works on his own account, a cabinet maker (H. vii, 17, 2); cf. chān 1.-chān-bāy -छान्-बाय् । स्वतन्त्रतक्षस्त्री f. his wife.-chönil -छा&above;निल् । कौटतक्षता f.(Kashmiri) Thapati [Vedic sthapati, to sthā+pati] 1. a builder, master carpenter M i.396=S iv.223; M iii.144, <-> 2. officer, overseer S v.348. (Pali)

Head gear: Hieroglyph: taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker';
tatara 'smelter' (Japanese) 
 <  ṭhaṭṭhāra 'brass worker' (Prakritam) (< is indicated as a possibile transfer mode in language contacts for metalwork technical gloss.)
"The tatara (?) is the traditional Japanese furnace used for smelting iron and steel. The word later also came to mean the entire building housing the furnace...tatara is foreign to Japan, originating in India or Central Asia...Tokutaro Yasuda suggests that the word may be from the Sanskrit word taatara, meaning "heat," noting that the Sanskrit word for steel is sekeraa, which is very similar to the word used in Japan for the steel bloom which the tatara produces..."
The dissemination of iron-manufacturing technology to Japan

*ṭhaṭṭh ʻ strike ʼ. [Onom.?]N. ṭhaṭāunu ʻ to strike, beat ʼ, ṭhaṭāi ʻ striking ʼ, ṭhaṭāk -- ṭhuṭuk ʻ noise of beating ʼ; H.ṭhaṭhānā ʻ to beat ʼ, ṭhaṭhāī f. ʻ noise of beating ʼ.(CDIAL 5490)

தட்டான்¹ taṭṭāṉ, n. < தட்டு-. [M. taṭṭān.] Gold or silver smith, one of 18 kuṭimakkaḷ, q. v.; பொற்கொல்லன். (திவா.) Te. taṭravã̄ḍu goldsmith or silversmith. Cf. Turner,CDIAL, no. 5490, *ṭhaṭṭh- to strike; no. 5493, *ṭhaṭṭhakāra- brassworker; √ taḍ, no. 5748, tāˊḍa- a blow; no. 5752, tāḍáyati strikes.

*ṭhaṭṭha ʻ brass ʼ. [Onom. from noise of hammering brass? -- N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- 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)

Tatta1 [pp. of tapati] heated, hot, glowing; of metals: in a melted state (cp. uttatta) Aii.122≈(tattena talena osiñcante, as punishment); Dh 308 (ayoguḷa); J ii.352 (id.); iv.306 (tattatapo "of red -- hot heat," i. e. in severe self -- torture); Miln 26, 45 (adv. red -- hot); PvA 221 (tatta -- lohasecanaŋ the pouring over of glowing copper, one of the punishments in Niraya).(Pali)

தட்டுமுட்டு taṭṭu-muṭṭu, n. Redupl. of தட்டு² [T. M. Tu. taṭṭumuṭṭu.] 1. Furniture, goods and chattels, articles of various kinds; வீட்டுச்சாமான்கள்தட்டுமுட்டு விற்று மாற்றாது (பணவிடு. 225). 2. Apparatus, tools, instruments, utensils; கருவி கள். 3. Luggage, baggage; மூட்டைகள். (W.)Ta. taṭṭumuṭṭu furniture, goods and chattels, utensils, luggage. Ma. taṭṭumuṭṭu kitchen utensils, household stuff. Tu. taṭṭimuṭṭu id.(DEDR 3041)

The face of the seated person is an enigma. Does the artist intend to show three faces as for TvaSTR tris'iras? Or, does the artist intend to focus on strands of facial hair or wisps -- dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, dhāī˜ f.  (Sindhi.Lahnda)(CDIAL 6773) Rebus: dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ)(Marathi)?

I suggest that the orthography signifies both conjectures: three faces, hairy face. In the overall context of the hieroglyph-hypertexts constituting the m0304 inscription, the hytext signifies a metalwork description:

For e.g., 
Hieroglyph: karã̄ n.pl.ʻwristlets, banglesʼ.(Gujarati)S. karāī f. ʻ wrist ʼ(CDIAL 2779) Rebus: khār खार्  'blacksmith' (Kashmiri)


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

Hieroglyph: seated person in penance: kamaḍha 'penance' (Pkt.) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)

In the same refrain, it is suggested that the face of the seated person as hypertext signifies the following:

Hieroglyph: body hair: Ash. dro ʻ woman's hair ʼ, Kt. drū, Wg.drūdrū̃; Pr. ḍui ʻ a hair ʼ; Kho. dro(h) ʻ hair ʼ, (Lor.) ʻ hair (of animal), body hair (human) ʼ: → Orm. dradrī IIFL i 392 (semant. cf. Psht. pal ʻ fringe of hair over forehead ʼ < *pata -- )(CDIAL 6623) 

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

I suggest that three faces signify three ferrite ores: magnetite, haematite, laterite. All the three ferrite ores are signified on Indus Script Corpora: poLa 'zebu' rebus: poLa 'magnetite ore', bicha 'scorpion' rebus: bicha 'haematite ore', 
Dotted ovarl hieroglyph: goTa 'round' rebus 1: goTa 'laterite ore';rebus 2: khoTa 'ingot'.

These hypertexts or hieroglyph-multiplexes may be seen on the globular rounds and dotted circles surrounding the fire-altar:
Mohenjo-daro Seal m0352 shows dotted circles in the four corners of a fire-altar and at the centre of the altar together with four raised 'bun' ingot-type rounded features.

Depictions of facial or body hair may also be seen in the following examples of hypertexts on Indus Script Corpora:

Excerpts from a 
recent report (Dr. Vasant Shinde and Dr. Rick Willis) on copper plates with Indus script inscriptions:"The copper plates described in this article are believed to date from the Mature Harappan period, 2600–1900 BC. They were given to the second author in 2011, who realized that the plates were unusual, as they were large and robust, and bore mirrored Indus script as found in seals, but the inscriptions were relatively finely incised and unlikely capable of leaving satisfactory impressions, as with a seal...The copper plates superficially resemble large Indus Valley seals, as seven of the plates bear an image of an animal or person, plus reversed text. Two of the copper plates bear only mirrored Indus characters boldly engraved in two rows. The plates are illustrated in Figure 2...
·         kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’. 
·         koḍ = horns (Santali); koḍ ‘workshop’ (G.)
·         Pair of fishes (hieroglyph on the chest of the seated person): dula 'pair' Rebus: dul 'cast metal' ayo 'fish' Rebus: ayas 'metal alloy'; aya'iron' (Gujarati). Thus dul aya 'cast metal alloy'.
Horned person in penance and “temple,” Harappa (H95-2487/4466-01) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan)..

Mohenjo-daro seal m 305 (DK 3884)

He also has scarf as a pigtail, is horned with two stars shown within the horn-curves.

kuThi 'twig' Rebus: kuThi 'smelter' karA 'arm with bangles' Rebus: khAr 'blacksmith' dhatu 'scarf' Rebus: dhatu 'mineral'; taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker' meDhA 'polar star' Rebus: meD 'iron' (Mu.Ho.) gaNda 'four' Rebus: khaNDa 'metal imlements' aya 'fish' Rebus: aya 'iron' ayas 'metal' (Rigveda) See: http://tinyurl.com/ozyobnc

kamaha 'penance' (Pkt.) Rebus: kampaṭṭam mint (Ta.) Kur. kaṇḍō a stool. Malt. kano stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace, altar (Santali)
ato = claws of crab (Santali); dhātu = mineral (Skt.), dhatu id. (Santali) 
kūdī, kūī bunch of twigs (Skt.lex.) kūdī (also written as kūī 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). Rebus: kuhi 'smelting furnace (Santali) koforged (metal) (Santali)
ha The polar star. (Marathi) Rebus: me iron (Ho.)
abe, abea large horns, with a sweeping upward curve, applied to buffaloes (Santali) Rebus: ab,himba, hompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt together (Santali)

Thus, the entire glyphic composition of the seated, horned person is decoded rebus: me dhatu kampaṭṭaab kuhi kaṇḍ iron, mineral, mint (copper casting, forging workshop)furnace.

The text of the inscription shows two types of 'fish' glyphs: one fish + fish with scaled circumscribed by four short-strokes: aya 'fish' (Mu.); rebus: aya 'metal' (Samskritam)
gaṇḍa set of four (Santali) kaṇḍfire-altar cf. ayaskāṇḍa a quantity of iron, excellent iron (Pā.ga) The reading is consistent with the entire glyphic composition related to the mineral, mint forge.

 





Four or five molded plano-convex tablets were found at Harappa by Harvard Archaeology Project (HARP) Team. It appears that these tablets contained the same narravie Indus Script hypertexts: 













Side A: 1. spoked wheel; 2. one-eyed person thwarting to rearing jackals; 3. elephant
Side B: 4. seated person with twigs as hair-dress; 5. a person kicking with foot head of a buffalo and spearing the animal; 6. crocodile; 7. person seated on a tree branch; 8. tiger below the tree looking back. 















These eight Indus Scripthypertexts are deciphered: 


1. arā 'spoke' rebus: āra 'brass' eraka 'knave of wheel' rebus:eraka 'moltencast copper' arka 'gold'; 
2. kāṇa काण 'one-eyed' PLUS vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ(CDIAL 12069) rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) கண்வட்டம் kaṇ-vaṭṭam  Mint; நாணயசாலை. கண்வட்டக்கள்ளன் (ஈடு.) PLUS kola 'woman' rebus: kol 'working in iron' PLUS
tau 'thwart' rebus: dhatu 'mineral ore' PLUS dula 'pair' rebus: dul 'metal casting' PLUS Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H. kolhā°lām. ʻ jackal ʼ, adj. ʻ crafty ʼ; G. kohlũ°lũ n. ʻ jackal ʼ, M. kolhā°lā m.(CDIAL 3615) rebus: kol 'working in iron'.
3. karibha, ibha 'elephant' rebus: karba, ib 'iron'
4. kamaha 'penance' (Prakritam) Rebus: kammaa 'mint, coiner' PLUS kūtI 'twigs' Rebus: kuhi 'smelter'
5. kolsa 'to kick the foot forward' rebus: kolhe 'smelter' PLUS  Pk. koṁta -- m. ʻ spear ʼ; H. kõt m. (f.?) ʻ spear, dart ʼ; -- Si. kota ʻ spear, spire, standard ʼ perh. ← Pa.(CDIAL 3289) Rebus: kuṇha munda (loha) 'hard iron (native metal)' PLUS  rã̄go ʻbuffalo bullʼ 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.
6. karā 'crocodile' Rebus: khār 'blacksmith' (Kashmiri)
7. heraka 'spy' rebus: eraka 'moltencast copper'
8. krammara ‘look back’ Rebus: kamar ‘smith, artisan’.PLUS kola 'tiger' rebus: kol 'working in iron' 

Thus, the Indus Script hypertext messages on the plano-convex tablets are: alloy metal, copper, spelter, brass mintwork, smithy/forge blacksmith, smelter of iron and other minerals.
Wim Borsboom suggests a reconstructed narrative on one side of the burgundy colored tablet. http://paradigm-update.blogspot.in/2012/03/harapp-culture-pictures.html?m=1 
Although neither of these specific molded terracotta tablet pieces comes from Trench 11, four less well preserved examples from the same mold(s) were found in debris outside of the perimeter wall in that area, clearly establishing a second half of Period 3B date for these tablets. Note the rear of the buffalo and the front of the gharial in the left tablet which overlaps with the iconography of the right tablet, although in this case they do not seem to come from the same mold. (See also Images 89 and 90.
https://www.harappa.com/indus5/80.html
Molded terracotta tablet (H2001-5075/2922-01) with a narrative scene of a man in a tree with a tiger looking back over its shoulder. The tablet, found in the Trench 54 area on the west side of Mound E, is broken, but was made with the same mold as ones found on the eastern side of Mound E and also in other parts of the site (see slide 89 for the right hand portion of the same scene). The reverse of the same molded terra cotta tablet shows a deity grappling with two tigers and standing above an elephant (see slide 90 for a clearer example from the same mold). https://www.harappa.com/indus3/185.html heraka 'spy' rebus: eraka 'moltencast copper' kuTi 'tree' rebus:kuThi 'smelter' karA 'crocodile' rebus: khAr 'blacksmith' barad 'bull' rebus: baraDo 'alloy of pewter, copper, tin'.
Ochre coloured tablet H-2001ab. The dark burgundy colored tablet fragment, both faces (H-95ab)
(length: 3.91 cm, width: 1.5 to 1.62 cm)

Slide 89 Plano convex molded tablet showing an individual spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center.
On the reverse (90),a female deity is battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity.
Material: terra cotta
Dimensions: 3.91 length, 1.5 to 1.62 cm width
Harappa, Lot 4651-01
Harappa Museum, H95-2486
Meadow and Kenoyer 1997 karA 'crocodile' Rebus: khAr 'blacksmith' (Kashmiri)
kamaDha 'penance' (Prakritam) Rebus: kammaTa 'mint, coiner'
kUtI 'twigs' Rebus: kuThi 'smelter'
muh 'face' Rebus: muhe 'ingot' (Santali)
One side of a molded tablet m 492 Mohenjo-daro (DK 8120, NMI 151. National Museum, Delhi. A person places his foot on the horns of a buffalo while spearing it in front of a cobra hood.

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

nAga 'serpent' Rebus: nAga 'lead'
Hieroglyph: rã̄go ʻ buffalo bull ʼ 

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

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

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

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

Allograph: कुंठणें [ kuṇṭhaṇēṃ ] v i (कुंठ S) To be stopped, detained, obstructed, arrested in progress (Marathi)
Slide 90. 
m0489A One side of a prism tablet shows: crocodile + fish glyphic above: elephant, rhinoceros, tiger, tiger looking back and up.
m1431A m1431B Crocodile+ three animal glyphs: rhinoceros, elephant, tiger
It is possible that the broken portions of set 2 (h1973B and h1974B) showed three animals in procession: tiger looking back and up + rhinoceros + tiger.
Reverse side glyphs:
eraka ‘nave of wheel’. Rebus: era ‘copper’.
Animal glyph: elephant ‘ibha’. Rebus ibbo, ‘merchant’.
Composition of glyphics: Woman with six locks of hair + one eye + thwarting + two pouncing tigers + nave with six spokes. Rebus: kola ‘woman’ + kaṇga ‘eye’ (Pego.), bhaṭa ‘six’+ dul ‘casting (metal)’ + kũdā kol (tiger jumping) + era āra (nave of wheel, six spokes), ibha (elephant). Rebus: era ‘copper’; kũdār dul kol ‘turner, casting, working in iron’; kan ‘brazier, bell-metal worker’;
The glyphic composition read rebus: copper, iron merchant with taṭu kanḍ kol bhaṭa ‘iron stone (ore) mineral ‘furnace’.
Glypg: ‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil)
Glyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist. (DEDR 3031)
Plano convex molded tablet showing an individual spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center.


On the reverse, a female is battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity. 

Material: terra cotta
Dimensions: 3.91 length, 1.5 to 1.62 cm width 
Harappa, Lot 4651-01
Harappa Museum, H95-2486
Molded terracotta tablet with a narrative scene of a man in a tree with a tiger looking back over its shoulder. The tablet is broken, but was made with the same mold. The reverse of the same molded terra cotta tablet shows a woman grappling with two tigers and standing above an elephant. 
http://www.sindhishaan.com/gallery/manuscripts.html Such narratives get repeated on inmultiple Harappa tablets.Slide 80
https://www.harappa.com/slideshows/harappa-excavations1995-2000

https://www.harappa.com/indus/89.html Plano convex molded tablet showing an individual spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center.
On the reverse (90),a female deity is battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity.
Material: terra cotta
Dimensions: 3.91 length, 1.5 to 1.62 cm width
Harappa, Lot 4651-01
Harappa Museum, H95-2486
Meadow and Kenoyer 1997

Image result for spoked wheel indus scriptPlano convex molded tablet showing a female deity battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity. Discovered in Harappa, 1997. https://www.harappa.com/answers/what-current-thinking-female-diety-outstretched-arms-ancient-indus-egyptian-and-mesopotamian



arā 'spoke of wheel' rebus: āra 'brass' eraka 'knave of wheel' rebus: eraka 'moltencast copper', arka 'gold'.
karibha 'elephant' rebus: karba 'iron'

Head of woman with one eye who thwarts to rearing jackals (tigers)
kola 'woman' rebus: kol 'working in iron'
tau 'thwartTa. taṭu (-pp-, -tt-) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist; Ma. taṭa resistance, warding off (as with a shield), what impedes, resists, stays, or stops, a prop; taṭa-kūṭuka to hinder; taṭaṅṅalhindrance, stoppage; taṭaccal impeding, stop, stumbling; taṭayuka to be obstructed, stop between, stop; taṭavu what resists, wards off, a prison; taṭassu obstruction, hindrance; taṭukkuka to stop, hinder; taṭekka to stop; taṭṭuka to ward off, beat off, oppose. Ko. taṛv- (taṛt-) to obstruct, stop; taṛ, taṛv obstruction. To. taṛf- (taṛt-) to delay, prevent, screen; taṛprevention, screen; taḍgïl hindrance, obstruction, delay. Ka. taḍa impeding, check, impediment, obstacle, delay;(DEDR 3031) ḍāṭnā ʻ to threaten, check, plug ʼ (→ P. ḍāṭṇā ʻ to check, cram ʼ(M.);  B. ḍã̄ṭā ʻ to threaten ʼ; Or. ḍāṇṭibā ʻ to check ʼ; H. ḍã̄ṭnā ʻ to threaten, check, plug ʼ (→ N. ḍã̄ṭnu ʻ to threaten ʼ, (Tarai) dã̄ṭnu). (CDIAL 6618) rebus: dhatu 'mineral'.

kāṇa काण 'one-eyed'  RV. x , 155 , 1 AV. xii , 4 , 3 TS. ii , 5 , 1 , 7 Mn. MBh. PLUS  Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ(CDIAL 12069) rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) கண்வட்டம் kaṇ-vaṭṭam  Mint; நாணயசாலை. கண்வட்டக்கள்ளன் (ஈடு.)


Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H. kolhā°lām. ʻ jackal ʼ, adj. ʻ crafty ʼ; G. kohlũ°lũ n. ʻ jackal ʼ, M. kolhā°lā m.(CDIAL 3615) rebus: kol 'working in iron'

dula 'pair' rebus: dul 'metal casting' PLUS kola 'tiger' rebus: kol 'working in iron', kolle 'blackmith', kolhe 'smelter'.

Thus, the message of the inscription on this side of the plano convex Harappa tablet is: mint metalcasting work of iron, brass and minerals.


http://tinyurl.com/go765mj

The narrative on an Indus Script tablet is unambiguous. 

A one-eyed lady is shown to impede,check two rearing tigers (Side A of two-sided tablets). Same narrative appears on two tablets of Harappa. The hypertext of a woman/person thwarting two rearing tigers also occurs on four other seals with Indus Script inscriptions. The lady with one-eye is: kāṇī ʻone -- eyedʼ (feminine) rebus: kārṇī 'Supercargo' 
See: http://bharatkalyan97.blogspot.in/2016/03/indus-script-hieroglyph-narrative-of.html

The rebus readings of hypertext on Side A of the two tablets of Harappa are: kāṇī ʻone -- eyedʼ (feminine) rebus: kārṇī 'Supercargo' -- a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale. By denoting six curls on locks of hair, the word suggested is Ara 'six' rebus read together with kārṇī + Ara =  kaṇṇahāra -- m. ʻhelmsman, sailorʼ. Thus, the hieroglyph of the six-locks of hair on woman signifies a 'helmsman + Supercargo'.

She is thwarting two rearing tigers: dula 'two' rebus: dul 'cast metal' PLUS kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' PLUS taTu 'thwart' rebus: dhatu 'mineral'. Thus, 'mineral smelter'. Together the hieroglyph-multiplex or hypertext of a woman thwarting two tigers signifies: 'helmsman, supercargo of metal casting products from mineral smelter'.

What minerals? The top hieroglyph is a spoked wheel; the bottom hieroglyph is an elephant. They signify copper and iron minerals. eraka 'nave of wheel'rebus: eraka 'moltencast, copper' karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron.

Thus the entire narrative on Side A of the Harappa tablets signifies 'helmsnan, supercargo of products from copper and iron mineral smelters.

See: http://bharatkalyan97.blogspot.in/2016/06/evidence-of-masted-sail-boat-of-mohenjo.html

kāṇī m. ʻone-eyed' rebus: kārṇī m. ʻ prime minister, supercargo of a shipʼ

Hypertext of one-eyed woman with six locks of hair: kaṇṇahāra -- m. ʻhelmsman, sailorʼ.
kola 'tiger' rebus: kotiya 'outrigger boat, dhow' (with cargo of dhatu 'mineral').

Bengali word: f. kāṇī ʻone -- eyedʼ: 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. °nikanwā m. ʻ one -- eyed man ʼ, H. kān°nā, G. kāṇũ; M. kāṇā ʻ one -- eyed, squint -- eyed ʼ; Si. kaṇa ʻ one -- eyed, blind ʼ. -- Pk. kāṇa -- ʻ full of holes ʼ, G. kāṇũ ʻ full of holes ʼ, n. ʻ hole ʼ (< ʻ empty eyehole ʼ? Cf. ã̄dhḷũ n. ʻ hole ʼ < andhala -- ).*kāṇiya -- ; *kāṇākṣa -- .Addenda: kāṇá -- : 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.*kāṇākṣa ʻ one -- eyed ʼ. [kāṇá -- , ákṣi -- ]Ko. kāṇso ʻ squint -- eyed ʼ.(CDIAL 3019, 3020)

Glyph: ‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil)
Glyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist. (DEDR 3031) baTa 'six' rebus: bhaTa 'furnace'. Alternative: Ta. āṟu six; aṟu-patu sixty; aṟu-nūṟu 600; aṟumai six; aṟuvar six persons; avv-āṟu by sixes. Ma. āṟu six; aṟu-patu sixty; aṟu-nnūṟu 600; aṟuvar six persons. Ko. a·r six; ar vat sixty; a·r nu·r 600;ar va·ṇy six pa·ṇy measures. To. o·ṟ six; pa·ṟ sixteen; aṟoQ sixty; o·ṟ nu·ṟ 600; aṟ xwa·w six kwa·x measures. Ka. āṟu six; aṟa-vattu, aṟu-vattu, ar-vattu sixty; aṟu-nūṟu, āṟu-nūṟu 600; aṟuvar, ārvarusix persons. Koḍ. a·rï six; a·rane sixth; aru-vadï sixty; a·r-nu·rï 600. Tu. āji six; ājane sixth; ajipa, ajippa, ājipa, ājpa sixty. Te. āṟu six; āṟuguru, āṟuvuru six persons; aṟu-vadi, aruvai, aravai sixty;aṟuvaṇḍru sixty persons. Kol. (SR. Kin., Haig) ār six; (SR.) ārgur six persons. Nk(Ch.) sādi six. Go. (Tr.) sāṟung six; sārk six each; (W.) sārūṅg, (Pat.) harung, (M.) ārū, hārūṃ, (L.) hārūṅg six; (Y.)sārvir, (G.) sārvur, (Mu.) hārvur, hāruṛ, (Ma.) ār̥vur six (masc.) (Voc. 3372); sarne (W.) fourth day after tomorrow, (Ph.) sixth day (Voc. 3344); Kui (Letchmajee) sajgi six; sāja pattu six times twelve dozen (= 864); (Friend-Pereira; Gūmsar dialect) saj six; sajgi six things; (K.) hāja six (DEDR 2485) Together, the reading of the hypertext of one-eyed PLUS six hair-knots is: kArNI-Ara, i.e. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ (Prakrtam):  karṇadhāra m. ʻ helmsman ʼ Suśr. [kárṇa -- , dhāra -- 1Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman ʼ.(CDIAL 2836) PLUS मेढा [mēḍhā] A twist rebus: mẽṛhẽt, meD 'iron' Thus, the narrative hypertext signifies helmsman carrying cargo of smelted iron.



काण [p= 269,1] mf()n. (etym. doubtful ; g. कडारा*दि) one-eyed , monoculous (अक्ष्णा काणः , blind of one eye Comm. on Pa1n2. 2-1 , 30 and 3 , 20RV. x , 155 , 1 AV. xii , 4 , 3 TS. ii , 5 , 1 , 7 Mn. MBh." having only one loop or ring " and " one-eyed " Pan5cat. Rebus: kārṇī m. ʻ prime minister, supercargo of a ship ʼ Pa. usu -- kāraṇika -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻ village accountant ʼ.(CDIAL 3058)

Side A narrative is common to both tablets: arA 'spoked wheel' rebus: Ara 'brass'; eraka 'knave of wheel' rebus: eraka 'moltencast, copper' PLUS karabha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron' PLUS karA 'crocodile' rebus: khAr 'blacksmith' PLUS one-eyed woman thwarting rearing tigers:

The obverse side of the tablets of Harappa have two different narratives: 1. One narrative shows a tiger looking up at a spy ona tree branch (H2001-5075/2922-01). 2. Another narrative shows a person kicking and spearing a bovine (m489B) PLUS crocodile and a horned person seated in penance with twig head-dress as field hieroglyphs.

The first type of narrative records products from a smelter. The second type of narrative records products from a smithy/mint.


Flipped horizontally
Molded terracotta tablet (H2001-5075/2922-01) with a narrative scene of a man in a tree with a tiger looking back over its shoulder. The tablet, found in the Trench 54 area on the west side of Mound E, is broken, but was made with the same mold as ones found on the eastern side of Mound E and also in other parts of the site (see slide 89 for the right hand portion of the same scene). The reverse of the same molded terra cotta tablet shows a deity grappling with two tigers and standing above an elephant (see slide 90 for a clearer example from the same mold). https://www.harappa.com/indus3/185.html heraka 'spy' rebus: eraka 'moltencast copper' kuTi 'tree' rebus:kuThi 'smelter' karA 'crocodile' rebus: khAr 'blacksmith' barad 'bull' rebus: baraDo 'alloy of pewter, copper, tin'. Another animal (perhaps bovine) is signified in a procession together with the tiger. This may signify barad, balad 'ox' rebus: bharat 'alloy of pewter, copper, tin'. Thus the products shown as from smithy (blacksmith).with a smelter.
m489Am489B
Slide 89 Plano convex molded tablet showing an individual spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center.
On the reverse (90),a female deity is battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity.
Material: terra cotta
Dimensions: 3.91 length, 1.5 to 1.62 cm width
Harappa, Lot 4651-01
Harappa Museum, H95-2486
Meadow and Kenoyer 1997 karA 'crocodile' Rebus: khAr 'blacksmith' (Kashmiri)
kamaDha 'penance' (Prakritam) Rebus: kammaTa 'mint, coiner'
kUtI 'twigs' Rebus: kuThi 'smelter'
muh 'face' Rebus: muhe 'ingot' (Santali)

This is in continuation and amplification of the rebus readings of Indus Script hieroglyphs at http://bharatkalyan97.blogspot.in/2016/03/indus-script-inscriptions-43-deciphered.html 

 


It was suggested at http://bharatkalyan97.blogspot.in/2016/03/indus-script-inscriptions-43-deciphered.html that the hieroglyph 'thwarting' is signified by the glosses: hieroglyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist. (DEDR 3031)

Three Mohenjo-daro seals; two seals are shown together with their seal impressions:Images show a figure strangling two tigers with his bare hands.
Deciphered readings of the three seals:

m0308 Seal 1 Hieroglyph: śrēṣṭrī 'ladder' Rebus: seṭh ʻ head of a guild, sangaDa 'lathe, portable brazier' rebus: sangarh 'fortification' PLUS sal 'splinter' rebus: sal 'workshop' (That is, guild workshop in a fortification) ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' khaNDa 'arrow' rebus: khaNDa 'implements'. Thus the hypertext signifies; metal implements from a workshop (in) fortification. The seal is that of a guild-master and helmsman PLUS supercargo (responsible for the shipment/cargo).

m0307 Seal 2 & seal impression: Two part message: Part 1: kanac 'corner' rebus: kancu 'bronze' sangaDa 'lathe, portable brazier' rebus: sangarh 'fortification' kanka, karNika 'rim of jar' rebus: karNI 'supercargo' karnika 'scribe, engraver' muh 'ingot' dhatu 'claws of crab' rebus: dhatu 'minerals' Part 2:  kanka, karNika 'rim of jar' rebus: karNI 'supercargo' karnika 'scribe, engraver' plus kole.l 'temple' rebus: kole.l 'smithy, forge'. The seal is that of a helmsman PLUS supercargo responsible for cargo of ingots, minerals and products from smithy/forge.

m0306 Seal 3 and impression: dhatu 'claws of crab' rebus: dhatu 'minerals' dhāḷ 'a slope'; 'inclination' rebus: dhALako 'ingot' PLUS kANDa 'notch' rebus: khaNDa 'implements' dula 'two' rebus: dul 'cast metal' kuTil 'curve' rebus: kuTila 'bronze' dula 'pair' rebus: dul 'cast metal' kanka, karNika 'rim of jar' rebus: karNI 'supercargo' karnika 'scribe, engraver' . The seal is that of a helmsman of bronze cargo of metal castings, ingots and implements

Indus Script seals showing a lady thwarting, impeding, checking two rearing tigers.

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

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

Begram ivories. Plate 389 Reference: Hackin, 1954, fig.195, no catalog N°.


Indus Script hieroglyphs of Prakrtam sprachbund lexis khambhaṛā 'fin' rebus: kammaṭa 'mint' has a synonym கண்வட்டம் kaṇ-vaṭṭam 'mint, coiner, coinage' 

The note has recorded evidence that கண்வட்டம் ka-vaṭṭam 'mint' has a synonym (demonstrably, a phonetic variant in mleccha/meluhha):  khambhaā 'fin' (Lahnda) rebus: kammaTa 'mint' and these two expressions are combined in the Begram ivory (Plate 389) 


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


கண்வட்டம் ka-vaṭṭam n. < id. +. 1. Range of vision, eye-sweep, full reach of one's observation; கண்பார்வைக்குட்பட்ட இடம்தங்கள்கண்வட்டத்திலே உண்டுடுத்துத்திரிகிற (ஈடு, 3, 5, 2). 2. Mint; நாணயசாலை.aya khambhaā (Lahnda) rebus: aya 'iron' PLUS khambhaā 'fish fin'


Rebus: kammaTa 'mint, coiner, coinage' (Kannada)==  'fish PLUS fin' rebus: ayas kammaTa 'metal mint'.


h180: Three-sided prism tablet from Harappa also includes a rearing-set of tigers narrative





ext 4304 Text on both sides of the tablet Hieroglyphs read rebus from r. to l.: koDi 'flag' rebus: koD 'workshop' gaNDa 'four' rebus: kanda 'fire-altar' kanda kanka 'rim of jar' rebus: kanda 'fire-altar' karNI 'supercargo' karNika 'scribe' khaNDa 'notch' rebus: khaNDa 'i9mplements' ranku 'liquid measure' rebus: ranku 'tin' kolmo 'rice plant' rebus: kolimi 'smith, forge' kuTi 'water-carrier' rebus: kuThi 'smelter'.

Two tigers: dula 'pair' rebus: dul 'cast metal' kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'.

h180A
h180B4304 Tablet in bas-relief h180a Pict-106: Nude female figure upside down with thighs drawn apart and  crab (?) issuing from her womb; two tigers standing face to face rearing  on their hindlegs at L.
h180b
Pict-92: Man armed with a sickle-shaped weapon on his right hand and a cakra (?) on his left hand, facing a seated woman with disheveled hair and upraised arms.

A person carrying a sickle-shaped weapon and a wheel on his bands faces a woman with disheveled hair and upraised arm. kuṭhāru ‘armourer’ (Sanskrit) salae sapae = untangled, combed out, hair hanging loose (Santali.lex.) Rebus: sal workshop (Santali) The glyptic composition is decoded as kuṭhāru sal‘armourer workshop.’ eṛaka 'upraised arm' (Tamil). Rebuseraka = copper (Kannada) Thus, the entire composition of these glyphic elements relate to an armourer’s copper workshop. Vikalpa: मेढा A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: mēḍ 'iron' (Munda)

<raca>(D)  {ADJ} ``^dishevelled'' (Mundarasāṇẽ n. ʻglowing embersʼ (Marathi). rabca ‘dishevelled’ Rebus: రాచrāca (adj.) Pertaining to a stone (ore) (bica).

The descriptive glyphics indicates that the smelting furnace is for bica, stone (ore). This is distinquished from sand ore.
The object between the outspread legs of the woman lying upside down is comparable orthography of a crocodile holding fiish in its jaws shown on tablets h705B and h172B. The snout of the crocodile is shown in copulation with the lying-in woman (as seen from the enlarged portion of h180 Harappa tablet).

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

kāru a wild crocodile or alligator (Te.) mosale ‘wild crocodile or alligator. S. ghaṛyālu m. ʻ long — snouted porpoise ʼ; N. ghaṛiyāl ʻ crocodile’ (Telugu)ʼ; A. B. ghãṛiyāl ʻ alligator ʼ, Or. Ghaṛiāḷa, H. ghaṛyāl, ghariār m. (CDIAL 4422)  கரவு² karavu


n. < கரா. cf. grāha. Alligator; முதலை. கரவார்தடம் (திவ். திருவாய். 8, 9, 9). 
    கரா karā n. prob. grāha. 1. A species of alligator; முதலை. கராவதன் காலினைக்கதுவ (திவ். பெரியதி. 2, 3, 9). 2. Male alligator; ஆண்முதலை. (பிங்.) கராம் karām n. prob. grāha. 1. A species of alligator; முதலைவகை. முதலையு மிடங்கருங் கராமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.)கரவா karavā , n. A sea-fish of vermilion colour, Upeneus cinnabarinus; கடல்மீன்வகை. Rebus: khAr 'blacksmith' (Kashmiri)

kuhi = pubes. kola ‘foetus’ [Glyph of a foetus emerging from pudendum muliebre on a Harappa tablet.] kuhi = the pubes (lower down than paṇḍe) (Santali) kuhi = the womb, the female sexual organ; sorrege kuhi menaktaea, tale tale gidrakoa lit. her womb is near, she gets children continually (H. kohī, the womb) (Santali.Bodding) kōṣṭha = anyone of the large viscera (MBh.); koṭṭha = stomach (Pali.Pkt.); kuṭṭha (Pkt.); kohī heart, breast (L.); koṭṭhā, kohā belly (P.); koho (G.); kohā (M.)(CDIAL 3545). kottha pertaining to the belly (Pkt.); kothā corpulent (Or.)(CDIAL 3510). koho [Skt. koṣṭha inner part] the stomach, the belly (Gujarat)  kūti = pudendum muliebre (Ta.); posteriors, membrum muliebre (Ma.); ku.0y anus, region of buttocks in general (To.); kūdi = anus, posteriors, membrum muliebre (Tu.)(DEDR 188). kūṭu = hip (Tu.); kua = thigh (Pe.); kue id. (Mand.); kūṭi hip (Kui)(DEDR 1885). gūde prolapsus of the anus (Ka.Tu.); gūda, gudda id. (Te.)(DEDR 1891).

Glosses: Indian sprachbund
kāru ‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar ‘blacksmith’ (Kashmiri) 
kola ‘tiger’ Rebus: kol ‘working in iron’. Heraka ‘spy’ Rebus: eraka ‘copper’. khōṇḍa ‘leafless tree’ (Marathi). Rebus: kõdār’turner’ (Bengali) dhamkara 'leafless tree' Rebus: dhangar 'blacksmith'
Looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.

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

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

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


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

కారుమొసలి a wild crocodile or alligator (Telugu).

Rebus: khār ‘blacksmith’ khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु‍&below; । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;जि&below; or -güjü -ग&above;जू&below; । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), a blacksmith's smelting furnace; cf. hāl 5. -kūrü -कूरू‍&below; । लोहकारकन्या f. a blacksmith's daughter. -koṭu -क&above;टु&below; । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क&above;टू&below; । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above;च&dotbelow;ू&below; । लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु&below; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.
Rebus readings of Hieroglyphs on two Meluhha tablets: Crocodile, tiger looking back, spy on tree
h1973B h1974B Harappa Two tablets. One side shows a person seated on a tree branch, a tiger looking up, a crocodile on the top register and other animals in procession in the bottom register. Obverse side (comparable to h1970, h1971 and h1972) shows an elephant, a person strangling two tigers (jackals or foxes) and a six-spoked wheel.
The glyphic which is common to both set 1 (h1970B, h1971B and h1972B) and set 2: (h1973B and h1974B) is: crocodile on the top register. 

