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Pictorial narratives, खरडें daybooks of Yoga postures on Indus Script with key category marker phaḍa 'cobra hood' rebus phaḍa 'metals manufactory'

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https://tinyurl.com/y66bzxlb

-- Together with an abiding metaphor of a seaedd person in kamaḍha 'penance' and an adoring, bhaṭa kneeling worshipper bhaṭa 'furnace'
clip_image056m0492Ct clip_image057[4]2835 Pict-99: Person throwing a spear at a bison and placing one foot on the head of the bison; a hooded serpent at left.

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.

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)

 http://tinyurl.com/yxfbmzfw


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

 Signs 45, 46  meḍ bhaṭa '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: karaā खरडें '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; meIndus Script cipher me 'iron' PLUS muka 'ladle' mũhe 'ingot' http://tinyurl.com/y3jm6ato

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', 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)
Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'

The classifier is the cobra hood hieroglyph/hypertext: फडा pha
ā f (फटा S) The hood of Coluber Nága Rebus: phaa 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: ka
ṇḍo stool. Rebus; kaṇḍfurnace. Vikalpa: kaṇḍstone (ore) metal’.  Rebus: kamaha penance. Rebus 1: kaṇḍstone ore. Rebus 2: kampaṭṭa mint. Glyph: serpent hood: paa. Rebus: pata sharpness (of knife), tempered (metal). padm tempered iron (Ko.) Glyph: rimless pot: baa. Rebus: bhaa 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:

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

a
ar ‘a splinter’ (Ma.) aaruka ‘to burst, crack, sli off,fly open; aarcca ’ splitting, a crack’; aarttuka ‘to split, tear off, open (an oyster) (Ma.); aaruni ‘to crack’ (Tu.) (DEDR 66) Rebus: aduru ‘native, unsmelted metal’ (Kannada)

ãs = scales of fish (Santali); rebus: aya ‘metal, iron’ (Gujarati.) cf. cognate to amśu 'soma' in Rigveda: ancu 'iron' (Tocharian)G.karã
̄ 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’: kár
aka m. ʻ projection on the side of a vessel, handle ʼŚBr. [kára -- ]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) káraa n. ʻ act, deed ʼ RV. [kr̥1] Pa. karaa -- n. ʻdoingʼ; NiDoc. karana,  karana ʻworkʼ; Pk. karaa -- n. ʻinstrumentʼ(CDIAL 2790)
https://1.bp.blogspot.com/-Pbea6DSn84I/XKQWaN9alxI/AAAAAAABdgw/CKTk50fnWBItAsWKezDzTiJ4H7jiSfaxgCLcBGAs/s1600/m0300.JPGm0300
Hieroglyphs: maṇḍā 'raised platform, stool, arch' Rebus: maṇḍā 'warehouse'
loa 'ficus glomerata' rebus: loh 'copper, iron, metal'karã
̄ 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: me'iron' (Mu.Ho.) mẽht 'iron' (Santali) med 'copper' (Slavic)



m453




No photo description available.No photo description available.
No photo description available.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.

Mohenjo-daro. Sealing.  Surrounded by fishes, lizard and snakes, a horned person sits in 'yoga' on a throne with hoofed legs. One side of a triangular terracotta amulet (Md 013); surface find at Mohenjo-daro in 1936, Dept. of Eastern Art, Ashmolean Museum, Oxford. [seated person penance, crocodile?] 

Brief memoranda: kamaha ‘penance’ Rebus: kammaa ‘mint, coiner’; kaṇḍ‘stool, seat’ Rebus: ṇḍa  ‘metalware’ kaṇḍa  ‘fire-altar’.
kAru 'crocodile' Rebus: kAru 'artisan'.
Hieroglyphs (allographs): 
kamaḍha 'penance' (Prakriam) 
kamḍa, khamḍa 'copulation' (Santali)
kamaṭha crab (Skt.)
kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.)  kamat.ha = fig leaf, religiosa (Sanskrit) kamaḍha = ficus religiosa (Sanskrit)
kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Sanskrit) 
Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)  kamaṭa = portable furnace for melting precious metals (Telugu); kampaṭṭam = mint (Tamil)

Glyph: meD 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D. Stampe's Munda etyma) meṭṭu to tread, trample, crush under foot, tread or place the foot upon (Te.); meṭṭu step (Ga.); mettunga steps (Ga.). maḍye to trample, tread (Malt.)(DEDR 5057) మెట్టు (p. 1027) [ meṭṭu ] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు, నడుచు, త్రొక్కు. "మెల్ల మెల్లన మెట్టుచుదొలగి అల్లనల్లనతలుపులండకు జేరి." BD iv. 1523. To tread on, to trample on. To kick, to thrust with the foot.మెట్టిక meṭṭika. n. A step , మెట్టు, సోపానము (Telugu)
Rebus: meD 'iron' (Mundari. Remo.)
Tepe Yahya. Seal impressions of two sides of a seal. Six-legged lizard and opposing footprints shown on opposing sides of a double-sided steatite stamp seal perforated along the lateral axis. Lamberg- Karlovsky 1971: fig. 2C Shahr-i-Soktha Stamp seal shaped like a foot.

Glyph: aṭi foot, footprint (Tamil) Rebus: aḍe, aḍa, aḍi the piece of wood on which the five artisans put the article which they happen to operate upon, a support (Kannada)


Glyph: araṇe 'lizard' (Tulu) eraṇi f. ʻ anvil ʼ (Gujarati); aheraṇ, ahiraṇ, airaṇ, airṇī, haraṇ f. (Marathi) அரணை Ta. araṇai typical lizard, Lacertidae; smooth streaked lizard, Lacerta interpunctula. Ma. araṇa green house lizard, L. interpunctula. Ka. araṇe, rāṇe, rāṇi greenish kind of lizard which is said to poison by licking, L. interpunctula. Tu. araṇe id. (DEDR 204).

Glyph: bhaṭa ‘six’ (G.) rebus: baṭa = kiln (Santali) baṭa = a kind of iron (Gujarati)  [Note: six legs shown on the lizard glyph]

The rebus readings are: aḍi 'anvil' airaṇ 'anvil' (for use in) baṭa 'iron working' or kiln/furnace-work.
bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj] Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhī, bhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v. S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ.(CDIAL 9656). kolmo ‘three’ (Mu.); rebus: kolami ‘smithy’ (Telugu) కొలిమి [ kolimi ] kolimi. [Tel.] n. A pit. A fire pit or furnace. ముద్దకొలిమి a smelting forge. నీళ్లకొలిమి a reservoir. కొలిమిత్తిత్తి a pair of bellows.(Telugu) పట్టడ [ paṭṭaḍa ] paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు.(Telugu) Glyph: S. baṭhu m. ‘large pot in which grain is parched; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼM. bhaṭṭā m. ʻ pot of fire ʼ(CDIAL 9656). Glyph: bhaṭa ‘six’ (G.) rebus: baṭa = kiln (Santali); bhaṭṭī f. ʻ forge ʼ(Marathi)(CDIAL 9656). baṭa = a kind of iron (G.) bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits) baṭa = furnace (Santali) bhrāṣṭra = furnace (Skt.) bhaṭa ‘furnace’ (G.) baṭhī f. ʻ distilling furnace' (Sindhi)
                                                                     



Text of 3 signs
Decipherment of the Indus Script inscription on h182 Harappa tablet & another identical tablet
Sign 403 is a duplication of  bun-ingot shape. This shape is signified on a zebu terracotta pratimā found at Harappa and is consistent with mūhā mẽṛhẽt process of making unique bun-shaped ingots (See Santali expression and meaning described below):
Sign 403 is read: dul mūhā mẽṛhẽt 'cast iron ingot'.  mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali)

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 and tiger

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

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'.

-- 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.

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'. The bun ingots are a little pointed at each end. The semantics of this shape feature is provided in the Santali word: Rebus: mũh ‘(copper) 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 (Santali) Allographs: mũhe ‘face’ (Santali) The little pointed ends at each side is like a pointed nose: Ta. mūkku nose, nostril, beak, nose-shaped part of anything; mūkkaṉ man with a large or prominent nose; mukarai, mukari bottom of the nose. Ma. mūkku nose, nozzle, beak; mūkkan long-nosed. Ko. mu·k nose, funnel of bellows; mu·kn man with long nose; fem. mu·ky. To. mu·k nose (in songs); mu·ku·ṛ- (mu·ku·ṛy-) to meet (of persons, rivers); mu·ku·ṭ- (mu·ku·ṭy-) to cause to meet; ? mu·kuṟ- (mu·kuṟy-) (person, ceremony) approaches. Ka.mūgu, mū nose, forepart, snout, beak, nozzle; mūga, mūgi man with a nose. Koḍ. mu·kï nose. Tu. mūku, mūgu, mūṅku nose, beak; mūke man who snuffles or speaks through the nose; fem. mūki. Te. mukku nose, beak, end, point, tip. Kol. muŋgaḍ, (Kin.) mukk, (SR.) mukku nose. Nk. muŋgaṛ id. Nk. (Ch.) muŋgan id. Pa. muvāḍ (pl. muvācil)id. Ga. (Oll.) muŋan, (S.) muŋān, (P.) muŋgan id. Pe. muŋgel id. Manḍ. muŋgel id. Kui mungeli, (K.) muŋgi id. Kuwi (F.) mūngelli, (S.) mungeli, (Isr.) muṅgeli, (Su. P.) muŋgeli (pl. muŋgelka) id. Kur. muī˜ id. Malt. muṉyu id. (DEDR 5024).

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)

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'.

See:

Horned deity seals, Mohenjo-daro: a. horned deity with pipal-leaf headdress, Mohenjo-daro (DK12050, NMP 50.296) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan); b. horned deity with star motifs, Mohenjo-daro (M-305) (PARPOLA 1994:Fig. 10.9); courtesy of the Archaeological Survey of India; c. horned deity surrounded by animals, Mohenjo-daro (JOSHI – PARPOLA 1987:M-304); courtesy of the Archaeological Survey of India.

ṭhaṭera 'buffalo horns'. Rebus: ṭhaṭerā 'brass worker'
meḍha 'polar star' (Marathi). Rebus: meḍ 'iron' (Ho.Mu.)

kamadha 'penance' Rebus: kammata 'coiner, mint'
karã̄ n. pl. wristlets, banglesRebus: khAr 'blacksmith, iron worker'
rango 'buffalo' Rebus:rango 'pewter' 
kari 'elephant' ibha 'elephant' Rebus: karba 'iron' ib 'iron'
kola 'tiger' Rebus: kol 'working in iron'
gaNDA 'rhinoceros' Rebus: kaNDa 'im;lements'
mlekh 'antelope, goat' Rebus: milakkha 'copper'
meD 'body' Rebus: meD 'iron''copper'
dhatu 'scarf' Rebus: dhatu 'mineral 

m453B. Scarf as pigtail of seated person.Kneeling adorant and serpent on the field.

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

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

Seated person in penance. Wears a scarf as pigtail and curved horns with embedded stars and a twig. 

mēḍha The polar star. (Marathi) Rebus: meḍ ‘iron’ (Ho.) dula ‘pair’ (Kashmiri); Rebus: dul ‘cast (metal)’(Santali) ḍabe, ḍabea ‘large horns, with a sweeping upward curve, applied to buffaloes’ (Santali) Rebus: ḍab, ḍhimba, ḍhompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt together (Santali) kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = (smelter) furnace (Santali) The narrative on this metalware catalog is thus: (smelter) furnace for iron and for fusing together cast metal. kamaḍha ‘penance’.Rebus 1: kaṇḍ ‘stone (ore) metal’.Rebus 2: kampaṭṭa‘mint’


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'.

Mohenjo-daro. Square seal depicting a nude male deity with three faces, seated in yogic position on a throne, wearing bangles on both arms and an elaborate headdress. Five symbols of the Indus script appear on either side of the headdress which is made of two outward projecting buffalo style curved horns, with two upward projecting points. A single branch with three pipal leaves rises from the middle of the headdress. 

Seven bangles are depicted on the left arm and six on the right, with the hands resting on the knees. The heels are pressed together under the groin and the feet project beyond the edge of the throne. The feet of the throne are carved with the hoof of a bovine as is seen on the bull and unicorn seals. The seal may not have been fired, but the stone is very hard. A grooved and perforated boss is present on the back of the seal.
Material: tan steatite Dimensions: 2.65 x 2.7 cm, 0.83 to 0.86 thickness Mohenjo-daro, DK 12050
Islamabad Museum, NMP 50.296 Mackay 1938: 335, pl. LXXXVII, 222 
kūdī 'bunch of twigs' (Sanskrit)  Rebus: kuṭhi 'smelter furnace' (Santali) कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ईAV. v , 19 , 12 Kaus3.ccord. to Kaus3. Sch. = बदरी, "Christ's thorn".(Monier-Williams)
Hieroglyph: kamaḍha ‘penance’ (Pkt.) Rebus 1: kampaṭṭa  ‘mint’ (Ma.) kamaṭa = portable furnace for melting precious metals (Te.);Rebus 2: kaṇḍa ‘fire-altar' (Santali); kan ‘copper’ (Ta.)  

Hieroglyph: karã̄ n. pl. ʻwristlets, bangles ʼ (Gujarati); kara 'hand' (Rigveda) Rebus: khAr 'blacksmith' (Kashmiri) 
The bunch of twigs = ku_di_, ku_t.i_ (Skt.lex.) ku_di_ (also written as ku_t.i_ in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kaus’ika Su_tra (Bloomsfield’s ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk,98) denotes it as a twig. This is identified as that of Badari_, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).[Note the twig adoring the head-dress of a horned, standing person]
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)
minDAl 'markhor' (Torwali) meDho 'ram' (Gujarati)(CDIAL 10120) 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.)


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.

Ganweriwala tablet. Ganeriwala or Ganweriwala (Urduگنےریوالا‎ Punjabiگنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan.

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) mẽhẽt, meD 'iron' (Mu.Ho.Santali)
meď 'copper' (Slovak)


Ganeriwala is situated near the Indian border on the dry river bed of the Ghaggar-Hakra (also called the Sarasvati River), now a part of vast desert. It is spread over 80 hectares and comparable in size with the largest sites of the Indus Valley Civilization, such as Mohenjo-daro. A terrecotta tablet is a significant find. In this seal, a cross legged person (suggested as yogic posture) and a kneeling person below a tree and upon a tree are depicted. Such kneeling persons on tree, particularly in front of a tiger like animal, are shown in tablets or seals found at Harappa (H 163 a), Mohenjadaro(M 309 a) and Kalibangan (K 49a).  http://en.wikipedia.org/wiki/Ganeriwala


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'.



  
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.


Cernunnos is shown seated in penance (comparable to the sitting posture of the seated person on the Mohenjo-daro seal m0304).

Hieroglyph: kamaḍha ‘penance’ (Prakritam) Rebus: kammaṭa ‘mint, coiner’(Telugu). 





Distribution of some proto Indi-European terms relating to wheeled vehicles (After Anthony, Daviid W., 1995, Horse, wagon and chariot: Indo-European languages and archaeology. Antiquity 69: 554-565; fig. 1, p.557)



   4538 cakrá m.n. ʻ wheel ʼ RV., ʻ potter's wheel ʼ ŚBr., ʻ oil mill ʼ Mn., ʻ circle ʼ R., cakrīˊ -- f. ʻ wheel ʼ RV.
Pa. cakka -- n. ʻ wheel ʼ, Pk. cakka -- , ˚aya -- n.; Kho. (Lor.) č*lkvr ʻ spinning wheel ʼ (with *l for o fr. č*lxvr ← Ir. BSOS viii 660); Sh. gil. čărkŭ m. ʻ wheel, spinning wheel ʼ, (Lor.) gil. čurūk, gur. čorōk ʻ buttocks ʼ (→ Ḍ. čərōk); K. ċakhar, dat. ˚kras m., ċạkhürü f. ʻ wheel ʼ; S. caku m. ʻ potter's wheel ʼ, ˚kī f. ʻ hand -- mill ʼ; L. cakkar m. ʻ wheel ʼ, awāṇ. cakkur; P. cakkar m. ʻ circuit, ring ʼ, cakk m. ʻ potter's wheel ʼ; WPah. cakkī ʻ mill ʼ; Ku. cāk(h) ʻ bunch of bananas ʼ, cāk(h)o ʻ hand -- mill ʼ, gng. ċak(h) ʻ stone -- mill ʼ; N. cāk ʻ buttocks ʼ (semant. cf. Sh. above, Pk. cakkāāra -- as epithet of ʻ buttock ʼ and K. s.v. cakrala -- ), cāko ʻ anything round ʼ, mah ko c˚ ʻ honeycomb ʼ; A. sāk ʻ potter's wheel ʼ, sākā ʻ wheel ʼ, ˚ki ʻ small round bunch of flowers ʼ; B. cāk ʻ wheel, comb or hive of bees or wasps ʼ, cākā ʻ wheel ʼ, ˚kī ʻ grindstone ʼ; Or. caka ʻ wheel, potter's wheel ʼ, cakā ʻ round stone ʼ, cakī ʻ mill -- stone ʼ; Bi. cāk ʻ wheel, potter's wheel ʼ, (Gaya) cakkā ʻ wheel ʼ; Mth. cāk ʻ wheel, potter's wheel, pastry board ʼ; Bhoj. cāk ʻ wheel ʼ; Aw. lakh. cakiā ʻ stone -- mill ʼ; H. cākm. ʻ any kind of wheel, millstone ʼ (mau -- cāk m. ʻ honeycomb ʼ), cākā m. ʻ wheel, sod of turf ʼ, cākī f. ʻ millstone ʼ; G. cāk m. ʻ wheel, potter's wheel, millstone ʼ, ˚kī f. ʻ circular piece fixed in axle ʼ, ˚kũ n. ʻ a thick roundish mass ʼ; M. ċāk n. ʻ wheel ʼ, ˚kī f. ʻ circular flat piece of metal ʼ; Ko. ċāka n. ʻ wheel ʼ; Si. saka ʻ wheel, circle ʼ.
cakraka -- , cakrala -- , cakriṇī -- , cakríya -- , cākrika -- ; *cakracāra -- , cakranakha -- , cakranābhi -- , *cakrapati -- , *cakrapattra -- , cakramarda -- , *cakrayaṣṭi -- , cakravartin -- , cakravāṭa -- , cakravyūha -- .
Addenda: cakrá -- : S.kcch. cakk m. ʻ potter's wheel ʼ, WPah.kṭg. ċɔkkər m., J. cakkar m. prob. ← P. Him.I 89; Garh. cāk; -- Ko. ċāka rather ʻ slice ʼ.
cakrin -- .
   4539 cakraka ʻ circular ʼ W. [cakrá -- ]
Pk. cakkāga -- , Or. cakā, H. cākā.
   4541 *cakracāra ʻ course of a wheel ʼ. [Cf. cakracārin- ʻ flying in a circle ʼ Hariv. -- cakrá -- , cāra -- 1]
M. cakārī f. ʻ wheel rut, wheeling round (of a carriage) ʼ.

   25 *akṣakīla cf. akṣāgrakīla -- , ˚aka -- m. ʻ lynch -- pin ʼ lex. [ákṣa -- 1, kīla -- ]
Bi. (Patna) akhailā ʻ axle of brick -- crusher ʼ.
  21 ákṣa1 m. ʻ axle ʼ RV., ʻ collar -- bone ʼ ŚBr., ʻ temporal bone ʼ Yājñ., akṣaka -- m.n. ʻ collar -- bone ʼ Suśr. [Perh. conn. ákṣu -- ]
Pa. akkha -- m. ʻ axle ʼ, ˚aka -- m. ʻ collar-bone ʼ; Pk. akkha<-> m. ʻ collar-bone ʼ, KharI. akha -- ; Or. akha ʻ axle-tree ʼ; Bi. akhaut ʻ axle of grain -- husker ʼ, akhautā ʻ do. of brick -- crusher ʼ (+ ?); G. ã̄k m. ʻ axle ʼ, M. āsã̄s m. ʻ axle, temple of head ʼ (→ G. ã̄s m. ʻ axis ʼ), ã̄kh m. ʻ axle ʼ; Si. aka ʻ axle ʼ, akuva ʻ collar -- bone ʼ (< akṣaka -- Geiger GS 30).

akṣadhur f. ʻ pin or pole of axle ʼ. [ákṣa -- 1, dhúr -- ]
M. ākhrīakh˚ f. ʻ beam over the axle on which the frame of the cart rests ʼ; Si. akura ʻ axle of a wheel ʼ.(CDIAL 31)
39 akṣavāṭa -- , -- pāṭa -- m. ʻ wrestling ground ʼ lex. [lit. ʻ fence of poles ʼ or ʻ dicing ground ʼ ? -- akṣa -- 1 or 2, vāṭa -- 1]
Pa. akkhavāṭa -- m. ʻ fence round wrestling arena ʼ; Pk. akkhavāḍaga -- m. ʻ wrestling ground ʼ, akkhāḍaga -- , ˚aya<-> m. ʻ dicing ground ʼ; L. mult. akhāṛhākhāṛ(h)ā m. ʻ wrestling ground, place where indigo is dried, cattletrack through waste land ʼ; awāṇ. khāṛā m. ʻ wrestling ground ʼ, P. akāṛhā˚ṛākāṛhā˚ṛā m.; A. ākharā ʻ practising dancing and singing ʼ; B. ākhaṛā ʻ wrestling ground ʼ, ākhaṛāi ʻ rehearsal ʼ; Or. ākhaṛā ʻ meeting place for dancing and singing ʼ; H. akhāṛā m. ʻ wrestling ground ʼ (→ K. akahār m., N. akhāṛā, M. akhāḍām.); G. ākhāṛɔakh˚ m. ʻ wrestling place, monastery ʼ.

dhaurēyá (a) m. ʻ beast of burden ʼ lex., ˚aka -- m. Veṇīs. (b) ʻ being foremost ʼ (cf. dhúrya -- ʻ foremost ʼ AV.).
2. *dhaura -- 2. 3. *dhaurya -- . [*dhuriya -- : dhúr -- ]
1. (a) Pa. dhōreyya -- ʻ accustomed to the yoke ʼ. dhōrayha -- m. ʻ beast of burden ʼ (X dhūrvaha -- m. ʻ id. ʼ?); Pk. dhōrēya -- , ˚riya -- ʻ capable of bearing a load ʼ; P. dhorīdhoryā m. ʻ ox ʼ, H. G. dhorī m. -- (b) Pk. dhōrēya -- . ˚riya -- m. ʻ leader ʼ; H. dhore ʻ near ʼ; G. dhorī ʻ main (of a road) ʼ.
2. Paš. dōr ʻ face, mouth, side ʼ IIFL iii 3, 57; -- H. ḍhor m. ʻ cattle ʼ?
3. Pk. dhojja -- ʻ capable of bearing a load ʼ, m. ʻ leader ʼ.(CDIAL 6884)

6826 dhúr f. ʻ yoke or yoke -- pin ʼ RV., dhurā -- f. ʻ id. ʼ Āpast., dhurikā -- f. ʻ axle -- pin ʼ KātyŚr.com., dhurá -- m. (in cmpds.) ʻ burden ʼ MBh.
Pa. dhura -- m.n. ʻ yoke, pole, forepart of anything, leader ʼ; Pk. dhura -- n., ˚rā -- f. ʻ pole, load ʼ, dhurī -- f. ʻ cart -- yoke, pole, axle ʼ; S. dhuru m., ˚ri f. ʻ origin, source ʼ (˚ri f. also ʻ side, party ʼ), dhuro m. ʻ side stick of a lathe holding the article being turned ʼ; L. dhur f. ʻ beginning ʼ, dhurā m. ʻ base of spinning -- wheel, cross -- piece ʼ; P. dhur m. ʻ axletree, extremity, beginning ʼ, dhurī f. ʻ axletree ʼ, dhurā m. ʻ pole ʼ; Ku. dhūrdhuri f. ʻ ridge on a roof ʼ, dhuro m. ʻ ridge, mountain peak ʼ; N. dhuro ʻ pole between a pair of yoked animals ʼ, dhuri ʻ axletree, rooftree ʼ, (Tarai) dhur ʻ a partic. measure of land ʼ; A. dhurā ʻ axle ʼ, dhur ʻ a measure of land ʼ; B. Or. dhurā ʻ pole ʼ; Or. dhuri ʻ in front ʼ, ḍhuri ʻ triangular prop for front of a cart ʼ; Bi. dhūrā˚rī ʻ axle ʼ; Mth. dhur ʻ embankment, road ʼ, dhurī ʻ pole of waggon ʼ; H. dhur m. ʻ forepart of pole where yoke is fixed, beginning, limit, end ʼ, dhurā m. ʻ axle, axletree, pole, yoke, border, limits of village ʼ, dhurī f. ʻ pole, iron part of axle ʼ; G. dhur n. ʻ yoke ʼ, dhar f. ʻ yoke, beginning ʼ, dharī f. ʻ axle ʼ; M. dhūr f. ʻ pole, thill -- yoke, front part ʼ, dhurā m. ʻ boundary of village ʼ, dhurī f. ʻ pole of cart or plough ʼ.
*dhuriya -- , *dhaura -- , dhaurēyá -- , *dhaurya -- ; *dhuradulaka -- , *dhuradhara -- , *dhurapaṭṭa -- , *dhurāṇi -- , *dhūrśala -- ; akṣadhur -- .
dhuraṁdhara -- see *dhuradhara -- .
Addenda: dhúr -- : WPah.kṭg. dhūˋrdhùrɔ m. ʻ extremity, end of rope or loincloth or field, mountain peak ʼ; J. dhūr f. ʻ uppermost part of a roof, peak, direction ʼ.
   6827 *dhuradulaka ʻ hole in roof ʼ. [dhúr -- , *dula -- ]
M. dhuroḷẽ n. ʻ smoke -- vent in roof ʼ.
6828 *dhuradhara -- , dhuraṁdhara -- ʻ bearing a yoke, fit to be harnessed ʼ MBh. [dhúr -- , dhara -- ]
Pk. dhuraṁdhara -- ʻ capable of bearing a load ʼ; G. dharārdharāḷ ʻ able to bear the yoke ʼ.
   6829 *dhurapaṭṭa ʻ axle board ʼ. [dhúr -- , paṭṭa -- 1]
Bi. dhurauṭī ʻ sides of cart projecting over wheels ʼ.
   6830 *dhurāṇi ʻ yoke -- pin ʼ. [dhúr -- , āṇí -- ]
M. dhurāṇī f. ʻ yoke -- pin ʼ.
6831 *dhuriya -- , dhúrya -- ʻ fit to be harnessed ʼ Pāṇ., ʻ foremost ʼ AV., m. ʻ beast of burden ʼ Mn., dhurīya -- ʻ fit for a burden ʼ, m. ʻ beast of burden ʼ lex. [dhúr -- ]
Wg. durīˊ ʻ bull ʼ; Bi. dhūrīdhuriyā ʻ the wheeler in a team of three bullocks ʼ. -- In Bi. dhūr ʻ bullock, cattle (in general) ʼ loss of final syllable is unexpl.