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

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

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

The following glyphics of m1431 prism tablet show the association between the tiger + person on tree glyphic set and crocile + 3 animal glyphic set.

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

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

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

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

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

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

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

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

Reverse side glyphs:

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

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

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

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

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

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

Allograph: ‘notch’: Marathi: खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon).
Glyph: ‘full stretch of one’s arms’: kāḍ 2 काड् । पौरुषम् m. a man's length, the stature of a man (as a measure of length) (Rām. 632, zangan kaḍun kāḍ, to stretch oneself the whole length of one's body. So K. 119). Rebus: kāḍ ‘stone’. Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298). mayponḍi kanḍ whetstone;  (Ga.)(DEDR 4628). (खडा) Pebbles or small stones: also stones broken up (as for a road), metal. खडा [ khaḍā ] m A small stone, a pebble. 2 A nodule (of lime &c.): a lump or bit (as of gum, assafœtida, catechu, sugar-candy): the gem or stone of a ring or trinket: a lump of hardened fæces or scybala: a nodule or lump gen. CDIAL 3018 kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone ʼ lex.] Bshk. kōr ʻ large stone ʼ AO xviii 239. கண்டு³ kaṇṭu , n. < gaṇḍa. 1. Clod, lump; கட்டி. (தைலவ. தைல.99.) 2. Wen; கழலைக்கட்டி. 3. Bead or something like a pendant in an ornament for the neck; ஓர் ஆபரணவுரு. புல்லிகைக்கண்ட நாண் ஒன்றிற் கட்டின கண்டு ஒன்றும் (S.I.I. ii, 429). (CDIAL 3023) kāṇḍa cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion with gaṇḍa -- 2 makes prob. non -- Aryan origin (not with P. Tedesco Language 22, 190 < kr̥ntáti). Pa. kaṇḍa -- m.n. joint of stalk, lump. काठः A rock, stone. kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone ʼ lex.]Bshk. kōr ʻ large stone ʼ AO xviii 239.(CDIAL 3018). অয়সঠন [ aẏaskaṭhina ] as hard as iron; extremely hard (Bengali)

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

kã̄ḍ 2 काँड् m. a section, part in general; a cluster, bundle, multitude (Śiv. 32). kã̄ḍ 1 काँड् । काण्डः m. the stalk or stem of a reed, grass, or the like, straw. In the compound with dan 5 (p. 221a, l. 13) the word is spelt kāḍ.
kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). -- । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist.
kāru ‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar ‘blacksmith’ (Kashmiri) kola ‘tiger’ Rebus: kol ‘working in iron’. Heraka ‘spy’ Rebus: eraka ‘copper’. khōṇḍa ‘leafless tree’ (Marathi). Rebus: kõdār’turner’ (Bengali) 
Looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.

Ganweriwala tablet and seals m1181, m0304 m453 show persons seated on a platform, a raised place.

The significance of the platform is clear in rebus readings. On seal m0304, stacks of hay signify mēṭa 'stack of hay' which are phonetic determinants of the platform, raised place: mēṭa 'raised place'. Rebus reading is: mẽṛhẽt, meḍ 'iron (metal)''copper' (Slavic languages).
m1181. Seal. Mohenjo-daro. Three-faced, horned person (with a three-leaved pipal branch on the crown), wearing bangles and armlets and seated on a hoofed platform.

m1181 Text of inscription.

Each glyphic element on this composition and text of inscription is decoded rebus:
Two glyphs 'cross-road' glyph + 'splice' glyph -- which start from right the inscription of Text on Seal m1181.The pair of glyphs on the inscription is decoded: dhatu adaru bāṭa 'furnace (for) mineral, native metal’. dāṭu 'cross'(Telugu); bāṭa 'road' (Telugu). aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Kannada. Siddha_nti Subrahman.ya’ S’astri’s new interpretation of the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330)


Other glyphic elements: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra 'bell-metal and brass worker'; aya sal 'iron (metal) workshop'.



*the person is seated on a hoofed platform (representing a bull): decoding of glyphics read rebus: ḍangar ‘bull’; ḍhangar ‘blacksmith’ (H.); koṇḍo ‘stool’; rebus: koḍ ‘workshop’. The glyphics show that the seal relates to a blacksmith's workshop.



*the seated person's hair-dress includes a horned twig. aḍaru twig; aḍiri small and thin branch of a tree; aḍari small branches (Ka.); aḍaru twig (Tu.)(DEDR 67). aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) Vikalpa: kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali)



*tiger's mane on face: The face is depicted with bristles of hair, representing a tiger’s mane. cūḍā, cūlā, cūliyā tiger’s mane (Pkt.)(CDIAL 4883)Rebus: cuḷḷai = potter’s kiln, furnace (Ta.); cūḷai furnace, kiln, funeral pile (Ta.); cuḷḷa potter’s furnace; cūḷa brick kiln (Ma.); cullī fireplace (Skt.); cullī, ullī id. (Pkt.)(CDIAL 4879; DEDR 2709). sulgao, salgao to light a fire; sen:gel, sokol fire (Santali.lex.) hollu, holu = fireplace (Kuwi); soḍu fireplace, stones set up as a fireplace (Mand.); ule furnace (Tu.)(DEDR 2857). 



*bangles on arms cūḍā ‘bracelets’ (H.); rebus: soḍu 'fireplace'. Vikalpa: sekeseke, sekseke covered, as the arms with ornaments; sekra those who work in brass and bell metal; sekra sakom a kind of armlet of bell metal (Santali) 



*fish + splinter glyph ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.)sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’ (Santali) Vikalpa: Glyph: ḍhāḷiyum = adj. sloping, inclining; rebus: ḍhāḷako = a large metal ingot (G.) H. dhāṛnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). Thus, the ligatured 'fish + sloping (stroke)' is read rebus: metal ingot.



•dāṭu = cross (Te.); dhatu = mineral (Santali) dhātu ‘mineral (Pali) dhātu ‘mineral’ (Vedic); a mineral, metal (Santali); dhāta id. (G.)H. dhāṛnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). aṭar a splinter; aṭaruka to burst, crack, slit off, fly open; aṭarcca splitting, a crack; aṭarttuka to split, tear off, open (an oyster)(Ma.); aḍaruni to crack (Tu.)(DEDR 66). dāravum = to tear, to break (G.) dar = a fissure, a rent, a trench; darkao = to crack,to break; bhit darkaoena = the wall is cracked (Santali) Rebus: aduru 'native (unsmelted) metl' (Kannada).



Seated person in penance: kamaḍha ‘penance’ (Pkt.); rebus: kampaṭṭa ‘mint’(Ma.) Glyphics of shoggy, brisltles of hair on the face of the person: Shoggy hair; tiger’s mane. sodo bodo, sodro bodro adj. adv. rough, hairy, shoggy, hirsute, uneven; sodo [Persian. sodā, dealing] trade; traffic; merchandise; marketing; a bargain; the purchase or sale of goods; buying and selling; mercantile dealings (G.lex.) sodagor = a merchant, trader; sodāgor (P.B.) (Santali.lex.) 

Glyph: clump between the two horns: kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ.(CDIAL 3236). kundār turner (A.)(CDIAL 3295). kuṇḍa 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 (CDIAL 3266) Ta. koṇtai tuft, dressing of hair in large coil on the head, crest of a bird, head (as of a nail), knob (as of a cane), round top. Ma. koṇṭa tuft of hair. Ko.goṇḍ knob on end of walking-stick, head of pin; koṇḍ knot of hair at back of head. To. kwïḍy Badaga woman's knot of hair at back of head (< Badaga koṇḍe). Ka. koṇḍe, goṇḍe tuft, tassel, cluster. Koḍ. koṇḍe tassels of sash, knob-like foot of cane-stem. Tu. goṇḍè topknot, tassel, cluster. Te. koṇḍe, (K. also) koṇḍi knot of hair on the crown of the head. Cf. 2049 Ta. koṭi. / Cf. Skt. kuṇḍa- clump (e.g. darbha-kuṇḍa-), Pkt. (DNM) goṇḍī- = mañjarī-; Turner, CDIAL, no. 3266; cf. also Mar. gōḍā cluster, tuft. (DEDR 2081) kuṇḍī = crooked buffalo horns (L.) rebus: kuṇḍī = chief of village. kuṇḍi-a = village headman; leader of a village (Pkt.lex.) I.e. śreṇi jet.t.ha chief of metal-worker guild. koḍ 'horns'; rebus: koḍ 'artisan's workshop' (G.) Thus the entire glyphic composition of hieroglyphs on m1181 seal is a message conveyed from a sodagor 'merchant, trader'. The bill of lading lists a variety of repertoire of the artisan guild's trade load from a mint -- the native metal and brass workshop of blacksmith (guild) with furnace: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra 'bell-metal and brass worker'; aya sal 'iron (metal) workshop'. 

In a comparable glyphic composition showing a person seated in penance, two serpents are shown flanking the person. 

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

Glyph: kaṇḍo ‘stool’. Rebus; kaṇḍ ‘furnace’. Vikalpa: kaṇḍ ‘stone (ore) metal’.  Rebus: kamaḍha ‘penance’. Rebus 1: kaṇḍ ‘stone ore’. Rebus 2: kampaṭṭa ‘mint’. 

Glyph: ‘serpent hood’: paṭa. Rebus: pata ‘sharpness (of knife), tempered (metal). padm ‘tempered iron’ (Ko.) 

Glyph: rimless pot: baṭa. Rebus: bhaṭa ‘smelter, furnace’. It appears that the message of the glyphics is about a mint  or metal workshop which produces sharpened, tempered iron (stone ore) using a furnace.

Rebus readings of glyphs on text of inscription:

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

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

ã= scales of fish (Santali); rebusaya ‘metal, iron’ (Gujarati.) cf. cognate to amśu 'soma' in Rigveda: ancu 'iron' (Tocharian)

G.karã̄ n. pl. ‘wristlets, bangles’; S. karāī f. ’wrist’ (CDIAL 2779).  Rebus: khār खार् ‘blacksmith’ (Kashmiri)

dula ‘pair’; rebus dul ‘cast (metal)’

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

The suggested rebus readings indicate that the Indus writing served the purpose of artisans/traders to create metalware, stoneware, mineral catalogs -- products with which they carried on their life-activities in an evolving Bronze Age.
Ganweriwala ablet

uai stack of hay (Telugu) Ta. meṭṭu mound, heap of earth; mēu height, eminence, hillock; muṭṭu rising ground, high ground, heap. Ma. mēu rising ground, hillock; māu hillock, raised ground; miṭṭāl rising ground, an alluvial bank; (Tiyya) maṭṭa hill. Ka. mēu height, rising ground, hillock; miṭṭu rising or high ground, hill; miṭṭe state of being high, rising ground, hill, mass, a large number; (Hav.) muṭṭe heap (as of straw). Tu. miṭṭè prominent, protruding; muṭṭe heap. 
Te. meṭṭa raised or high ground, hill; (K.) meṭṭu mound; miṭṭa high ground, hillock, mound; high, elevated, raised, projecting; (VPK) mēu, mēa, mēstack of hay; (Inscr.) meṇṭa-cēnu dry field (cf. meṭṭu-nēla, meṭṭu-vari). Kol. (SR.) meṭṭā hill; (Kin.) meṭṭ (Hislop) met mountain. Nk. meṭṭ 
hill, mountain. Ga. (S.3LSB 20.3) meṭṭa high land. Go. (Tr. W. Ph.) maṭṭā, (Mu.)maṭṭa mountain; (M. L.) meā id., hill; (A. D. Ko.) meṭṭa, (Y. Ma. M.) mea hill; (SR.) meṭṭā hillock (Voc. 2949). Kona mea id. Kuwi (S.) metta hill; (Isr.) mea sand hill. (DEDR 5058) (b) Ta. mēai platform, raised floor, artificial mound, terraced house. Ma. mēa raised place, tower, upper story, palace. Te. mēa house with two or more stories, upper chamber. Pa. mē ole bungalow. Go. (Ko.) mēā large house, bungalow (Voc. 2965). Kona mēa mide terraced building (see 5069). Pe. mē storied house, mansion.Kuwi (S.) mēa illu storied house; (Isr.) mēa upstair building. / Cf. Skt. (lex.) mea- whitewashed storied house; Pkt. meaya- id.  (DEDR 4796b) 
Proto-Elamite seal impressions, Susa. Seated bulls in penance posture. (After Amiet 1980: nos. 581, 582).
Hieroglyph: kamaDha 'penance' (Prakritam) Rebus: kammaTTa 'coiner, mint'
Hieroglyph: dhanga 'mountain range' Rebus: dhangar 'blacksmith'
Hieroglyph: rango 'buffalo' Rebus: rango 'pewter'.

Mirror:http://tinyurl.com/jfbeo7j 
http://tinyurl.com/jfbeo7j
Glyphs on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a 3-glyph text. Observe shows a  person seated on a stool and a kneeling adorant below.
Ganweriwala tablet. Ganeriwala or Ganweriwala (Urduگنےریوالا‎ Punjabi: گنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan.

Canopy: Ku. pāl ʻ canopy ʼ; N. pāl ʻ tent ʼ; A. pāl ʻ sail, large sheet of cloth, palanquin ʼ; B. pāl ʻ sail ʼ, pāil ʻ sail, awning ʼ-- P. H. pallā m. ʻ cloth spread out for grain ʼ poss. < palya -- . Addenda: *palla -- 3: S.kcch. pāl m. ʻ big jute cloth ʼ.(CDIAL 7967).

phala2 n. ʻ point of arrow ʼ Kauś., ʻ blade of knife ʼ MBh. 2. *phara -- 1. [i.e. ʻ splitting ʼ ~ phala -- 3 ʻ what is split ʼ. -- √phal]1. Pa. phala -- n. ʻ point of arrow or sword ʼ, Pk. phala<-> n. ʻ point of arrow ʼ; K. phal ʻ tip of arrow, blade of mattock ʼ; S. pharu m. ʻ blade, arrowhead ʼ; L.awāṇ. P. N. phal ʻ blade ʼ, B. phal°lā; Or. phaḷā ʻ blade ʼ, phaḷī ʻ arrowhead ʼ; H. phal m. ʻ blade ʼ, G. M. phaḷ n.; M. phaḷẽ n. ʻ spear -- head ʼ.2. P. pharhā m. ʻ blade, nib ʼ.Addenda: phala -- 2. 1. Md. fali ʻ oar ʼ or < *phāla -- 2?(CDIAL 9052)

Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'.
Prakritam gloss: kamad.hakamat.hakamad.hakakamad.hagakamad.haya= a type of penance.

The venerated, person seated in a type of penance has been rendered in Indus Script cipher as kamaDha 'penance' (Prakritam) Rebus: kammaTTa 'coiner, mint'. What did the kneeling adorant as Signs 45 and 46 signifY? I have suggested the cipher: bhaTa 'worshipper' rebus: bhaTa 'furnace'.
Prakritam lexis.

Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner:

1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230) 

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

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

bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)

Hieroglyph: Ta. kump-iṭu (iṭuv-, iṭṭ-) to join hands in worship, make obeisance with the hands joined and raised, beg, entreat; n. worship. Ma. kump-iṭuka, kumm-iṭuka to bow down, prostrate oneself, worship. Ko. kub-iṛ- (iṭ-) to bow down, pray; kumiṭe· salutation used by Kota to Badaga or Kurumba. To. kub-ïḍ- (ïṭ-) to salute (not used of religious salutation); ? ku·ḍ- (ku·ḍQ-) to bow, bend down. Ka. kumbu bending, bowing down, obeisance; kumbiḍu to bow down, do obeisance (DEDR 1750)

Rebus: Ta. kumpiṭu-caṭṭi chafing-dish, portable furnace, potsherd in which fire is kept by goldsmiths; kumutam oven, stove; kummaṭṭi chafing-dish. Ka. kuppaḍige, kuppaṭe, kumpaṭe, kummaṭa, kummaṭe id. Te. kumpaṭi id. Cf. 1752 Ta. kumpu. Ta. kumpu (kumpi-) to become charred (as food when boiled with insufficient water); kumpal smell of charred rice; kumpi hot ashes; kumuṟu (kumuṟi-) to burst with distress; kumai (-v-, -nt-) to be hot, sultry. Ma. kumpi, kumpiri mirage; kumpal inward heat; kummu expr. descriptive of heat; kummal sultriness, mustiness; kumuṟuka, kumiṟuka to be hot, close; kumuṟal oppressive heat; ? kukkuka to be hot; ? kuppu heat. Ka. kome to begin to burn, as fire or anger. Tu.kumbi mirage; gumulu fire burning in embers; gumuluni to be hot, feel hot as in a fit of fever. Te. kummu smouldering ashes; kumulu to smoulder, burn slowly underneath without flame, be consumed inwardly, grieve, pine. Go. (Hislop) kum smoke (Voc. 763); (Tr.) gubrī fine ashes of burnt-out fire (Voc. 1141); (Koya Su.) kumpōḍ smoke. Cf. 1751 Ta. kumpiṭu-caṭṭi. / Cf. Pkt. (DNM) kumulī- fireplace. (DEDR 1751, 1752)

Hieroglyph of 'kneeling adorant' or 'worshipper' is such an abiding message that Mahadevan concordance treates the hieroglyph as a text 'sign'.
  Signs 45, 46 Mahadevan Concordance. In Sign 46, Sign 45 is ligatured with a pot held by the adoring hands of the kneeling adorant wearing a scarf-type pigtail. I suggest that the rimless pot held on Sign 46 is a phonetic determinant: baTa 'rimless pot' Rebus: bhaTa 'furnace'. So, is the kneeling adorant, a worshippper of a person seated in penance,  a bhaTa 'worshipper in a temple' Rebus: bhaTa 'furnace'. For him the kole.l 'temple' is kole.l 'smithy, forge' (Kota language).


Glyphs on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a 3-glyph text. Observe shows a  person seated on a stool and a kneeling adorant below.

Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'.
Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner:

1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230) 

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

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

Hieroglyph: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meD 'iron' (Mu.Ho.Santali)
meď 'copper' (Slovak)


Obverse of the tablets m0478, 0479, 0480 show this narrative. Pict-111: From R.: A woman with outstretched arms  flanked by two men holding uprooted trees in their hands; a person seated on a tree with a tiger below with its head turned backwards; a tall jar  with a lid.
 Reverse side of a two-sided tablets m0478, 0479, 0480. in bas relief. Kneeling adorant carrying a U-shaped rimless pot in front a tree. NOTE: The kneeling motif also occurs on Sit Shamshi bronze.

Three identical Mohenjo-daro tablets, with identical inscriptions. m 478-480.

Section A: Message on obverse of tablet                                                                                         

The narrative on the obverse (b) of the tablet is in three parts: Part 1. Rim-of-jar PLUS lid; Part 2. Tiger looks back at spy on tree branch; Part 3. A wristlet wearer pushes thwarts two contestants clearing jungle.Part 1. Rim-of-jar PLUS lid (Tablet m478b to m480b)

An orthographic variant of a jar to focus on 'rim-of-jar' is provided by a Daimabad seal. 

karnaka 'rim of jar' karn.aka = handle of a vessel; ka_n.a_, kanna_ 'rim, edge' 
kan.t.u = rim of a vessel; kan.t.ud.iyo = a small earthen vessel
kan.d.a kanka = rim of a water-pot; kan:kha, kankha = rim of a vessel rebus: kanda, kanduka 'trench, furnace'.

Rebus: karNika 'Supercargo'' merchant in charge of cargo of a shipment, helmsman, scribe. Rebus kañiāra 'helmsman' karaī 'scribe'.
Hieroglyph: *hakk ʻ cover ʼ. 2. *hak -- . [Cf. hakkana -- n. ʻ shutting ʼ Śīl.] 1. Pk. hakkaï ʻ shuts ʼ; S. hakau ʻ to cover ʼ; L. hakka ʻ to imprison ʼ; P. hakkā ʻ to cover ʼ, Ku. hako, N. hāknu, A. hākiba, B. hākā, Bhoj. hākal, OMarw. hakaï; -- Pk. hakkiī -- f. ʻ lid ʼ, S. hakkaī f., P. hakā m., °ī f., WPah. bhad. hakka n., Ku. hāka, N. hakni, A. hākni, B. hākanhāknā°ni; Bi. haknā ʻ cover of grain -- pot ʼ, Mth. hākni; Bhoj. haknī ʻ lid ʼ. -- Poss. K. ākürü f. ʻ wide shallow basket ʼ; N. hāki ʻ basket ʼ, hākar ʻ a kind of large basket ʼ; Bi. mag. hākā ʻ large open basket ʼ; -- P. hakkā m. ʻ pass between two hills ʼ. 2. Pk. hakissaï ʻ will cover ʼ; Kho. (Lor.) ageik ʻ to cover, shut, bury ʼ; Phal. hag -- ʻ to bury ʼ; Or. hakibā ʻ to cover ʼ, H. hã̄knā, Marw. hã̄ko, G. hã̄kvũ, M. hã̄k; -- Pk. hakaa -- n., °ī -- f. ʻ cover, lid ʼ, Or. hākui, H. hãknī f., G. hã̄k n., °ī f., M. hã̄ka n., hã̄kī f.Addenda: *hakk -- 1: S.kcch. hakū ʻ to cover, shut (a door) ʼ, WPah.kg. (kc.) hàkõ, Garh. haku; A. hākiba (phonet. dh -- ) ʻ to cover ʼ, G. hākvũ, M. hāk.(CDIAL 5574)

 Hieroglyph: *ḍhākka ʻ back, waist ʼ.Wg. ḍakāˊ ʻ waist ʼ; Dm. ḍã̄kḍaṅ 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. ḍākḍāg ʻ back ʼ, Mai. ḍāgḍā; 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)

RRebus: धक्क 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. धक  dhaka f (In Konkan̤ m. धग or धगधग Imit. or from H Ardor.) The glow of a fire. 2 Freely. Fire kindled, fire, flame, blaze. Ex. धक पेटीव मी धक घेणार आहें. 3 fig. Glowing or swelling (of ardor, pride, conceit).  (Marathi) धक dhaka f (In Konkan̤ m. धग or धगधग Imit. or from H Ardor.) The glow of a fire. 2 Freely. Fire kindled, fire, flame, blaze. Ex. धक पेटीव मी धक घेणार आहें. 3 fig. Glowing or swelling (of ardor, pride, conceit). (Marathi) *dhagg ʻ throb, glitter ʼ. [Cf. dhagiti ʻ at once ʼ Kād., dhagad -- dhagiti ʻ crack! ʼ HPariś., and *ḍag -- 1]Pk. dhagadhagaï ʻ flares ʼ, dhagadhaggamāṇa -- , dhaggīkaya -- ʻ blazing ʼ; H. dhagdhagānā ʻ to throb, glitter ʼ; G. dhagdhagvũ ʻ to burn fiercely ʼ; M. dhagdhagṇẽ ʻ id., to beat (of heart) ʼ; -- S. dhakdhaki f. ʻ palpitation ʼ; N. dhakāunu ʻ to pant ʼ; B. dhak ʻ sudden blaze ʼ, dhakdhakāna ʻ to throb, glitter ʼ; Or. dhaka ʻ blaze ʼ, dhakadhaka ʻ throbbing, blazing ʼ; H. dhakdhakānādhadhaknā ʻ to blaze ʼ, G. dhakdhakvũ; M. dhakdhakṇẽ ʻ to palpitate ʼ.dhagg -- : Ko. dhaggu ʻ heat ʼ, dhagdhagu ʻ blazing heat ʼ. (CDIAL 6704) *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) Ta. taka-tak-eṉal, taka-takav-eṉal onom. expr. of boiling, bubbling. Ma. taka taka beating time. Ka. takatakane quickly (of dancing); taka pakane id., vehemently (used of boiling). Tu. takataka, takapakaagility in dancing; bubbling in boiling, nimbly, briskly. Te. takapikalāḍu to dance about, dangle. (DEDR 2997)  Ta. taka-tak-eṉal, taka-takav-eṉal onom. expr. of dazzling, glowing, glittering. Ko. dag dag in- (iḏ-) (flame) burns brightly; dagdagn with a good light. Ka. daggane with a blaze. Tu. dagadaga, dagabaga brightly; dagga, dagganè (to blaze) suddenly. Te. dagadaga glitter; dagadagam-anu to glitter, shine. Kur. dagnā to light, set fire to, burn (tr.); dagrnā to catch fire, be burned. Malt. dagdagre to glitter, shine (or < IA). / MBE 1969, p. 293, no. 26, for areal etymology, with reference to Turner, CDIAL, no. 6704, *dhagg-, Pkt. dhagadhagaï flares, H. dhagdhagānā to glitter, dhakdhakānā to blaze; add ibid. no. 5522(4) Panj. dagdagāuṇāto shine, no. 5522(1) Ass. ḍagmag sparkle, ḍagmagāiba to glitter, Beng. ḍagḍagiyā glowing, H. ḍagḍagānā, ḍagmagānā to burn brightly (DEDR 2998)


Alternative Rebus: dhakk ‘an anvil’ (Kannada) dhakka ‘steady, stout’ (Marathi)

Part 2. Tiger looks back at spy on tree branch (Tablet m478b to m480b)

ḍhaṁkhara — m.n. ʻbranch without leaves or fruitʼ (Prakrit) (CDIAL 5524) Rebus: dhangar 'blacksmith'

kōṭu  branch of tree, Rebus: खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. 

Hieroglyph: Looking back: krammara 'look back' (Telugu) kamar 'smith, artisan' (Santali) PLUS kola 'tiger' rebus: kol 'working in iron' kolle 'blacksmith' kolhe 'smelter.

eraka, hero = a messenger; a spy (G.lex.) kola ‘tiger, jackal’ (Kon.); rebus: kol working in iron, blacksmith, ‘alloy of five metals, panchaloha’ (Tamil) kol ‘furnace, forge’ (Kuwi) kolami ‘smithy’ (Te.) heraka = spy (Skt.); er to look at or for (Pkt.); er uk- to play 'peeping tom' (Ko.) Rebus: eraka ‘copper’ (Ka.)

Part 3. A wristlet wearer pushes thwarts two contestants clearing jungle (Tablet m478b to m480b)

The person standing between, thwarting and pushing two contestants wears wristlets: karã̄ n. pl.wristlets, bangles' Rebus: khãr 'blacksmith, iron worker' (Kashmiri).

Hypertext: daka, 'push'; erga, 'act of clearing jungle' (Kui) [Note image showing two men carrying uprooted trees]; karã̄ n. pl.wristlets, bangles. Rebus reading: dhagdhag 'glittering' erako 'moltencast metal', khãr  'blacksmith, iron worker'. Thus, blacksmith (maker of) glittering moltencast metal.
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.)er-r-a = red; eraka = copper (Ka.) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) erako molten cast (as metal) (Tulu)  agasa_le, agasa_li, agasa_lava_d.u = a goldsmith (Telugu) Ta. eṟṟu (eṟṟi-) to throw out (as water from a vessel); iṟai (-v-, -nt-) to scatter (intr.), disperse; (-pp-, -tt-) to splash (tr.), spatter, scatter, strew, draw and pour out water, irrigate, bale out, squander; iṟaivai receptacle for drawing water for irrigation; iṟaṭṭu (iṟaṭṭi-) to sprinkle, splash. Ma. iṟekka to bale out; iṟayuka id., scatter, disperse; iṟava basket for drawing water; eṟiccil rainwater blown in by the wind. To. eṟ- (eṟQ-) to scoop up (water with vessel). 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. Kur. ecchnā to dash a liquid out or over (by scooping, splashing, besprinkling). Cf. 840 Kur. elkhnā (Pfeiffer).(DEDR 866)

 *dhakk ʻ push, strike ʼ. [dhakkayati ʻ annihilates ʼ Dhātup.] K. daka m. ʻ a push, blow ʼ, S. dhaku m., L. P. dhakkā m.; Ku. dhakkā ʻ collision ʼ, dhã̄kā ʻ forcibly pushing ʼ; N. dhakkā ʻ collision, push ʼ; B. dhā̆kkā ʻ push ʼ, Or. dhakā; H. dhak m. ʻ shock, sudden terror ʼ, dhakkā m. ʻ push ʼ; OMarw. dhakā -- dhakī f. ʻ rush ʼ; G. dhakkɔ m. ʻ push ʼ, M. dhakāḍhakā m.; -- P. dhakkṇā ʻ to push, oust ʼ; -- S. dhakiṛaṇu ʻ to half -- clean rice by beating it in a mortar ʼ; -- Ku. dhakelṇo ʻ to push ʼ, N. dhakelnu, H. dhakelnāḍha°, G. dhakelvũ. S.kcch. dhakko ḍeṇo ʻ to push ʼ; WPah.kṭg. dhàkkɔ m. ʻ push, dash ʼ, J. dhākā m.((CDIAL 6701)
 धकाधकी dhakādhakī f (धका by redup.) A general or a mutual shoving and pushing; a scuffle or tussle. धकाबुका dhakābukā m धकाबुकी f धकीबुकी f C Pushing and pommeling; shoving and cuffing. v कर, दे, मार. (Marathi)


Section B: Message on reverse of tablet

The narrative on the reverse (a) of the tablet is in three parts: Part 1. Endless knot; Part 2. Text message; Part 3. Worshipper ofering a rimless pot in front of a tree

Part 1. Endless knot (Tablet m478a to m480a)

Endless knot hieroglyph: मेढा mēḍhā ]'twist, curl' rebus: medha ‘yajña'  mẽṛhẽt, 'iron' (Santali) me 'iron'  (Mu.Ho.)'; 'copper' (Slavic languages)Together, the two hieroglyphs 
 signify a performer of medhā ‘yajña', acquirer of medhā 'dhanam, wealth', metalworker, ironsmith turner.

Part 2. Worshipper ofering a rimless pot in front of a tree (Tablet m478a to m480a)

kui 'tree' Rebus: kuṭhi 'smelter)', furnace (Santali) 

On seal m1186A a kneeling adorant makes offerings. bārṇe, bāraṇe = an offering of food to a demon; a meal after fasting, a breakfast (Tu.) barada, barda, birada 'a vow' (Gujarati) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin)(P.B.)                                                          A similar kneeling adorant now holds a wide-mouthed, rimless pot and makes an offering to the tree. baṭhu m. ‘large pot in which grain is parched (Sindhi) Rebus: bhaṭṭhā m. ‘kiln’ (P.) baṭa = a kind of iron (G.) bhaṭa ‘furnace’ (Gujarati) baṭa = kiln (Santali); bhaṭṭha -- m.n. ʻ gridiron (pkt.)  baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; l. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; p. bhaṭṭh m., ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; s. bhaṭṭhī keṇī ‘distil (spirits)’.  (CDIAL 9656) Thus, the reading of the composite glyph: kneeling adorant + pot is read rebus: meḍ pattar + bhaṭa 'iron urnace (of) merchant guild'.
Paṭṭar-ai community; guild as of workmen (Ta.); pattar merchants; perh. Vartaka (Skt.)వడ్లబత్తుడు varangi. [Tel.] n. A carpenter. బత్తుడు battuu. n. A worshipper. భక్తుడు. The caste title of all the five castes of artificers as వడ్లబత్తుడు a carpenter. కడుపుబత్తుడు one who makes a god of his belly. L. xvi. 230.(Telugu) 

The merchantbattuḍu, pattar is shown in a worshipful state kneeling in adoration on many inscriptions.

Part 3. Text message (Tablet m478a to m480a)
Hieroglyphs (from. r to l):
battuu bhata, 'worshipper' rebus:  bhaṭa ‘furnace’ PLUS OFFERING: barada, barda, birada 'a vow' (Gujarati) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin).

Numeral four: gaṇḍa 'four' Rebus: kand 'fire-altar'. PLUS bhata, 'pot' rebus: bhaṭa ‘furnace’. Thus, the 'four linear strokes PLUS rimless pot' signifies: 'fire-altar (in) artisan's workshop'. 
Body hieroglyph read rebus: 

Circumscript of two linear strokes for 'body' hieroglyph: dula 'pair' Rebus: dul 'cast metal' koḍa ‘one’(Santali) Rebus: koḍ ‘artisan’s workshop' Thus, the circumscript signifies 'cast metal workshop' (with furnace) PLUS circumscribed body hieroglyph: me 'body' Rebus: mẽṛhẽt 'iron' (Santali) me 'iron' (Mu.Ho.); med 'copper' (Slavic).Together, the hypertext reds: dul me koḍ 'metal casting, cast iron workshop'.

Hieroglyph: khareo 'a currycomb' (Gujarati) Rebus: kharādī turner (Gujarati) 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. 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. खरडघाशा  kharaḍaghāśā m (खरड & घासणें) A term of abuse for a bad writer, barber, carpenter &c.; quill-driver, scraper, chips. 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. (Marathi).

The semantics of खरडें 'rough draft' explains why the hieroglyph occurs ONLY on tablets which are works-in-process documentation by scribes.

Thus, the inscriptions on tablets m478 to m480 complete the documentation of wealth-creating metalwork खरडा kharaḍā daybook.
Hieroglyph (alternative): aaren, aren lid, cover (Santali)
m1186



Offering and adorant glyphs of Indus script

There are two seals of Indus script (m1186 and m0488) depicting a kneeling person with some offerings on a stool/tray. In a vivid orthographic analysis, John C. Huntington identifies the nature of the offering on m1186: it is a bowl with ladles. The offering kept on a stool on m0488 is likely to be a similar glyph, though analysis of a higher resolution image is not possible because the tablet with this glyph is worn-out.

m1186 seal. kaula— m. ‘worshipper of Śakti according to left—hand ritual’, khōla—3 ‘lame’; Khot. kūra— ‘crooked’ BSOS ix 72 and poss. Sk. kōra— m. ‘movable joint’ Suśr.] Ash. kṓlƏ ‘curved, crooked’; Dm. kōla ‘crooked’, Tir. kṓolƏ; Paš. kōlā́ ‘curved, crooked’, Shum. kolā́ṇṭa; Kho. koli ‘crooked’, (Lor.) also ‘lefthand, left’; Bshk. kōl ‘crooked’; Phal. kūulo; Sh. kōlu̯ ‘curved, crooked’ (CDIAL 3533). 

Rebus: kol ‘pancaloha’ (Tamil)

bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)
saman 'make an offering (Santali) samanon 'gold' (Santali)
 miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ (Torwali) mẽḍhɔ 'ram' (Gujarati)(CDIAL 10310) Rebus: me~Rhet, meD 'iron' (Mu.Ho.Santali)
heraka 'spy' (Samskritam) Rebus:eraka 'molten metal, copper'
maNDa 'branch, twig' (Telugu) Rebus: maNDA 'warehouse, workshop' (Konkani)\karibha, jata kola Rebus: karba, ib, jasta, 'iron, zinc, metal (alloy of five metals)
maNDi 'kneeling position' Rebus: mADa 'shrine; mandil 'temple' (Santali)

dhatu 'scarf' Rebus: dhatu 'mineral ore' (Santali)

The rice plant adorning the curved horn of the person (woman?) with the pig-tail is kolmo; read rebus, kolme ‘smithy’. Smithy of what? Kol ‘pancaloha’. The curving horn is: kod.u = horn; rebus: kod. artisan’s workshop (Kuwi)

The long curving horns may also connote a ram on h177B tablet:
clip_image061h177Bclip_image062[4]4316 Pict-115: From R.—a person standing under an ornamental arch; a kneeling adorant; a ram with long curving horns.
The ram read rebus: me~d. ‘iron’; glyph: me_n.d.ha ram; min.d.a_l markhor (Tor.); meh ram (H.); mei wild goat (WPah.) me~r.hwa_ a bullock with curved horns like a ram’s (Bi.) me~r.a_, me~d.a_ ram with curling horns (H.)  miṇḍ 'ram' rebus: mẽṛhet iron (metal), meD 'iron' (Ho.) med 'copper' (Slavic)



Harappa long seal:

me 'body' rebus: med 'copper' (Slavic) mẽhẽt, me  iron (Santali.Ho.Mu.)
gaṇḍa ‘four’ rebus: kaṇḍa ‘firealtar, equipment’
bhaṭa ‘rimless pot’ rebus: bhaṭa ‘furnace’
kuila ‘bent’; rebus: kuila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūa, ‘brass’ (Skt.) (CDIAL 3230) 
 kamaḍha 'archer ' Rebus: kammaṭa 'mint, coiner, coinage'; 
खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). Rebus:khāṇḍa 'tools, pots and pans, and metal-ware'.
Four, three: '' Rebus: kammaṭa 'mint, coiner, coinage' PLUS kolom ‘three’ rebus: kolimi ‘smithy, forge’. Thus, together, mint, smithy, forge.
kuila ‘bent’; rebus: kuila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūa, ‘brass’ (Skt.) (CDIAL 3230) 
bhaṭa ‘warrior’ rebus: bhaṭa ‘furnace’

Mohenjodaro long seal:

kolmo ‘rice plant’ rebus: kolimi ‘smithy, forge’
gaṇḍa ‘ffour’ rebus: kaṇḍa ‘fire-altar, equipment’
kanka ‘rim of jar’ rebus: karṇī ‘supercargo, karṇīka ‘scribe’
dato ‘claws’ rebus: dhatu ‘mineral’ PLUS kanac ‘corner’ rebus: kancu ‘bronze’ (Arsenical bronze?)
dula ‘duplicated, pair’ rebus: dul ‘metal casting’ PLUS koḍa 'sluice'; Rebus: koḍ 'artisan's workshop (Kuwi). Thus, metalcasting workshop.