Discovery sites of Indus seals and inscriptions (After CISI2:448) (CISI = Corpus of Indus seals and inscriptions 1: Collectionsin India, ed. Jagat Pati Joshi & Asko Parpola. 1987. 2: Collections in Pakistan, ed. Sayid Ghulam Mustafa & Asko Parpola, 1991. 3: Newmaterial, untraced objects and collections outside India and Pakistan, ed. Asko Parpola, BM Pande & Peleri Koskikalli,Part 1: Mohenjo-daro and Harapa. In collaboration with Richard H.Meadow & J. Mark Kenoyer 2010; Part 2: All sites, in preparation (Annales Academiae Scientiarum Fennicae B/H 239, 240, 359) Helsinki Suomalainen Tiedeakatemia.)
Example of rebus representation of hieroglyphs rendering King Narmer on Narmer Palette; Egyptian n'r- cat fish; Egyptian mr-awl. Two-sign hieroglyphic inscription of ca. 3100 BCE.  Detail of Narmer’s Palette (After Flinders Petrie, WM. 1953. Ceremonial slate palettes (British School of Egyptian archaeology, vol. 66A). London British School of Egyptian Archaeology, K26)

   ḍōl 2 डोल् । आनकः m. a large drum, a kind of kettle-drum (Śiv. 1029, K. 1009). (Kashmiri)
ḍhōla m. ʻ large drum ʼ Rudray. 2. *ḍhōlla -- . [Only OAw. definitely attests -- l -- ]
1. Gy. pal. daul ʻ drum ʼ, Paš. ḍūl (← Par. ḍuhūl IIFL iii 3, 65), Kho. (Lor.) dol, K. ḍōl m., kash. ḍhōl, L. P. Ku. N. A. B. ḍhol, OAw. ḍhora m., H. ḍhol m. -- Ext. -- kk -- : L. ḍholkī f. ʻ small drum ʼ, Ku. ḍholko, H. ḍholak f.
2. Pk. ḍholla -- m., Or. ḍhola, Mth. Bhoj. Aw. lakh. Marw. G. M. ḍhol m.(CDIAL 5608)

   ډول ḏḏol, s.m. (2nd) The hopper of a mill of either wood or iron. 2. A large drum. 3. A bucket for drawing water. 4. The large cog- wheel of a Persian wheel which is nearest the bullocks. Pl. ډولونه ḏḏolūnah (HI ډهول).

   ډهولکيَ ḏḏolkaey, s.m. (1st) A small drum. Pl. يِ ī (dimin. of the above). ډول وهل ḏḏol wahal, verb trans. To beat a drum.

மந்தரம்1 mantaramn. < 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.)
This is an addendm to 



Image result for m453 indus script

The obverse and reverse of the faience-tablet m453 from Mohenjo-daro (After CISI I:111). The same text composed of the last three hieroglyphs of m453 text, is repeated on both sides of a two-sided tablet H182.
h723 Obverse of moulded tablet (After CISI 2:319)

Seal h669 flipped to show how the message appears on impression (After CISI 2:310) 

It is remarkable that this hieroglyph constitutes the signature tune of one of the longest inscriptions of Indus Script.
Longest inscription m0314 of Indus Script Corpora is catalogue of a guild-master. The guild master is signified by Indus Script hypertext 'squirrel' hieroglyph 'khāra, šē̃ṣṭ̄' Rebus: plaintext: khār 'blacksmith' 
śrēṣṭhin 'guild-master' (Aitareya Brāhmaa).
  The guild-master signs off on the inscription by affixing his hieroglyph: palm squirrel,Sciurus palmarum'

The squirrel sign signifies 'šē̃ṣṭ̄ ʻflying squirrelʼ, rebus 'šē̃ṣṭ̄ ʻguild master';  سیټه seṯṯh, s.m. (5th) A banker, a merchant. Pl. سیټڼان seṯṯhān (Pashto) PLUS खार [ khāra ] A squirrel, Sciurus palmarum. खारी [ khārī ] (Usually खार) A squirrel. (Marathi) rebus khār 'blacksmith (Kashmiri). Thus, the squirrel signifies a guild-master of a blacksmith-guild. 


 Nd-1 Squirrel hieroglyph engraved as part of text message on Nindowari seal (After CISI 2:419)
h771 Obverse of moulded tablet (After CISI 2:324)
Nausharo seal (After CISI 3:2)

h771Modern seal impression (After CISI 2:143)

m241seal (After CISI 1:60); m241 modern seal impression (After CISI 1:60)



Cernunnos is named in an inscription on the 1st cent. CE Pillar of the Boatmen (French Pilier des nautes) with bas-relief depictions. " Dating to the first quarter of the 1st century AD, it originally stood in a temple in the Gallo-Romancivitas of Lutetia (modern ParisFrance) and is one of the earliest pieces of representational Gaulish art to carry a written inscription...It is displayed in the frigidarium of the Thermes de Cluny...Cernunnos has stag's antlers from which hang two torcs. From the amount of the body in the top half, Cernunnos is assumed to have been depicted in a cross-legged seated position...Smertrios is shown kneeling, brandishing a club and attacking a snake. Castor and Pollus are shown standing beside their horses, each holding a spear...Jupiter is shown standing, holding a spear and a thunderbolt. Esus is shown standing beside a willow tree, which he is cutting down with an axe. Tarvos Trigaranus is depicted as a large, heavy-set bull standing in front of a willow tree. Two cranes stand on his back and a third on his head. Vulcan is shown standing, with hammer and tongs."
One panel shows three warriors (who were perhaps also boatmen who accompanied to guard the treasures of seafaring merchants.).

https://en.wikipedia.org/wiki/Pillar_of_the_Boatmen On this Pillar of the Boatmen, Cernunnos is shown as a horned person flanked by two rings (torcs). The message is: ancient seafaring metalworkers.
The pillar provides the only undisputed instance of the divine name Cernunnos.(John Koch, editor, Celtic Culture: A Historical Encyclopedia (ABC-Clio, 2006), p.396).

Ganweriwala tablet. Ganeriwala or Ganweriwala (Urduگنےریوالا‎ Punjabiگنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan.

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:

బత్తుడు battuḍu. n. A worshipper
Sign 45Sign 46

 FS Fig. 113FS Fig. 108
FS Fig. 114 FS Fig. 77

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

Ir. bärī roof. ĀlKu. bari thatched roof. Ko. varj- (varj-) to wrap, wind; vayr roofTo. pary roof of hut. Rebus: bahi 'worker in wood and iron' (Santali)  'carpenter' (Bengali) bari 'merchant' barea  'merchant' (Santali) , 'one who helps a merchant (Hemacandra Desinamamamala). bhaṭa 'worshipper'.rebus: bhaṭa 'furnace'.

Rebus: artificer: బత్తుడు battuḍu The caste title of all the five castes of artificers as వడ్లబత్తుడు a carpenter. కడుపుబత్తుడు one who makes a god of his belly. L. xvi. 230.  Five categories of artificers: పాంచాలము pāñcālamu pānchālamu. [Skt.] n. The Punjab. The country north of Delhi, between the foot of the Himalayas and the Chambal. పంజాబుదేశము. పాంచాలి pānchāli. n. The daughter of the king of Pānchāla; a title of Draupadi, the wife of the five Pāndu princes. ద్రౌపది. పాంచాలిక pānchālika. n. A doll or puppet, an image carved on pillars, &c. బొమ్మ, నరమృగాదిరూపము. పాంచాలుడు pānchāluḍu. n. A member of any one of the five castes of artificers, viz., the carpenters, weavers, barbers, washermen, painters. వడ్లవాడు, సాలెవాడు, మంగలవాడు, చాకలవాడు, ముచ్చివాడు, ఈ అయిదు జాతులందు దేనిలోనైనను చేరినవాడు. వడ్రంగి, వడ్లంగి, వడ్లవాడు vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్రంగిపిట్ట or వడ్లంగిపిట్ట vaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటము. వడ్లకంకణము vaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదము. వడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste.  A వడ్లబత్తుడు is a శిల్పి சிற்பன் ciṟpaṉ n. < šilpa. Brahmā, as one skilled in the art of creation; [சிருட்டித் தொழி லில் வல்லவன்] பிரமன். சிற்பனையெலாஞ் சிருட்டித்த (திருமந். 628). சிற்பாசாரி ciṟpācāri n. < id. + ஆசாரி. See சிற்பி. (யாழ். அக.)சிற்பி ciṟpi n. < šilpin. Mechanic, artisan, stone-cutter; கம்மியன். (சூடா.) சிப்பி² cippi, n. prob. šilpin. 1. See சிற்பி. 2. Tailor; தையற்காரன். (சிலப். 5, 32, அடிக்குறிப்பு). శిల్పము śilpamu ṣilpamu. [Skt.] n. An art, any manual or mechanical art. చిత్తరువు వ్రాయడము మొదలైనపని. శిల్పి or శిల్పకారుడు ṣilpi. n. An artist, artisan, artificer, mechanic, handicraftsman. పనివాడు. A painter, ముచ్చి. A carpenter, వడ్లంగి. A weaver, సాలెవాడు. (Usually) a stonecutter, a sculptor, కాసెవాడు. శిల్పిశాస్త్రము ṣilpi-ṣāstramu. n. A mechanical science; the science of Architecture. చిత్రాదికర్మలను గురించిన విధానము. 

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’ (Gujarati.) 
 khareḍo 'a currycomb' rebus kharada खरडें daybook.
l 

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




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'.
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'.

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)
minDAl 'markhor' (Torwali) meDho 'ram' (Gujarati)(CDIAL 10120) 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:

Mohenjo-daro. Square seal depicting a nude male deity with three faces, seated in yogic position on a throne, wearing bangles on both arms and an elaborate headdress. Five symbols of the Indus script appear on either side of the headdress which is made of two outward projecting buffalo style curved horns, with two upward projecting points. A single branch with three pipal leaves rises from the middle of the headdress. 

Seven bangles are depicted on the left arm and six on the right, with the hands resting on the knees. The heels are pressed together under the groin and the feet project beyond the edge of the throne. The feet of the throne are carved with the hoof of a bovine as is seen on the bull and unicorn seals. The seal may not have been fired, but the stone is very hard. A grooved and perforated boss is present on the back of the seal.
Material: tan steatite Dimensions: 2.65 x 2.7 cm, 0.83 to 0.86 thickness Mohenjo-daro, DK 12050
Islamabad Museum, NMP 50.296 Mackay 1938: 335, pl. LXXXVII, 222 
kūdī 'bunch of twigs' (Sanskrit)  Rebus: kuṭhi 'smelter furnace' (Santali) कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ईAV. v , 19 , 12 Kaus3.ccord. to Kaus3. Sch. = बदरी, "Christ's thorn".(Monier-Williams)
Hieroglyph: kamaḍha ‘penance’ (Pkt.) Rebus 1: kampaṭṭa  ‘mint’ (Ma.) kamaṭa = portable furnace for melting precious metals (Te.);Rebus 2: kaṇḍa ‘fire-altar' (Santali); kan ‘copper’ (Ta.)  

Hieroglyph: karã̄ n. pl. ʻwristlets, bangles ʼ (Gujarati); kara 'hand' (Rigveda) Rebus: khAr 'blacksmith' (Kashmiri) 
The bunch of twigs = ku_di_, ku_t.i_ (Skt.lex.) ku_di_ (also written as ku_t.i_ in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kaus’ika Su_tra (Bloomsfield’s ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk,98) denotes it as a twig. This is identified as that of Badari_, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).[Note the twig adoring the head-dress of a horned, standing person]
Haystack, heap of straw: Ta. kuntam haystack. Ka. kuttaṟi a stack, rick.(DEDR 1724)kuṇḍa3 n. ʻ clump ʼ e.g. darbha -- kuṇḍa -- Pāṇ. [← Drav. (Tam. koṇṭai ʻ tuft of hair ʼ, Kan. goṇḍe ʻ cluster ʼ, &c.) T. Burrow BSOAS xii 374]Pk. kuṁḍa -- n. ʻ heap of crushed sugarcane stalks ʼ; WPah. bhal. kunnū m. ʻ large heap of a mown crop ʼ; N. kunyũ ʻ large heap of grain or straw ʼ, baṛ -- kũṛo ʻ cluster of berries ʼ.(CDIAL 3266)  *kuṇḍaka ʻ husks, bran ʼ.Pa. kuṇḍaka -- m. ʻ red powder of rice husks ʼ; Pk. kuṁḍaga -- m. ʻ chaff ʼ; N. kũṛo ʻ boiled grain given as fodder to buffaloes ʼ, kunāuro ʻ husk of lentils ʼ (for ending cf. kusāuro ʻ chaff of mustard ʼ); B. kũṛā ʻ rice dust ʼ; Or. kuṇḍā ʻ rice bran ʼ; M. kũḍākõ˚ m. ʻ bran ʼ; Si. kuḍu ʻ powder of paddy &c. ʼAddenda: kuṇḍaka -- in cmpd. kaṇa -- kuṇḍaka -- Arthaś.(CDIAL 3267)कोंडा   kōṇḍā m Bran, husk of corn gen. 2 fig. Miliary scab, scurf. 3 fig. Rash, any efflorescence on the body. 4 A small kind of bamboo. 5 Commonly कोंयंडा. कोंड्याचा मांडा करणें To make, by culinary skill, a savory dish out of coarse materials.  कोंडेकड   kōṇḍēkaḍa n A cake composed of rice-bran well peppered and salted.(Marathi)

Ta. kuntam haystack. Ka. kuttaṟi a stack, rick. (DEDR 1724)

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

Ta. kuntu (kunti-) to sit on the heels with legs folded upright, squat; n. sitting on the heels, squatting. Ma. kuttuka to squat, sit on one's heels. Ka.kuntu, kūtu having sat down. Tu. (B-K.) kutoṇu to sit. Te. gontu-gūrcuṇḍu to squat, sit with the soles of the feet fully on the ground and the buttocks touching it or close to it; kudikilu, kudikilãbaḍu to squat down; kundikāḷḷu, kundikundikāḷḷu a boys' game like leapfrog; kundē̆lu hare. Go. (Ko.) kud- to sit (Voc. 748); caus. (KoyaT.) kup-, (KoyaSu.) kuppis-; (many dialects) kuttul a stool to sit on (Voc. 745).(DEDR 1728)

कुन्द a turner's lathe; Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold.  (DEDR 1725)

कुन्द one of कुबेर's nine treasures (N. of a गुह्यक Demetrius Galanos's Lexiko: sanskritikes, anglikes, hellenikes Young bull kār-kunda 'manager' with unique orthographic ligatures elucidates metallurgical competence of 'lapidary, goldsmith, turner' in mint 

Semantics of kār- in kār-kunda

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-बस्त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü-ब॑ठू॒ । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु॒ । लोहकारायोघनःm. a blacksmith's hammer, a sledge-hammer. -gȧji -ग॑जि॒ or -güjü -ग॑जू॒ । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा॑जू॒), a blacksmith's smelting furnace; cf. hāl 5. -kūrü -कूरू॒ । लोहकारकन्या f. a blacksmith's daughter. -koṭu -क॑टु॒ । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क॑टू॒ । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më̆ʦü 1 -म्य॑च़ू॒ । लोहकारमृत्तिका f. (for 2, see khāra 3), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु॒ । 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. añĕ -च़्ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 30). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.(Kashmiri)

Mohenjo-daro. Sealing.  Surrounded by fishes, lizard and snakes, a horned person sits in 'yoga' on a throne with hoofed legs. One side of a triangular terracotta amulet (Md 013); surface find at Mohenjo-daro in 1936, Dept. of Eastern Art, Ashmolean Museum, Oxford. [seated person penance, crocodile?] Brief memoranda: kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’; kaṇḍo ‘stool, seat’ Rebus: kāṇḍa  ‘metalware’ kaṇḍa  ‘fire-altar’.
kAru 'crocodile' Rebus: kAru 'artisan'.

Hieroglyphs (allographs): 
kamaḍha 'penance' (Prakriam) 
kamḍa, khamḍa 'copulation' (Santali)
kamaṭha crab (Skt.)
kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.)  kamat.ha = fig leaf, religiosa (Sanskrit) kamaḍha = ficus religiosa (Sanskrit)
kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Sanskrit) 
Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)  kamaṭa = portable furnace for melting precious metals (Telugu); kampaṭṭam = mint (Tamil)

Glyph: meD 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D. Stampe's Munda etyma) meṭṭu to tread, trample, crush under foot, tread or place the foot upon (Te.); meṭṭu step (Ga.); mettunga steps (Ga.). maḍye to trample, tread (Malt.)(DEDR 5057) మెట్టు (p. 1027) [ meṭṭu ] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు, నడుచు, త్రొక్కు. "మెల్ల మెల్లన మెట్టుచుదొలగి అల్లనల్లనతలుపులండకు జేరి." BD iv. 1523. To tread on, to trample on. To kick, to thrust with the foot.మెట్టిక meṭṭika. n. A step , మెట్టు, సోపానము (Telugu)
Rebus: meD 'iron' (Mundari. Remo.)
Glyph: bhaṭa ‘six’ (G.) rebus: baṭa = kiln (Santali) baṭa = a kind of iron (Gujarati)  [Note: six legs shown on the lizard glyph]
h-155. Crab with six legs
 Seal M-1104 Six legs ligatured to a pincer.
The rebus readings are: aḍi 'anvil' airaṇ 'anvil' (for use in) baṭa 'iron working' or kiln/furnace-work.
Horned deity seals, Mohenjo-daro: a. horned deity with pipal-leaf headdress, Mohenjo-daro (DK12050, NMP 50.296) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan); b. horned deity with star motifs, Mohenjo-daro (M-305) (PARPOLA 1994:Fig. 10.9); courtesy of the Archaeological Survey of India; c. horned deity surrounded by animals, Mohenjo-daro (JOSHI – PARPOLA 1987:M-304); courtesy of the Archaeological Survey of India.

ṭhaṭera 'buffalo horns'. Rebus: ṭhaṭerā 'brass worker'
meḍha 'polar star' (Marathi). Rebus: meḍ 'iron' (Ho.Mu.)

kamadha 'penance' Rebus: kammata 'coiner, mint'
karã̄ n. pl. wristlets, banglesRebus: khAr 'blacksmith, iron worker'
rango 'buffalo' Rebus:rango 'pewter' 
kari 'elephant' ibha 'elephant' Rebus: karba 'iron' ib 'iron'
kola 'tiger' Rebus: kol 'working in iron'
gaNDA 'rhinoceros' Rebus: kaNDa 'im;lements'
mlekh 'antelope, goat' Rebus: milakkha 'copper'
meD 'body' Rebus: meD 'iron''copper'
dhatu 'scarf' Rebus: dhatu 'mineral 

m453B. Scarf as pigtail of seated person.Kneeling adorant and serpent on the field.

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

paṭa. 'serpent hood' Rebus: pata ‘sharpness (of knife), tempered (metal). padm ‘tempered iron’ (Kota) Hieroglyph: फडा (p. 313phaḍā f (फटा S) The hood of Coluber Nága &c. Ta. patam cobra's hood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45.(DEDR 47) Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.
फडपूस (p. 313) phaḍapūsa f (फड & पुसणें) Public or open inquiry. फडफरमाश or स (p. 313) phaḍapharamāśa or sa f ( H & P) Fruit, vegetables &c. furnished on occasions to Rajas and public officers, on the authority of their order upon the villages; any petty article or trifling work exacted from the Ryots by Government or a public officer. 
फडनिविशी or सी (p. 313) phaḍaniviśī or sī & फडनिवीस Commonly 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. 

bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj] Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhī, bhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v. S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ.(CDIAL 9656). kolmo ‘three’ (Mu.); rebus: kolami ‘smithy’ (Telugu) కొలిమి [ kolimi ] kolimi. [Tel.] n. A pit. A fire pit or furnace. ముద్దకొలిమి a smelting forge. నీళ్లకొలిమి a reservoir. కొలిమిత్తిత్తి a pair of bellows.(Telugu) పట్టడ [ paṭṭaḍa ] paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు.(Telugu) Glyph: S. baṭhu m. ‘large pot in which grain is parched; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼM. bhaṭṭā m. ʻ pot of fire ʼ(CDIAL 9656). Glyph: bhaṭa ‘six’ (G.) rebus: baṭa = kiln (Santali); bhaṭṭī f. ʻ forge ʼ(Marathi)(CDIAL 9656). baṭa = a kind of iron (G.) bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits) baṭa = furnace (Santali) bhrāṣṭra = furnace (Skt.) bhaṭa ‘furnace’ (G.) baṭhī f. ʻ distilling furnace' (Sindhi).



Seated person in penance. Wears a scarf as pigtail and curved horns with embedded stars and a twig. 

mēḍha The polar star. (Marathi) Rebus: meḍ ‘iron’ (Ho.) dula ‘pair’ (Kashmiri); Rebus: dul ‘cast (metal)’(Santali) ḍabe, ḍabea ‘large horns, with a sweeping upward curve, applied to buffaloes’ (Santali) Rebus: ḍab, ḍhimba, ḍhompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt together (Santali) kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = (smelter) furnace (Santali) The narrative on this metalware catalog is thus: (smelter) furnace for iron and for fusing together cast metal. kamaḍha ‘penance’.Rebus 1: kaṇḍ ‘stone (ore) metal’.Rebus 2: kampaṭṭa‘mint’


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)
मन्दिरम्   mandiram मन्दिरम् [मन्द्यते$त्र मन्द् किरच्] A dwelling house, habitation, place, mansion; प्रावेशयन्मन्दिरमृद्धमेनम् Ku.7. 55; Bk.8.96; R.12.83; मणिमयमन्दिरमध्ये पश्यति पिपीलिका छिद्रम् Subhāṣ. -2 An abode, a dwelling in general; as in क्षीराब्धिमन्दिरः. -3 A town; विनिक्षिप्य बलं सर्वं बहिरन्तश्च मन्दिरे Rām.6.12.3. -4 A camp. -5 A temple. -6 The body.

   मन्दिरा   mandirā मन्दिरा A stable.मन्दुरा   mandurā मन्दुरा [मन्द् उरच् Uṇ.1.38] 1 A stable for horses, a stable in general; प्रभ्रष्टो$यं प्लवङ्गः प्रविशति नृपतेर्मन्दिरं मन्दुरायाः Ratn.2.2; R.16.41; क्षुराञ्चलैः क्षोभितमन्दुरोदरम् N.; मन्दुरायां निरुद्धो$पि विद्रुतो$भूद्धरिर्हरेः Śiva B.21.74.  -Comp. -पतिः, -पालः the mana- ger of a stable; a groom; शुश्राव ...... । असौ परस्परालापं मन्दुरायामपालयोः Dharmābhyudayamahākāvya 2.42.

मन्थर   manthara मन्थर  An antelope.   मन्ध m. a kind of antelope Shad2vBr. (Sch. मन्थ).(Monier-Williams)

 मन्थर   manthara मन्थर  A spy, an informer.மந்தரன்1 mantaraṉn. perh. mantra. Spy; ஒற்றன். (யாழ். அக.)

मन्थर   manthara मन्थर -रः 1 A store, treasure; A stronghold.(Apte) मन्थर m. a treasure or hair or anger (= कोश , केश , or कोप) (Monier-Williams) 

அனுமந்தரம் aṉu-mantaramn. < anu +. (Mus.) Subsidiary mantaram string, in a lute; மந்தரத்தந்திக்குத் துணையாயுள்ள நரம்பு. (சங். சந்.)   மந்தரம்2 mantaramn. < mandra. 1. (Mus.) The base or lowest pitch; படுத்தலோசை. மந்தர மத்திமை தாரமிவை (கல்லா. 21, 50). 2. (Mus.) The seventh note of the gamut, represented by `ni'; 'நி'என்னும் ஏழாம் சுவரம். (W.) मन्दर m. N. of a sacred mountain (the residence of various deities ; it served the gods and असुरs for a churning-stick at the churning of the ocean for the recovery of the अमृत and thirteen other precious things lost during the deluge) MBh. Ka1v. &c; m. heaven (= स्वर्ग ; cf. मेरु); a mirror; m. a pearl chain consisting of 8 or 16 strings (Monier-Williams)

मन्द्र a kind of drum (Monier-Williams)   मन्द्र   mandra मन्द्र a. [मन्द् रक् Uṇ.2.13] Low, deep, grave hollow, rumbling (as sound); पयोदमन्द्रध्वनिना धरित्री Ki.16.3;7.22; Me.11; R.6.56. -2 Ved. Delightful, pleasing, pleasant; एवं ब्रुवाणे वैकुण्ठे भृगुस्तन्मन्द्रया गिरा Bhāg.1.89.13. -3 Praiseworthy. -न्द्रः 1 A deep sound, low tone. -2 A kind of drum (Apte)





 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


Thigh,buttock ṭã̄g PLUS fish' hieroglyphs on Indus Script signifies aya टंकशाला ṭaṅkaśālā 'alloy metal mint'. This resolves Asko Parpola's dilemma.

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https://tinyurl.com/y6xdt34z

Asko Parpola attempts to decipher the message on m1690 and observes: "One big obstacle in matching the Indus sequences with the Tamil compounds is that it is difficult to recognize the pictorial meaning of the Indus signs. The only one among the not yet interpreted signs preceding the plain ‘fish’ sign that can clearly be understood represents the hind leg of a hoofed animal (Fig. 15a&b). But there is no suitable match in the list of Tamil compound words ending in miin." (Asko Parpola, 2009, 'Hind leg' + 'fish': towards further understanding of the Indus Script, in: Scripta, Volume 1, 2009) 
https://www.harappa.com/sites/default/files/pdf/script-indus-parpola.pdf

The solution to the dilemma faced by Asko Parpola is provided by the reality of an Indian sprachbund 'speech union' of the Sarasvati-Sindhu Civilization.