Thus, both the long seals of Harappa and Mohenjodaro signify Meluhha artisans' wealth-accounting metalwork ledgers.

Long Indus Seals By StephanieV. May 22nd, 2014 "Long rectangular seals with no animal motifs from the last part of the Harappan Phase (2200-1900 BCE) found at Harappa and Mohenjo-daro. "This type of seal is found with only abstract writing, which radically altered communication. Impressions made by the square seals carry two distinct messages, one is presented in a script that could only have been understood by a literate person and the other in the animal motif, that even a child could comprehend. Illiterate workers loading or unloading bundles of goods stamped with animal motifs could very easily perceive who the owners were and which boats they should be taken to. The specific message in the written portion could verify to a literate merchant who the exact owner was. Rectangular seals on the other hand could only have been used to communicate with literate trading partners. Few sealings from long rectangular seals have been found; perhaps these seals were not used in everyday trade, but had a different function. These two types of seals may represent a chronological change in seal styles, but this has not yet been confirmed." (J.M. Kenoyer, Ancient Cities of the Indus Valley Civilization, p. 74)

Salūt, Oman Indus Script inscriptions/artifacts deciphered as metalwork wealth-accounting ledgers, 3rd m. BCE

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https://tinyurl.com/yydb7xls

This monograph presents decipherment of the following five sectios Indus Script inscriptions/artifacts (hypertexts) from Salut,Oman:

Section 1. Salut potsherd with seal impression (After Fig. 10 in Dennys Frenez et al, 2016)
gaṇḍa ‘four’ (Santali); rebus: kaṇḍ fire-altar, furnace’ (Santali) Vikalpa: ponea ‘four’ (Santali); rebus: pon ‘gold’ (Ta.) 

Section 2. Salue Inscribed potsherd (After Fig. 4 in Dennys Frenez et al, 2016)
gaṇḍa ‘four’ (Santali); rebus: kaṇḍ fire-altar, furnace’ (Santali) Vikalpa: ponea ‘four’ (Santali); rebus: pon ‘gold’ (Ta.) 

Section 3. Salut, Oman ivory comb inscribed with dotted circles
Section 4. Bronze snake, Salut, Oman. Salut, Oman 
Salalah, The Museum of Frankincense Land 
Bronze 
L 23, W 5.5, Th 1.5 

Cobrahood hypertext:  Hieroglyph of hood of cobra: phaḍā f (फटा S) 
The hood of Coluber Nága
&c Ta. patam cobra'shood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45.(DEDR 47) phaṭa n. ʻ expanded hood of snake ʼ MBh. 2. *phēṭṭa -- 2. [Cf. phuṭa -- m., ˚ṭā -- f., sphuṭa -- m. lex., ˚ṭā -- f. Pañcat. (Pk. phuḍā -- f.), sphaṭa -- m., ˚ṭā -- f., sphōṭā -- f. lex. and phaṇa -- 1. Conn. words in Drav. T. Burrow BSOAS xii 386]1. Pk. phaḍa -- m.n. ʻ snake's hood ʼ, ˚ḍā -- f., M. phaḍā m., ˚ḍī f.2. A. pheṭphẽṭ. (CDIAL 9040) Rebus: phaḍa फड 'manufactory, company, guild, public office',

Section 5. Stone seal of Salut with Indus Script inscription (field symbol: trough+ ox PLUS text of hypertexts/hieroglyphs) signifies pattar 'feeding trough' rebus: pattāri, 'merchant' of barad 'ox' rebus: bharat'alloy of copper, pewter,tin'.

New Indus Finds in Salut, Oman

Exciting new discoveries through 2015 at Salut tower in Oman show how extensive Indus trade and relationships with this area were during the Bronze Age (2500-2000 BCE). The article Bronze Age Salūt (ST1) and the Indus Civilization: recent discoveries and new insights on regional interaction by Denys Frenez, Michele Degli Esposti, Sophie Méry and Jonathan Mark Kenoyer describes and explains the finds in detail. These include include children's toys like a bird whistle, a seal made of chlorite, numerous pottery fragments of types common in places like Harappa, and much else that suggests that Indus traders were active and settled well inside the Omani coast. These recent excavations are led by the Italian Mission to Oman in collaboration with the Office of the Adviser to His Majesty the Sultan for Cultural Affairs.
"This evidence provides support for similar discoveries from excavations of towers and graves in Bāt, and suggests that the interaction between Indus communities and the Omani interior was much more extensive than previously thought," write the authors. Ancient Oman, during what is referred to as the Um al Nair period, is called "Magan" in ancient Mesopotamian texts, was known as a source of copper. The work described in the article below is yet another piece of evidence pointing to the extensive trade that must have once existed among the handful of sophisticated Bronze Age civilizations in the area, supporting wealth generation as well as a the flow of ideologies, beliefs and cultural practices.
Article: Bronze Age Salūt (ST1) and the Indus Civilization: recent discoveries and new insights on regional interaction
Website: The Salut Museum/Universita di Pisa website
1. Salut archaeological site, Oman. Note that this is not the Bronze Age tower ST1 but the later Iron Age "castle."
2. Seal impressed fragment, likely belonging to an Harappan ledge shouldered jar, the impression showing two confronting bulls and some Harappan script (l 3.6 cm, w. 5.5 cm, th. 0.7 cm).
3. This stone square stamp seal is probably the best example of an Indus-inspired seal found so far in Oman.
4. Among the luxury imported objects discovered in Ras al-Jinz, along the Omani coast, there is this beautiful comb made of elephant ivory. As well as pots, beads and a copper stamp seal, the comb comes from Harappa, one of the main sites of the Indus civilization.
5. Fragment, from Salut, can be identified as a hollow clay “toy” in the shape of a bird: this kind of artifact is well known from Harappan sites (l. 8.5 cm, w. 7 cm, h. 5.5 cm).
Excavations
https://www.harappa.com/blog/new-indus-finds-salut-oman

Image result for Ras al-Jinz ivory comb

After Fig. 5 in Dennys Frenez (2017) opcit. Ivory comb from Tell Abraq (United Arab Emirates) decorated with a floral motif (1) similar to the one carved on the base of a stone vessel found at Gonur Depe (2) (modified after Potts, 2000: 126; Sarianidi, 2007:112); (3) Ivory comb of Indus style found at Ras Al-Jinz RJ-2 (Sultanate of Oman; photograph by D. Frenez).

I suggest that the 'dotted circle' is of significance as a rebus representation of Meluhha metalwork with mineral ores in case the hypertext is demonstrated to have been used by Meluhha speakers or Meluhha artisans or those in Ancient Near East familiar with the Indus Script hypertext tradition.

After Fig. 9 in Dennys Frenez opcit. (2017): Fig. 9. Stick-dice and gaming pieces in Elephant ivory from Altyn Depe in Margiana and in stone and wood from Shahri Sokhta in Iran (upper register); Stick-dice, decorated sticks and an ivory gaming piece from the Indus Civilization site of Mohenjo-Daro in Pakistan (for Altyn Depe, modified after Masson and Sarianidi, 1972: fig. 117; for Shahr-i Sokhta, courtesy S.M.S. Sajjadi; for Mohenjo-Daro, modified after Mackay, 1931).
Related image

Ivory combs from Gonur Depe (After photograph by Dennys Frenez recorded in: Manufacturing and trade of Asian elephant ivory in Bronze Age Middle Asia. Evidence from Gonur Depe (Margiana, Turkmenistan)


See: Vajra and Indus Script ivory hypertexts on a seal, ivory artifacts
https://tinyurl.com/y85goask

 

 

m1654 Ivory cube with dotted circles Dotted circle hieroglyphs on each side of the cube (one dotted circle surrounded by 7 dotted circles): dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter). 

dhā̆vaḍ 'iron-smelters'.  Eight dotted circles evoke the Veda tradition of aṣṭāśri Yupa, eight-angled  pillar to proclaim the sacred prayers.

See: 


Dotted circles, tulips and tin-bronze revolution of 4th millennium BCE documented in Harappa Script 

http://tinyurl.com/z3x7zev


In the course of my studies on hieroglyphs of ancient Near East 3rd and 2nd millennium BCE, and the Tin Road of the Bronze Age, I have come across the use of a flower used for perfume oil:tabernae montana as a hieroglyph. I find that this hieroglyph is deployed on hair combs and also on a metal, shaft-hole axe. 

In interaction areas, tabernae montana glyph appears: 1. on an ivory comb discovered at Oman Peninsula site of Tell Abraq, 2. on a Bactria-Margiana Archaeological Complex stone flask and, 3. on a copper alloy shaft-hole axe-head of (unverified provenance) attributed to Southeastern Iran, ca. late 3rd or early 2nd millennium BCE 6.5 in. long, 1980.307 Metropolitan Museum of Art, New York.

The ivory comb found at Tell Abraq measures 11 X 8.2 X .4 cm. Both sides of the comb bear identical, incised decoration in the form of two long-stemmed flowers with crenate or dentate leaves, flanking three dotted circles arranged in a triangular pattern. The occurrence of wild tulip glyph on the  ivory comb can be explained.

The spoken word tagaraka connoted a hair fragrance from the flower tagaraka  These flowers are identified as tulips, perhaps Mountain tulip or Boeotian tulip (both of which grow in Afghanistan) which have an undulate leaf. There is a possibility that the comb is an import from Bactria, perhaps transmitted through Meluhha to the Oman Peninsula site of Tell Abraq.

At Mundigak, in Afghanistan, only one out of a total of five shaft-hole axes analysed contained as much as 5% Sn. Such shaft-hole implements have also been found at Shah Tepe, Tureng Tepe, and Tepe Hissar in level IIIc (2000-1500 BCE).

Tell Abraq axe with epigraph (‘tulip’ glyph + a person raising his arm above his shoulder and wielding a tool + dotted circles on body) [After Fig. 7 Holly Pittman, 1984, Art of the Bronze Age: Southeastern Iran, Western Central Asia, and the Indus Valley, New York, The Metropolitan Museum of Art, pp. 29-30]. 
tabar = a broad axe (Punjabi). Rebus: tam(b)ra ‘copper’ tagara ‘tabernae montana’, ‘tulip’. Rebus: tagara ‘tin’. Glyph: eaka ‘upraised arm’ (Tamil); rebus: eraka = copper (Kannada) 
A rebus reading of the hieroglyph is: tagarakatabernae montanaRebus: tagara ‘tin’ (Kannada); tamara id. (Skt.) Allograph: agara ‘ram’.  Since tagaraka is used as an aromatic unguent for the hair, fragrance, the glyph gets depicted on a stone flask, an ivory comb and axe of Tell Abraq.
 
The glyph is tabernae montana, ‘mountain tulip’. A soft-stone flask, 6 cm. tall, from Bactria (northern Afghanistan) showing a winged female deity (?) flanked by two flowers similar to those shown on the comb from Tell Abraq.(After Pottier, M.H., 1984, Materiel funeraire e la Bactriane meridionale de l'Age du Bronze, Paris, Editions Recherche sur les Civilisations: plate 20.150) Two flowers are similar to those shown on the comb from Tell Abraq. Ivory comb with Mountain Tulip motif and dotted circles. TA 1649 Tell Abraq. [D.T. Potts, South and Central Asian elements at Tell Abraq (Emirate of Umm al-Qaiwain, United Arab Emirates), c. 2200 BC—AD 400, in Asko Parpola and Petteri Koskikallio, South Asian Archaeology 1993: , pp. 615-666] Tell Abraq comb and axe with epigraph After Fig. 7 Holly Pittman, 1984, Art of the Bronze Age: Southeastern Iran, Western Central Asia, and the Indus Valley, New York, The Metropolitan Museum of Art, pp. 29-30].

"A fine copper axe-adze from Harappa, and similar bronze examples from Chanhu-daro and, in Baluchistan, at Shahi-tump, are rare imports of the superior shaft-hole implements developed initially in Mesopotamia before 3000 BC. In northern Iran examples have been found at Shah Tepe, Tureng Tepe, and Tepe Hissar in level IIIc (2000-1500 BC)...Tin was more commonly used in eastern Iran, an area only now emerging from obscurity through the excavation of key sites such as Tepe Yahya and Shahdad. In level IVb (ca. 3000 BCE)at Tepe yahya was found a dagger of 3% tin bronze. (Lamberg-Karlovsky, C.C. and M., 1971, An early city in Iran, Scientific American, 1971, 224, No. 6, 102-11; Muhly, 1973, Appendix 11, 347); perhaps the result of using a tin-rich copper ore." (Penhallurick, R.D., 1986, Tin in Antiquity, London, Institute of Metals, pp. 18-32).

Comb discovered in Tell Abraq (ca. 2200 BCE) has two Harappa Script hieroglyphs: 

1. dotted circles; and 2. tabernae montana 'mountain tulip' Rebus readings: 1.Hieroglyph: dotted circles: dāntā 'ivory' rebus dhāˊtu 'ore of red colour' 2. Hieroglyph: tagaraka 'tabernae montana, mountain tulip' rebus: tagara 'tin'. Thus, two mineral ores are signified by the two hieroglyphs: ferrite, copper ores and tin ore (cassiterite).

 

Indus Script hypertexts: 1. dotted circles; and 2. tabernae montana 'mountain tulip' Rebus readings: 1.Hieroglyph: dotted circles: dāntā 'ivory' rebus dhāˊtu 'ore of red colour' 2. Hieroglyph: tagaraka 'tabernae montana, mountain tulip' rebus: tagara 'tin'. Thus, two mineral ores are signified by the two hieroglyphs: ferrite, copper ores and tin ore (cassiterite).


Dotted circles, tulips on ivory combs signify dāntā 'ivory' rebus dhāˊtu 'ore of red colour' (Rigveda) tagaraka 'tulip' rebus tagara 'tin'
Image result for Tell abraq combh1522 Potsherd ca. 3300 BCE (from Indus Writing Corpora)
Note: The first known examples of writing may have been unearthed at an archaeological dig in Harappa, Pakistan. So-called 'plant-like' and 'trident-shaped' markings have been found on fragments of pottery dating back 5500 years. According to Dr Richard Meadow of Harvard University, the director of the Harappa Archaeological Research Project, these primitive inscriptions found on pottery may pre-date all other known writing. 
http://news.bbc.co.uk/2/hi/science/nature/334517.stm http://news.bbc.co.uk/2/hi/science/nature/334517.stm

A rebus reading of the hieroglyph is: tagarakatabernae montanaRebus: 
tagara ‘tin’ (Kannada); tamara id. (Skt.) Allograph: ṭagara ‘ram’.  Since tagaraka
 is used as an aromatic unguent for the hair, fragrance, the glyph gets depicted on a stone flask, an ivory comb and axe of Tell Abraq.

Discovery of tin-bronzes was momentous in progressing the Bronze Age Revolution of 4th millennium BCE. This discovery created hard alloys combining copper and tin. This discovery was also complemented by the discovery of writing systems to trade in the newly-produced hard alloys.The discovery found substitute hard alloys, to overcome the scarcity of naturally occurring arsenical copper or arsenical bronzes. The early hieroglyph signifiers of tin and copper on an ivory comb made by Meluhha artisans & seafaring merchants point to the contributions made by Bhāratam Janam (RV), ca. 3300 BCE to produce tin-bronzes. The abiding significance of the 'dotted circle' is noted in the continued use on early Punch-marked coins. 

The dotted circle as a signifier of interactions between Meluhha and Gonur Tepe has been brilliantly analysed in the context of the following artifacts cited by Dennys Frenez in: Manufacturing and trade of Asian elephant ivory in Bronze Age Middle Asia. Evidence from Gonur Depe (Margiana, Turkmenistan) by Dennys Frenez (2017)
https://www.academia.edu/34596109/Manufacturing_and_trade_of_Asian_elephant_ivory_in_Bronze_Age_Middle_Asia._Evidence_from_Gonur_Depe_Margiana_Turkmenistan



dhāī˜ (Lahnda) signifies a single strand of rope or thread.

I have suggested that a dotted circle hieroglyph is a cross-section of a strand of rope: S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. Rebus: dhāˊtu n. ʻsubstance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour)ʼ; dhāūdhāv m.f. ʻ a partic. soft red stone ʼ(Marathi) धवड (p. 436) [ dhavaḍa ] m (Or धावड) A class or an individual of it. They are smelters of iron (Marathi).  Hence, the depiction of a single dotted circle, two dotted circles and three dotted circles (called trefoil) on the robe of the Purifier priest of Mohenjo-daro.

The phoneme dhāī˜ (Lahnda) signifying a single strand may thus signify the hieroglyph: dotted circle. This possibility is reinforced by the glosses in Rigveda, Tamil and other languages of Baratiya sprachbund which are explained by the word dāya 'playing of dice' which is explained by the cognate Tamil word: தாயம் tāyamn. < dāya Number one in the game of dice; கவறுருட்ட

விழும் ஒன்று என்னும் எண். 

The semantics: dāya 'Number one in the game of dice' is thus signified by the dotted circle on the uttariyam of the pōtṟ पोतृ,'purifier' priest. Rebus rendering in Indus Script cipher is dhāˊtu n. ʻsubstance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour)ʼ; dhāūdhāv m.f. ʻ a partic. soft red stone ʼ(Marathi) dhatu 'ore' (Santali).