After Fig. 15 in Parpla https://www.harappa.com/sites/default/files/pdf/script-indus-parpola.pdf (a) sequence ‘thigh’ + ‘fish’ at the beginning of the inscription on seal m1690 Mohenjo-daro, from n old photograph of a modern impression (After CISI 3.1:17); (b) a clearly recognizable variant of ‘hind leg’ or ‘thigh’ sign in a modern impression of seal m71 from Mohenjo-daro (After CISI 1:31)

The one-horned young bull or 'unicorn' is: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver'; kunda 'a treasure'.kō̃da कोँद 'potter's kiln'




m71; Text message of m71





Seal m 71 Mohenjo-daro. Hind leg hieroglyph: Pk. ṭaṁka -- m., °kā -- f. ʻ leg ʼ, S. ṭaṅga f., L. P. ṭaṅg f., Ku. ṭã̄g, N. ṭāṅ; Or. ṭāṅka ʻ leg, thigh ʼ, °ku ʻ thigh, buttock ʼ. 2. B. ṭāṅṭeṅri ʻ leg, thigh ʼ; Mth. ṭã̄gṭãgri ʻ leg, foot ʼ; Bhoj. ṭāṅṭaṅari ʻ leg ʼ, Aw. lakh. H. ṭã̄g f.; G. ṭã̄g f., °gɔ m. ʻ leg from hip to foot ʼ; M. ṭã̄g f. ʻ leg ʼ(CDIAL 5428) टांग or टांगडी   ṭāṅga or ṭāṅgaḍī f (टंग S through H) A low or light term for the leg. 2 esp. टांग A stride: also the stride as a measure of land; as टांगा टा- कून शेत मोजलें. ज्याच्या टांगड्या त्याच्याच गळ्यांत घालणें To catch a man in his own trap; to involve or embarrass one with his own words. टांग बांधणें (To tie up the legs.) To obtain some secret ground of sway over. टांगें तिंबणें (A vulgar and opprobrious phrase.) To get married. 2 To bathe. टांगड्या तोडणें To tiudge; to tramp.(Marathi)


Rebus: stamped coin, mint: टंक [ ṭaṅka ] m S A stone-cutter's chisel. 2 A weight equal to four माष &c. टंकारी  [ ṭakārī or ṭaṅkārī ] m (टंक) A caste or an individual of it. They are workers in stone, makers of handmills &c. ṭaṅkaśālā -- , ṭaṅkakaś° f. ʻ mint ʼ lex. [ṭaṅka -- 1, śāˊlā -- ] N. ṭaksāl°ār, B. ṭāksālṭã̄k°ṭek°, Bhoj. ṭaksār, H. ṭaksāl°ār f., G. ṭãksāḷ f., M. ṭã̄ksālṭāk°ṭãk°ṭak°. -- Deriv. G. ṭaksāḷī m. ʻ mint -- master ʼ, M. ṭāksāḷyā m. Addenda: ṭaṅkaśālā -- : Brj. ṭaksāḷī, °sārī m. ʻ mint -- master ʼ.(CDIAL 5433, 5434). శాల  ṣāla. [Skt.] n. A house, edifice; a hall, room, place. గృహము, సభ, చావడి. అశ్వశాల a stable. ఆయుధశాల an arsenal, an armoury. ముద్రాక్షరశాల a printing office. టంకశాల a mint.  సాల  sāla. [from Skt. శాల.] n. A house, edifice; a hall, room, place. గృహము, సభ, చ ావడి, చెరసాల a prison. టంకసాల a mint. टंकशाला   ṭaṅkaśālā f (S) pop. टंकसाळ or टकसाळ f A mint टांकेकरी   ṭāṅkēkarī m (टांकी & करी) One who works with a टांकी; who chisels or rechisels handmills and grinding stones.टाकसाळ or टांकसाळ   ṭākasāḷa or ṭāṅkasāḷa f (टंकशाला S) A mint. टाकसाळथर   ṭākasāḷathara m Worn and battered coin fit to be returned for new coinage into the mint. टाकसाळी or टांकसाळी   ṭākasāḷī or ṭāṅkasāḷī a (टाकसाळ) Pertaining or relating to the mint--money, a person.टाकसाळी or टांकसाळी   ṭākasāḷī or ṭāṅkasāḷī f A cess upon a mintestablishment,   टाकसाळ्या   ṭākasāḷyā m (टांकसाळ) The master of a mint.(Marathi)



Sign18 is a ligaturedSign1 with an upraised hand Rebus reading is: med 'body' rebus: med 'iron' (Mu.Ho.) PLUS eaka 'upraised hand, shoulde' rebus: eraka 'moltencast, metal infusion'
Sign162 kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS sal 'splinter'rebus: sal 'workshop'.
Sign25 is a ligatures Sign 1 holding a stick. Rebus reading is: med 'body' rebusmed 'iron' (Mu.Ho.); med 'copper' (Slavic languages) PLUS śalá 1 m. ʻ staff ʼ TBr.,rebus: sala 'workshop'

PLUS 'leg' or 'thigh'

Sign12 kuṭi 'water-carrier' (Telugu) rebus: kuṭhi 'smelter' (Santali)

Sign 1 also signifies:
कर्णक m. du. the two legs spread out AV. xx , 133 , 3 rebus: karNI 'helmsman' करण m. writer , scribe W. m. a man of a mixed class (the son of an outcast क्षत्रिय Mn. x , 22 ; or the son of a शूद्र woman by a वैश्य Ya1jn5. i , 92; or the son of a वैश्य woman by a क्षत्रिय MBh. i , 2446 ; 4521 ; the occupation of this class is writing , accounts &c ) (Samskrtam) कारणी or 
कारणीक [ kāraṇī or kāraṇīka ] a (कारण S) That causes, conducts, carries on, manages. Applied to the prime minister of a state, the supercargo of a ship &c. (Marathi)  [kárṇa -- , dhāra -- 1] Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman (CDIAL 2836) 
Thus, the message on m71 Indus Script inscription is:
Metalcasting (metal infusion) mint iron/copper workshop (with) smelter, smithy/forge.
On Seal m1690, the pair of signs, 'leg or thigh' PLUS 'fish' is read rebus as: aya 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS टांग āga 'leg, thigh' rebus: टंक [ ṭaṅka ] m S A stone-cutter's chisel;  ākasāa f (टंकशाला S) A mint.
Together with the one-horned young bull, (The one-horned young bull or 'unicorn' is: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver'; kunda 'a treasure'.kō̃da कोँद 'potter's kiln')the inscriptions on m1690 and m71 signifies the wealth-creation activities in a mint by Sarasvati-Sindhu civilization artisans. 

This is a remarkable reaffirmation of Meluhha or Indian sprachbund 'speech union' as the underlying basis for the Indus Script Cipher.

ṭaṅka-šālā = taṅka-cālai Mint, place where money is coined is signified on m1690 and m71 Indus Script inscriptions

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https://tinyurl.com/y577tsch

Evidence is provided in Tamil lexicon providing the expressions  இடங்கசாலை
iṭaṅka-cālai, taṅka-cālai lit. gold workshop as a synonym of ṭaṅka-šālā'Mint, place where money is coined'. Clearly, தங்கசாலை taṅka-cālai is a dialectical Meluhha form derived from the expression ṭaṅka-šālā 'mint' to specify the minting of gold coins. The reading of the m1690 and m71 Indus Script inscriptions presented herein are consistent with the rest of the Indus Script Corpora of over 8000 inscriptions which are wealth-accounting metalwork ledgers.


This is an addendum to:  https://tinyurl.com/y6xdt34z The word टंक [ aka ] as 'gold coin' is a short-form of the expression టంకసాల ṭanka-sāla. n. A mint.இடங்கசாலை iṭaṅka-cālain. < ṭaṅka +. Mint; அக்கசாலை. வேங்கடாத்திரி தேவமகாராஜய் யனுக்குத் திருவையாறு இடங்கசாலை பாலிக்கையில் (S. I. I. v, 224).   இடங்கணி iṭaṅkaṇin. < ṭaṅka. Chisel; உளி. (W.)   இடங்கம் iṭaṅkamn. < ṭaṅka. 1. A weight of 24 iratti, for weighing precious stones; இரத்தினம்நிறுக்க உபயோகப்படுவதும் 24 இரத்தி

கொண்டதுமான நிறைகல். (சுக்கிரநீதி, 189.) 2. Shovel; மண்தோண்டும் படை. (நாநார்த்த.). 3. Scabbard; வாளினுறை. (நாநார்த்த.) 4. Ankle; கணைக்கால். (நாநார்த்த.)


Ta. taṅkam pure gold, that which is precious, of great worth. Ma. taṅkam pure gold. / ? < Skt. ṭaṅka- a stamped (gold) coin. (DEDR 3013)

I suggest the rebus reading of the 'thigh, buttock' hieroglyph on m1690 and m71 Pk. ṭaṁka -- m., °kā -- f. ʻ leg ʼ, S. ṭaṅga f., L. P. ṭaṅg f., Ku. ṭã̄g, N. ṭāṅ; Or. ṭāṅka ʻ leg, thigh ʼ, °ku ʻ thigh, buttock ʼ. 2. B. ṭāṅṭeṅri ʻ leg, thigh ʼ; Mth. ṭã̄gṭãgri ʻ leg, foot ʼ; Bhoj. ṭāṅṭaṅari ʻ leg ʼ, Aw. lakh. H. ṭã̄g f.; G. ṭã̄g f., °gɔ m. ʻ leg from hip to foot ʼ; M. ṭã̄g f. ʻ leg ʼ(CDIAL 5428) टांग or टांगडी   ṭāṅga or ṭāṅgaḍī f (टंग S through H) A low or light term for the leg. 2 esp. टांग A stride: also the stride as a measure of land Rebus: ṭaṅka- a stamped (gold) coin. 

Thus, (1) the pair of hieroglyphs on m71 read: टंक [ aka ] 'thigh,buttock' rebus: टंक [ aka ] 'gold coin' PLUS kuṭi'water-carrier' (Telugu) rebus: kuṭhi'smelter' (Santali); and
(2) the pair of hieroglyphs on m1690 read: टंक [ aka ] 'thigh,buttock' rebus: टंक [ aka ] 'gold coin' PLUS aya 'fish' rebus: ayas 'alloy metal'.

தங்கசாலை taṅka-cālain. < ṭaṅka +. Mint, place where money is coined; நாணயம் அடிக்குஞ்சாலை. (Tamil lexicon)
m71 sealAfter Fig. 15 in Parpla https://www.harappa.com/sites/default/files/pdf/script-indus-parpola.pdf (a) sequence ‘thigh’ + ‘fish’ at the beginning of the inscription on seal m1690 Mohenjo-daro, from n old photograph of a modern impression (After CISI 3.1:17); (b) a clearly recognizable variant of ‘hind leg’ or ‘thigh’ sign in a modern impression of seal m71 from Mohenjo-daro (After CISI 1:31)

టంకము  ṭankamu. [Tel.] n. A piece of money: a coin: బంగారుటంకము a gold coin. A coin, of the value of 16 copper dubs. దీవారము. A composition of copper and pewter. A stonecutter's chisel. కాసెయులి. టంకసాల ṭanka-sāla. n. A mint. టంకవాటు or టంకసాలవాటు the name of a certain gold coin.
டங்கசாலை ṭaṅka-cālain. < ṭaṅka-šālā. Mint. See தங்கசாலை. (ஈடு, 1, 9, 8, ஜீ.)

Hieroglyph on m1690 
This hieroglyph is a semantic determinative of the 'thigh, buttock' hieroglyph.

Rebus reading refers to a people called ṭaṅgaṇa

*ṭāṅkana ʻ a kind of horse ʼ. [Cf. ṭaṅkaṇa -- 2ṭaṅgaṇa -- 2 m. ʻ name of a people living northwest of Madhyadeśa ʼ R., Pk. ṭaṁkaṇa -- m. ʻ a non -- Aryan tribe ʼ]

K. ṭã̄gun m. ʻ a species of hill pony ʼ, N. ṭã̄ganṭāṅan, B. ṭaṅkan; M. ṭã̄kaṇṭāk˚ m. ʻ a species of small horse ʼ; -- other forms with g ← NW. or Himalayan source: A. ṭāṅnā ʻ a smart horse ʼ; B. ṭāṅgan ʻ a species of pony ʼ, Or. ṭāṅgaṇa; H. ṭã̄gan m. ʻ hill pony ʼ; G. ṭã̄gaṇ n. ʻ a species of pony ʼ.(CDIAL 5454)

 இடங்கசாலை iṭaṅka-cālain. < ṭaṅka +. Mint; அக்கசாலை. வேங்கடாத்திரி தேவமகாராஜய் யனுக்குத் திருவையாறு இடங்கசாலை பாலிக்கையில் (S. I. I. v, 224).   இடங்கணி iṭaṅkaṇin. < ṭaṅka. Chisel; உளி. (W.)   இடங்கம் iṭaṅkamn. < ṭaṅka. 1. A weight of 24 iratti, for weighing precious stones; இரத்தினம்நிறுக்க உபயோகப்படுவதும் 24 இரத்திகொண்டதுமான நிறைகல். (சுக்கிரநீதி, 189.) 2. Shovel; மண்தோண்டும் படை. (நாநார்த்த.). 3. Scabbard; வாளினுறை. (நாநார்த்த.) 4. Ankle; கணைக்கால். (நாநார்த்த.)

தங்கசாலை taṅka-cālain. < ṭaṅka +. Mint, place where money is coined; நாணயம் அடிக்குஞ்சாலை. (Tamil lexicon)




  


*ṭāṅkana ʻ a kind of horse ʼ. [Cf. ṭaṅkaṇa -- 2ṭaṅgaṇa -- 2 m. ʻ name of a people living northwest of Madhyadeśa ʼ R., Pk. ṭaṁkaṇa -- m. ʻ a non -- Aryan tribe ʼ]

K. ṭã̄gun m. ʻ a species of hill pony ʼ, N. ṭã̄ganṭāṅan, B. ṭaṅkan; M. ṭã̄kaṇṭāk˚ m. ʻ a species of small horse ʼ; -- other forms with g ← NW. or Himalayan source: A. ṭāṅnā ʻ a smart horse ʼ; B. ṭāṅgan ʻ a species of pony ʼ, Or. ṭāṅgaṇa; H. ṭã̄gan m. ʻ hill pony ʼ; G. ṭã̄gaṇ n. ʻ a species of pony ʼ.(CDIAL 5454)






kanda 'fire-trench of four arms' an Indus Script Hypertext is a consecrated Vedic अग्नि-कुण्ड agnikuṇḍa

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-- kanda 'fire-trench of four arms', अग्नि--कुण्ड 'enclosed space for consecrated fire', कोंद kōnda'furnace' of dhā̆vaḍ'iron smelter’.

Smelting or ore purification process occurs in a pot-kiln or in an enclosed space of a deep pit.
The Ujjain symbol of four dotted circles on four arms of a + hieroglyph, on early coins of Ancient India provide the leads to decipher the semantics in Meluhha of hieroglyphs/hypertexts as signifiers of smelting processes and smithy/forge processes to produce ingots or metalware,wealth of a nation. This Ujjain symbol on coins of ca. 3rd/4th cent. BCE are derived from a hieroglyph registered on a Rojdi potsherd of Sarasvati-Sindhu Civilization ca. 3rd millennium BCE. A modification of the + symbol is the svastika showing the unique processes of sublimation of zinc in retorts; the sign is read rebus: sattva'svastika symbol' rebus: sattva 'zinc'.
Image result for svastika bharatkalyan97
 See: 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/y69rudws Thus, svastika symbol signifies the unique process for sublimating zinc ore.
"Rojdi is an archaeological site belonging to the Indus valley civilization. It is located on the northern bank of the Bhadar River in Gondal taluka of Rajkot district in central Saurashtra peninsula of Gujarat state in India. It was continuously occupied from 2500 BCE to 1700 BCE...The pottery often has graffiti with signs from the Indus script, such as jar sign. There is also a short inscription in Harappan writing on the rim of a potshred. Five (four complete and one broken) copper or bronze flat axes were found, all belonged to Rojdi C period." .https://en.wikipedia.org/wiki/Rojdi

This monograph establishes the semantics of the + shaped fire-altar shown on Indus Script inscriptions as अग्नि-कुण्डम् with the Kashmiri Indian sprachbund, Meluhha pronunciation variant कोंद kōnda 'kiln, furnace'. Dotted circles surrounding such a pictorial motif signify dhā̆vaḍ 'iron smelter’. Spherical blobs surrounding such a pictorial motif signify g̠ou 'round stone or pellet' rebus: khōa 'alloy ingot' . Thus, the pictorial narrative on Mohenjo-daro seal is a description of the metallurgical process of making alloy metal ingots on a sacred fire-altar.

m2093 Ivory road provides the link between smithy/forge activities and the smelting activities signified by dotted ccircles and signifiers of round blobs or round stones or pellets.
Image result for cylinder seal bisons fishImpression of an Indus-style cylinder seal of unknown Near Eastern origin  On this cylinder seal impression, a round blob is flanked by two bisons (water-buffaloes). rango 'buffalo' rebus: rango 'pewter' PLUS g̠o'round stone or pellet' rebus: khōa 'alloy ingot' Plus dula 'pair' rebus: dul 'metal casting'. Thus, the cylinder seal narrates the processes in a smelter, in a smithy and a forge for producing metal castings from ores.
m2094 seal narrates the processes of smelting and production of metal alloy ingots and lokhaṇḍa'metalware' from metallic ores in a deep + shaped pit or fire-altar with consecrated fire.
Ivory rodm2093m2094 Mohenjo-daro seal

Hieroglyph: seed, something round: *gōṭṭa ʻ something round ʼ. [Cf. guḍá -- 1. -- In sense ʻ fruit, kernel ʼ cert. ← Drav., cf. Tam. koṭṭai ʻ nut, kernel ʼ, Kan. goae &c. listed DED 1722]K. goh f., dat. °i f. ʻ chequer or chess or dice board ʼ; S. g̠ou m. ʻ large ball of tobacco ready for hookah ʼ, °ī f. ʻ small do. ʼ; P. go f. ʻ spool on which gold or silver wire is wound, piece on a chequer board ʼ; N. goo ʻ piece ʼ, goi ʻ chess piece ʼ; A. go ʻ a fruit, whole piece ʼ, °ā ʻ globular, solid ʼ, gui ʻ small ball, seed, kernel ʼ; B. goā ʻ seed, bean, whole ʼ; Or. goā ʻ whole, undivided ʼ, goi ʻ small ball, cocoon ʼ, goāli ʻ small round piece of chalk ʼ; Bi. goā ʻ seed ʼ; Mth. goa ʻ numerative particle ʼ; H. gof. ʻ piece (at chess &c.) ʼ; G. go m. ʻ cloud of smoke ʼ, °ṭɔ m. ʻ kernel of coconut, nosegay ʼ, °ī f. ʻ lump of silver, clot of blood ʼ, °ilɔ m. ʻ hard ball of cloth ʼ; M. goā m. ʻ roundish stone ʼ, °ī f. ʻ a marble ʼ, gouā ʻ spherical ʼ; Si. guiya ʻ lump, ball ʼ; -- prob. also P. goṭṭā ʻ gold or silver lace ʼ, H. goā m. ʻ edging of such ʼ (→ K. goa m. ʻ edging of gold braid ʼ, S. goo m. ʻ gold or silver lace ʼ); M. go ʻ hem of a garment, metal wristlet ʼ.*gōḍḍ -- ʻ dig ʼ see *khōdd -- .Addenda: *gōṭṭa -- : also Ko. u ʻ silver or gold braid ʼ.(CDIAL 4271) Ta. koṭṭai seed of any kind not enclosed in chaff or husk, nut, stone, kernel; testicles; (RS, p. 142, items 200, 201) koṭṭāṅkacci, koṭṭācci coconut shell. Ma. koṭṭakernel of fruit, particularly of coconut, castor-oil seed; kuṟaṭṭa, kuraṭṭa kernel; kuraṇṭi stone of palmfruit. Ko. keṭ testes; scrotum. Ka. koṭṭe, goṟaṭe stone or kernel of fruit, esp. of mangoes; goṭṭa mango stone. Ko. koraṇḍi id. Tu. koṭṭè kernel of a nut, testicles; koṭṭañji a fruit without flesh; koṭṭayi a dried areca-nut; koraṇtu kernel or stone of fruit, cashew-nut; goṭṭu kernel of a nut as coconut, almond, castor-oil seed. Te. kuriḍī dried whole kernel of coconut. Kol. (Kin.) goṛva stone of fruit. Nk. goṛage stone of fruit. Kur. goā any seed which forms inside a fruit or shell. Malt. goṭa a seed or berry. / Cf. words meaning 'fruit, kernel, seed' in Turner, CDIAL, no. 4271 (so noted by Turner).(DEDR 2069) Rebus: khōa 'alloy ingot' (Marathi)

अग्नि--कुण्ड n. a pan with live coals R.; a hole or enclosed space for the consecrated fire Katha1s.(Monier-Williams) अग्नि-कुण्डम्[अग्नेराधानार्थं कुण्डम्] an enclosed space for keeping the fire, a fire-vessel. (Apte) कुण्ड n. [अस् m. L. ] , a bowl-shaped vessel , basin , bowl , pitcher , pot , water-pot Ka1tyS3r. MBh.&c;
a vessel for coals R. v , 10 , 16 &c; a round hole in the ground (for receiving and preserving water or fire cf. अग्नि-कुण्ड) , pit , well , spring or basin of water (especially consecrated to some holy purpose or person) MBh. R. &c

Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda 
trench made as a fireplace during weddings. Pe. kanda fire trench. Kui kanda small trench for fireplace. Malt. kandri a pit. (DEDR 1214) కందకము  kandakamu. [Tel.] n. A ditch, trench. అగడ్త, పరిఘ. కుంట  kunṭa. [Tel.] n. A pond. కొలను, చెరువు. A pit, or hole of any kind పల్లము గుంట. A certain square measure of land, 1/40 of an acre. కుంటముక్కు kunṭa-mukku. n. A sort of fish. H. iv. 224.   కుండము  kunḍamu. [Skt.] n. An earthen pot. A pit or pot for receiving and preserving consecrated fire. A fire pit నిప్పుల గుండము. Ta. kuṭṭam depth, pond; kuṭṭai pool, small pond; kuṇṭam deep cavity, pit, pool; kuṇṭu depth, hollow, pond, manure-pit. Ma. kuṇṭam, kuṇṭu what is hollow and deep, hole, pit. Ka. kuṇḍa, koṇḍa, kuṇṭe pit, pool, pond; guṇḍa hollowness and deepness; guṇḍi hole, pit, hollow, pit of the stomach; guṇḍige pit of the stomach; guṇḍitu, guṇḍittu that is deep; guṇpu, gumpu, gumbu depth, profundity, solemnity, secrecy. Koḍ. kuṇḍï pit; kuṇḍitere manure-pit. Tu. kuṇḍa a pit; koṇḍa pit, hole; guṇḍi abyss, gulf, great depth; gumpu secret, concealed. Te. kuṇṭa, guṇṭa pond, pit; kuṇḍu cistern; guṇḍamu fire-pit; (Inscr.) a hollow or pit in the dry bed of a stream; gunta pit, hollow, depression. Kol. (Pat., p. 115) gunḍi deep. Nk. ghuṇḍik id. Pa. guṭṭa pool. Go.(A.) kunṭa id. (Voc. 737). Konḍa guṭa pit, hollow in the ground. Kui kuṭṭ a large pit (Chandrasekhar, Trans. Linguistic Circle Delhi 1958, p. 2). Kuwi (S.) guntomi pit; (Isr.) kuṇḍi pond. Cf. 1818 Ta. kur̤al and 2082 Kur. xoṇḍxā. / Cf. Skt. kuṇḍa- round hole in ground (for water or sacred fire), pit, well, spring.(CDIAL 1669)

kuṇḍá1 n. (RV. in cmpd.) ʻ bowl, waterpot ʼ KātyŚr., ʻ basin of water, pit ʼ MBh.H. kū̃ḍ f. ʻ tub ʼ, kū̃ṛā m. ʻ small tub ʼ, kū̃ḍā m. ʻ earthen vessel to knead bread in ʼ, kū̃ṛī f. ʻ stone cup ʼ; G. kũḍ m. ʻ basin ʼ, kũḍī f. ʻ water jar ʼ; M. kũḍ n. ʻ pool, well ʼ, WPah.kṭg. kv́ṇḍh m. ʻ pit or vessel used for an oblation with fire into which barley etc. is thrown ʼ; J. kũḍ m. ʻ pool, deep hole in a stream ʼ; (CDIAL 3264) kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). --khasüñü --खस॑ञू॒ । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 1033, where the causal form of the verb is used. (Kashmiri) *kandukara ʻ worker with pans ʼ. [kándu -- , kará -- 1]K. kã̄darkã̄duru dat. ˚daris m. ʻ baker ʼ.(CDIAL 2728)khaní ʻ digging up ʼ AV., f. ʻ mine ʼ VarBr̥S. 2. X gúhā -- 1. [√khan]1. Pk. khaṇi -- f. ʻ mine ʼ; NiDoc. kheni ʻ pit ʼ; A. khani ʻ mine ʼ; Or. khaṇi ʻ large pit for storing paddy ʼ, khaṇā ʻ large and deep pit, trench ʼ; H. khan m. ʻ mine ʼ, khanī f. ʻ pit in which husked rice or other grain is kept ʼ; M. khaṇ f. ʻ mine, quarry ʼ.
2. Sh. (Lor.) khōhkho ʻ cave, shelter of overhanging cliff ʼ; P. khoh f. ʻ hole, cavern, pit ʼ; OAw. khoha ʻ cave ʼ; H. khohkhokhau f. ʻ hole, pit, cave ʼ; G. kho f. ʻ cave ʼ. (CDIAL 3813)
   V کنده kandaʿh, s.f. (3rd) A cavity, a chasm, a cleft, a channel made by a torrent, an abyss, a ravine. 2. A large pit or ditch in which a number of dead bodies are buried after a battle. There are several of these at the top of the Malakand Pass, leading into Suwāt from Peś̱ẖāwer, and weapons and bones are often found protruding. Pl. يْ ey. See کند(Pashto)

 kandará n. ʻ cave, glen ʼ R., m. lex., ˚rīˊ -- f.Pa. kandara -- m. ʻ cave, grotto, glen ʼ; Pk. kaṁdara -- n., ˚rā -- , ˚rī -- f. ʻ hole, cave ʼ; Bi. kãdrī ʻ well dug in a river bank into which river water infiltrates ʼ; Si. kan̆dura ʻ mountain stream or gorge ʼ.(CDIAL 2724)

bal 3 बल् । क्षेत्रस्थानम् m. a suffix forming nouns of place, either proper or common, as in Hazrat-bal, N. of a place (RT.Tr. II, 457); saba-bal, the place where a wedding dinner party is carried on; wura-bal, the place for the cooking-fires of a bridegroom's party; kō̃da-bal, a brick-kiln or a potter's kiln; graṭa-bal (K.Pr. 71), the site of a Persian wheel, a mill-house. The word is esp. used to indicate the presence of water or a place sacred to a minor deity or spirit; thus, Ganēsh-bal, N. of place (RT.Tr. II, 340); Shāradā-bal, N. of a place (ib. 279); Ganga-bal,N. of a famous bathing-place at the source of the Kashmīr Gaṅgā (ib. 407, Śiv. 1684) (Kashmiri)

খন্দ1  khanda1: a ditch; a pit; a piece of low land.

   খণ্ড  khaṇḍa: a part; a fragment; a portion, a region (ভূখণ্ড); a piece (প্রস্তর খণ্ড, বস্ত্রখণ্ড); a slice (একখণ্ড পাউরুটি); a section (of a story, poem etc.); a volume, a copy (বইয়ের প্রথম খণ্ড). ̃কাব্য n. (rhet.) a minor epic or a short poem; an imperfect epic. ̃কাল n. a portion of a particular time, a part of a period. খণ্ড খণ্ড a. cut or broken or separated into pieces. খণ্ড খণ্ড করা v. to cut or break or separate into pieces. ̃গ্রাস n. (astr.) a partial eclipse. ̃প্রলয় n. a partial destruction of the universe; a tremendous upheaval or affray (resembling universal annihilation). ̃বাক্য n. (gr.) a clause. ̃বিখণ্ড same as খণ্ড খণ্ড । ̃যুদ্ধ n. a strife, a skirmish, an affray. খণ্ডশ, খণ্ডে খণ্ডে adv. part by part, in parts; piece by piece, piecemeal.
   খণ্ডন  khaṇḍana: cutting or cleaving or breaking or dividing or separating into parts or pieces; cutting or severing; refutation (যুক্তিখণ্ডন); freeing from, vindication, absolution (দোষখণ্ডন, পাপখণ্ডন); annulment, rescission (বিধিলিপি-খণ্ডন). খণ্ডন করা v. to cut or cleave; to break; to divide, to separate; to sever; to refute; to free from, to vindicate, to absolve; to contradict; to confute, to reverse, to annul, to rescind. খণ্ডনীয় a. that which is to be or can be cut or cleft or severed: breakable; dividable, separable; refutable; vindicable, that which can be absolved; reversible, that which can be rescinded.


Rebus: 
lokhaṇḍa 'metalware'

कोंद kōnda 'kiln, furnace' 

See:


Orthography of a strand on Indus Script Sign 397 and orthographic variants of twisted rope ANE artifacts signify dhā̆vaḍ'iron smelter’. 


 

m2094m2094A See m2093
m0352Am0352Cm0352Dm0352E m0352F dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore 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(CDIAL 6773)
gaṇḍa 'four' rebus: khaṇḍa 'implements' rebus: kaṇḍa 'fire-altar'.

Numeral Sign ||||: gaṇḍa 'four' kaṇḍa 'metalware, equipment, pots and pans' 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.

Addenda: gaṇḍaka -- . -- With *du -- 2: OP. dugāā m. ʻ coin worth eight cowries ʼ.(CDIAL 4001) 4 koa or koa = 1 gaṇḍa = 4 (Santali) This is a classic example of counting in 'fours'; thus, four 'ones' make one gaṇḍa which means 'lit. group of four'.


The + shape of the fire-altar with four arms, is a semantic signifier of  gaṇḍa 
'four' kaṇḍa 'metalware, equipment, pots and pans' 

Dotted circles on Rojdi potsherd 3rd m.BCE, Ujjaini ancient coins and on a Alishar Hyyuk pot signify dhatu 'mineral ore', dhāvaḍ 'smelter' 
http://tinyurl.com/y6799p8h


I submit that dotted circles on Ujjaini ancient coins and on Alisha Huyuk pot signify dhatu 'mineral ore' worked on by dhāvaḍ 'smelter'. This concordance may explain the formation of Proto-Indo-European languages which find expression in Indian sprachbund (speech union), in dialect words or mispronunciations of Meluhha (mleccha). It is possible that ancient Indian artisans landed and settled in Alisha Hoyuk and Cadic Hayuk, in search of and working with mineral resources.



This is an addendum to: Itihāsa. Potsherd of Rojdi with Indus Script inscription shows Ujjaini symbol; the hieroglyph reads in Meluhha rebus dhāvaḍ kaṇḍa 'smelter implements'https://tinyurl.com/y5nczkle


निर्झर मुखोपाध्याय

April 9, 2019 Facebook Harappan Archaeology

Thanks to Nirjhar Mukhopadhyay for this brilliant insight, identifying a Rojdi potsherd with an Indus Script inscription. The hieroglyph used on the potsherd is used as Ujjaini symbol on thousands of ancient mint coins from Ujjain and Eran. Clearly, the hieroglyph signifies the wealth of metalwork in mints. 

See: https://twitter.com/i/status/1117872841930657792
The Ujjaini symbol is traceable to an Indus Script hypertext on Rojdi potsherd which reads: dhāvaḍ kaṇḍa 'smelter implements'. (rebus gaṇḍa 'four' since the dotted circle is shown on four arms of the symbol).

Ujjain standard symbol (which consists of four dotted circles)  which appears on thousands of ancient coins from Ujjain and Eran mints of Ancient India. The same dotted circle occurs on the pot of a Bronze Age site in Turkey, Alishar Hyyuk, close to Cadir Hoyuk. I suggest that the dotted circle is read in Meluhha (mleccha) rebus in the sites of Turkey and India.

There are two hieroglyphs in the dotted circle: 1. Dot; 2. Circle. The dot is an orthographic style to signify a strand (like a strand of thread inserted through a perforated bead). The circle hieroglyph also a livelihood activity, duty, office; the word is vatta ‘circle’ rebus:-ʻduty, office’ (Pali).

 

Thus, together, the hypertext of dotted ciecle signifies:  dhã̄i 'strand' rebus: dhāū, dhāv m.f. ʻ a partic. soft red stoneʼ dhatu 'mineral ore' PLUS vaṭa'string' vaṭṭa 'circle' together rebus expression: dhāvaḍ 'smelter'. Thus, the Ujjaini symbol used as an Indus Script hypertext on Rojdi potsherd reads: dhāvaḍ kaṇḍa 'smelter implements'. cf.dāya 'roll of one in dice game' தாயம் tāyamn. < dāya. 1. Patrimony, inheritance, wealth of an ancestor capable of inheritance and partition (R. F.); பாகத்திற்குரிய பிதிரார்ச்சிதப்பொருள். 2. Share; பங்கு. (யாழ். அக.) 3. Paternal relationship; தந்தைவழிச் சுற்றம். (யாழ். அக.) 4. A fall of the dice; கவறுருட்ட விழும் விருத்தம். முற்பட இடுகின்ற தாயம் (கலித். 136, உரை). 5. Cubical pieces in dice-play; கவறு. (யாழ். அக.) 6. Number one in the game of dice; கவறுருட்ட விழும் ஒன்று என்னும் எண்Colloq

 

Hieroglyph, circle is: vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vr̥t1]1. Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ; L. (Ju.) vaṭ m. ʻ anything twisted ʼ; Si. vaṭa ʻ round ʼ, vaṭa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va'ʻ round ʼ GS 58; -- Paš.ar. waṭṭəwīˊkwaḍḍawik ʻ kidney ʼ ( -- wĭ̄k vr̥kká -- ) IIFL iii 3, 192? 2. Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ passed, gone away, completed, dead ʼ; Ash. weṭ -- intr. ʻ to pass (of time), pass, fall (of an avalanche) ʼ, weṭā -- tr. ʻ to pass (time) ʼ; Paš. wiṭīk ʻ passed ʼ; K.ḍoḍ. buto ʻ he was ʼ; P. batāuṇā ʻ to pass (time) ʼ; Ku. bītṇo ʻ to be spent, die ʼ, bitauṇo ʻ to pass, spend ʼ; N. bitāunu ʻ to pass (time), kill ʼ, butāunu ʻ to extinguish ʼ; Or. bitibā intr. ʻ to pass (of time), bitāibā tr.; Mth. butāb ʻ to extinguish ʼ; OAw. pret. bītā ʻ passed (of time) ʼ; H. bītnā intr. ʻ to pass (of time) ʼ, butnā ʻ to be extinguished ʼ, butānā ʻ to extinguish ʼ; G. vĭ̄tvũ intr. ʻ to pass (of time) ʼ, vatāvvũ tr. ʻ to stop ʼ(CDIAL 12069)

 

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

 

Hieroglyph: 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., (CDIAL 6773)


Rebus: dhāˊtu*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




Alishar Hüyük (in modern Yozgat ProvinceTurkey) was an ancient Near Eastern city. It is near the modern village of Alişar, Sorgun....Alishar Hüyük was occupied beginning in the Chalcolithic Period, through the Bronze Age and the Hittites, and into Phrygian times. A number of Hittite-era cuneiform tablets in Old Assyrian of the Cappadocia type were found there. Mention in those tablets of the town Amkuwa has caused speculation that the site is the Ankuwa mentioned in other Hittite texts...The site was excavated between 1927 and 1932 by a team from the Oriental Institute of Chicago. The work was led by Erich Schmidt...About 12km northwest of Alishar Huyuk, there's another important archaeological site named Cadir Hoyuk (Çadır Höyük in Turkish alphabet).Recent excavators of Cadir Hoyuk have identified this site tentatively with the Hittite city of Zippalanda.Evidence of the first known settlement at Cadir Hoyuk has been radio-carbon dated to the Early Chalcolithic (5300-4500 BC); nevertheless the occupation may well be even earlier than that, and go back to Neolithic (ca. 5500 BC)...Cadir Hoyuk appears to have flourished during the Middle and Late Bronze Age (2000-1100 BC), continuing into the Iron Age.(I. J. Gelb, Inscriptions from Alishar and Vicinity, Oriental Institute Publications 27, The University of Chicago Press, 1935) Hans Henning von der Osten and Erich F. Schmidt, Researches in Anatolia 2. The Alishar Hüyük Season of 1927, Part 1, Oriental Institute Publications 6, The University of Chicago Press, 1930; Hans Henning von der Osten. Researches in Anatolia 9. The Alishar Hüyük Seasons of 1930-1932, Part 3, Oriental Institute Publications 30, The University of Chicago Press, 1937 
https://en.wikipedia.org/wiki/Ali%C5%9Far_H%C3%BCy%C3%BCk

"Phyrgian painted pot (A65608) from the site of Alishar Huyuk in Turkey. The circles in the background behind the deer on the pot are thought by some scholars to be snow." (Oriental Institute). I submit that the dotted circles are NOT snow but signifiers of dhā̆vaḍ 'iron smelters’. The markhor is also an Indus Script hieroglyph: miṇḍā́l 'markhor' rebus: meḍho a ram, a sheep rebus मृदु mṛdu, mẽṛhẽt, meḍ'metal', iron'. Thus the Phyrgian pot Indus Script hypertext signifies Meluhha iron smelters at work.

Indus Script Cipher explains the sign zero (circle) as a hypertext in Meluhha (Bhāratiya sprachbund, speech union) to signify  vaṭṭa 'circle' rebus: ba'iron'.


In the context of using the sign zero in place value notation, the same pair of homonyms (similar sounding words) signify: vaṭṭ'circle' rebus: vartana 'interval or landing point in numeration'

Zero hieroglyph was chosen because it signifies  hieroglyph: vr̥ttá ʻroundedʼŚBr. rebus: vr̥ttá ʻturnedʼ RV. The cognates in Bhāratīya sprachbund with pronunciation variations are: வட்டம் vaṭṭam Circle, circular form, ring-like shape; கிழமைவட்டம் kiḻamai-vaṭṭamn. < id. +. Week, as the cycle of seven kiamai;baṭṭ'that is round' rebus: baṭṭ'barrenness'. Given these semantics, the choice of sign zero as a circle reads: vr̥ttá 'turned' to signify a landing point or 'interval, vartana' of ten in numeration count on base 10.

A good example of the circle to signify baṭṭa 'that is round' is on this cylinder seal read rebus in Meluhha:


Image result for cylinder seal bisons fish


Sign zero is shown flankedby two bisons in the bottom register.

Impression of an Indus-style cylinder seal of unknown Near Eastern origin (After Fig. 6 
http://www.akhabataku.com/IndusScript.htm) "One of the two anthropomorphic figures carved on this seal wears the horns of water buffalo while sitting on a throne with hoofed legs, surrounded by snakes, fishes and water buffaloes. Copyrighted photo by M. Chuzeville for the Departement des antiquites orientales, Musee du Louvre." (Christian Carpelan & Asko Parpola, 2001, On the emergence, contacts and dispersalof Proto-Indo-European, Proto-Uralic andProto-Aryan in an archaeological perspective, pp. 55-150 in: Carpelan, Parpola & Koskikallio 2001, Memoires de la Societe Finno-Ougrienne 242, Helsinki. Suomalais-Ugrilainen Seura). The Meluhha Indus Script readings are: 

dula 'two' rebus: dul 'metal casting'
ranga 'buffalo' rebus:  rango 'pewter'. rangarang pewter is an alloy of tin, lead, and antimony (anjana)  
baṭṭa 'rounded' rebus: baa 'iron' bhaa 'furnace' 
śyena 'eagle' aśani 'thunderbolt' rebus: āhangar 'blacksmith'
eraka 'wing' rebus: eraka 'molten cast, copper'
gaṇḍá4 m. ʻ rhinoceros ʼ lex., °aka -- m. lex. 2. *ga- yaṇḍa -- . [Prob. of same non -- Aryan origin as khaḍgá --1: cf. gaōtsāha -- m. lex. as a Sanskritized form ← Mu. PMWS 138]1. Pa. gaṇḍaka -- m., Pk. gaṁḍaya -- m., A. gãr, Or. gaṇḍā. 2. K. gö̃ m., S. geṇḍo m. (lw. with g -- ), P. gaĩā m., °ī f., N. gaĩo, H. gaĩā m., G. gẽḍɔ m., °ī f., M. gẽā m.Addenda: gaṇḍa -- 4. 2. *gayaṇḍa -- : WPah.kṭg. geṇḍɔ mirg m. ʻ rhinoceros ʼ, Md. genā ← H. (CDIAL 4000). காண்டாமிருகம் kāṇṭā-mirukam , n. [M. ṇṭāmgam.] Rhinoceros; கல்யானை. (Tamil) Rebus: ṇḍa ‘tools, pots and pans and metal-ware’ (Gujarati)  
ayo 'fish' rebus: aya 'iron' ayas 'alloy metal'
kolmo 'rice plant' rebus: kolimi 'smithy, forge'
kuhi a sacred, divine tree, kui 'temple' rebus kuhi 'a furnace for smelting iron ore'.
kūdī 'twig' kuhi 'smelter' PLUS  hangra 'bull' rebus:  hangar 'blacksmith' PLUS ko 'horn' rebus:ko 'workshop'
kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' PLUS dula 'pair' rebus: dul 'metal casting'
फडा phaā f (फटा S) The hood of Coluber Nága Rebus: phaa फड 'manufactory, company, guild'

 Ivory rod, ivory plaque with dotted circles. Mohenjodaro. [Musee National De Arts Asiatiques Guimet, 1988-1989, Les cites oubliees de l’Indus Archeologie du Pakistan.]

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) PLUS vaṭṭa 'circle' rebus: ba'iron' . Together, dhā̆va 'iron-smelters'. 


m1654A ivory cubem1654B ivory cube m1654D ivory cube dhāˊtu 'strand' Rebus: mineral: 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).

Ivory counters. Mohenjo-daro. The hypertexts signify creation of hard alloys from mineral ores. Hieroglyphs: karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi)  

dhāˊtu 'strand' Rebus: mineral: 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).
 Ivory rod, ivory plaque with dotted circles. Mohenjodaro. [Musee National De Arts Asiatiques Guimet, 1988-1989, Les cites oubliees de l’Indus Archeologie du Pakistan.]
 m1951a Hieroglyph: dhāˊtu 'strand' Rebus: mineral: 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).

m2113ABD धातु ‘strand, element’ rebus: ‘primary element of the earth, mineral, metal’  dhātu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā] Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ(whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si.  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)

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

dula ‘duplicated’ rebus; dul ‘metal casting’ PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'.
kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman'


m2089A m2089BC
dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore 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(CDIAL 6773)
kanac 'corner' rebus: kancu 'bell-metal' PLUS sal 'splinter' rebus: sal 'workshop'. Thus bronze/bell-metal workshop.
meḍ ‘body’ rebus: mẽṛhẽt ‘metal’, meḍ ‘iron, copper (red ores)’ (Mu. Ho. Slavic) < mr̥du ‘iron’ mr̥id‘earth, clay, loam’ (Samskrtam)
(Deśīnāmamālā)


m2090 dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore 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(CDIAL 6773)
kanac 'corner' rebus: kancu 'bell-metal' PLUS sal 'splinter' rebus: sal 'workshop'. Thus bronze/bell-metal workshop.
meḍ ‘body’ rebus: mẽṛhẽt ‘metal’, meḍ ‘iron, copper (red ores)’ (Mu. Ho. Slavic) < mr̥du ‘iron’ mr̥id‘earth, clay, loam’ (Samskrtam)
(Deśīnāmamālā)







m2091m2092 मेंढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ 'iron'
(lozenge) Split parenthesis: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'.
meḍ ‘body’ rebus: mẽṛhẽt ‘metal’, meḍ ‘iron, copper (red ores)’ (Mu. Ho. Slavic) < mr̥du ‘iron’ mr̥id‘earth, clay, loam’ (Samskrtam)
(Deśīnāmamālā)

kanac 'corner' rebus: kancu 'bell-metal'
kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman'
PLUS mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.'
khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (Gujarati) PLUS kāmsako, kāmsiyo = a large sized comb (G.) Rebus: kaṁsa'bronze' (Telugu) kharaḍa ‘account day-book’
dāṭu 'cross' rebus: dhatu = mineral (Santali) Hindi. dhāṭnā 'to send out, pour out, cast (metal)' (CDIAL 6771). 
m2093 kolmo ‘rice plant’ rebus: kolilmi ‘smithy, forge’. Thus, metal casting forge. 
dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore 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(CDIAL 6773)
धातु ‘strand, element’ rebus: ‘primary element of the earth, mineral, metal’  dhātu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā] Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ(whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si.  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)

Kikkuli Hittite Text shows that Kikkuli was a Meluhha शहाणा śahāṇā 'expert' from Sarasvati Civilization

We have seen that Kikkuli uses the expression vattana from Indo-Aryan (Meluhha, Bhāratīya sprachbund) to signify, 'intervals, rounds' in the context of horses put through paces of specific number of rounds during training. Kikkuli uses terms such as:  Vedic eka-, tri-, pañca- sapta-, nava-vartana. The numeral compounds used from Indo-Aryan are: aiga-tera-panza-satta-nāwa-wartanna ("one, three, five, seven, nine intervals"). See: 
The Hindu–Arabic numeral systembase-10. An ancient landing point in numeration is a count of ten which forms a set. Digits 1 to 9 gain their multiples of tens by the way they are positioned in a number. for example 
10 signifies One Tens place 
11 signifies One Tens place + numeral 1; 
22 signifies Two tens place PLUS numeral 2; 
123 signifies One Hundreds place + two tens place + numeral 3
Positional notation or place-value notation is a method of representing or encoding numbers. Positional notation is distinguished from other notations (such as Roman numerals) for its use of the same symbol for the different orders of magnitude (for example, the "ones place", "tens place", "hundreds place").

The word used for such placement system of counted numbers in Bhāratīya sprachbud (speech union) isvartanavaṭṭa 

வட்டம்1 vaṭṭam, < Pkt. vaṭṭa < vtta. n. 1. Circle, circular form, ring-like shape; மண்ட லம். (தொல். சொல். 402, உரை.) 2. Halo round the sun or moon, a karantuai-kō; பரிவேடம். (சிலப். 10, 102, உரை.) (சினேந். 164.) 3. Potter's wheel; குயவன் திரிகை. (பிங்.) 4. Wheel of a cart; வண்டிச்சக்கரம். (யாழ். அக.). cf. āvtti. Turn, course, as of a mantra; தடவை. விநாயகர் நாமத்தை நூற்றெட்டு வட்டஞ் செய்து (விநாயகபு. 74, 214).

வட்டன்2 vaṭṭaṉ, part. < வட்டம்1. Each, every. See தோறும். ஆட்டைவட்டன் முக்குறுணி நெற் பொலிசையாக (S. I. I. ii, 69, 3).

வட்டம்1 vaṭṭam Boundary, limit எல்லை. தொழுவல்வினை யொல்லை வட்டங்கடந் தோடுத லுண்மை (தேவா. 5, 9).

வட்டம்1 vaṭṭam Curve, bend; வளைவு. வில்லை வட்டப் பட வாங்கி (தேவா. 5, 9). 
கிழமைவட்டம் kiḻamai-vaṭṭam, n. < id. +. Week, as the cycle of seven kiamai; மண்டலித்துவரும் வாரம். (W.)

The following words from Bhāratīya sprachbund indicate that vaṭṭsignifies 'circle, round'.
Ka. baṭā, baṭṭa, baṭṭu bareness, voidness. Tu. baṭā̆ open, wide. Te. vaṭṭi empty, vacant, void, blank, mere, simple, vain, useless, bare, naked, false, untrue, groundless. Pa. baṭṭi bare ground.(DEDR 5233)

vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vr̥t1]1. Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ; L. (Ju.) va m. ʻ anything twisted ʼ; Si. vaa ʻ round ʼ, vaa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va' ʻ round ʼ GS 58(CDIAL 12069)

varta1 m. ʻ *turning round ʼ, ʻ livelihood ʼ lex. [√vr̥t] S. vau m. ʻ twist ʼ; H. baṭṭā m. ʻ exchange ʼ; -- Si. vaa ʻ subsistence, livelihood ʼ or < vr̥ttá -- .(CDIAL 11346) *vartakara ʻ making turns (of the quail) ʼ. [Pop. etym. for vártikā -- (vartīra -- m. Suśr., ˚tira -- m. lex.)? -- varta -- 1, kará -- 1]Ku. B. baer ʻ quail ʼ; Or. baarabatara ʻ the grey quail ʼ; Mth. H. baer f. ʻ quail ʼ; -- → P. baer˚rā m., ˚rī f., L. baērā m., S. baero m.; K. uru m. ʻ a kind of quail ʼ, baēra m. ʻ quail ʼ.(CDIAL 11350) *vartakaraa ʻ twisting instrument ʼ. [varta -- 1, káraṇa -- ]N. baernu ʻ the stick on which a rope is twisted ʼ.(CDIAL 111351) vartana n. ʻ turning, rolling ʼ Nir., vartanī -- f. ʻ spindle ʼ Lalit. [√vr̥t1]Pa. vaṭṭana -- n. ʻ turning round ʼ, vaṭṭani -- f. ʻ ring, globe ʼ, vaṭṭanāvali -- f. ʻ line of spindles(?) ʼ; Pk. vaṭṭaā<-> f., vattaa -- n., ˚ā -- f. ʻ revolving ʼ; Ḍ. b*l*li f. ʻ disc fixed on large spindle ʼ (?); Kho. bartun ʻ wooden disc fixed on spindle ʼ (a?); K. watan f. ʻ small circular piece of leather or wood or metal for fastening chain of bolt ʼ, watüñü f. ʻ do. used as a toy ʼ; S. vaio m. ʻ spindle ʼ; L. vanā m. ʻ stick for twisting rope P. vaṭṭṇāvaṭṇū m., ˚ī f., baṭṇā˚ū m., ˚ī f.; Ku. baṭṇī ʻ twisting, twist (of a cord) ʼ; B. nā ʻ grinding ʼ; Bi. baanī ʻ fringemaker's wooden reel ʼ; H. banā m. ʻ stick for twisting rope ʼ; G. ṭṇɔ˚iɔ m. ʻ long round stone used in crushing or beating on a slab, muller ʼ.(CDIAL 11354) vartáyati ʻ causes to turn, whirls ʼ RV. [√vr̥t1] Pa. vaṭṭēti tr. ʻ turns, twists ʼ; Pk. vaṭṭēivattaï tr. ʻ turns, rolls into a ball, makes exist, covers ʼ; Dm. bayāy -- ʻ to wrap ʼ; Paš.lauṛ. waṭṭ -- tr. ʻ to pass or spend (time) ʼ; K. waun ʻ to fold up, roll up, close up, collect ʼ; S. vaau, srk. ˚iu ʻ to twist, plait, wring ʼ; L. vaṭṭa, (Ju.) vaa ʻ to twist ʼ, awāṇ. vaṭṭu ʻ to coil ʼ; P. vaṭṭṇā ʻ to twist ʼ; WPah.bhad. baṭṭnū ʻ to twist (rope or thread) ʼ, bhal. baṭṭnū ʻ to fold, roll up (cloth) ʼ, (Joshi) ṭṇu ʻ to knead ʼ; Ku. ṭṇo ʻ to twine, wreathe, fashion ʼ; N. nu ʻ to twist, plait, weave ʼ; A. iba ʻ to twist, grind ʼ; B. ā̄ṭā ʻ to pound, crush ʼ; Or. ibā ʻ to pound ʼ; Bi. banāi ʻ act of rope -- twisting ʼ; H. nā ʻ to twist, twine ʼ; G. vũ ʻ to pound by rolling ʼ; M. ṭṇ ʻ to grind finely by rolling with a muller ʼ, vaṭṇ ʻ to scutch cotton (by rolling) ʼ; Si. vaanavā tr. ʻ to turn round ʼ; Md. vařan ʻ to twist, braid ʼ; -- Pa. vaṭṭāpēti ʻ causes to be turned ʼ, S. vaāiu; P. baāuā ʻ to cause to be twisted, change ʼ (whence vaṭṇāba˚ ʻ to be exchanged ʼ = H. banā ʻ to be twisted ʼ); G. vaāvvũvatāvvũ ʻ to exchange, cash ʼ. Addenda: vartáyati: WPah.kṭg. baṭṇõ ʻ to knead ʼ, J. ṭṇu; A. baiba ʻ to pound ʼ AFD 333; Md. vařanī ʻ twists, surrounds ʼ (in sense ʻ rubs on ʼ < údvartatē?). (CDIAL 11356)vártman n. ʻ track of a wheel, path ʼ RV. [J. Bloch StudII 19 *vartmā nom. sg. m. after ádhvā m. (cf. pánthā -- ) became f. in MIA. -- √vr̥t1]Pa. vauma -- n. ʻ path, road ʼ, Pk. vaṭṭa -- n.m., vaṭṭā<-> f., vaṭṭamaya -- , vaū˘maga -- n., K. wath, dat. ˚ti f., pog. wat, S. a f., P.  f., ḍog. batta f., kgr. bat f., bhaṭ. batt, WPah.bhad. bhal. paṅ. cam. batt f., pāḍ. cur. bat; Ku.  ʻ path, pass ʼ, o m. ʻ path ʼ, N. o (obl. a postp. ʻ from ʼ), A. B. ; Or. a ʻ path, place ʼ; Mth.  ʻ path ʼ, Bhoj. bāt, OAw. OMarw. a f., H.  f., G. M. Ko.  f.; Si. vauma ʻ road ʼ (← Pa.?), devaa ʻ lane ʼ (de -- < dēśá -- ?); -- Sh. ṭṷ m. ʻ wheel ʼ; G. ṭɔ m. ʻ tire ʼ (semant. cf. vartaní -- f. ʻ felly of wheel, path ʼ RV., Pa. vattanī -- f. ʻ track, path ʼ, Pk. vaṭṭaī -- f. ʻ road ʼ). -- Deriv.: N. bauwā ʻ traveller ʼ; B. beo ʻ of the road ʼ < *uāODBL 491; Or. uā ʻ traveller ʼ, G. vɔ m. -- X mārga -- q.v. -- Si. vat ʻ road ʼ (LM 404, EGS 155) extracted from māvat < *mahāpanthā -- . -- See vartís -- from which some of above NIA. feminine words may phonet. equally well derive.Addenda: vártman -- : WPah.kṭg. bāt, kc.  f. (obl. -- a), J. ' f.; Garh. u ʻ way ʼ. (CDIAL 11366)


Field Symbol 118 is ‘dotted circle’.Field Symbol figure 123 These hypertexts are also likely to be related to the orthography (and semantics) of ‘dotted circle + string’. Field Symbol figure 123 is associated with a ‘portable furnace’ indicating the possibility of production of ‘crucible steel’.