Location of Salut,Oman. After Fig. 2 in  Dennys Frenez et al, 2016

OmanTripper - Salut (10)
Salut (صـلـوت) is an archaeological site near Bisyah (بـسـيـة) village in close proximity to Jabreen in the Al Dakhiliyah region of Oman. Salut archaeological site is a home to an ancient fortified collection of ruins and fortifications, some of which date to over 3,000 years ago, and which offer important evidence of the development civilizations in the Arabic peninsula in the Bronze and Iron ages. https://www.omantripper.com/salut/
Ivory comb of Salut is comparable to the ivory combs from Ras al-Jinz and Tell Abraq

Fig. 19. Salut 1: copper/bronze snake; 2-3: copper/bronze arrowheads; 4: copper/bronze axe; 5: stone ring; 6: copper/bronze cauldron.


Salut stone seal. (After Fig. 9 in Dennys Frenez et al, 2016) See: http://bharatkalyan97.blogspot.com/2011/12/indus-seal-from-excavation-of-salut.html 

, December 22, 2011

Reading of the inscription of text:

 The Salut stone seal includes this hypertext composed of  3 hieoglyphs 

Sign134 lid of pot hieroglyph: Hieroglyph: hakaa 'lid of pot' rebus dhakka 'excellent, bright, blazing metal article'.

Sign 261 The rhombus sign
Variant of Sign 261 is a squareis read as mũh 'metal ingot' 
This Sign 261 is ligatured with inverted ^ sign which signifies the semantics of kanac 'corner' rebus: kancu 'bell-metal'. kaṁsá 1 m. ʻ metal cup ʼ AV., m.n. ʻ bell -- metal '. Thus, Sign 261 is read as: kancu ʼmũh 'bell-metal ingot'. Sign 270 which is a compositeof Signs 267 and Sign 176 signifies in a Meluhha expression: kancu ʼmũh 'bell-metal ingot' PLUS khareḍo 'a currycomb' (Gujarati) rebus: kharaḍa, 'daybook'. The message of composite Sign 267 is:  kancu ʼmũh kharaḍa 'bell metal ingot daybook'.

Sign 254 cyphertext (and variants) are a composite of duplicated lonjg lines PLUS Sign 176 . The hieroglyphs are read rebus: dula 'two' rebus:dul 'metal casting' PLUS koḍa 'one' rebus: koḍ 'workshop' PLUS  khareḍo 'a currycomb' (Gujarati) rebus: kharaḍa, 'daybook'. Thus, the message is: dul koḍ kharaḍa 'metalcasting workshop daybook'.

 sal 'splinter' rebus: sal 'workshop' sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’ (Santali) 
kolom 'three' rebus: kolimi 'smithy, forge' 

Counting in fours: gaṇḍaka m. ʻ a coin worth four cowries ʼ lex., ʻ method of counting by fours ʼ W. [← Mu. Przyluski RoczOrj iv 234]S. g̠aṇḍho m. ʻ four in counting ʼ; P. gaṇḍā m. ʻ four cowries ʼ; B. Or. H. gaṇḍā m. ʻ a group of four, four cowries ʼ; M. gaṇḍā m. ʻ aggregate of four cowries or pice ʼ(CDIAL 4001) rebus: kaṇḍa 'equipment, metalware'. gaṇḍa ‘four’ (Santali); rebus: kaṇḍ fire-altar, furnace’ (Santali) Vikalpa: ponea ‘four’ (Santali); rebus: pon ‘gold’ (Ta.) 

! (Long linear stroke) koa'one' rebus: ko 'workshop'

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

The text of the inscription on Salut stone seal:
 | Thus, the full text message reads: workshop, equipment forge, kancu ʼmũh kharaḍa 'bell metal ingot daybook', ranku 'tin ore.' These cargo items belong to the copper, pewter, tin alloy metal guild merchant: bharat  pattāri.

Field symbol: Ox with a trough (?) in front. This was a stone seal with a perforated boss and was perhaps tied to a trade load from Meluhha.

The trough signifies pathar rebus: pattāri, ''merchant' of metal alloy: alloy of copper, pewter, tin

barad, barat'ox' Rebus: bharat'alloy of copper, pewter, tin' (Marathi) pattar'trough' Rebus: pattar'goldsmith guild'  Vikalpa: dāmṛa, damrā ʻ young bull (A.)(CDIAL 6184). Glyph: *ḍaṅgara1 ʻ cattle ʼ. 2. *daṅgara -- . [Same as ḍaṅ- gara -- 2 s.v. *ḍagga -- 2 as a pejorative term for cattle] 1. K. ḍangur m. ʻ bullock ʼ, L. ḍaṅgur, (Ju.) ḍ̠ãgar m. ʻ horned cattle ʼ; P. ḍaṅgar m. ʻ cattle ʼ, Or. ḍaṅgara; Bi. ḍã̄gar ʻ old worn -- out beast, dead cattle ʼ, dhūr ḍã̄gar ʻ cattle in general ʼ; Bhoj. ḍāṅgar ʻ cattle ʼ; H. ḍã̄gar, ḍã̄grā m. ʻ horned cattle ʼ.2. H. dã̄gar m. = prec. (CDIAL 5526) Rebus: ḍhangar ‘blacksmith’ (H.) 

pattar ‘trough’ (Ta.) पात्र pātra, (l.) s. Vessel, cup, plate; receptacle. [lw. Sk. Id.] (Nepali) pātramu A utensil, ఉపకరణము. Hardware. Metal vessels. (Telugu) Rebus paṭṭar-ai community; guild as of workmen (Ta.); pātharī ʻprecious stoneʼ (OMarw.) (CDIAL 8857) Patthara [cp. late Sk. prastara. The ord. meaning of Sk. pr. is "stramentum"] 1. stone, rock S i.32. -- 2. stoneware Miln 2. (Pali) Pa. Pk. patthara -- m. ʻ stone ʼ, S. patharu m., L. (Ju.) pathar m., khet. patthar, P. patthar m. (→ forms of Bi. Mth. Bhoj. H. G. below with atth or ath), WPah.jaun. pātthar; Ku. pāthar m. ʻ slates, stones ʼ, gng. pāth*lr ʻ flat stone ʼ; A. B. pāthar ʻ stone ʼ, Or. pathara; Bi. pāthar, patthar, patthal ʻ hailstone ʼ; Mth. pāthar, pathal ʻ stone ʼ, Bhoj. pathal, Aw.lakh. pāthar, H. pāthar, patthar, pathar, patthal m., G. patthar, pathrɔ m.; M. pāthar f. ʻ flat stone ʼ; Ko. phāttaru ʻ stone ʼ; Si. patura ʻ chip, fragment ʼ; -- S. pathirī f. ʻ stone in the bladder ʼ; P. pathrī f. ʻ small stone ʼ; Ku. patharī ʻ stone cup ʼ; B. pāthri ʻ stone in the bladder, tartar on teeth ʼ; Or. pathurī ʻ stoneware ʼ; H. patthrī f. ʻ grit ʼ, G. pathrī f. *prastarapaṭṭa -- , *prastaramr̥ttikā -- , *prastarāsa -- .Addenda: prastará -- : WPah.kṭg. pátthər m. ʻ stone, rock ʼ; pəthreuṇõ ʻ to stone ʼ; J. pāthar m. ʻ stone ʼ; OMarw. pātharī ʻ precious stone ʼ. (CDIAL 8857) 

From one of the higher hills of the large ditch encircling the EBA tower currently excavated by IMTO some 300 m to the north-west of salut, came one stone stamp seal which, by virtue of its iconography, shape and incised inscription, can be considered a genuine (Greater) Indus Valley import. The seal shows a bull, facing right and standing in front of a rectangular feature, possibly an altar or maybe just a manger. Above this scene, stands a line of Indus alphabetical signs. The quality of the glyptic and the close resemblance with specimen coming from Indus Valley sites, seem to indicate that the seal is an original Indus import, rather than an imitation. Such characteristic square stamp seals marked the transition from Early Harappan to Mature Harappan, together with the appearance of the Indus script. This transition is dated around 2500 BC, a date after which various artefacts related to the Indus civilization started to be found in the Near East, from Mesopotamia to Iran, to Failaka and Bahrein. Among the few Bronze Age seals discovered so far in Oman, only two could be compared to the one from Salut EBA tower. One is a stamp seal found in Ras al-Jinz, also bearing Indus signs but made of a copper/bronze, and the other is a stone stamp seal from a tomb in Bisyah, with no inscription. Their overall shape and motifs induce to regard them as well as genuine imports, though in the case of metal seals, only very few examples are known from the Greater Indus Valley, thus leaving some doubts about a possible local production. http://arabiantica.humnet.unipi.it/index.php?id=715&tx_ttnews%5Btt_news%5D=68&tx_ttnews%5BbackPid%5D=711&cHash=2fe7666e8c

New Indus Finds in Salut, Oman

Exciting new discoveries through 2015 at Salut tower in Oman show how extensive Indus trade and relationships with this area were during the Bronze Age (2500-2000 BCE). The article Bronze Age Salūt (ST1) and the Indus Civilization: recent discoveries and new insights on regional interaction by Denys Frenez, Michele Degli Esposti, Sophie Méry and Jonathan Mark Kenoyer describes and explains the finds in detail. These include include children's toys like a bird whistle, a seal made of chlorite, numerous pottery fragments of types common in places like Harappa, and much else that suggests that Indus traders were active and settled well inside the Omani coast. These recent excavations are led by the Italian Mission to Oman in collaboration with the Office of the Adviser to His Majesty the Sultan for Cultural Affairs.
"This evidence provides support for similar discoveries from excavations of towers and graves in Bāt, and suggests that the interaction between Indus communities and the Omani interior was much more extensive than previously thought," write the authors. Ancient Oman, during what is referred to as the Um al Nair period, is called "Magan" in ancient Mesopotamian texts, was known as a source of copper. The work described in the article below is yet another piece of evidence pointing to the extensive trade that must have once existed among the handful of sophisticated Bronze Age civilizations in the area, supporting wealth generation as well as a the flow of ideologies, beliefs and cultural practices.
Article: Bronze Age Salūt (ST1) and the Indus Civilization: recent discoveries and new insights on regional interaction
Website: The Salut Museum/Universita di Pisa website
1. Salut archaeological site, Oman. Note that this is not the Bronze Age tower ST1 but the later Iron Age "castle."
2. Seal impressed fragment, likely belonging to an Harappan ledge shouldered jar, the impression showing two confronting bulls and some Harappan script (l 3.6 cm, w. 5.5 cm, th. 0.7 cm).
3. This stone square stamp seal is probably the best example of an Indus-inspired seal found so far in Oman.
4. Among the luxury imported objects discovered in Ras al-Jinz, along the Omani coast, there is this beautiful comb made of elephant ivory. As well as pots, beads and a copper stamp seal, the comb comes from Harappa, one of the main sites of the Indus civilization.
5. Fragment, from Salut, can be identified as a hollow clay “toy” in the shape of a bird: this kind of artifact is well known from Harappan sites (l. 8.5 cm, w. 7 cm, h. 5.5 cm).

Bronze Age Salūt (ST1) and the Indus Civilization: recent discoveries and new insights on regional interaction by 


"The discovery of Indus seals manufactured with non-Indus raw materials, but with tools and techniques associated with Indus productions, further supports the idea that merchants and craftsmen from the greater Indus Valley were living and working at interior settlements in the Oman peninsula." This exciting paper reviews the latest finds through 2015 at Salut tower in Oman, which is apparently full of ancient Indus artifacts.
Summary
This study focuses on the nature of interactions and trade between the greater Indus Valley and eastern Arabia during the third millennium BC. The role of Indus trade in eastern Arabia has often been discussed in the general picture of local cultural and economic developments during the Bronze Age, but the organization and mechanism of this important phenomenon are not yet precisely decoded. New evidence from the stone tower ST1 excavated at Salūt, Sultanate of Oman, by the Italian Mission to Oman in collaboration with the Office of the Adviser to His Majesty the Sultan for Cultural Affairs, provided solid information for proposing updated models of transcultural economic interaction. The collection of Indus and Indus-related artefacts from ST1 testifies to an early integration of sites located in the interior of central Oman, within the network of long-distance connections that directly linked the Indus regions with the western shores of the Arabian Sea. The presence of a wide range of Indus pottery types, including utilitarian pottery and specific forms used for food production and presentation, suggests that some degree of cultural interaction occurred along with the expansion of trade. The discovery of Indus seals and carnelian beads possibly manufactured with non-Indus raw materials further supports the hypothesis that merchants and craftsmen from the Indus Valley were living and working in interior Oman during the second half of the third millennium BC. The evidence from ST1 also provides support for similar discoveries from other excavations in Oman and the UAE, suggesting that the interaction between Indus communities and eastern Arabia was much more extensive than previously thought.

Above: Scanning electron microscope image of drill-hole impression of a carnelian bead found in Salut
From Proceedings of the Seminar for Arabian Studies, Volume 46, 2016, Papers from the forty-seventh meeting of the Seminar for Arabian Studies held at the British Museum, London, 24 to 26 July 2015
PDF icon Bronze-Age-Indus-Connections.pdf (For a copy of the full text, email kalyan97@gmail.com) 


Cylinder seal from Salut (IMTO archive)
Salut, ST1 (US98) 
Muscat, Office of the Adviser to HM the Sultan for Cultural Affairs 
Dark grey stone; H 2.3, D 1.3 
Iron Age: 1300-650 BC 
 
The cylinder seal is decorated with a row of five men holding hands that, when rolled, creates a continual motif punctuated at intervals with astral symbols, including a solar disc. 
 
Two stone cylinder seals were discovered from Iron Age contexts related to the re-occupation of the Bronze Age tower ST1, focused on the reuse of its well. 
Cylinder seals became widely spread throughout ancient Near and Middle East during the Bronze Age, and remained in use long after, although stamp seals started to be used and finally became preponderant. Very few seals are known form southeast Arabia, and it can be suggested that here they were perceived more like ornaments than real administrative tools. The two seals from ST1 are among the best specimen so far discovered in Oman, especially of Iron Age date. (MdE)

Prayer postures on Indus Script Corpora and kole.l 'smithy,forge' as kole.l 'temple' -- Indian sprachbund, 'speech union'

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http://tinyurl.com/y4rwd86n

This is an addendum to 

 


I have titled the category of these Indus Script hypertexts including 'script signs' as 'Prayer' postures. So, what was the temple of the civilization? 

In the following etyma of Indian languages, this etymon is significant and perhaps finds a rebus representation in Indus Script hieroglyphs: மந்தரம்1 mantaramn. < mandara.

The drummer on a tablet with svastika is called mandari 'drummer'

Proving that Svastika is NOT a syllable, but hypertext of logo-semantic Indus Script. History of svastika and its use on metalwork wealth-accounting ledgers https://tinyurl.com/y69rudwsThe drummer hieroglyph is associated with svastika glyph on this tablet (har609) and also on h182A tablet of Harappa with an identical text.



h182A, h182B


--Tiger, drummer, five svastika signify mōṝẽ 'five' rebus mandari 'drummer' munda 'Toda village or assembly'  mondir 'temple  kola 'tiger' rebus: kol 'working in iron' kole.l 'smithy, forge, temple'


 

kole.l 'smithy, forge' rebus kole.l 'temple' (Kota language). A cognate word in Tamil is kovil 'temple'.  

kō-v-il கோவில் kō-v-il, n. < கோ3 + இல். [T. kōvila, M. kōvil.] Temple. See கோயில். 
 
kōvil-vīṭu கோவில்வீடு kōvil-vīṭu, n. < id. +. 1. A private chapel or shrine; வீட்டிலமைந்த குல தெய்வங்களின் கோயில். (G. Tp. D. I, 91.) 2. House given in endowment to a temple; கோயி லுக்குத் தருமமாக விடப்பெற்ற வீடு. Loc. kōyil-āḻvār கோயிலாழ்வார் kōyil-āḻvār, n. < id. +. (Vaiṣṇ.) 1. Box-shrine for private worship; ஆராதனைப்பெட்டி. 2. Inner sanctuary or sanctum sanctorum of a temple; கருப்பக்கிருகம். கோயிலாழ் வார்க்குள்ளே பெரியபெருமாள் கண்வளர்ந்தருளுகிற படி(திவ். திருமாலை, 21, வ்யா. 76).
kōyil கோயில் kōyil, n. < கோ3 + இல். [T. kōyila, M. kōyil.] 1. Palace, residence of a king or noble man; அரண்மனை. கோயின் மன்னனைக் குறுகி னள் (சிலப். 20, 47). 2. Temple, sanctuary, church, chapel; ஆலயம். அரும்பொகுட் டனைத்தே யண்ணல் கோயில்(பரிபா. பக். 174, செய்யுள், 2). 3. Sacred town of Chidambaram; சிதம்பரம். (தேவா.) 4. Šriraṅgam; ்ரீரங்கம். கோயிற்பிள்ளா யிங்கே போதராயே (திவ். பெரியாழ். 2, 9, 4). 5. Silver casket enclosing the liṅgam worn by Lingayats; வீரசைவர் தரிக்கும் இலிங்கசம்புடம். Loc. 6. Parish church, parish; கோயிற்பற்று. (J.) 7. (Mus.) A kind of time-measure; நாற்சீர்த்தூக்கு. (மணி. 2, 19, உரை.) 
kōyiṟ-kēḷvi கோயிற்கேள்வி kōyiṟ-kēḷvi, n. < id. +. Temple manager; கோயில் விசாரணைக்காரன். (I. M. P. N.A. 191.)  
kōyil-vāriyam கோயில்வாரியம் kōyil-vāriyam, n. < id. +. Managing committee of a temple; கோயில் விசாரணைச்சபை. ்ரீகோயில்வாரியம் . . . ராஜராஜ க்ரமவித்தனும் (S. I. I. iii, 188). SII = South Indian Inscriptions in Epigraphia  Indica series. 

cōḻaṉ சோழன் cōḻaṉ, n. cf. cōla. cf. Gr. sōra. [M. cōḻan.] 1. Chola king; சோழவரசன். நற் றார்க் கள்ளின் சோழன் கோயில்(புறநா. 378). 2. See சோழப்பிரமகத்தி. 