These signs (ASI 1977 Mahadevan corpus) may be semantic variants of the ‘dotted circle+ string’ orthography of Sign 397.

Sign 397 dhāī 'strand' PLUS vata, 'string'; together, the expression is:
a dotted circle + string which signifies dhā̆vaḍ ''iron-smelter' who performs the act of purification to win the wealth, the metal from mere earth and stone -- replicating the immeasurability of cosmic phenomena. This symbol is worn on the fillets of the Mohenjo-daro priest (on his forehead and on his right shoulder).
Cross-section view of a strand (say, through a bead), ‘dotted circle’: धातु ‘strand, element’ rebus: ‘primary element of the earth, mineral, metal’  dhātu 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)
dula ‘duplicated’ rebus: dul ‘metal casting’PLUS kolmo ‘rice plant’ rebus: kolilmi ‘smithy, forge’. Thus, metal casting forge. 
 m1272
Or. kāṇḍa, kã̄ṛ ʻstalk, arrowʼ(CDIAL 3023) rebus: kaṇḍa 'implements'.
a
aren,'lid' Rebus: aduru 'native unsmelted metal’ PLUS ko
a 'one' rebus: ko
 'workshop'
kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass'  Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl°lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥ
कौटिलिकः 1 A hunter.-2 A blacksmith  PLUS dula ‘duplicated’ rebus: dul ‘metal casting’. Thus, bronze castings.
kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman' PLUS sal‘splinter’ rebus: sal ‘workshop’
khaṇḍa 'division'. rebus: kaṇḍa 'implements'
dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore 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(CDIAL 6773)
m1350 2599 ranku antelope’ rebus: ranku ‘tin’
kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass'  Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl°lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥ
कौटिलिकः 1 A hunter.-2 A blacksmith  PLUS dula ‘duplicated’ rebus: dul ‘metal casting’. Thus, bronze castings.

kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman' PLUSखांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon) rebus: khaṇḍa 'implements'.
(lozenge) Split parenthesis: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, ingot forge. 
adar ‘harrow’ rebus: aduru ‘native metal’
ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' (R̥gveda)
dhāi 'strand' (R̥gveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a guild of iron-- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ(CDIAL 6773)
kolmo ‘rice plant’ rebus: kolilmi ‘smithy, forge’
m1381A1m1381A2 1559 Seal Impression on a pot
dhāi 'strand' (R̥gveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore 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(CDIAL 6773)
sal ‘splinter’ rebus: sal ‘workshop’
kāru pincers, tongs. Rebus: khār खार् 'blacksmith' 
dula ‘duplicated’ rebus: dul ‘metal casting’ PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS kolom‘three’ rebus: kolimi ‘smithy, forge’
 m1648shell dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore 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(CDIAL 6773)

m1684a Field symbol:  kõda ‘young bull-calf’. Rebus: kũdār ‘turner’. sangaḍa ‘lathe, furnace’. Rebus: samgara ‘living in the same house, guild’. sãgaḍa (double-canoe, catamaran) Hence, smith guild.
Meaning, artha of inscription: Trade (and metalwork wealth production) of kōnda sangara 'metalwork engraver'... PLUS (wealth categories cited.)
koḍa 'one' rebus: koḍ 'workshop'
dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'; dhāvḍā 'smelter'
kolmo ‘rice plant’ rebus: kolilmi ‘smithy, forge’.
m1744 Field symbol:  kõda ‘young bull-calf’. Rebus: kũdār ‘turner’. sangaḍa ‘lathe, furnace’. Rebus: samgara ‘living in the same house, guild’. sãgaḍa (double-canoe, catamaran) Hence, smith guild.

Meaning, artha of inscription: Trade (and metalwork wealth production) of kōnda sangara 'metalwork engraver'... PLUS (wealth categories cited.)
aya, ayo 'fish' rebus: aya 'iron' ayas 'metal' PLUS adaren 'lid' rebus: aduru 'unsmelted metal'
मेंढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ ‘iron’
aDaren,'lid' Rebus: aduru 'native unsmelted metal'.PLUS dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'; dhāvḍā 'smelter'
dāṭu 'cross' rebus: dhatu = mineral (Santali) Hindi. dhāṭnā 'to send out, pour out, cast (metal)' (CDIAL 6771) PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon) rebus: khaṇḍa 'implements'.
kamaḍha 'archer, bow' Rebus: kammaṭa 'mint, coiner, coinage'
khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (Gujarati) PLUS kāmsako, kāmsiyo = a large sized comb (G.) Rebus: kaṁsa 'bronze' (Telugu) kharaḍa ‘account day-book’
m1744 Field symbol:  kõda ‘young bull-calf’. Rebus: kũdār ‘turner’. sangaḍa ‘lathe, furnace’. Rebus: samgara ‘living in the same house, guild’. sãgaḍa (double-canoe, catamaran) Hence, smith guild.
Meaning, artha of inscription: Trade (and metalwork wealth production) of kōnda sangara 'metalwork engraver'... PLUS (wealth categories cited.)
aya, ayo 'fish' rebus: aya 'iron' ayas 'metal' PLUS adaren 'lid' rebus: aduru 'unsmelted metal'
मेंढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ ‘iron’
a
aren,'lid' Rebus: aduru 'native unsmelted metal'.PLUS dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'; dhāvḍā 'smelter'
dāṭu 'cross' rebus: dhatu = mineral (Santali) Hindi. dhāṭnā 'to send out, pour out, cast (metal)' (CDIAL 6771) PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon) rebus: khaṇḍa 'implements'.
kamaḍha 'archer, bow' Rebus: kammaṭa 'mint, coiner, coinage'
khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (Gujarati) PLUS kāmsako, kāmsiyo = a large sized comb (G.) Rebus: kaṁsa 'bronze' (Telugu) kharaḍa ‘account day-book’

m1916a Field symbol: kul ‘tiger’ (Santali); kōlu id. (Telugu) kōlupuli = Bengal tiger (Telugu) 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)
adaren 'lid' rebus: aduru 'unsmelted metal' PLUS dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'; dhāvḍā 'smelter' PLUS sal 'splinter' rebus sal 'workshop' 
मेंढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ ‘iron’ PLUS meḍ ‘body’ rebus: mẽṛhẽt ‘metal’, meḍ ‘iron, copper (red ores)’ (Mu. Ho. Slavic) < mr̥du ‘iron’ mr̥id ‘earth, clay, loam’ (Samskrtam)
(Deśīnāmamālā)
śrētrī ʻladderʼ rebus: seṭṭha 'guild-master'
kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman'

m1120 2362  Field symbol: पोळ [ pōḷa ] m A bull dedicated to the gods, marked with a trident and discus, and set at large. पोळी [ pōḷī ] dewlap. पोळा [ pōḷā ] 'zebu, bos indicus taurus' rebus: पोळा [ pōḷā ] 'magnetite, ferrite ore: Fe3O4' 

aren,'lid' Rebus: aduru 'native unsmelted metal' PLUS dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a guild of iron-- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ(CDIAL 6773)
kāru pincers, tongs. Rebus: khār खार् 'blacksmith' PLUS dula ‘duplicated’ rebus: dul ‘metal casting’
kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman' 



Demonstrating temple architectural and Veda textual tradition to affirm m2094 seal and Ujjain symbol signify Vedi, fire-altar

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https://tinyurl.com/yxghpmst

This is an addendum to: 

 https://tinyurl.com/y4vy252s

Fire Altar. Lothalimage.pngUjjain symbol
image.pngm2094 

This monograph demonstrates that the + shapes shown onm2094 ad on Ujjain symbol signify Vedi, fire-altars.

The + shape of these fire altars is consistent with the description provided in Mānava Śulbasūtra for a Caturaśra Śyena, or "four-sided falcon." The procedure is described lucidly by Patrick A. George in the following post for UPenn at 
http://ccat.sas.upenn.edu/george/vedi.html (reproduced below for ready reference)
चतुर्--श्र mf(आ)n. four-cornered , quadrangular Ka1tyS3r. Kaus3. Pa1n2. 5-4 , 120 Hariv.12378 &c; quadrangular figure; a square (Monier-Williams). 

The text indicates how the body of the Śyena 'falcon' is constructed as a square with the two wings, head and tail added in proportionately to the sizes of wings, head and tail of the falcon; such a construction described in the text (shown in a figure below) is consistent with the shape of the fire-altar shown on Mohenjo-daro seal m2094. 

Ujjain Symbol with four arms is also a variant of the shape of the fire-altar shown on m2094 with each of the four arms ligatured with a dotted circle which has a unique Meluhha signifier expression: dhā̆vaḍ 'iron smelter’.

The basic framework accordingto the text is: catur चतुर् -अश्र, -अस्र a. (for अश्रि-स्रि) 1 four cornered, quardran- gular; R.6.1. A quality of gems; Kau. A.2.11. -2 symmetrical, regular or handsome in all parts; बभूव तस्याश्चतुरस्रशोभि वपुः Ku.1.32. (-श्रः, स्रः) 1 a square. -2 a quardrangular figure. (Apte) Such a चतुर् -अश्र or quadrangular shape is shown in the architectural plan of the Kailasa temple in Ellora.

Stock Photo: Kailash temple, Ellora Caves, Maharashtra state, India.

vedi: Vedic Altars

In the Vedic sacrificial ritual, when a sacrifice is performed for the benefit of a sacrificer, the dimension of the sacrificial altar is derived from the dimension of the sacrificer. The ritual requires that the altar be constructed of layers of bricks, from which the deity is invoked through the power of hymns. Having been invoked, the deity flies to the site of the sacrifice in his ratha, or "chariot," partakes of the sacrifice offered from the altar, and then departs. After this ritual, the altar is abandoned. Accordingly, texts describe altars as falcon-shaped and, to one extent or another, these altars conform to the shape of a bird, or more accurately, the shadow of a bird on the ground.

There are a number of possible representations of falcons, most of which are composed of shapes which bear no resemblance to temple plans, and thus do not share a common constructive diagram. One of the few representations of this falcon that resembles a temple plan is given in the Manava Shulbasutra, which is part of a class of texts called shulbasutras, or "cord-rules," which treat of altar construction. The altar is called Caturasra Shyena, or "four-sided falcon," and consists of a 'falcon' with a square body and head, two rectangular wings, and a rectangular tail.

The first step in the construction of the altar is to determine the size of the angula, or "finger," the fundamental unit of measure used to determine the various dimensions of the altar. The Manava Shulbasutra gives two options for determining the size of the angula, the first based on division, and the second based on multiplication.

According to the first method, if the sacrificer is standing with his feet flat on the ground and his arms raised, then this height is said to be 120angulas; and if the sacrificer is standing on his toes, then this height is said to be 125 angulas. The length of 120 angulas is called a purusha, or "man." In the second method, the distance between the lines forming the middle part of the middle finger of the sacrificer is equal to one angula, or, if the sacrificer is short, then one angula may be formed from the width of six barley grains. Thus, unless the sacrificer's body is found to be deficient, the dimension of the sacrificial altar derives from the dimension of the sacrificer.

The second step in the construction of the altar is to determine its location and orientation. The orientation is both spatial and temporal; the orienting procedure determines not only the direction of the ritual object, but also the time of its construction. Similar procedures were utilized to orient any propitious event.

The simplest procedures for determining time and orientation in the Indian tradition utilize gnomons and ropes. The earliest example of the application of this technique occurs in the orientation of the Vedic sacrificial altar. The shadow of a gnomon is used to determine the primary, east-west line, and pegs, cords, and rods are used to layout a square of 240 x 240 angulas, represented by the gray area in the following figure:

In the figure above east is located at the top, following the Indian tradition of the representation of orientation, and thus the primary east-west line is vertical. When the size and orientation have been fixed, the altar is constructed out of five layers of bricks, each layer consisting of 200 bricks. The height of each layer is six angulas, so that the total height is 30 angulas, which is equal to the width of the largest brick. The 'body' of the falcon is square, the same square with a dimension of 240 angula, or 2 purushas, that was formed at the time of location and orientation of the altar.

In order that the four limbs of the falcon do not break away from the body, structural integrity is maintained by overlapping layers with different arrangements of bricks. The bricks of the first, third, and fifth layers of the Caturasra Shyena altar are are constructed with three different bricks in the following quantities and sizes, where a = angula:


  • 110 30a x 30a
  • 85 12a x 12a
  • 5 12a x 6a
The second, and fourth layers of the Caturasra Shyena altar are constructed with four different bricks in the following quantities and sizes:


  • 110 30a x 30a
  • 75 12a x 12a
  • 10 12a x 6a
  • 5 18a x 12a
The square 'body' of the altar may thus also be described as an 8 x 8 grid, a pattern which is most apparent in the arrangement of bricks in layers 1, 3, and 5. This 8 x 8 grid is proportionally equivalent to the plans of Indian temples, and the areas enclosed by the representations of walls in tantric yantras and
mandalas.





Patrick A. George
(pgeorge@ccat.sas.upenn.edu)
http://ccat.sas.upenn.edu/george/vedi.html

Yamuna was once connected to the palaeo-Ghaggar (i.e. Sarasvati) River

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Discovering ‘buried’ channels of the Palaeo-Yamuna river in NW India using geophysical evidence: Implications for major drainage reorganization and linkage to the Harappan Civilization

World's first wealth accounting Indus Script system of Sarasvati-Sindhu Civilization 'wealth' categories of metalwork in pasra 'smithy'

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-- World's first wealh accounting Indus Script system of Sarasvati-Sindhu Civilization Pictographs of pasaramu 'animals' of Indus Script Corpora are dhanam, 'wealth' categories of metalwork in pasra 'smithy'

--   dhanam, 'cattle' rebus: dhanam 'wealth'. pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Telugu) Thus, the depiction of animals in epigraphs is read rebus in Meluhha (Indian sprachbund or language union) expressions and related to: pasra = smithy (Santali)

-- Quintessential rebus readings relate to pajhar, 'a large vulture' and pasra'a smithy'; the choice of a large vulture explains how composite animals like 'griffins' are created in Indus Script and on artifacts of Ancient Near East (ANE).

Thunderbolt, vajra
See:

https://tinyurl.com/yb72o7za

ahar12Harappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255   

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

dhanga 'mountain range' Rebus: dhangar 'blacksmith'

Ta. eruvai a kind of kite whose head is white and whose body is brown; eagle. Ma. eruva eagle, kite.(DEDR 818). Rebus: eruvai ‘copper’ (Tamil).

eṟaka ‘wing’ (Telugu) Rebus: erako ‘molten cast’ (Tulu) loa ‘ficus’; rebus: loh ‘copper’. Pajhar ‘eagle’; rebus: pasra ‘smithy’.

      
kanda.’fire-altar’.khamba ‘wing’ rebus: kammaTa ‘mint’. gaṇḍa ‘four’ Rebus: khaṇḍa ‘metal implements.  Together with cognate ancu ‘iron’ the message is: native metal implements mint.

श्येन [p= 1095,2] m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle Śulbas. (Monier-Williams) śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sensẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala): 

aśáni f. ʻ thunderbolt ʼ RV., °nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.] Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ. &circmacrepsilon;n (both with n, not ), P. āhiṇ, f., āhaṇaihaṇ m.f., WPah. bhad. ã̄ṇhiṇi f., N. asino, pl. °nā; Si. senaheṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be *ā̤n; -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v.śilāˊ -- . (CDIAL 910) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ]Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207)Bogazkoy Indus Script seal, sēṇa 'eagle' rebus: sena ʻvajra, thunderboltʼ PLUS dhAtu 'strands of rope' Rebus'mineral, metal, ore' (CDIAL 6773) Alternative: मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f. ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: me'iron'. mẽṛhet ‘iron’ (Mu.Ho.)  Alternative: pajhar 'eagle' rebus: pasra 'smithy, forge' dul 'pair' rebus: dul 'metal casting'

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)

eruvai 'kite' rebus: eruvai 'copper'

Hieroglyph: wings: *skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ]S. khambhu°bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mintKa. kammaṭa id.; kammaṭi a coiner. (DEDR 1236).

On the cylinder seal of Adda (c. 2300 BCE), scribe, the eagle flying down towards the water overflowing from the horned person's shoulders compose the key Indus Script hypertexts in Meluhha, which link to Sarasvati Civilization and to R̥gveda ākhyāna 'historical narrative' of श्येन m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c. The word also signifies: firewood laid in the shape of an eagle (शुल्ब-सूत्र). Etyma link श्येन with آهن āhan آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garānآهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing.(Pashto) ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmiri) āhaṇaihaṇ m.f., WPah. bhad. ã̄ṇhiṇi f., N. asino, pl. °nā; Si. senaheṇa ʻ thunderboltʼ (CDIAL 910). The thunderbolt produced by  han-gār अहन्-गार्, 'blacksmith' is the vajra, 'thunderbolt' eulogised as the powerful weapon of Indra in R̥gveda. This is iron metalwork, weapon in armoury par excellence of अहन्-गार् 'blacksmiths' of Sarasvati Civilization. Overflowing pot signifies: lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans' (Marathi) emanating from khamba 'shoulder' rebus: kammaṭa 'mint' and the eagle signifies: senaheṇa ʻ thunderboltʼ PLUS khamba 'wings' rebus: kammaṭa 'mint', i.e. metallic weapon, vajra, from the mint. A leafless tree is signified on the mountain of Adda, scribe seal: khōṇḍa'leafless tree' (Marathi). Rebus: kõdār 'turner' (Bengali) Rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃daपयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri).A one-horned young bull frequently signified on Indus Script Corpora is signified below the feet of the horned person on Adda, scribe cylinder seal: the hypertext is:  kō̃da 'young bull' rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri). Thus, working with a smelter, The mountain-range is topped by a kuṭi 'tree' rebus: kuṭhi'smelter' worked by danga 'mountain range' rebus: dhangar 'blacksmith'. In another register on the Adda, scribe cylinder seal, an archer stands next to a roaring lion to signify a brass mint: arye 'lion' rebus: āra 'brass' PLUS kamaḍha 'archer' Rebus: kammaṭa 'mint, coiner, coinage'; The thunderbolt is made of ayaskāṇḍa, 'excellent iron': ayo 'fish' rebus: ayas 'metal alloy' aya 'iron' (Gujarati) PLUS kāṇḍā 'water', rebus:  'metalware, tools'. Thus, ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ). āhan is iron, ayas is iron, also alloy metal.


British Museum.Greenstone seal of Adda

Akkadian, about 2300-2200 BCE From Mesopotamia Height: 3.900 cm Diameter: 2.550 cm Acquired by E.A.W. Budge ME 89115 Room 56: Mesopotamia
EnkiNote the overflowing water flowing from the shoulders of the horned person with one foot on the mountain-range:

Ko. ko· (obl. ko·) horns  (DEDR 2200) ṇḍa ʻ hornless ʼ(Kalash)(CDIAL 3508). Rebus: koḍ 'workshop'. 

arye 'lion' āra 'brass'. 

Variant, water flowing out from shoulders:
Image result for griffin mesopotamiamilky chalcedony. Griffin fights a griffin anthropomorph -- over a bull calf. The fight is over control of mineral ores: dhāūdhāv m.f. ʻ a partic. soft red stone ʼ 

damya ʻ tameable ʼ, m. ʻ young bullock to be tamed ʼ Mn. [~ *dāmiya -- . -- √dam]
Pa. damma -- ʻ to be tamed (esp. of a young bullock) ʼ; Pk. damma -- ʻ to be tamed ʼ; S. ḍ̠amu ʻ tamed ʼ; -- ext. -- ḍa-- : A. damrā ʻ young bull ʼ, dāmuri ʻ calf ʼ; B. dāmṛā ʻ castrated bullock ʼ; Or. dāmaṛī ʻ heifer ʼ, dāmaṛiā ʻ bullcalf, young castrated bullock ʼ, dāmuṛ˚ṛi ʻ young bullock ʼ.
Addenda: damya -- : WPah.kṭg. dām m. ʻ young ungelt ox ʼ.(CDIAL 6184) L. ḍãvarāvaṇ, (Ju.) ḍ̠ã̄v˚ ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several buffalo -- calves together ʼ, Or. daũ̈rādaürā ʻ rope ʼ; Bi. daũrī ʻ rope to which threshing bullocks are tied, the act of treading out the grain ʼ, Mth. dã̄mardaũraṛ ʻ rope to which the bullocks are tied ʼ; H. dã̄wrī f. ʻ id., rope, string ʼ, dãwrī f. ʻ the act of driving bullocks round to tread out the corn ʼ. -- X *dhāgga<-> q.v.
*dāmayati2; *dāmakara -- , *dāmadhāra -- ; uddāma -- , prōddāma -- ; *antadāmanī -- , *galadāman -- , *galadāmana -- , *gōḍḍadāman -- , *gōḍḍadāmana -- , *gōḍḍadāmara -- .dāmán -- 2 m. (f.?) ʻ gift ʼ RV. [√1]. See dāˊtu -- .*dāmana -- ʻ rope ʼ see dāˊman -- 1.Addenda: dāˊman -- 1. 1. Brj. dã̄u m. ʻ tying ʼ. (CDIAL 6283) Rebus: 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. dhāuʻ 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)

Overall: 1 5/8 × 5/8 in. (4.2 × 1.7 cm)
The Pierpont Morgan Library, New York; Morgan Seal 608
Morgan Seal 608
Provenance: 
Acquired by Pierpont Morgan sometime between 1885 and 1908
Notes: 
"In 607 and 608, both of which picture a bull calf lying between two contestants, the composition is more formal. The scheme used here--that of two fighting figures with a third between them--was preserved in Neo-Babylonian seals of the first millennium... but discarded by Neo-Assyrian seal cutters. As to the significance of the unusual scene of 608, it may be mentioned that Assyrian texts refer to a divine bull as the son of Shamash, the sun god. Furthermore, Frankfort has interpreted the griffin as the equivalent of the angel of death and the griffin-demon as its antithesis--the latter having potency to ward off the griffin, since it is equipped with the most characteristic features of its monstruous and evil opponent. The scene in 608 may therefore symbolize a struggle between the forces of life and death, in which the imperiled bull stands for a manifestation of the sun. ". Porada, CANES, p. 70
Summary: 
Griffin poised in menace over kneeling calf and held by foreleg in grasp of griffin-demon armed with dagger.
Classification: 
Image result for griffin mesopotamiaAnzu, ANE. Winged tiger, winged warrior.



m-1169 m1169 Field symbol: Pict-58: Composite motif: body of  an ox and three heads:  of a one-horned bull (looking forward), of antelope (looking backward), and of short-horned bull (bison)  (looking downward).Pictorial motif of three combined animals: 

 Hieroglyph: sangaḍa 'joined parts of animals' (Marathi) rebus: संगर sangar 'trade',

barad, balad 'ox' rebus: bharata 'factitious alloy of copper, pewter, tin'

कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner'.(metalworker)

melh 'goat' (Brahui) rebus: milakkhu 'copper' (Pali) mleccha 'copper' (Samskrtam)

Text message:

Text 2024 (Mahadevan ASI 1977 Concordance)
dula 'two' rebus: dul 'metal casting'
kole.l 'temple' rebus: kole.l 'smithy, forge'
పోలడు [ pōlaḍu ] , పోలిగాడు or దూడలపోలడు pōlaḍu. [Tel.] n. An eagle. పసులపోలిగాడు the bird called the Black Drongo. Dicrurus ater. (F.B.I.)(Telugu) rebus: पोळ [ pōḷa ] 'magnetite', ferrous-ferric oxide Fe3O4 (Asuri) पोलाद [ pōlāda ] n ( or P) Steel. पोलादी a Of steel. (Marathi) bulad 'steel, flint and steel for making fire' (Amharic); fUlAd 'steel' (Arabic) The Marathi gloss pōlāda may be formed with pōḷa+hlād = magnetite ore + rejoice.

Parenthesis which encloses the bird is a split lozenge or ingot shape: mũh 'a face' in Indus Script Cipher signifies mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.'

sal 'splinter' rebus: sal 'workshop'. Thus the hypertext composed of four hieroglyphs: bird, ingot, parenthesis, splinter is a Meluhha expression which signifies: workshop (for) magnetite, ferrite ore, steel ingot .

Hieroglyph: kaṇḍa ‘arrow’ (Skt.) H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers (CDIAL 3024). Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus:  ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ)  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’.

Hieroglyph: ayo 'fish' rebus: aya 'iron' (Gujarati) ayas 'alloy metal' (Rigveda) 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’.

dula 'two' rebus: dul 'metal casting'

ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS khambhaṛā ʻfinʼ rebus: kammaa 'coiner, coinage, mint (Kannada)

Hypertext: baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) PLUS muka ‘ladle’ (Tamil)(DEDR 4887) Rebus: mū̃h ‘ingot’ (Santali) 

kolom 'three' rebus: kolimi 'smithy, forge'.

The inscription on Mohenjodaro seal m1169 is thus a repository of technical information about metalwork produced by the artisan guild of smithy/forge and transacted for trade. The metalwork catalogue documents the wealth created and traded by working with 1. magnetite (ferrite) ore in furnaces to produce hard iron (steel); 2 bharata, alloy of copper, pewter, tin; 3. copper, ayas metal alloy; 5. metals engraving/sculpting using cire perdue (lost-wax) technique to produce ingots and metal implements.


m-1177 
m1177, m0300 Mohenjo-daro seals ligature a human face to the trunk of an elephant.This epigraphy model provides the framework of an artistic style in iconography of Gaṇeśa. 

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

There are many examples of the depiction of 'human face' ligatured to animals:

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

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

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

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

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

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

moṇḍ the tail of a serpent (Santali) Rebus: Md. moḍenī ʻ massages, mixes ʼ. Kal.rumb. moṇḍ -- ʻ to thresh ʼ, urt. maṇḍ -- ʻ to soften ʼ (CDIAL 9890) Thus, the ligature of the serpent as a tail of the composite animal glyph is decoded as: polished metal (artifact). Vikalpa: xolā = tail (Kur.); qoli id. (Malt.)(DEDr 2135). Rebus: kol ‘pañcalōha’ (Ta.)கொல் kol, n. 1. Iron; இரும்பு. மின் வெள்ளி பொன் கொல்லெனச் சொல்லும் (தக்கயாகப். 550). 2. Metal; உலோகம். (நாமதீப. 318.) கொல்லன் kollaṉ, n. < T. golla. Custodian of treasure; கஜானாக்காரன். (P. T. L.) கொல்லிச்சி kollicci, n. Fem. of கொல்லன். Woman of the blacksmith caste; கொல்லச் சாதிப் பெண். (யாழ். அக.) The gloss kollicci is notable. It clearly evidences that kol was a blacksmith. kola ‘blacksmith’ (Ka.); Koḍ. kollë blacksmith (DEDR 2133). Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith; (Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge (DEDR 2133) கொல்² kol Working in iron; கொற்றொழில். Blacksmith; கொல்லன். (Tamil) mũhe ‘face’ (Santali); Rebus: mũh '(copper) ingot' (Santali);mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) கோடு kōṭu : •நடுநிலை நீங்குகை. கோடிறீக் கூற் றம் (நாலடி, 5). 3. [K. kōḍu.] Tusk; யானை பன்றிகளின் தந்தம். மத்த யானையின் கோடும் (தேவா. 39, 1). 4. Horn; விலங்கின் கொம்பு. கோட்டிடை யாடினை கூத்து (திவ். இயற். திருவிருத். 21). Ko. kṛ (obl. kṭ-) horns (one horn is kob), half of hair on each side of parting, side in game, log, section of bamboo used as fuel, line marked out. To. kwṛ (obl. kwṭ-) horn, branch, path across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn (DEDR 2200)Rebus: koḍ = the place where artisans work (G.) kul 'tiger' (Santali); kōlu id. (Te.) kōlupuli = Bengal tiger (Te.)Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H.kolhā, °lā m. ʻ jackal ʼ, adj. ʻ crafty ʼ; G. kohlũ, °lũ n. ʻ jackal ʼ, M. kolhā, °lā m. krōṣṭŕ̊ ʻ crying ʼ BhP., m. ʻ jackal ʼ RV. = krṓṣṭu -- m. Pāṇ. [√kruś] Pa. koṭṭhu -- , °uka -- and kotthu -- , °uka -- m. ʻ jackal ʼ, Pk. koṭṭhu -- m.; Si. koṭa ʻ jackal ʼ, koṭiya ʻ leopard ʼ GS 42 (CDIAL 3615). कोल्हा [ kōlhā ] कोल्हें [ kōlhēṃ ] A jackal (Marathi) Rebus: kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pañcaloha’ (Ta.) Allograph: kōla = woman (Nahali) [The ligature of a woman to a tiger is a phonetic determinant; the scribe clearly conveys that the gloss represented is kōla] karba 'iron' (Ka.)(DEDR 1278) as in ajirda karba 'iron' (Ka.) kari, karu 'black' (Ma.)(DEDR 1278) karbura 'gold' (Ka.) karbon 'black gold, iron' (Ka.) kabbiṇa 'iron' (Ka.) karum pon 'iron' (Ta.); kabin 'iron' (Ko.)(DEDR 1278) Ib 'iron' (Santali) [cf. Toda gloss below: ib ‘needle’.] Ta. Irumpu iron, instrument, weapon. a. irumpu,irimpu iron. Ko. ibid. To. Ib needle. Koḍ. Irïmbï iron. Te. Inumu id. Kol. (Kin.) inum (pl. inmul)iron, sword. Kui (Friend-Pereira) rumba vaḍi ironstone (for vaḍi, see 5285). (DEDR 486) Allograph: karibha -- m. ʻ Ficus religiosa (?) [Semantics of ficus religiosa may be relatable to homonyms used to denote both the sacred tree and rebus gloss: loa, ficus (Santali); loh ‘metal’ (Skt.)]

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


The composite animal (bovid) is re-configured by Huntington. http://huntington.wmc.ohio-state.edu/public/index.cfm Components of the composite hieroglyph on seal M-299. A ligaturing element is a human face which is a hieroglyph read rebus in mleccha (meluhha): mũhe ‘face’ (Santali) ; rebus:mũh metal ingot (Santali). Using such readings, it has been demonstrated that the entire corpora of Indus writing which now counts for over 5000 inscriptions + comparable hieroglyphs in contact areas of Dilmun where seals are deployed using the characeristic hieroglyphs of four dotted circles and three linear strokes.  

Image result for jarrige elephant buffalo tiger sculpture
Zebu is ligatured as distinctive high horns to create a composite hieroglyph ‘composite animal motif’ as in m0301: human face, body or forepart of a ram, body and forelegs of a unicorn, horns of a zebu, trunk of an elephant, hindlegs of a tiger and an upraised serpent-like tail:

A truly fascinating paper by Dennys Frenez and Massimo Vidale on composite Indus creatures and their meaning: Harappa Chimaeras as 'Symbolic Hypertexts'. Some Thoughts on Plato, Chimaera and the Indus Civilization at a.harappa.com/...
On this seal, the key is only 'combination of animals'. This is an example of metonymy of a special type called synecdoche. Synecdoche, wherein a specific part of something is used to refer to the whole, or the whole to a specific part, usually is understood as a specific kind of metonymy. Three animal heads are ligatured to the body of a 'bull'; the word associated with the animal is the intended message.

Mohenjo-daro Seal 1927 with epigraphs on two-side is a confirmation that the horns ligatured to the composite animal on m1927b are horns of zebu.

The pictorial motif hieroglyphs message on the seal:

khũṭ  ‘zebu’ Rebus: ‘(native metal) guild’ This refrain is detailed by the zebu horns affixed to the compositive animal hieroglyph. A synonym is aḍar ḍangra read rebus: aduru ḍhangar ‘blacksmith’(Santali)

The composite animal hieroglyph can thus be seen as an expansion of the message conveyed by the zebu hieroglyph expanding the blacksmith guild activities to other minerals and metals beyond aduru ‘native, unsmelted metal’. The text message seems to be identical on both sides of the seal m1927: bronze workshop; metal smithy castings; forge. The zebu side a of the seal seems to denote the work of a native-metal-smith; the composite animal side b of the seal seems to denote the expanded work of a blacksmith working with stones, minerals and metals. The composite hieroglyph on m1927b was perhaps called:व्याळ [ vyāḷa ] m (व्याल S) A serpent. Ex. जैसें पायास दंशिलें महा व्याळें ॥ तों मस्तकासीं वृश्चिकें दंशिलें ॥. 2 Applied popularly to the नाग or भुजंग.व्याल [ vyāla ] m S A serpent. (Marathi) யாளவரி yāḷa-vari n. < vyāḷayāḷi யாளி yāḷi, n. < vyāḷa. [K. yāḷi.]  A mythological lion-faced animal with elephantine proboscis and tusks; யானையின் தந்தமும் துதிக்கையுஞ் சிங்கத்தின் முகமுமுடையதாகக் கருதப் படும் மிருகம். உழுவையும் யாளியு முளியமும் (குறிஞ் சிப். 252). 1 A vicious elephant; व्यालं बाल- मृणालतन्तुभिरसौ रोद्धुं समुज्जृम्भते Bh.2.6. -2 A beast of prey; वसन्त्यस्मिन् महारण्ये व्यालाश्च रुधिराशनाः Rām.2.119. 19; वनं व्यालनिषेवितम् Rām. -3 A snake; H.3.29. -4 A tiger; Māl.3. -5 A leopard. व्यालकः A vicious or wicked elephant.

The text message on the seal:

kanac ‘corner’ Rebus:  kañcu ‘bronze’
sal ‘splinter’ Rebus: sal ‘workshop’
|| dula ‘pair or two’ Rebus: dul ‘cast metal’
||| kolom ‘three’ Rebus: kolami ‘smithy, forge’
kolmo ‘paddy plant’ Rebus: kolami ‘smithy, forge’
Bronze alloy workshop kañcu sal starting with bronze which is a tin + copper alloy or tin bronze (as distinguished from arsenical bronze, i.e. naturally occurring copper + arsenic).
dula ‘two’ Rebus: dul ‘cast metal’
dolom ‘three’ Rebus: kolami ‘smithy, forge’
kolmo ‘paddy plant’ Rebus: kolami ‘smithy, forge’. Vikalpa: mogge ‘sprout, bud’ Rebus: mū̃h ‘ingot’

m1169, m1177, m1175, m300 etc. are examples of composite groups of animals inscribed to signify that they are dhanam, 'wealth' categories created and shared by the members of artisan/seafaring merchant guilds with the community at large, thus generating wealth of a nation.
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Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script symbols.  In the centre is a horned crocodile (gharial) surrounded by other animals including a monkey.

https://www.harappa.com/indus/32.html

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


 


https://tinyurl.com/yb3s2pyl

I suggest that the three tigers with interlocked bodies connote cāli 'interlocked bodies'.

Rebus-metonymy layered cipher yields the plain text Meluhha message : kola 'tiger'> kolom 'three' PLUS cāli 'interlocked bodies': kammasālā 'workshop' (Prakritam) < kolimi 'forge' PLUS śālā, i.e. smithy workshop; 
salāyisu = joining of metal (Kannada).

m2015, m0295 The three interlocked tigers show their feline claws prominently. panja 'feline paw' rebus:panja 'kiln, furnace' PLUS kola 'tiger' rebus: kol 'working in iron'; kolhe 'smelter'.

m0295 Pict-61: Composite motif of three tigers (Mahadevan concodance)Location: Mohenjo Daro, Larkana Dt., Sind, Pakistan Site: Mohenjo Daro Monument/Object: carved sealCurrent Location: National Museum, New Delhi, India Subject: interlinked tigers Period: Harappa/Indus Civilization (Pakistan) (3300-1700 BCE) Date: ca. 2100 - 1750 BCE Material: stone Scan Number: 27412 Copyright: Huntington, John C. and Susan L. Image Source: Huntington Archive 

Here is a rendering of this Mohenjo-daro seal with three entwined tigers, in colour by a Historian, Walter Plitt Qintin:
kola ‘tiger’ rebus: kol ‘furnace, forge’ cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali)Hieroglyph of joined, interlocked bodies: cāli (IL 3872); rebus: śālika (IL) village of artisans. cf. salāyisu = joining of metal (Ka.)

Orthography of Harappa Script Corpora presents two variants of 'interlocked' bodies of kola, 'tigers' (rebus: kol 'blacksmith'): e.g., (a) m0295 (PLUS Text message hieroglyphs), (b) m1395 with upto six bodies of tigers intertwined" (bhaa 'six' rebus: bhaa 'furnace').

cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali) Allograph: sal ‘splinter’.

m0295 Text1386 Note how the hieroglyph components of the text are displayed in the space available on the seal after the pictorial motif hieroglyphs have been put together as part of the hypertext. The broken corner of the seal may have included other 'text hieroglyphs called signs'.
The text messageis: bronze workshop, scribe/account iron supercargo, helmsman, smithy/forge/temple. 
Details of Text: 
kōna corner (Nk.); tu. u angle, corner (Tu.); rebus: kõdā ‘to turn in a lathe’ (Bengali) Alternative reading; kanac 'corner' rebus: kañcu 'bronze'

sal 'splinter' Rebus: sal 'workshop'

कर्णकः karṇakḥ कर्णकः Ved. 1 A prominence; handle' rebus: karṇī 'supercargo, scribe. 

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

kaṇḍkarṇaka ‘furnace scribe'

कर्णक kárṇaka कर्णक kárṇaka, kannā m. du. the two legs spread out AV. xx , 133 'spread legs'; 

(semantic determinant) rebus: kárṇaka, kannā कर्णक 'helmsman'.PLUS 

me ‘body’ Rebus: me ‘iron’ (Mu.) 


kole.l smithy, temple in Kota village (Ko.) rebus: kole.l 'smithy, forge'; kolimi 'smithy, forge' 

kola 'tiger' Rebus: kol 'working in iron'; kolle 'blacksmith'; kolimi 'smithy, forge'; kole.l 'smithy, temple' 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)

Hieroglyph of ‘looking back’ is read rebus kamar 'artisan': క్రమ్మరు [krammaru] krammaru. [Tel.] v. n. To turn, return, go  back. మరలు.  క్రమ్మరించు or  క్రమ్మరుచు  krammarinsu. V. a. To turn, send back, recall. To revoke, annul,rescind.క్రమ్మరజేయుక్రమ్మర krammara Adv. Again. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు. krəm backʼ(Kho.)(CDIAL 3145) Kho. Krəm ʻ back ʼ NTS ii 262 with (?) (CDIAL 3145)[Cf. Ir. *kamaka  or *kamraka -- ʻ back ʼ in Shgh. Čůmčʻbackʼ,Sar. Čomǰ EVSh 26] (CDIAL 2776) cf. Sang. kamak ʻ back ʼ, Shgh. Čomǰ (< *kamak G.M.) ʻ back of an animal ʼ, Yghn. Kama ʻ neck ʼ (CDIAL 14356). Kár, kãr  ‘neck’ (Kashmiri) Kal. Gřä ʻ neck ʼ; Kho. Go ʻ front of neck, throat ʼ. Gala m. ʻ throat, neck ʼ MBh. (CDIAL 4070)  Rebus: karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali)

kolmo 'three' Rebus: kolimi 'smithy, forge'

Thus, the message on the seal reads: me ‘iron’; kāḍ  ‘stone’;  karṇaka karṇika ‘helmsman, supercargo, furnace scribe'; kolimi 'smithy, forge' kole.l 'smithy, temple'; sal ‘workshop’ PLUS kõdā sal 'turner workshop' (Alternative: kañcu sal 'bronze workshop')

The entire hypertexts of pictorial and text hieroglyph components can thus be read using rebus-metonymy-layered-meluhha cipher as: 'iron stone furnace scribe smithy-forge, temple, bronze turner's workshop'.


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) 

కరుకోల (p. 252) karukōla karu-kōla. [Tel.] n. A firing iron, for cautery. கொல்லுலை kol-l-ulai 
  , n. < id. +. Black-smith's forge; கொல்லனுலை. கொல்லுலைக் கூடத் தினால் (குமர. பிர. நீதிநெறி. 14).கொல்² kol Working in iron; கொற்றொழில். Blacksmith; கொல்லன். 5. Lock; பூட்டு. (பிங்.)  Brass or iron bar nailed across a door or gate; கதவு முதலியவற்றில் தைக்கும் இரும்பு முதலிய வற்றாலாகிய பட்டை. Loc.

Obverse of m1395 and m0441 had the following images of a multi-headed, six tigers.

m1395B, m0441B


Obverse of the tablets (e.g. m1395) signify functions of the manager of the guild 

of artisans/merchants: 


1. bica ‘scorpion’ rebus ‘haematite, ferrite ore  
2. krammara ‘look back’ rebus: kamar ‘smith’ PLUS kola 'tiger' rebus: kol, kolle 'blacksmith'
3. karabha ‘trunk of elephant’ ibha ‘elephant’  rebus: karba ‘iron’ ib ‘iron’ ibbo ‘merchant’ 
4. kaṇḍa ‘rhinoceros’ rebus; kaṇḍa ‘implements’ 
5. kuṭhAru ‘monkey’ rebus: kuṭhAru ‘armourer’ 
6. dula ‘two’ rebus: dul ‘metal casting’ dhangar ‘bull’ rebus; dhangar ‘blacksmith’. barada, balad 'ox' rebus: bharata,baran 'factitious alloy of copper, pewter, tin'. 

The message is: haematite (ferrite ore), blacksmith artisan, iron implements merchant, armourer, hard alloy metalcasting.

--Data mining of Harappa Script Corpora, karaa aquatic bird, kola, 'tiger',  poa, 'zebu' tied to a rope, stake -- signifiers of working in karaa, 'hard alloys', poa, 'magnetite (ferrite ore)', kol, 'working in iron'.
cāli 'interlocked' rebus śālikā 'village of artisans, shop' kola 'tiger' sāṅgaḍa 'joined' rebus, kol 'blacksmith, working in iron', saṁgaha, 'manager arranger'.

Thus, blacksmith manager of the artisans' village/shop.


m1395 [PLUS hieroglyphs on obverse of tablet: haematite (ferrite ore), blacksmith artisan, iron implements merchant, armourer, hard alloy metalcasting]. 




There are at least six multiples of (m1395) tablets with this frame of 'interlocked' bodies of tigers on one side and other hieroglyphs/hypertexts on the reverse side. 
The hypertexts on the reverse side are detailed metalwork catalogues.

सांगड (p. 495) sāgaa f A body formed of two or more (fruits, animals, men) linked or joined together. Rebus: sagaha 'catalogue' (Pkt.) सं-ग्रह [p=1129,2] a guardian , ruler , manager , arranger R. BhP. keeping , guarding , protection Mn. MBh.complete enumeration or collection , sum , amount , totality (एण , " completely " , " entirely ")Ya1jn5. MBh. &c (Monier-Williams) Pa. sagaha -- m. ʻ collection ʼ, Pk. sagaha -- m.; Bi. ̄gah ʻ building materials ʼ; Mth. ̄gah ʻ the plough and all its appurtenances ʼ, Bhoj. har -- sã̄ga; H. sãgahā ʻ collection of materials (e.g. for building) ʼ; <-> Si. san̆gaha ʻ compilation ʼ  Pa.(CDIAL 12852) Rebus: सांगड (p. 495) sāgaa m f (संघट्ट S) A float composed of two canoes or boats bound together: also a link of two pompions &c. to swim or float by.  That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.

Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script. Hieroglyphs. Centrepiece is a scorpion, surrounded by a pair of oxen (bulls), rhinoceros, monkey, elephant, a tiger looking back, a standing person with spread legs. This hieroglyph cluster is duplicated on six tablets.



























Hieroglyphs. Centrepiece is a scorpion, surrounded by a pair of oxen (bulls), rhinoceros, monkey, elephant, a tiger looking back, a standing person with spread legs. This hieroglyph cluster is duplicated on a six tablets.
m02015 A,B, m2016, m1393, m1394, m1395, m0295, m0439, m440, m0441 A,B On some tablets, such a glyphic composition (hypertext) is also accompanied (on obverse side, for example, cf. m2015A and m0295) with a glyphic of two or more joined tiger heads to a single body. In one inscription (m0295), the text inscriptions are also read. bica ‘scorpion’ rebus: bica ‘haematite, ferrite orekola ‘tiger’ rebus: kol ‘furnace, forge’ kol ‘metal’ PLUSkrammara ‘look back’ rebus: kamar ‘smith’ karabha ‘trunk of elephant’ ibha ‘elephant’ rebus: karba ‘ironib ‘iron’ ibbo ‘merchant’ kaṇḍa ‘rhinoceros’ rebus; kaṇḍa ‘implements’ kuhāru ‘monkey’ rebus: kuhāru‘armourer’ dula ‘two’ rebus: dul ‘metal casting’ dhangar ‘bull’ rebus; dhangar ‘blacksmith’. barada, balad 'ox' rebus: bharata,baran 'factitious alloy of copper, pewter, tin'.



A collection of animals occurs on another Indus Script Inscription.on Kuwait Gold Disc, on Field Symbol 62 and on m489 prism tablet discussed below.


Kuwait gold disc: gallery of Indus Script hieroglyphs
"Gold disc. al-Sabah Collection, Kuwait National Museum. 9.6 cm diameter, which was obviously from the Indus Valley period in  India. Typical of that period, it depicts zebu, bulls, human attendants, ibex, fish, partridges, bees, pipal free an animal-headed standard." Benoy K. Behl https://www.facebook.com/BenoyKBehlArtCulture




Kuwait Museum gold disc read rebus in Meluhha:


1. A pair of tabernae montana flowers tagara 'tabernae montana' flower; rebus: tagara 'tin'

2. A pair of rams tagara 'ram'; rebus: damgar 'merchant' (Akkadian) Next to one ram: kuTi 'tree' Rebus: kuThi 'smelter' Alternative: kolmo 'rice plant' Rebus: kolimi 'smithy, forge'.

3. Ficus religiosa leaves on a tree branch (5) loa 'ficus leaf'; rebus: loh 'metal'. kol in Tamil means pancaloha'alloy of five metals'. PLUS flanking pair of lotus flowers: tAmarasa 'lotus' Rebus: tAmra 'copper' dula 'pair' Rebus: dul 'cast metal' thus, denoting copper castings.

4. A pair of bulls tethered to the tree branch: barad, barat 'ox' Rebus: bharata 'alloy of copper, pewter, tin' (Marathi) PLUS kola 'man' Rebus: kolhe 'smelter' kur.i 'woman' Rebus: kol 'working in iron' Alternative: ḍhangar 'bull'; rebus ḍhangar 'blacksmith' poLa 'zebu' Rebus: poLa 'magnetite'.

Two persons touch the two bulls: meḍ ‘body’ (Mu.) Rebus: meḍ ‘iron’ (Ho.) Thus, the hieroglyph composition denotes ironsmiths.