 talattār தலத்தார் talattār, n. < தலம்1. Officers of a temple; கோயில் அதிகாரிகள். சாந்திக்காரர் பிள்ளை மார் தலத்தார் (T. A. S. iv, 114).
taḷi தளி4 taḷi, n. perh. sthalī. [K. taḷi, M. taḷi.] 1. Temple, sacred shrine; கோயில். காமர்சாலை தளிநிறுமின் (சீவக. 306). 2. Place, room; இடம். அடிசிற் றளியா னெய்வார்ந்து (சீவக. 2579).
 tāparam தாபரம் tāparam, n. < sthāvara. 1. Vegetable kingdom; மரப்பொந்து. (சூடா.) 2. Category of the immovables; அசரப்பொருள். சங்கமந் தாபரங்க டத்தங்கன்மத்துக்கீடா (சி. சி. 2, 41). 3. Place, location, habitation; இடம். (பிங்.) 4. Earth; பூமி. (அக. நி.) 5. Mountain; மலை. (அக. நி.) 6. Body; உடல். (சூடா.) 7. Temple; கோயில். (அக. நி.) 8. (Šaiva.) Liṅga, as fixed and immovable; [நிலையாகப் பிரதிட்டிக்கப்படு வது] இலிங்கம். தாபர மணலாற் கூப்பி (தேவா. 192, 3). 9. Stability, steadiness; உறுதி. (சூடா.) 10. Shelter, support, prop; பற்றுக்கோடு. மரு தூரனென்றாபரமே (மருதூரந். 60). 11. Basis, foundation; ஆதாரம். (யாழ். அக.)
 tāṉa-k-kaṇakku தானக்கணக்கு tāṉa-k-kaṇakku, n. < sthāna +. A petty office in temples; கோயில் உத்தி யோகங்களுள் ஒன்று. Nāñ.
 tāṉam தானம்2 tāṉam, n. < sthāna. 1. Place, location, situation, spot, station; இடம். 2. Home, abode; உறைவிடம். தானத்தி லிருத்த லோடும் (சீவக. 1567). 3. Position, status; பதவி. தான மழியாமைத் தானடங்கி வாழ்வினிதே (இனி. நாற். 14). 4. Temple; கோயில். (S. I. I. i, 120.) 5. The heaven of Indra; சுவர்க்கம். (பிங்.) 6. Seat; ஆசனம். தானத்தி லிருக்க வென்றான் (சீவக. 542). 7. (Gram.) Organs involved in articulation; எழுத்துப்பிறக்கும் இடம். (நன். 73.)
nakar நகர்2 nakar, n. < nagara. 1. Town, city; நகரம். நெடுநகர் வினைபுனை நல்லில் (புறநா. 23). 2. [T. nagaru.] House, abode, mansion; மாளிகை. பாழியன்ன கடியுடை வியனகர் (அகநா. 15). 3. Temple, sacred shrine; கோயில். முக்கட்செல்வர் நகர் (புறநா. 6). 4. Palace; அரண்மனை. நிதிதுஞ்சு வியனகர் (சிலப். 27, 200). 5. Dais for performing ceremonies; சடங்கு செய்யும் இடம். தூநக ரிழைத்து (சீவக. 2633). 6. A furnished hall or place, decorated for ceremonial functions; விசேடங் கள் நிகழும் மண்டபம். அணிநகர் முன்னினானே (சீவக. 701). 7. Wife; மனைவி. வருவிருந்தோம்பித் தன்னகர் விழையக் கூடி (கலித். 8).
pañcācāriyar பஞ்சாசாரியர் pañcācāriyar, n. perh. id. +. Temple priests; கோயில் அருச்சகர். (S. I. I. ii, 111.)
 paḷḷi-paṭai பள்ளிபடை paḷḷi-paṭai, n. < id. +. 1. Performance of the last rites of burial or cremation, as of a deceased king; அரசர் முதலியோர்க் குப் புரியும் ஈமக்கடன். பள்ளிபடைப் படலம். (கம்ப ரா.) 2. Temple erected in memory of kings; இறந்த அரசரின் ஞாபகார்த்தமாகக் கட்டப்பட்ட கோயில். (S. I. I. iii, 24.)
pāḻi பாழி2 pāḻi, n. perh. பாடி1. 1. cf. palli. Place; இடம். (பிங்.) வானவர்கோன் பாழி (திவ். இயற். 2, 13). 2. Temple; கோயில். ஐயன்பாழி யில் ஆனை போர்க்குரித்தாம் அன்று (ஈடு, 1, 1, 5). 3. Town, city; நகரம். (பிங்.) 4. Town of an agricultural tract; மருதநிலத்தூர். (சூடா.)
 pīṭaram பீடரம் pīṭaram, n. cf. piṭhara. Temple, place of worship; கோயில். (அக. நி.)
 maṭam மடம்2 maṭam, n. < maṭha. 1. Hermitage; முனிவர் வாழிடம். (பிங்.). 2. Monastery, convent for celibate monks; நைஷ்டிக பிரமசாரிகளும் சந்நியாசிகளுமான ஆசாரியர் வாழும் இடம். சிருங் கேரி மடம், திருவாவடுதுறை மடம். 3. Choultry where pilgrims and religious mendicants are fed; சத்திரம். (சூடா.) 4. Rest-house; சாவடி. Loc. 5. Temple; கோயில். (யாழ். அக.). 6. Place; இடம். (பிங்.) 7. Car; இரதம். (யாழ். அக.)
 mantaram மந்தரம்1 mantaram, n. < mandara. 1. Mt. Mandara, one of aṣṭa-kula-parvatam, q.v.; அஷ்டகுலபர்வதங்களி லொன்றான மந்தரமலை. மந்தர மீதுபோகி (திவ். பெரியதி. 11, 4, 5). 2. Mt. Mēru; மகாமேரு. மந்தரநற் பொருசிலையா வளைத்துக் கொண்டார் (தேவா. 1232, 5). 3. Svarga; சுவர்க்கம். (யாழ். அக.) 4. Temple of 875 hands' width and of like height with 875 towers and 110 floors; எண்ணூற்றெழுபத்தைந்து முழ அகலமும் அவ்வளவு உயரமும் கொண்டு 875 சிகரங் களும் 110 மேனிலைக்கட்டுக்களுமுடைய கோயில். (சுக்கிரநீதி, 229.) 


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Prayer posture, hypertext of Indus Script Corpora is seen on Susa Bronze Sunrise (Sit Shamshi), morning ablutions to Sun Divinity

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This is an addendum to: 

1. Prayer postures on Indus Script Corpora and kole.l 'smithy,forge' as kole.l 'temple' -- Indian sprachbund, 'speech union' http://tinyurl.com/y4rwd86n

2. Indus Script hypertexts which signify pattar an artificer guild praying to Pitr̥ with जानु+ दक्षिणतः+आ* च्य 'with the right knee bent' (RV 10.15.6) https://tinyurl.com/y4qncu6c

The following inscriptions show worshippers with bent knee as specified in the R̥gveda R̥ca I had cited. The prayer is to Pitr̥,’ancestors’. (Sources for these pictures have been provided in the two monographs cited above)..



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Comparable prayer posture is seen on Sit Shamshi Bronze (Louvre Museum) which narrates in an Akkadian Elamite inscription:  "I Shilhak-Inshushinak, son of Shutruk-Nahhunte, beloved servant of Inshushinak, king of Anshan and Susa [...], I made a bronze sunrise." 


The two adorants offering water ablutions in front of the ziggurat (which is a temple) are seated in the same prayer posture as depicted on Indus Scrpt Corpora.

See:

1. Sit Shamshi bronze and Susa table with overflowing pots signify Indus Script hypertexts veneration of sun, ancestors, metalwork wealth creation https://tinyurl.com/yam8ccv8

2. Sit Shamshi bronze, morning libations to Sun divinity, as Meluhha metalwork with Indus writing hieroglyphs transmitted along the Tin Road of Antiquityhttp://bharatkalyan97.blogspot.com/2015/01/sit-shamshi-bronze-morning-libations-to.html

3. Susa Sit Shamshi 'sunrise' is Vedic काण्डर्षि.tarpaṇam, purification by water & the Sun, veneration of ancestors http://tinyurl.com/qdny4v7


The Sit Shamshi bronze model parallels the libations practised from ancient times by Hindus, Meluhha speakers who called themselves, bharatiyo 'metal casters' (Gujarati). The prayers are called sandhyā vandanam which is perhaps the oldest practice among world religions. [quote]Sandhyavandanam consists of excerpts from the Vedas that are to be performed thrice daily at morning (prātaḥsaṃdhyā), at noon (mādhyānika), and in the evening (sāyaṃsaṃdhyā)...Sandhyāvandanam literally means salutation to Sandhya. Sandhya literally means transition moments of the day namely the two twilights : dawn and dusk and the solar noon. Thus Sandhyavandanam means salutation to twilight or solar noon. The term saṃdhyā is also used by itself in the sense of "daily practice" to refer to the performance of these devotions at the opening and closing of the day. For saṃdhyā as juncture of the two divisions of the day (morning and evening) and also defined as "the religious acts performed by Brahmans and twice-born men at the above three divisions of the day" see Monier-Williams, p. 1145, middle column.[unquote] 

The Elamite/Akkadian word ‘shamshi’ which signifies ‘sunrise’ is cognate with अशीतिःN. of the four passages of the sun from one zodiacal sign to the other. शोषयित्नुः [शुष्-इत्नुच् Uṇ.3.29] The sun.शोषिणी Ether. Fire; the semantics are traceable to R̥gvedaशोषयितृ m. one who dries up or parches (सायण) शुष् drying up , parching (» पर्न-शुष्).शोषिणी f. ether (one of the five धारणाs) (धातुपाठ XXVI.74) शोशुचत् mfn. (fr. Intens. of √ शुच्) shining very brightly , very splendid RV. (Monier-Williams).

 

षष् num. a. (used in pl., nom.षट्; gen. षण्णाम्) Six; तेषांत्ववयवान्सूक्ष्मान्षण्णामप्यमितौजसाम् Ms.1.16;8.43. अशीतिः f. (-ष़डशीतिः) 1 eighty-six. -2 N. of the four passages of the sun from one zodiacal sign to the other. शोषयित्नुः [शुष्-इत्नुच् Uṇ.3.29] The sun.शोषिणी Ether. Fire; शुचि a. [शुच्-कि1 Clean, pure, clear; the sun शुचीनांहृदयंशुचिः Mb.12.193.18. शाश्वत a. (-ती f.1 [शश्वद्भवःअण्1 Eternal, per- petual, everlasting; शाश्वतीःसमाः Rām.1.2.15 (= U.2. 5) 'for eternal years', 'ever more', 'for all time to come'; श्रेयसेशाश्वतोदेवोवराहःपरिकल्पताम् U.5.27 (v. l.); R.14.14. -2 All. -तः 1 N. of Śiva. -2 Of Vyāsa. -3 The sun


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Sit Shamshi discovered in the area of the Ninhursag temple, Susa(After Plate 7.21 DT Potts, 2015, Archaeology of Elam, Cambridge University Press) Photo: Dr. JavierAlvarez-Mon).


 

 https://www.louvre.fr/en/oeuvre-notices/sit-shamshi

Model of a temple, called the Sit-shamshi, made for the ceremony of the rising sun

12th century BC

Tell of the Acropolis, Susa

·         Bronze

·         J. de Morgan excavations, 1904-05

Sb 2743

·         Louvre Museum's description of the narrative:

·         This large piece of bronze shows a religious ceremony. In the center are two men in ritual nudity surrounded by religious furnishings - vases for libations, perhaps bread for offerings, steles - in a stylized urban landscape: a multi-tiered tower, a temple on a terrace, a sacred wood. In the Middle-Elamite period (15th-12th century BC), Elamite craftsmen acquired new metallurgical techniques for the execution of large monuments, statues and reliefs.

A ceremony

·         Two nude figures squat on the bronze slab, one knee bent to the ground. One of the figures holds out open hands to his companion who prepares to pour the contents of a lipped vase onto them. The scene takes place in a stylized urban landscape, with reduced-scale architectural features: a tiered tower or ziggurat flanked with pillars, a temple on a high terrace. There is also a large jar resembling the ceramic pithoi decorated with rope motifs that were used to store water and liquid foodstuffs. An arched stele stands by some rectangular basins. Rows of dots in relief may represent solid foodstuffs on altars, and jagged sticks represent trees. The men's bodies are delicately modeled, their faces clean-shaven, and their shaved heads speckled with the shadow of the hair. Their facial expression is serene, their eyes open, the hint of a smile on their lips. An inscription tells us the name of the piece's royal dedicator and its meaning in part: "I Shilhak-Inshushinak, son of Shutruk-Nahhunte, beloved servant of Inshushinak, king of Anshan and Susa [...], I made a bronze sunrise."





Pravargya, intimations of Puja and pun on madhu, mr̥du 'iron', Gharma in Mahāvīra is called ayasmaya, ‘cauldron of metal, gold’ (RV 5.30.15)

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Madhu in RV 5.30.15 The expression ayasmaya gharma signifies that the vessel is full of metal, i.e.Soma (signified by the pun word, madhu).


5.030.15 We have accepted, Agni, the four thousand cattle from the Rus'ama_s; and the glowing, the golden ewer prepared for the solemnity, we who are wise have accepted it. [The golden ewer: gharmas' cit taptah pravr.je ya a_sid ayasmayah: ayasmayah = made of metal, here, made of gold, hiran.yamaya kalas'a, a ewer; gharmas'cit = maha_vi_ra iva, that is, like the ewer or vessel so termed, containing a mixture of Soma, melted butter, and milk, perhaps put upon the fire: yad ghara ityatapat tad gharmasya gharmatvam it s'ruti].

(Griffith) RV 5.30.15 We have received four thousand head of cattle presented by the Rusamas, O Agni.
And we, the singers, have received the caldron of metal which was heated for Pravargya.

10.177.01 The wise behold their mind; (seated) in their heart the Sun made manifest by the illusion of the asura; the sages look into the solar orb, the ordainers (of solar worship) desire the region of his rays. [Illusion of the asura: asurasya = the supreme Brahma devoid of all disguise; aktam ma_yaya_ = united, to knowledge, all-knowing]. 

10.177.02 The Sun bears the (sacred) word in his mind the Gandharva has spoken it, (abiding) within the womb; sages cherish it in the place of sacrifice, brilliant, heavenly ruling the mind. [Sacred word: va_k: the three Vedas; Taittiri_ya Bra_hman.a 3.12.9: in the morning the deity moves in the sky with the hymns of the R.k, he abides at noon in the Yajurveda, at his setting he is extolled with the Sa_maveda; the sun moves accompanied by the three Vedas; gandharva: from gah (voices), and dhr. (to hold) = the breath of life]. 

10.177.03 I beheld the protector (the Sun), never descending, going by his paths to the east and to the west; clothing (with light) the (four) quarters of heaven and the intermediate spaces, he constantly revolves in the midst of the worlds.

(Griffith) RV 10.177 Mayabheda. 177


1. THE sapient with their spirit and their mind behold the Bird adorned with all an Asuras' magic might.
Sages observe him in the oceans' inmost depth: the wise disposers seek the station of his rays.
2 The flying Bird bears Speech within his spirit: erst the Gandharva in the womb pronounced it:
And at the seat of sacrifice the sages cherish this radiant, heavenlybright- invention.
3 I saw the Herdsman, him who never resteth, approaching and departing on his pathways.
He, clothed in gathered and diffusive splendour, within the worlds continually travels.

It appears to me that the puja posture has links to Pravargya. The symbolism is of the related Mahavira vessel (related to Pravargya), as the Sun, the "all seeing eye." See links to 

Māyābheda sukta (RV 10.177.1-3) at: 

http://bharatkalyan97.blogspot.com/2015/08/context-indus-script-decipherment.html 

Context: Indus Script decipherment. Māyābheda sukta (RV 10.177.1-3) and hieroglyph components from mahāvīra, gharma pot in pravargya prefacing agniṣṭōma अग्निष्टोम Soma yajna 

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"Puja has unclear origins. J. A. B. van Buitenen states that "puja" emerged from yajna rituals, linking it to the Pravargya Vedic rite  "[Axel Michaels (2004). Hinduism: Past and Present. Princeton University Press. pp. 241–242.)] https://en.wikipedia.org/wiki/Puja_(Hinduism)

Pravargya was a ceremony introductory to the Agniṣṭoma. "The whole Pravargya ritual has two distinct parts: the preparation of the earthen implements, especially the gharma or mahavira and the rites performed on the latter immediately after taking out of the furnace. These rites include the offering of hot milk to the Ashvins, and repeating it in the evening and so for three consecutive days preceding the upasad. At its conclusion, the implements used in this ritual, particularly the mahavira are carried in procession to uttaravedi and buried there." Pravargya cf. Houben, Jan E.M. (1991). The Pravargya Brāhmaṇa of the Taittirīya Āraṇyaka: an ancient commentary on the Pravargya ritual. Delhi: Motilal Banarsidass. pp. 3–7.See  the commentary at The Pravargya Brāhmaṇa of the Taittirīya Āraṇyaka

The symbolism of the Mahavira vessel (central to Pravargya process), is the Sun, the "all seeing eye." The Mahavira vessel has links to metallurgy. The nose signified on the vessel is  Ka. mūgu, mū nose, forepart, snout, beak, nozzle; mūga, mūgi man with a nose. Koḍ. mu·kï nose. (DEDR 5024)*mukhahāra ʻ face string ʼ. [múkha -- , hāra -- 2]L.awāṇ. muhār ʻ nose -- rope ʼ; P. muhār f. ʻ nose -- rope for camel (CDIAL 10169) rebus: mũhe ‘face’ (Santali) mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) mũhã̄= the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhāmẽṛht = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛht ko mūhāakata = the Kolhes have to-day produced pig iron (Santali).