5. A pair of antelopes looking back: krammara 'look back'; rebus: kamar 'smith' (Santali); tagara 'antelope'; rebus: damgar 'merchant' (Akkadian) Alternative: melh, mr..eka 'goat' (Brahui. Telugu) Rebus: milakkhu 'copper' (Pali), mleccha-mukha 'copper' (Samskritam)

6. A pair of antelopes mē̃ḍh 'antelope, ram'; rebus: mē̃ḍ 'iron' (Mu.) 

7. A pair of combs kāṅga 'comb' Rebus: kanga 'brazier, fireplace'


Phal. kāṅga ʻ combing ʼ in ṣiṣ k° dūm ʻI comb my hairʼ  khyḗṅgiakēṅgī f.;
kaṅghā m. ʻ large comb (Punjabi) káṅkata m. ʻ comb ʼ AV., n. lex., °tī -- , °tikã -- f. lex. 2. *kaṅkaṭa -- 2. 3. *kaṅkaśa -- . [Of doubtful IE. origin WP i 335, EWA i 137: aberrant -- uta -- as well as -- aśa -- replacing -- ata -- in MIA. and NIA.]1. Pk. kaṁkaya -- m. ʻ comb ʼ, kaṁkaya -- , °kaï -- m. ʻ name of a tree ʼ; Gy. eur. kangli f.; Wg. kuṇi -- přũ ʻ man's comb ʼ (for kuṇi -- cf. kuṇälík beside kuṅälíks.v. kr̥muka -- ; -- přũ see prapavaṇa -- ); Bshk. kēṅg ʻ comb ʼ, Gaw. khēṅgīˊ, Sv. khḗṅgiāTor. kyäṅg ʻ comb ʼ (Dard. forms, esp. Gaw., Sv., Phal. but not Sh., prob. ← L. P. type < *kaṅgahiā -- , see 3 below); Sh. kōṅyi̯ f. (→ Ḍ. k*lṅi f.), gil. (Lor.) kōĩ f. ʻ man's comb ʼ, kōũ m. ʻ woman's comb ʼ, pales. kōgō m. ʻ comb ʼ; K. kanguwu m. ʻ man's comb ʼ, kangañ f. ʻ woman's ʼ; WPah. bhad. kãˊkei ʻ a comb -- like fern ʼ, bhal. kãkei f. ʻ comb, plant with comb -- like leaves ʼ; N. kāṅiyokāĩyo ʻ comb ʼ, A. kã̄kai, B. kã̄kui; Or. kaṅkāikaṅkuā ʻ comb ʼ, kakuā ʻ ladder -- like bier for carrying corpse to the burning -- ghat ʼ; Bi. kakwā ʻ comb ʼ, kaka°hī, Mth. kakwā, Aw. lakh. kakawā, Bhoj. kakahī f.; H. kakaiyā ʻ shaped like a comb (of a brick) ʼ; G. (non -- Aryan tribes of Dharampur)kākhāī f. ʻ comb ʼ; M. kaṅkvā m. ʻ comb ʼ, kã̄kaī f. ʻ a partic. shell fish and its shell ʼ; -- S. kaṅgu m. ʻ a partic. kind of small fish ʼ < *kaṅkuta -- ? -- Ext. with --l -- in Ku. kã̄gilokāĩlo ʻ comb ʼ.2. G. (Soraṭh) kã̄gaṛ m. ʻ a weaver's instrument ʼ?3. L. kaṅghī f. ʻ comb, a fish of the perch family ʼ, awāṇ. kaghī ʻ comb ʼ; P. kaṅghā m. ʻ large comb ʼ, °ghī f. ʻ small comb for men, large one for women ʼ (→ H. kaṅghā m. ʻ man's comb ʼ, °gahī°ghī f. ʻ woman's ʼ, kaṅghuā m. ʻ rake or harrow ʼ; Bi. kãga ʻ comb ʼ, Or. kaṅgei, M. kaṅgvā); -- G. kã̄gsī f. ʻ comb ʼ, with metath. kã̄sko m., °kī f.; WPah. khaś. kāgśī, śeu. kāśkī ʻ a comblike fern ʼ or < *kaṅkataśikha -- .WPah.kṭg. kaṅgi f. ʻ comb ʼ; J. kāṅgṛu m. ʻ small comb ʼ.(CDIAL 2598)

Rebus: large furnace, fireplace: kang कंग् । आवसथ्यो &1;ग्निः m. the fire-receptacle or fire-place, kept burning in former times in the courtyard of a Kāshmīrī house for the benefit of guests, etc., and distinct from the three religious domestic fires of a Hindū; (at the present day) a fire-place or brazier lit in the open air on mountain sides, etc., for the sake of warmth or for keeping off wild beasts. nāra-kang, a fire-receptacle; hence, met. a shower of sparks (falling on a person) (Rām. 182). kan:gar `portable furnace' (Kashmiri)Cf. kã̄gürü, which is the fem. of this word in a dim. sense (Gr.Gr. 33, 7). kã̄gürü काँग्् or 
kã̄gürü काँग or kã̄gar काँग््र्् । हसब्तिका f. (sg. dat. kã̄grĕ काँग्र्य or kã̄garĕ काँगर्य, abl. kã̄gri काँग्रि), the portable brazier, or kāngrī, much used in Kashmīr (K.Pr. kángár, 129, 131, 178; káṅgrí, 5, 128, 129). For particulars see El. s.v. kángri; L. 7, 25, kangar;and K.Pr. 129. The word is a fem. dim. of kang, q.v. (Gr.Gr. 37). kã̄gri-khŏphürükã̄gri-khŏphürü काँग्रि-ख्वफ््&above;रू&below; । भग्ना काष्ठाङ्गारिका f. a worn-out brazier. -khôru -खोरु&below; । काष्ठाङ्गारिका<-> र्धभागः m. the outer half (made of woven twigs) of a brazier, remaining after the inner earthenware bowl has been broken or removed; see khôru. -kŏnḍolu -क्वंड । हसन्तिकापात्रम् m. the circular earthenware bowl of a brazier, which contains the burning fuel. -köñü -का&above;ञू&below; । हसन्तिकालता f. the covering of woven twigs outside the earthenware bowl of a brazier.

It is an archaeometallurgical challenge to trace the Maritime Tin Route from the tin belt of the world on Mekong River delta in the Far East and trace the contributions made by seafaring merchants of Meluhha in reaching the tin mineral resource to sustain the Tin-Bronze Age which was a revolution unleashed ca. 5th millennium BCE. See: http://bharatkalyan97.blogspot.in/2015/08/indus-script-corpora-as-catalogus.html

8. A pair of fishes ayo 'fish' (Mu.); rebus: ayo 'metal, iron' (Gujarati); ayas 'metal' (Sanskrit)

9.A pair of buffaloes tethered to a post-standard kāṛā ‘buffalo’ கண்டி kaṇṭi buffalo bull (Tamil); rebus: kaṇḍ 'stone ore'; kāṇḍa ‘tools, pots and pans and metal-ware’; kaṇḍ ‘furnace, fire-altar, consecrated fire’.

10. A pair of birds Rebus 1: kōḍi. [Tel.] n. A fowl, a bird. (Telugu) Rebus: khōṭ ‘alloyed ingots’. Rebus 2: kol ‘the name of a bird, the Indian cuckoo’ (Santali) kol 'iron, smithy, forge'. Rebus 3: baṭa = quail (Santali) Rebus: baṭa = furnace, kiln (Santali) bhrāṣṭra = furnace (Skt.) baṭa = a kind of iron (G.) bhaṭa ‘furnace’ (Gujarati) 

11. The buffaloes, birds flank a post-standard with curved horns on top of a stylized 'eye' PLUS 'eyebrows' with one-horn on either side of two faces

mũh ‘face’; rebus: mũh ‘ingot’ (Mu.) 

ṭhaṭera ‘buffalo horns’. ṭhaṭerā   ‘brass worker’ (Punjabi) 

Pe. kaṇga (pl. -ŋ, kaṇku) eye.  Rebus: kanga ' large portable brazier, fire-place' (Kashmiri).
Thus the stylized standard is read rebus: Hieroglyph components:kanga ṭhaṭerā 'one eye + buffalo horn' Rebus: kanga 'large portable barzier' (Kashmiri) +  ṭhaṭerā   ‘brass worker’ (Punjabi) 

 Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. Ma. kaṇ, kaṇṇu eye, nipple, star in peacock's tail, bud. Ko. kaṇ eye. To. koṇ eye, loop in string.Ka. kaṇ eye, small hole, orifice. Koḍ. kaṇṇï id. Tu. kaṇṇů eye, nipple, star in peacock's feather, rent, tear. Te. kanu, kannu eye, small hole, orifice, mesh of net, eye in peacock's feather. Kol. kan (pl. kanḍl) eye, small hole in ground, cave. Nk. kan (pl. kanḍḷ) eye, spot in peacock's tail. Nk. (Ch.) kan (pl. -l) eye. Pa.(S. only) kan (pl. kanul) eye. Ga. (Oll.) kaṇ (pl. kaṇkul) id.; kaṇul maṭṭa eyebrow; kaṇa (pl. kaṇul) hole; (S.) kanu (pl. kankul) eye. Go. (Tr.) kan (pl.kank) id.; (A.) kaṛ (pl. kaṛk) id. Konḍa kaṇ id. Pe. kaṇga (pl. -ŋ, kaṇku) id. Manḍ. kan (pl. -ke) id. Kui kanu (pl. kan-ga), (K.) kanu (pl. kaṛka) id. Kuwi(F.) kannū (pl. kar&nangle;ka), (S.) kannu (pl. kanka), (Su. P. Isr.) kanu (pl. kaṇka) id. Kur. xann eye, eye of tuber; xannērnā (of newly born babies or animals) to begin to see, have the use of one's eyesight (for ērnā, see 903). Malt. qanu eye. Br. xan id., bud. (DEDR 1159) kāṇá ʻ one -- eyed ʼ RV. Pa. Pk. kāṇa -- ʻ blind of one eye, blind ʼ; Ash. kã̄ṛa°ṛī f. ʻ blind ʼ, Kt. kãŕ, Wg. kŕãmacrdotdot;, Pr. k&schwatildemacr;, Tir. kāˊna, Kho. kāṇu NTS ii 260,kánu BelvalkarVol 91; K. kônu ʻ one -- eyed ʼ, S. kāṇo, L. P. kāṇã̄; WPah. rudh. śeu. kāṇā ʻ blind ʼ; Ku. kāṇo, gng. kã̄&rtodtilde; ʻ blind of one eye ʼ, N. kānu;A. kanā ʻ blind ʼ; B. kāṇā ʻ one -- eyed, blind ʼ; Or. kaṇā, f. kāṇī ʻ one -- eyed ʼ, Mth. kān°nākanahā, 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 -- ).S.kcch. kāṇī f.adj. ʻ one -- eyed ʼ; WPah.kṭg. kaṇɔ ʻ blind in one eye ʼ, J. kāṇā; Md. kanu ʻ blind ʼ.(CDIAL 3019) Ko. kāṇso ʻ squint -- eyed ʼ.(Konkani)

Paš. ainċ -- gánik ʻ eyelid ʼ(CDIAL 3999) Phonetic reinforcement of the gloss: Pe. kaṇga (pl. -ŋ, kaṇku) eye. 

See also: nimišta kanag 'to write' (SBal): *nipēśayati ʻ writes ʼ. [√piś] Very doubtful: Kal.rumb. Kho. nivḗš -- ʻ to write ʼ more prob. ← EPers. Morgenstierne BSOS viii 659. <-> Ir. pres. st. *nipaiš -- (for *nipais -- after past *nipišta -- ) in Yid. nuviš -- , Mj. nuvuš -- , Sang. Wkh. nəviš -- ; -- Aś. nipista<-> ← Ir. *nipista -- (for *nipišta -- after pres. *nipais -- ) in SBal. novīsta or nimišta kanag ʻ to write ʼ.(CDIAL 7220)

Alternative: dol ‘eye’; Rebus: dul ‘to cast metal in a mould’ (Santali)Alternative: kandi  ‘hole, opening’ (Ka.)[Note the eye shown as a dotted circle on many Dilmun seals.]kan ‘eye’ (Ka.); rebus: kandi (pl. –l) necklace, beads (Pa.);kaṇḍ 'stone ore' Alternative: kã̄gsī f. ʻcombʼ (Gujarati); rebus 1: kangar ‘portable furnace’ (Kashmiri); rebus 2: kamsa 'bronze'.

khuṇḍ ʻtethering peg or post' (Western Pahari) Rebus: kūṭa ‘workshop’; kuṭi= smelter furnace (Santali); Rebus 2: kuṇḍ 'fire-altar'

Why are animals shown in pairs?

dula ‘pair’ (Kashmiri); rebus: dul ‘cast metal’ (Mu.)

Thus, all the hieroglyphs on the gold disc can be read as Indus writing related to one bronze-age artifact category: metalware catalog entries.





FS 62 Composite mo tif consist ing of six heads of animals viz.thnse of unicorn . short-horned bull. antelope. tiger and of two ulher uncertain animals radiating oulwarth. from a ring. (Frequency: 62 M Corpus) Seal of a Metal guild-master. Hieroglyph: śrēṣṭrī 'ladder' Rebus: seh ʻ head of a guild, Members of the guild (working with a furnace) are: blacksmith, turner, smelter, coppersmith, ironsmith (magnetite ore), Supercargo who is a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.
m417 Glyph: ‘ladder’: H. sainī, senī f. ʻ ladder ʼ Rebus: Pa. sēṇi -- f. ʻ guild, division of army ʼ; Pk. sēṇi -- f. ʻ row, collection ʼ; śrḗṇi (metr. often śrayaṇi -- ) f. ʻ line, row, troop ʼ RV. The lexeme in Tamil means: Limit, boundary; எல்லை. நளியிரு முந்நீரேணி யாக (புறநா. 35, 1). Country, territory.

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

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

sãgaḍ f. ʻa body formed of two or more fruits or animals or men &c. linked together' (Marathi). This gloss sãgaḍ as a body of written or pictorial material of hieroglyphs (voiced in Meluhha speech) can be used to create a ciphertext with elements of enhanced cyber-security encryptions. This ciphertext can be called: Hieroglyphmultiplextext. Rebus 1: sãgaḍ māṇi 'alloying adamantine glue, सं-घात caravan standard' -- vajra saṁghāṭa in archaeometallurgy, deciphered in Indus Script Corpora. Enhanced encryption cyber-security. Rebus 2: जांगड [jāṅgaḍa] ad Without definitive settlement of purchase--goods taken from a shop. जांगड [ jāṅgaḍa ] f ( H) Goods taken from a shop, to be retained or returned as may suit: also articles of apparel taken from a tailor or clothier to sell for him. 2 or जांगड वही The account or account-book of goods so taken.Rebud 3: sangaDa 'a cargo boat'. Rebus 4: sangaRh 'proclamation'.

śrēṇikā -- f. ʻ tent ʼ lex. and mngs. ʻ house ~ ladder ʼ in *śriṣṭa -- 2, *śrīḍhi -- . -- Words for ʻ ladder ʼ see śrití -- . -- √śri]H. sainī, senī f. ʻ ladder ʼ; Si. hiṇi, hiṇa, iṇi ʻ ladder, stairs ʼ (GS 84 < śrēṇi -- ).(CDIAL 12685). Woṭ. Šen ʻ roof ʼ, Bshk. Šan, Phal. Šān(AO xviii 251) Rebus: seṇi (f.) [Class. Sk. Śreṇi in meaning “guild”; Vedic= row] 1. A guild Vin iv.226; J i.267, 314; iv.43; Dāvs ii.124; their number was eighteen J vi.22, 427; VbhA 466. ˚ -- pamukha the head of a guild J ii.12 (text seni -- ). — 2. A division of an army J vi.583; ratha -- ˚ J vi.81, 49; seṇimokkha the chief of an army J vi.371 (cp. Senā and seniya). (Pali)

*śrētrī ʻ ladder ʼ. [Cf. śrētr̥ -- ʻ one who has recourse to ʼ MBh. -- See śrití -- . -- √śri]Ash. ċeitr ʻ ladder ʼ (< *ċaitr -- dissim. from ċraitr -- ?).(CDIAL 12720) *śrēṣṭrī2 ʻ line, ladder ʼ. [For mng. ʻ line ʼ conn. with √śriṣ2 cf. śrḗṇi -- ~ √śri. -- See śrití -- . -- √śriṣ2]Pk. sēḍhĭ̄ -- f. ʻ line, row ʼ (cf. pasēḍhi -- f. ʻ id. ʼ. -- < EMIA. *sēṭhī -- sanskritized as śrēḍhī -- , śrēṭī -- , śrēḍī<-> (Col.), śrēdhī -- (W.) f. ʻ a partic. progression of arithmetical figures ʼ); K. hēr, dat. °ri f. ʻ ladder ʼ.(CDIAL 12724) Rebus:  śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ]Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ, seṭhaṇ°ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭhśeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M.śeṭh°ṭhīśeṭ°ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭuhi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?)(CDIAL 12726)

This denotes a mason (artisan) guild -- seni -- of 1. brass-workers; 2. blacksmiths; 3. iron-workers; 4. copper-workers; 5. native metal workers; 6. workers in alloys.

The core is a glyphic ‘chain’ or ‘ladder’. Glyph: kaḍī a chain; a hook; a link (G.); kaḍum a bracelet, a ring (G.) Rebus: kaḍiyo [Hem. Des. kaḍaio = Skt. sthapati a mason] a bricklayer; a mason; kaḍiyaṇa, kaḍiyeṇa a woman of the bricklayer caste; a wife of a bricklayer (G.)

The glyphics are:
1.     Glyph: ‘one-horned young bull’: kondh ‘heifer’. kũdā‘turner, brass-worker’.
2.     Glyph: ‘bull’: ḍhangra ‘bull’. Rebus: ḍhangar ‘blacksmith’. koD 'horns' rebus: koD 'workshop'
3.     Glyph: ‘ram’: meḍh ‘ram’. Rebus: meḍ ‘iron
4.         Glyph: ‘antelope’: mr̤eka ‘goat’. Rebus: milakkhu ‘copper’. Vikalpa 1: meluhha ‘mleccha’ ‘copper worker’. Vikalpa 2: meṛh ‘helper of merchant’.
5.     

Indus Script Corpora evidence points to the early working with magnetite, ferrite ore as seen by the signifier hieroglyph पोळ pōḷa, 'bos indicus, zebu'. The prologue dedication is first to this bos indicussignified by the synonym: Nanda, nandi. The word नांदी nāndī signifies prologue dedication.

पोळ (p. 305) pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large. Rebus: पोळ pōḷa 'magnetite, ferrite ore'. As eulogium or praise of the divine, the synonym used is: नंदी (p. 256) nandī m (S) The bull on which Mahádeva rides. A stone-bull is fixed in front of all temples to Mahádeva. The word nanda has specific meanings in the context of trade transactions. नंद (p. 256) nanda m नंदकी f (नंद was a proper name.) A clandestine or covert term, amongst dealers and brokers, for दल्लाली or the fees of brokerage. De- vised to keep the secrets of trade from the employer of the broker and the mere customer. Its vocabulary is भुरका One rupee, ढोकळा One pysa, केवली One, अवारू Two, उधानू Three, पोकू Four, मुळू Five, शेली Six, पवित्रू Seven, भंगी Eight, तेवसू or लेवनू Nine, अंगुळू Ten, एकडू Eleven, रेघी Twelve, ठेपरू Thirteen, चोपडू Fourteen, तळी Fifteen. To this last term the first four numerals successively added (the sense of addition being expressed by तान) form successively 16, 17, 18, 19, as भुरका तान तळी अवारू तान तळी, उधानू तान तळी, पोकू तान तळी. काटी stands for 20; then भुरका तान काटी, अवारू तान काटी &c. express 21, 22 &c. बिटी is 100, ढकार 1000, फाटा is An̤á, अवारू फाटे Two án̤ás, मंगी फाटे Eight án̤ás, तळी फाटे Fifteen án̤ás, दुकार One án̤á, चकार Two án̤ás, पकार Four án̤ás, टाली Half a rupee. The नंद vocabulary however has variations. Expressive of the above account the following अभंग has been composed, मुळू 5 वदनाचा उधानु 3 नेत्राचा ॥ अंगूळू 10 हातांचा स्वामी माझा ॥1॥ मुगुट जयाचा केव- ळ्या 1 आगळी कांटी 20 पवित्र तळवटी चरण ज्याचे ॥2॥ ढकार 1000 वदनाचा आला वर्णावया ॥ जिव्हा त्याच्या चिरल्या वर्णवेना ॥3॥ शेली 6 वेडावली पोकू 4 भौनावली ॥ अगुंळूमंगि 18 थकली नकळे त्यांसी ॥4॥ सद्भावें शरण आवारू 2 जोडून ॥ खेचरवीसा म्हणे स्वामी माझा ॥5॥. नंद थाकणें or ठेवणें To make (i. e. obtain) नंद or secret brokerage.

Another onnotation is a mystical figure of lines drawn on the sacred cloth held at marriages between bride and bridegroom: नंद (p. 256) nanda m (S) Red lines or figures, esp. the mystical figure called स्वस्तिक, drawn on the अंतःपट or cloth which, at marriages, is held between the bride and bridegroom. 2 Vertigo incidental to puerperal women. नंदाचा पासोडा (p. 256) nandācā pāsōḍā m नंदाचा शेला m The अंतःपट (cloth held at marriages between the bride and bridegroom) having red lines or figures drawn over it, esp. the mystical figure called स्वस्तिक which is termed नंद. नंदी nandī  (Or नंद) The lines or figures drawn with कुंकूं &c. upon the अंतःपट.

Thus, the terms nanda, nandi get associated with mystic, vikalpa signifiers as in पोळ (p. 305) pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large, as a rebus signifier of: पोळ pōḷa 'magnetite, ferrite ore'.

While rendering eulogies and prayers to the divine, the oblations are signified as नांदीमुख nāndīmukha

A set of synonymous words & expressions:  नांदी (p. 259) nāndī f S Eulogium of a king or praise of a deity recited in benedictory verses at the opening of a drama &c. नांदीमुख nāndīmukha n S नांदीश्राद्ध n S Oblations to the manes offered on festal occasions. నాంది (p. 640) nāndi nāndi. [Skt.] n. A preliminary. The exordium, prelude, prologue dedication, or praise of a deity, recited in benedictory verses at the commencement of a religious ceremony or poem. నాందీ యాగము the opening rite. Anand. vi. 1. The opening benedictory verses in a drama. నాటకప్రథమాంగము, మొదలుపెట్టడము. నాందీకరుడు or నాందివాది nāndī-karuḍu. n. One who pronounces the benediction. ఆశీర్వాదముచేయువాడు.

నంది (p. 626) nandi or నందికేశ్వరుడు nandi. [Skt.] n. The name of the bull of Siva. A bull, వృషభము.

A synonym for 'bull', bos indicus, is: poḷa 'zebu' which is a definitive Indus Script hieroglyph. Rebus signifier of poḷa 'magnetite, ferrite ore'-- a metalwork for wealth creation by artisans of Sarasvati_Sindhu Civilization. This Indus Script hieroglyph which signifies 'zebu' or poḷa is seen on early inscriptions of Indus Script as on the paintings of Nausharo pots. The bird perched on the shoulder of the zebu painting is black drongo: pōlaḍu, 'black drongo',rebus: pōlaḍ, 'steel', The zebu is tied to a post with a rope to signify:  meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ (Lahnda)(CDIAL 10317) rebus: mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end;  mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)Vikalpa:  Glyph: ‘zebu’: khũ ‘zebu’. Rebus: khũṭ ‘guild, community’ (Semantic determinant of the ‘jointed animals’ glyphic composition). kūṭa joining, connexion, assembly, crowd, fellowship (DEDR 1882)  Pa. gotta ‘clan’; Pk. gotta, gōya id. (CDIAL 4279) Semantics of Pkt. lexeme gōya is concordant with Hebrew ‘goy’ in ha-goy-im (lit. the-nation-s). Pa. gotta -- n. ʻ clan ʼ, Pk. gotta -- , gutta -- , amg. gōya -- n.; Gau.  ʻ house ʼ (in Kaf. and Dard. several other words for ʻ cowpen ʼ > ʻ house ʼ: gōṣṭhá -- , Pr. gūˊṭu ʻ cow ʼ; S. g̠oṭru m. ʻ parentage ʼ, L. got f. ʻ clan ʼ, P. gotargot f.; Ku. N. got ʻ family ʼ; A. got -- nāti ʻ relatives ʼ; B. got ʻ clan ʼ; Or. gota ʻ family, relative ʼ; Bhoj. H. got m. ʻ family, clan ʼ, G. got n.; M. got ʻ clan, relatives ʼ; -- Si. gota ʻ clan, family ʼ ← Pa. (CDIAL 4279). Alternative: adar ḍangra ‘zebu or humped bull’; rebus: aduru ‘native metal’ (Ka.); ḍhangar ‘blacksmith’ (H.)

6.     The sixth animal can only be guessed. Perhaps, a tiger (A reasonable inference, because the glyph ’tiger’ appears in a procession on some Indus script inscriptions. Glyph: ‘tiger?’: kol ‘tiger’.Rebus: kol ’worker in iron’. Vikalpa (alternative): perhaps, rhinocerosgaṇḍa ‘rhinoceros’; rebus:khaṇḍ ‘tools, pots and pans and metal-ware’. Thus, the entire glyphic composition of six animals on the Mohenjodaro seal m417 is semantically a representation of a śrḗṇi, ’guild’, a khũ , ‘community’ of smiths and masons.

 bhaa 'warrior' rebus: bhaa 'furnace' Also, baTa 'six' rebus: bhaTa 'furnace'.

Alternative readings:
Mohenjo-daro seal m417 six heads from a core.śrēṇikā -- f. ʻ tent ʼ lex. and mngs. ʻ house ~ ladder ʼ in *śriṣṭa -- 2, *śrīḍhi -- . -- Words for ʻ ladder ʼ see śrití -- . -- √śri]H. sainī, senī f. ʻ ladder ʼ; Si. hiṇi, hiṇa, iṇi ʻ ladder, stairs ʼ (GS 84 < śrēṇi -- ).(CDIAL 12685). Woṭ. Šen ʻ roof ʼ, Bshk. Šan, Phal. Šān(AO xviii 251) Rebus: seṇi (f.) [Class. Sk. Śreṇi in meaning “guild”; Vedic= row] 1. A guild Vin iv.226; J i.267, 314; iv.43; Dāvs ii.124; their number was eighteen J vi.22, 427; VbhA 466. ˚ -- pamukha the head of a guild J ii.12 (text seni -- ). — 2. A division of an army J vi.583; ratha -- ˚ J vi.81, 49; seṇimokkha the chief of an army J vi.371 (cp. Senā and seniya). (Pali)

This denotes a mason (artisan) guild -- seni -- of 1. brass-workers; 2. blacksmiths; 3. iron-workers; 4. copper-workers; 5. native metal workers; 6. workers in alloys.

The core is a glyphic ‘chain’ or ‘ladder’. Glyph: kaḍī a chain; a hook; a link (G.); kaḍum a bracelet, a ring (G.) Rebus: kaḍiyo [Hem. Des. kaḍaio = Skt. sthapati a mason] a bricklayer; a mason; kaḍiyaṇa, kaḍiyeṇa a woman of the bricklayer caste; a wife of a bricklayer (G.)