“Now, their knowledge further increased by the secret they had learned from the horse's head, they also knew how to restore the head of Makha. But did the "sweet," the Madhu, that only Indra and Dadhyafic5 knew and that Dadhyaic announced to the Asvins through the horse's head remain un- changed from the Rg Veda to the Brahmana

The  R̥gVeda speaks of the "sweet" (madhu) of Tvastr, it also speaks of the fly that gave away the Madhu, the "sweet" (RV.1.119.9). Tvastr's sweet is Soma. Indra once stole the Soma from Tvastr (RV.3.48.4), whereas the fly betrayed the secret to the Asvins. In the ancient story of the Rg Veda, the secret of Soma is betrayed to the Asvins, by Dadhyanc, or else it is betrayed to them by a fly.6 Was the "sweet" that Dadhyafic knew the knowl- edge of Soma and where the Soma could be found? The horse's head of Dadhyafc was submerged in Saryanavat. 7 Saryanavat is a lake or river in mountains of Kuruksetra. It is rich in Soma. (RV.9.65.22,23; Say. on 1.84.14; cf. 10.35)…The Madhu in the Rg Veda has the secret of Soma for its content. This secret, the repository of Indra's strength, is revealed by Dadhyafic to the Asvins…

The secret knowledge by which the Asvins, the celestial Healers, restored the sacrifice is contained in the Mantras of the Hymn to the Light (RV.10. 170.1-3). It is these incantations which are meant by the Divakirtyas of which the Satapatha Brah- mana speaks (9B.4.1.5.15; SV.2.803-805; Uhya- gana.2.2.9). By the power of these words addres- sed by the Asvins to the Light radiating from the Sun the head of Makha is restored to the body of the sacrifice…
The other ingredients of the Mahivira pot are: earth from a termite hill25 for these termites had been divinized and made "first born of the world in return for the part they played in the severance of Visnu's head; earth turned up by a boar, for it was the boar Emusa-Prajapati that raised the earth herself-she was quite small then-into ex- istence.26 These two additional kinds of earth establish mythically the consistency and existence of the substance of the Mahavira vessel from the beginning of things…

In the Rg Veda however, it was another secret that Dadhyafic betrayed to the Asvins. This secret was "Madhu," the innermost "sweetness," Soma. (RV. 1.116.12; 1.117.22)…” https://www.jstor.org/stable/pdf/600319.pdf?refreqid=excelsior%3A28411c01b9efbcd4484703f54b71c955
The Mahāvīra Vessel and the Plant Pūtika Author(s): Stella Kramrisch Source: Journal of the American Oriental Society, Vol. 95, No. 2 (Apr. - Jun., 1975), pp. 222-235 Published by: American Oriental Society Stable URL: https://www.jstor.org/stable/600319

Gharma is called ayasmaya, ‘metal’ (RV 5.11.5) and referenced in SBr. 14.2.2.54.

Madhu is a pun on the word mr̥du‘iron’. meḍ 'iron' (Mu.Ho.) med'copper' (Slavic)

Santali

The bees are metaphors for wax used in the lost-wax casting method. 

माक्षिक  mfn. (fr. मक्षिका) coming from or belonging to a bee Rebus: ‘pyrites’: माक्षिक  n. a kind of honey-like mineral substance or pyrites MBh. (Monier-Williams)

उपधातुः An inferior metal, semi-metal. They are seven; सप्तोपधातवःस्वर्णं माक्षिकं तारमाक्षिकम्  तुत्थं कांस्यं  रातिश्च सुन्दूरं  शिलाजतु  उपरसः uparasḥउपरसः 1 A secondary mineral, (red chalk, bitumen, माक्षिकशिलाजित &c).(Samskritam)  

Cf. Jan E. M. Houben, 1991, The Pravargya Brahmana of the Taittiriya Aranyaka: an ancient commentary on the Pravargya ritual, Delhi, Motilal Banarsidass Publ.

Prayer posture, kneeling on one knee with a ladle offering; meḍ Indus Script cipher meḍ 'iron' PLUS muka 'ladle' mũhe 'ingot'

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http://tinyurl.com/y3jm6ato

This is an addendum to 

 http://tinyurl.com/y6npbu4e

Hieroglyph: kneeling on one knee: Ta. maṇṭi kneeling, kneeling on one knee as an archer. Ma. maṇṭuka to be seated on the heels. Ka. maṇḍi what is bent, the knee. Tu. maṇḍi knee. Te. maṇḍī̆ kneeling on one knee. Pa.maḍtel knee; maḍi kuḍtel kneeling position. Go. (L.) meṇḍā, (G. Mu. Ma.) minḍa knee (Voc. 2827). Konḍa(BB) meḍa, meṇḍa id. Pe. menḍa id. Manḍ. menḍe id. 
Kui menḍa id. Kuwi (F.) menda, (S. Su. P.) menḍa, (Isr.) meṇḍa id. Cf. 4645 Ta. maṭaṅku (maṇi-forms). / ? Cf. Skt. maṇḍūkī- part of an elephant's hind leg; Mar. meṭ knee-joint.(DEDR 4677)

Rebus: meḍ 'iron' (Mu.Ho.) mẽṛhẽt 'iron' (Santali) med 'copper' (Slavic)

Santali


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muka 'ladlemũhe 'ingot' (Santali) Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. rebus: kanda 'implements'. Thus, the offering by the adorant shown on the Indus Script inscription  is of ingot for implements.
Image result for dholavira adorant bharatkalyan97Image result for dholavira adorant bharatkalyan97prayer20.jpg prayer19.jpg
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Comparable prayer posture is seen on Sit Shamshi Bronze (Louvre Museum) which narrates in an Akkadian Elamite inscription:  "I Shilhak-Inshushinak, son of Shutruk-Nahhunte, beloved servant of Inshushinak, king of Anshan and Susa [...], I made a bronze sunrise." 

Three Indus Script inscriptions m453, m299, m300 deciphered as metalwork karaḍā खरडें 'daybook, wealth-accounting ledgers'

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-- kamadha 'penance' Rebus: kammata 'coiner, mint'
-- phaā 'cobrahood' rebus phaā 'metals manufactory' rebus: meḍ 'iron' (Mu.Ho.) mẽṛhẽt 'iron' (Santali) med 'copper' (Slavic)

 Signs 45, 46  me bhaa 'iron furnace'

-- meḍ mũhe 'iron ingot'
-- maṇḍā 'raised platform, stool, arch'  rebus: maṇḍā 'warehouse'
- कर्णक m. du. the two legs spread out AV. xx , 133 'spread legs'; (semantic ...
कर्णक'spread legs' rebus: 'helmsman', kari 'supercargo' PLUS dula 'two' rebus: dul 'metal casting'. Thus, castmetal handled by supercargo.
khareo 'a currycomb (Gujarati) Rebus: karaāखरडें'daybook, wealth-accounting ledger'. Rebus: kharādī ' turner' (Gujarati)
--Sign 70 'fish PLUS notch' Hieroglyph shown on m0299 inscription
 
अयस्--काण्ड ayaskāṇḍa m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v. अयस्   ayas अयस् a. [इ-गतौ-असुन्] Going, moving; nimble. n. (-यः) 1 Iron (एति चलति अयस्कान्तसंनिकर्षं इति तथात्वम्; नायसोल्लिख्यते रत्नम् Śukra 4.169. अभितप्तमयो$पि मार्दवं भजते कैव कथा शरीरिषु R.8.43. -2 Steel. -3 Gold. -4 A metal in general. -5 Aloe wood. -6 An iron instrument; यदयोनिधनं याति सो$स्य धर्मः सनातनः Mb.6.17.11. -7 Going. m. Fire. [cf. L. aes, aeris; Goth. ais, eisarn; Ger. eisin]. -Comp. -अग्रम्, -अग्रकम् a hammer, a mace or club tipped with iron; a pestle for cleaning grain. -अपाष्टि a. Ved. furnished with iron claws or heels. -कंसः, -सम् an iron goblet. -कणपम् A kind of weapon, which throws out iron-balls; अयःकणपचक्राश्म- भुशुण्डयुक्तबाहवः Mb.1.227.25. -काण्डः 1 an iron-arrow. -2 excellent iron. -3 a large quantity of iron (Apte)

This is an addendum to: Prayer posture, kneeling on one knee with a ladle offering; me Indus Script cipher me'iron' PLUS muka'ladle' mũhe'ingot' http://tinyurl.com/y3jm6ato

Hieroglyphs on the Mohenjo-daro seal and tablet:
Image result for dholavira adorant bharatkalyan97prayer20.jpgm453

Text message on Inscription m453 shows a person with spread legs (with a two linear stroke circumscript):
कर्णक m. du. the two legs spread out AV. xx , 133 'spread legs'; (semantic ...
कर्णक '
spread legs' rebus: 'helmsman', karṇi 'supercargo' PLUS dula 'two' rebus: dul 'metal casting'. Thus, castmetal handled by supercargo.
khareḍo 'a currycomb (Gujarati) Rebus: karaḍā खरडें 'daybook, wealth-accounting ledger'. Rebus: kharādī ' turner' (Gujarati)
Hieroglyph: kamadha 'penance' Rebus: kammata'coiner, mint'

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

फडपूस (p. 313) phaḍapūsa f (फड & पुसणें) Public or open inquiry. फडफरमाश or स (p. 313) phaḍapharamāśa or sa f ( H & P) Fruit, vegetables &c. furnished on occasions to Rajas and public officers, on the authority of their order upon the villages; any petty article or trifling work exacted from the Ryots by Government or a public officer. 
फडनिविशी or सी (p. 313) phaḍaniviśī or sī & फडनिवीस Commonly फडनिशी & फडनीसफडनीस (p. 313) phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस
फडकरी (p. 313) phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain). 
फडझडती (p. 313) phaḍajhaḍatī f sometimes फडझाडणी f A clearing off of public business (of any business comprehended under the word फड q. v.): also clearing examination of any फड or place of public business. 
फड (p. 313) phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्याचा फड A gambling-house, नाचण्याचा फड A nach house, गाण्याचा or ख्यालीखुशालीचा फड A singing shop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work, as a factory, manufactory, arsenal, dock-yard, printing-office &c. 4 A plantation or field (as of ऊसवांग्यामिरच्याखरबुजे &c.): also a standing crop of such produce. 5 fig. Full and vigorous operation or proceeding, the going on with high animation and bustle (of business in general). v चालपडघालमांड. 6 A company, a troop, a band or set (as of actors, showmen, dancers &c.) 7 The stand of a great gun. फड पडणें g. of s. To be in full and active operation. 2 To come under brisk discussion. फड मारणेंराखणें-संभाळणें To save appearances, फड मारणें or संपादणें To cut a dash; to make a display (upon an occasion). फडाच्या मापानें With full tale; in flowing measure. फडास येणें To come before the public; to come under general discussion. 


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

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

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

Rebus readings of glyphs on text of inscription:

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

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

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

dula ‘pair’; rebus dul ‘cast (metal)’

Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana,  kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790)
prayer1.jpgm0299,m0300
Hieroglyphs: maṇḍā 'raised platform, stool, arch' Rebus: maṇḍā 'warehouse'
loa 'ficus glomerata' rebus: loh 'copper, iron, metal'
karã̄ n. pl. wristlets, bangles Rebus: khār 'blacksmith, ironsmith'
dhangra 'bull (hoofs of bovine' rebus: dhangar 'blacksmith'
bagala 'pleiades' rebus:bagala 'dhow,seafaring vessel'.

Comparable prayer posture is seen on Sit Shamshi Bronze (Louvre Museum) which narrates in an Akkadian Elamite inscription:  "I Shilhak-Inshushinak, son of Shutruk-Nahhunte, beloved servant of Inshushinak, king of Anshan and Susa [...], I made a bronze sunrise."

Rebus: meḍ 'iron' (Mu.Ho.) mẽṛhẽt 'iron' (Santali) med 'copper' (Slavic)
Santali

 

muka 'ladle' mũhe 'ingot' (Santali) Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. rebus: kanda 'implements'. Thus, the offering by the adorant shown on the Indus Script inscription  is of ingot for implements.

Comparable prayer posture is seen on Sit Shamshi Bronze (Louvre Museum) which narrates in an Akkadian Elamite inscription:  "I Shilhak-Inshushinak, son of Shutruk-Nahhunte, beloved servant of Inshushinak, king of Anshan and Susa [...], I made a bronze sunrise." 

 






met 'eye' hieroglyph on Indus Script inscription rebus meḍ 'iron' kola 'woman' rebus: kol 'working in iron', ukku 'steel', bhaṭa 'furnace'

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http://tinyurl.com/y6onm3cn

On an Indus Script tablet, a woman with one eye holds back two rearing tigers. Other hieroglyphs shown on the tablet are: spoked wheel, elephant.

Hieroglyph of one eye: met 'eye' rebus:  meḍ 'iron' (Mu.Ho.) PLUS kola 'woman' rebus kol 'working in iron' (Semantic determinant of iron).

Jumping tigers: Ta. uṟukku (uṟukki-) to jump, leap over; uṟuttai squirrel. 
Te. uṟu to retreat, retire, withdraw; uṟuku to jump, run away; uṟuta squirrel.
Konḍa uRk- to run away. Kuwi (Isr.) urk- (-it-) to dance.(DEDR 70) Rebus: Ta. uruku (uruki-) to dissolve (intr.) with heat, melt, liquefy, be fused, become tender, melt (as the heart), be kind, glow with love, be emaciated; urukku (urukki-) to melt (tr.) with heat (as metals or congealed substances), dissolve, liquefy, fuse, soften (as feelings), reduce, emaciate (as the body), destroy; n. steel, anything melted, product of liquefaction; urukkam melting of heart, tenderness, compassion, love (as to a deity, friend, or child); urukkiṉam that which facilitates the fusion of metals (as borax). Ma. urukuka to melt, dissolve, be softened; urukkuka to melt (tr.); urukkam melting, anguish; urukku what is melted, fused metal, steel. Ko. uk steel. Ka. urku, ukku id. Koḍ. ur- (uri-) to melt (intr.); urïk- (urïki-) id. (tr.); ukkï steel. Te. ukku id. Go. (Mu.) urī-, (Ko.) uṛi- to be melted, dissolved; tr. (Mu.) urih-/urh- (Voc. 262). Konḍa (BB) rūg- to melt, dissolve. Kui ūra (ūri-) to be dissolved; pl. action ūrka (ūrki-); rūga (rūgi-) to be dissolved. Kuwi (Ṭ.) rūy- to be dissolved; (S.) rūkhnai to smelt; (Isr.) uku, (S.) ukku steel.(DEDR 661) PLUS dula 'pair' rebus; dul 'metal casting'

Thus, the pair of jumping tigers signifies ukku 'steel' made by metal casting.

Six curls: baa'six' rebus: bhaa'furnace'

eraka, 'knave of wheel' rebus: eraka'metal infusion'.

karibha, ibha 'elephant' rebus: karba, ib 'iron'. Thus the Indus Script inscription signifies metal infusion of iron and working in an iron furnace for ukku 'steel' (Kuwi.Telugu).  ఉక్కు  ukku. [Tel.] n. Steel. Strength, courage, pride, vigour, potency. అయస్సారము, బలము, శౌర్యము. Steadiness. స్థైర్యము. తెలగ ఉక్కు. A very tough sort of steel. R. v. 197. ఉక్కు తీగె ukku-tīge. n. Steel wire. ఉక్కుతునక or ఉక్కుముక్క ukku-tunaka. n. A bit of steel, a brave, sharp or active man. ఉక్కు ముఖి ukku-mukhi. n. The crimson crested barbet, or coppersmith bird, Xantholaema haemaxtocephala. (F.B.I.) ఉక్కుసున్నము ukku-sunnamu. n. Ashes of calcined iron, scoriæ calx. ఉక్కడగించు or ఉక్కడచు ukkaḍaginṭsu. v. a. To crush one's pride, to humble: to dishearten. ఉక్కడగు ukkaḍagu. (ఉక్కు+అడగు) v. To sink or faint. To be disheartened. ఉక్కరి ukk-ari. (ఉక్కు+అరి) A man, a hero. శూరుడు, ధీరుడు. ఉక్కరు ukk-āru. (ఉక్కు+అరు) v. n. To ebb (as strength), to be exhausted, to faint. To lose one's vigour. ఉక్కుచెడు. To die. చచ్చు. ఉక్కరి having lost vigor. సామర్థ్యము లేకపోయి. ఉక్కుమడగు ukku-maḍagu. v. i. To lose vigor. To die. ఉక్కమడచు to kill.

Santali
met 'eye' rebus:  meḍ 'iron' (Mu.Ho.) 

See:  https://tinyurl.com/yc7ra4p2


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

A modified rebus reading is suggested for the 'eye', 'eyebrow' and 'iris of the eye' signified by the hypertext on Kuwait gold disc.
The iris of the is plal 'iris of the eye' (Gaw.)(CDIAL 8711) a pronuciation variant is provided by pā̆hār ʻsunshine' in Nepali. If this phonetic form pā̆hār explains the hieroglyph 'iris of the eye', the rebus reading is: pahārā m. ʻ goldsmith's workshop ʼ(Punjabi)(CDIAL 8835).

See: 

http://bharatkalyan97.blogspot.in/2016/03/indus-script-hieroglyphs-of-prakrtam.html The note has recorded evidence that கண்வட்டம் kaṇ-vaṭṭam 'mint' has a synonym (demonstrably, a phonetic variant in mleccha/meluhha):  khambhaṛā 'fin' (Lahnda) rebus: kammaTa 'mint' and these two expressions are combined in the Begram ivory (Plate 389).

Slide 90. 
m0489A One side of a prism tablet shows: crocodile + fish glyphic above: elephant, rhinoceros, tiger, tiger looking back and up.
m1431A m1431B Crocodile+ three animal glyphs: rhinoceros, elephant, tiger
It is possible that the broken portions of set 2 (h1973B and h1974B) showed three animals in procession: tiger looking back and up + rhinoceros + tiger.
Reverse side glyphs:
eraka ‘nave of wheel’. Rebus: era ‘copper’.
Animal glyph: elephant ‘ibha’. Rebus ibbo, ‘merchant’.
Composition of glyphics: Woman with six locks of hair + one eye + thwarting + two pouncing tigers + nave with six spokes. Rebus: kola ‘woman’ + kaṇga ‘eye’ (Pego.), bhaṭa ‘six’+ dul ‘casting (metal)’ + kũdā kol (tiger jumping) + era āra (nave of wheel, six spokes), ibha (elephant). Rebus: era ‘copper’; kũdār dul kol ‘turner, casting, working in iron’; kan ‘brazier, bell-metal worker’;
The glyphic composition read rebus: copper, iron merchant with taṭu kanḍ kol bhaṭa ‘iron stone (ore) mineral ‘furnace’.
Glyph: ‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil) 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)
Glyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist. (DEDR 3031)

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

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

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

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