The glyphics are:
1.     Glyph: ‘one-horned young bull’: kondh ‘heifer’. kũdā‘turner, brass-worker’.
2.     Glyph: ‘bull’: ḍhangra ‘bull’. Rebus: ḍhangar ‘blacksmith’.
3.     Glyph: ‘ram’: meḍh ‘ram’. Rebus: meḍ ‘iron
4.         Glyph: ‘antelope’: mr̤eka ‘goat’. Rebus: milakkhu ‘copper’. Vikalpa 1: meluhha ‘mleccha’ ‘copper worker’. Vikalpa 2: meṛh ‘helper of merchant’.
5.         Glyph: ‘zebu’: khũ ‘zebu’. Rebus: khũṭ ‘guild, community’ (Semantic determinant of the ‘jointed animals’ glyphic composition). kūṭa joining, connexion, assembly, crowd, fellowship (DEDR 1882)  Pa. gotta ‘clan’; Pk. gotta, gōya id. (CDIAL 4279) Semantics of Pkt. lexeme gōya is concordant with Hebrew ‘goy’ in ha-goy-im (lit. the-nation-s). Pa. gotta -- n. ʻ clan ʼ, Pk. gotta -- , gutta -- , amg. gōya -- n.; Gau.  ʻ house ʼ (in Kaf. and Dard. several other words for ʻ cowpen ʼ > ʻ house ʼ: gōṣṭhá -- , Pr. gūˊṭu ʻ cow ʼ; S. g̠oṭru m. ʻ parentage ʼ, L. got f. ʻ clan ʼ, P. gotargot f.; Ku. N. got ʻ family ʼ; A. got -- nāti ʻ relatives ʼ; B. got ʻ clan ʼ; Or. gota ʻ family, relative ʼ; Bhoj. H. got m. ʻ family, clan ʼ, G. got n.; M. got ʻ clan, relatives ʼ; -- Si. gota ʻ clan, family ʼ ← Pa. (CDIAL 4279). Alternative: adar ḍangra ‘zebu or humped bull’; rebus: aduru ‘native metal’ (Ka.); ḍhangar ‘blacksmith’ (H.)
6.     The sixth animal can only be guessed. Perhaps, a tiger (A reasonable inference, because the glyph ’tiger’ appears in a procession on some Indus script inscriptions. Glyph: ‘tiger?’: kol ‘tiger’.Rebus: kol ’worker in iron’. Vikalpa (alternative): perhaps, rhinocerosgaṇḍa ‘rhinoceros’; rebus:khaṇḍ ‘tools, pots and pans and metal-ware’. Thus, the entire glyphic composition of six animals on the Mohenjodaro seal m417 is semantically a representation of a śrḗṇi, ’guild’, a khũ , ‘community’ of smiths and masons.
This guild, community of smiths and masons evolves into Harosheth Hagoyim, ‘a smithy of nations.

 m0489a,b,c Mohenjo-daro prism tablet

A standing human couple mating (a tergo); one side of a prism tablet from Mohenjo-daro (m489b). Other motifs on the inscribed object are: two goats eating leaves on a platform; a cock or hen (?) and a three-headed animal (perhaps antelope, one-horned bull and a short-horned bull).  The leaf pictorial connotes on the goat composition connotes loa; hence, the reading is of this pictorial component is: lohar kamar = a blacksmith, worker in iron, superior to the ordinary kamar (Santali.)] 

dhanam, 'cattle' rebus: dhanam 'wealth'. Alternative: pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Telugu) Thus, the depiction of animals in epigraphs is related to, rebus: pasra = smithy (Santali)
kāruvu ‘crocodile’ Rebus:  ‘artisan, blacksmith’. 
pisera_ a small deer brown above and black below (H.)(CDIAL 8365).
ān:gra = wooden trough or manger sufficient to feed one animal (Mundari). iṭan:kārri = a capacity measure (Ma.) Rebus: ḍhan:gar ‘blacksmith’ (Bi.)
pattar ‘goldsmiths’ (Ta.) patra ‘leaf’ (Skt.) 
r-an:ku, ran:ku = fornication, adultery (Telugu); rebus: ranku ‘tin’ (Santali)
Rebus readings of Meluhha hieroglyphs:

Hieroglhyphs: elephant (ibha), boar/rhinoceros[kāṇḍā mṛga 'rhinoceros' (Tamil)], tiger (kol), tiger face turned (krammara), young bull calf (khōṇḍa) [खोंड m A young bull, a bullcalf. (Marathi)], antelope, ḍangur ʻbullockʼ, melh ‘goat’ (Brahui) 
Rebus mleccha glosses: Ib 'iron' ibbo 'merchant'; kāṇḍā, 'tools, pots and pans, metalware'; kol 'worker in iron, smithy'; krammara, kamar 'smith, artisan', kõdā 'lathe-turner' [B. kõdā ‘to turn in a lathe’; Or. kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. kū̃d ‘lathe’) (CDIAL 3295)], khũ ‘guild, community’, ḍāṅro ’blacksmith’ (Nepalese) milakkhu ‘copper’ (Pali) [Meluhha!] poL 'zebu' Rebus: poLa 'magnetite'.

Phoneme karba has two hieroglyph components which are semantic determinatives: kari 'elephant' ibha'elephant'

Hieroglyph: karabha 'trunk of elephant' (Pali) 2803 karin m. ʻ elephant ʼ. [See karabhá -- ]Pa. karin -- m., Pk. kari -- , °iṇa -- m., °iṇī -- , °iṇiyā -- f.; <-> Si. kiriyā ← Pa.(CDIAL 2803)

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

Rebus: karba 'very hard iron' (Tulu) Tu. kari soot, charcoal; kariya black;  karṅka state of being burnt or singed; karṅkāḍuni to burn (tr.); karñcuni to be burned to cinders; karñcāvuni to cause to burn to cinders; kardů black;  karba iron; karvāvuni to burn the down of a fowl by holding it over the fire; karṇṭuni to be scorched; karguḍe a very black man; fem. karguḍi, kargi. Kor. (T.) kardi black. kabbiṇa iron (Kannada) kabïn iron (Toda) karum poṉ iron (Tamil)(DEDR 1278)

Allograph: pot with narrow neck: Koḍ. karava clay pot with narrow neck. Go. (Ma.) karvi narrow-mouthed earthen vessel for oil or liquor (DEDR 1273A)

Hieroglyph: ibha 'elephant' Rebus: ib 'iron' (Santali). kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’.  karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri) Note: Ib is the name of a station between Howrah and Nagpur. The Railway station is in the iron ore belt.

kāru a wild crocodile or alligator (Te.) కారు 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.)

m1431A, B, C, E and Text 2805 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?]

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)

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

m0489a,b,c Mohenjo-daro prism tablet

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

Rebus mleccha glosses: Ib 'iron' ibbo 'merchant'; kāṇḍā, 'tools, pots and pans, metalware'; kol 'worker in iron, smithy'; krammara, kamar 'smith, artisan', kõdā 'lathe-turner' [B. kõdā ‘to turn in a lathe’; Or. kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. kū̃d ‘lathe’) (CDIAL 3295)], khũ ‘guild, community’, ḍāṅro ’blacksmith’ (Nepalese) milakkhu ‘copper’ (Pali) [Meluhha!]
 
Iron (ib), carpenter (badhi), smithy (kol ‘pancaloha’), alloy-smith (kol kamar)
tam(b)ra copper, milakkhu copper, bali (iron sand ore), native metal (aduru), ḍhangar ‘smith’.
Smithy with an armourer.
Other examples of groups of animals on Indus Script 
inscriptions
Obverse of m1395 and m0441 had the following images of a multi-headed tiger.

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


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

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

Hieroglyph: Joined animals (tigers): sangaḍi = joined animals (M.) Rebus: sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ (Lahnda)(CDIAL 12845) sang संग् m. a stone  (Kashmiri) sanghāḍo (G.) = cutting stone, gilding; sangatarāśū = stone cutter; sangatarāśi = stone-cutting; sangsāru karan.u = to stone (S.), cankatam = to scrape (Ta.), sankaḍa (Tu.), sankaṭam = to scrape (Skt.) kol 'tiger' Rebus: kol 'working in iron'. Thus, the multi-headed tiger is read rebus: kol sangaḍi 'fortified place for metal (& ore stone) workers'.

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’.


Image result for tell asmar seal
Tell Asmar, Eshnunna, Iraq.  Cylinder seal modern impression [elephant, rhinoceros and gharial (alligator) on the upper register] bibliography and image source: Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 642. Museum Number: IM14674 3.4 cm. high. Glazed steatite. ca. 2250 - 2200 BCE.  

Meluhha (sprachbund) rebus readings of Indus Script hypertexts

kāru ‘artisan -- kāru 'crocodile' (Telugu) Rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi) He was also ibbo 'merchant' (Hieroglyph: ibha 'elephant' Rebus: ib 'iron') and maker of metal artifacts: kāṇḍā ‘metalware, tools, pots and pans’ (kāṇḍā mṛga 'rhinoceros' (Tamil).karabha, ibha‘elephant’ Rebus: karba 'iron', ibbo ‘merchant’, ib ‘iron’காண்டாமிருகம் kāṇṭā-mirukam , n. [M. kāṇṭāmṛgam.] Rhinoceros; கல்யானை. Rebus: kāṇḍā ‘metalware, tools, pots and pans’.kāru ‘crocodile’ Rebus:   kāru  ‘artisan’. Alternative: araṇe ‘lizard’ Rebus: airaṇ ‘anvil’.
Crocodile hieroglyph in combination with other animal hieroglphs also appears on a Mohenjo-daro seal m0489 in the context of an erotic Meluhha hieroglyph: a tergo copulation hieroglyph.



The blurb n the catalogue of Metropolitan Museum of Art says, "The seal impression depicts a male figure guiding two dogs on a leash and hunting or herding boars in a marsh environment."The imagery of the cylinder seal records information. A male figure is guiding dogs (?Tigers) and herding boars in a reed marsh. Both tiger and boar are Indus writing hieroglyphs, together with the imagery of a grain stalk. All these hieroglyphs are read rebus in Meluhha (mleccha),of Indian sprachbund in the context of metalware catalogs of bronze age. kola 'tiger'; rebus: kol 'iron'; kāṇḍa 'rhino'; rebus: kāṇḍa 'metalware tools, pots and pans'. Ka. (Hav.) aḍaru twig; (Bark.) aḍïrï small and thin branch of a tree; (Gowda) aḍəri small branches. Tu. aḍaru twig.(DEDR 67) Rebus: aduru gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddhānti Subrahmaṇya’ Śastri’s new interpretation of the AmarakoŚa, Bangalore, Vicaradarpana Press, 1872, p.330) Alternative rebus: If the imagery of stalk connoted a palm-frond, the rebus readings could have been: 

1. a tiger, a fox on leashes held by a man kol 'tiger' Rebus: kol 'working in iron, alloys' lo ‘fox’ (WPah.) Rebus: lōha ʻmetalʼ (Pali) 

2. a procession of boars (rhinoceros?) and tiger in two rows kāṇṭā 'rhinoceros. Rebus: āṇḍa ‘tools, pots and pans and metal-ware’ (Gujarati)

3. a stalk/twig, sprout (or tree branch) kūdī, kūṭī bunch of twigs (Sanskrit) Rebus: kuṭhi ‘smelting furnace‘ (Santali)


Thanks to Abdallah Kahil for the line drawing which clearly demonstrates that the narrative is NOT 'a hunting with dogs or herding boars in a marsh environment.' Traces of hieroglyphs are found on both sides of the tablet which also contains a proto-cuneiform inscription. It is noteworthy that cuneiform evolved TOGETHER WITH the use of Indus writing hieroglyphs on tablets, cylinder seals and other artifacts. I wish every success for efforts at decoding proto-elamite script using Reflectance Transformation Imaging (RTI) System (see below).


Ku. N. tāmo (pl. ʻ young bamboo shoots ʼ), A. tām, B. tã̄bā, tāmā, Or. tambā, Bi tã̄bā, Mth. tām, tāmā, Bhoj. tāmā, H. tām in cmpds., tã̄bā, tāmā m. (CDIAL 5779) Rebus: tāmrá ʻ dark red, copper -- coloured ʼ VS., n. ʻ copper ʼ Kauś., tāmraka -- n. Yājñ. [Cf. tamrá -- . -- √tam?] Pa. tamba -- ʻ red ʼ, n. ʻ copper ʼ, Pk. taṁba -- adj. and n.; Dm. trāmba -- ʻ red ʼ (in trāmba -- lac̣uk ʻ raspberry ʼ NTS xii 192); Bshk. lām ʻ copper, piece of bad pine -- wood (< ʻ *red wood ʼ?); Phal. tāmba ʻ copper ʼ (→ Sh.koh. tāmbā), K. trām m. (→ Sh.gil. gur. trām m.), S. ṭrāmo m., L. trāmā, (Ju.) tarāmã̄ m., P. tāmbā m., WPah. bhad. ṭḷām n., kiũth. cāmbā, sod. cambo, jaun. tã̄bō (CDIAL 5779) tabāshīr तबाशीर् । त्वक््क्षीरी f. the sugar of the bamboo, bamboo-manna (a siliceous deposit on the joints of the bamboo) (Kashmiri)

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

Indus Script hieroglyphs read rebus: baḍhia = a castrated boar, a hog; rebus: baḍhi ‘a caste who work both in iron and wood’ Hieroglyph: dhangar 'bull' Rebus: dhangar 'blacksmith'. kuṭi 'tree' rebus: kuṭhi 'smelter'.  
Were the Daimabad artisan guilds carrying these bronze models as standards in processions on a festival day celebrating their work and advertising their professional metallurgical competence? Maybe, these processions are a celebration of Pola, cattle festival, an annual festivity continued even today.
Toy animals made for the Pola festival especially celebrated by the Dhanoje Kunbis. (Bemrose, Colo. Derby - Russell, Robert Vane (1916). The Tribes and Castes of the Central Provinces of India: volume IV. Descriptive articles on the principal castes and tribes of the Central Provinces. London: Macmillan and Co., limited. p. 40).


-- dhanam, 'cattle' rebus: dhanam 'wealth'. Alternative: pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Telugu) Thus, the depiction of animals in epigraphs is related to, rebus: pasra = smithy (Santali)


This monograph deciphers the hieroglhyphs of the bronze Daimabad chariot as Meluhha signifiers of a wealth-accounting ledger, metalwork catalogue. The chariot rider is  रथी rebus rathī 'guide, leader' ofkaṇḍa 'metalware' sadana 'dwelling'अखाडा akhāḍā 'guild'पोळ pōḷa 'zebu', 'magnetite' pōlaḍu 'black drongo', 'steel'. In sum, the artifact signifies a guild-master of a metals manufactory with a kiln and smithy/forge.

--bhaṛkanu 'with raised membrum virile' has rebus bhaṭṭhā 'kiln', फड phaḍa 'cobrahood' rebus फड phaḍa'metals manufactory'

--  पोळ pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large; zebu (Marathi) Rebus: पोळ pōḷa 'magnetite, ferrite ore' dula 'two' rebus: dul 'metal casting'

-- pōlaḍu, 'black drongo' rebus pōlaḍ 'steel'; dula 'two' rebus; dul 'metal casting' pōlāda 'steel', pwlad (Russian), fuladh (Persian) folādī (Pashto).पोलाद [ pōlāda ] n ( or P) Steel. पोलादी a Of steel. (Marathi) bulad 'steel, flint and steel for making fire' (Amharic); fUlAd 'steel' (Arabic).

-- sadassa 'a noble steed of the horse kind' (Pali) sadom 'horse' rebus: sadana 'seat, dwelling'. The animal may also signify khar 'onager' rebus: khār  'blacksmith'.

The vivid hieroglyphs on the bronze Daimabad chariot are:
Image result for daimabad chariot bharatkalyan97

Image result for daimabad chariot bharatkalyan97

Image result for daimabad chariot bharatkalyan97

Hieroglyph: lo 'penis' Go<luGguj>(Z) [lUGguy']  {NB} ``male ^genitals, ^penis, ^scrotum''.(Munda etyma) loe 'penis' (Ho.) Hieroglyph: ``^penis'':So. laj(R)  ~ lij  ~ la'a'j  ~ laJlaj  ~ kaD`penis'.Sa. li'j `penis, esp. of small boys'.Sa. lO'j `penis'.Mu. lOe'j  ~ lOGgE'j `penis'.  ! lO'jHo loe`penis'.Ku. la:j `penis'.@(C289) ``^penis'':Sa. lOj `penis'.Mu. lOj `penis'.KW lOj@(M084) <lO?Oj>(D),,<AlAj>(L)//<lAj>(DL)  {N} ``^penis''.  #43901.<ului>(P),,<uluj>(MP)  {NB} ``^penis, male organ, male^genitals''.  Cf. <kOlOb>(P),<susu>(M) `testicle'; <kuLij>(M), <kuRij>(P) `vulva'.  *Sa., MuN<lO'j>, MuH, Ho<lo'e>,So.<laj-An>, U.Tem.<lo'> ??. %33271.  #33031.So<lO?Oj>(D),,<AlAj>(L)//<lAj>(DL)  {N} ``^penis''.<lohosua>(D)  {NI} ``^dance''.  #20141. lo-khaṇḍa, penis + gaṇḍa, 4 balls; Rebus: lokhaṇḍa 'iron, metalware.'Rebus: loh 'copper, iron, metal' (Indian sprachbund, Meluhha) लोह [p= 908,3]mfn. (prob. fr. a √ रुह् for a lost √ रुध् , " to be red " ; cf. रोहि , रोहिण &c ) red , reddish , copper-coloured S3rS. MBh.made of copper S3Br. (Sch.)made of iron Kaus3.m. n. red metal , copper VS. &c Rebus: <loha>(BD)  {NI} ``^iron''.  Syn. <luaG>(D).  *@.  #20131)  laúha -- ʻ made of copper or iron ʼ Gr̥Śr., ʻ red ʼ MBh., n. ʻ iron, metal ʼ Bhaṭṭ. [lōhá -- ] Pk. lōha -- ʻ made of iron ʼ; L. lohā ʻ iron -- coloured, reddish ʼ; P. lohā ʻ reddish -- brown (of cattle) ʼ.lōhá 11158 lōhá ʻ red, copper -- coloured ʼ ŚrS., ʻ made of copper ʼ ŚBr., m.n. ʻ copper ʼ VS., ʻ iron ʼ MBh. [*rudh -- ] Pa. lōha -- m. ʻ metal, esp. copper or bronze ʼ; Pk. lōha -- m. ʻ iron ʼ, Gy. pal. li°lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻ steel ʼ; Kho.loh ʻ copper ʼ; S. lohu m. ʻ iron ʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃u n., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam.lohā, Ku. luwā, N. lohu°hā, A. lo, B. lono, Or. lohāluhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H. lohlohā m., G. M. loh n.; Si. loho ʻ metal, ore, iron ʼ; Md.ratu -- lō ʻ copper ʼ.WPah.kṭg. (kc.) lóɔ ʻ iron ʼ, J. lohā m., Garh. loho; Md.  ʻ metal ʼ. (CDIAL 11172).
lōhakāra m. ʻ iron -- worker ʼ, °rī -- f., °raka -- m. lex., lauhakāra -- m. Hit. [lōhá -- , kāra -- 1]Pa. lōhakāra -- m. ʻ coppersmith, ironsmith ʼ; Pk. lōhāra -- m. ʻ blacksmith ʼ, S. luhā̆ru m., L. lohār m., °rī f., awāṇ. luhār, P. WPah.khaś. bhal. luhār m., Ku. lwār, N. B. lohār, Or. lohaḷa, Bi.Bhoj. Aw.lakh. lohār, H. lohārluh° m., G. lavār m., M. lohār m.; Si. lōvaru ʻ coppersmith ʼ.WPah.kṭg. (kc.) lhwāˋr m. ʻ blacksmith ʼ, lhwàri f. ʻ his wife ʼ, Garh. lwār m. (CDIAL 11159).lōhaghaṭa 11160 *lōhaghaṭa ʻ iron pot ʼ. [lōhá -- , ghaṭa -- 1]Bi. lohrā°rī ʻ small iron pan ʼ.*lōhaphāla -- ʻ ploughshare ʼ. [lōhá -- , phāˊla -- 1]WPah.kṭg. lhwāˋḷ m. ʻ ploughshare ʼ, J. lohāl m. ʻ an agricultural implement ʼ Him.I 197; -- or < †*lōhahala -- .(CDIAL 11160) lōhala ʻ made of iron ʼ W. [lōhá -- ]G. loharlohariyɔ m. ʻ selfwilled and unyielding man ʼ.(CDIAL 11161).*lōhaśālā ʻ smithy ʼ. [lōhá -- , śāˊlā -- ]Bi. lohsārī ʻ smithy ʼ. (CDIAL 11162).lōhahaṭṭika 11163 *lōhahaṭṭika ʻ ironmonger ʼ. [lōhá -- , haṭṭa -- ] P.ludh. lōhṭiyā m. ʻ ironmonger ʼ.†*lōhahala -- ʻ ploughshare ʼ. [lōhá -- , halá -- ]WPah.kṭg. lhwāˋḷ m. ʻ ploughshare ʼ, J. lohāl ʻ an agricultural instrument ʼ; rather < †*lōhaphāla -- .(CDIAL 11163). See:


1. chariot-rider रथी
2. Raised membrum virile protected four cobra hoods bhaṛkanu PLUS lo 'penis, rebus:loh 'metal' PLUS gaṇḍa 'fourkaṇḍa 'metalware, equipment, pots and pans'
3. Two black drongo birds perched on the axle pōlaḍu, 'black drongo' rebus pōlaḍ 'steel'; dula 'two' rebus; dul 'metal casting'
4. chariot drawn by a pair of zebu, humped bulls पोळ pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large; zebu (Marathi) Rebus: पोळ pōḷa 'magnetite, ferrite ore'
5. A pair of wheels:  څرخ ṯs̱arḵẖ,'wheel' rebus: eraka 'molten cast, metal infusion'
6. A horse on the axle-rod sadassa 'a noble steed of the horse kind' (Pali) sadom 'horse' rebus: sadana 'seat, dwelling'

रथी rathī रथी Ved. 1 Riding in a chariot. -2 Furnished with a carriage. -3 A coachman. (Apte)   रथी   rathī m (S) The owner of or the rider in a car or chariot. 2 A warrior that fights in a car.(Marathi)

Rebus: रथी rathī रथी 4 A guide, leader. (Apte)

Hieroglyph: axle: आंख āṅkha m (अंक S) A number, a figure, an arithmetical sign. 2(अक्ष S) Axis or axle. आखरी ākharī f (आख Axle.) The beam over the axle upon which the frame of the cart rests.

Rebus: अखाडा akhāḍā m ( H) A community, or the common place of residence or of assembly, of persons engaged in study or some particular pursuit; a college, a disputation-hall, a gymnasium, circus, arena. Hence, A club or clubroom; a stand of idlers, loungers, newsmongers, gossips, scamps. 2 An order of men. Ex. गोसाव्यांचे अठरा अखाडे आहेत. See अठरा अखाडे. 

Hieroglyph:bhaṛkanu ʻto start, rise (of penis)ʼ (Nepalese): *bhaṭ ʻ sudden movement or noise ʼ. 2. *bhaṭṭ -- . [Cf. bhaṭabhaṭāyatē ʻ gurgles ʼ Cat.] 1. H. bhaṛ m. ʻ crackle, rush ʼ; M. bhaḍ f. ʻ crackling fuel ʼ; -- redup.: P. bhaṛbhaṛī f. ʻ alarm ʼ; Ku. bhaṛbhaṛāṭ m. ʻ startling noise, crackling of fire ʼ; Or. bhaṛabhaṛa ʻ snuffling ʼ; G. bhaṛbhaṛ ʻ violently ʼ, bhaṛābhaṛ ʻ smartly ʼ; -- ext. -- kk -- : Pk. bhaḍakka -- m. ʻ noise ʼ; Paš. lāmbəl -- bṛāk ʻ lightning ʼ IIFL iii 3, 110; S. bhaṛka f. ʻ flash ʼ, bhaṛkaṇu ʻ to blaze ʼ; P. bhaṛk f. ʻ flash ʼ, bhaṛkṇā ʻ to be angry ʼ; Ku. bhaṛāk ʻ blow ʼ, bhaṛkaṇo ʻ to be angry ʼ; N. bharkanu ʻ to take fright, start ʼ; A. bharak ʻ boast, display ʼ; B. bhaṛak ʻ display ʼ, Or. bhaṛaka; B. bhaṛkāna ʻ to take fright ʼ, Or. bhaṛakibā; H. bhaṛak f. ʻ flash, display ʼ, bhaṛaknā ʻ to be excited, take fright ʼ; G. bhaṛkũ n. ʻ blaze ʼ, bhaṛākɔ m. ʻ crash, blaze ʼ, bhaṛakvũ ʻ to take fright, start ʼ; M. bhaḍak f. ʻ display ʼ, bhaḍakṇẽ ʻ to blaze, take fright ʼ.2. G. M. bhaṭ ʻ suddenly ʼ; -- ext. -- kk -- : S. bhaṭkaṇubhiṭ˚ ʻ to wander ʼ; Ku. bhaṭkaṇo ʻ to writhe ʼ; N. bhaṭak ʻ display ʼ, bhaṛkanu ʻ to start, rise (of penis) ʼ; H. bhaṭaknā ʻ to be restless ʼ; G. bhaṭakvũ ʻ to blaze, start ʼ; M. bhaṭakṇẽ ʻ to wander ʼ (LM 377 < bhraṣṭa -- ).(CDIAL 9365)

Rebus; bhaṭṭhā 'kiln' (Hindi): bhástrā f. ʻ leathern bag ʼ ŚBr., ʻ bellows ʼ Kāv., bhastrikā -- f. ʻ little bag ʼ Daś. [Despite EWA ii 489, not from a √bhas ʻ blow ʼ (existence of which is very doubtful). -- Basic meaning is ʻ skin bag ʼ (cf. bakura<-> ʻ bellows ʼ ~ bākurá -- dŕ̊ti -- ʻ goat's skin ʼ), der. from bastá -- m. ʻ goat ʼ RV. (cf. bastājina -- n. ʻ goat's skin ʼ MaitrS. = bāstaṁ carma Mn.); with bh -- (and unexpl. -- st -- ) in Pa. bhasta -- m. ʻ goat ʼ, bhastacamma -- n. ʻ goat's skin ʼ. Phonet. Pa. and all NIA. (except S. with a) may be < *bhāsta -- , cf. bāsta -- above (J. C. W.)]With unexpl. retention of -- st -- : Pa. bhastā -- f. ʻ bellows ʼ (cf. vāta -- puṇṇa -- bhasta -- camma -- n. ʻ goat's skin full of wind ʼ), biḷāra -- bhastā -- f. ʻ catskin bag ʼ, bhasta -- n. ʻ leather sack (for flour) ʼ; K. khāra -- basta f. ʻ blacksmith's skin bellows ʼ; -- S. bathī f. ʻ quiver ʼ (< *bhathī); A. Or. bhāti ʻ bellows ʼ, Bi. bhāthī, (S of Ganges) bhã̄thī; OAw. bhāthā̆ ʻ quiver ʼ; H. bhāthā m. ʻ quiver ʼ, bhāthī f. ʻ bellows ʼ; G. bhāthɔbhātɔbhāthṛɔ m. ʻ quiver ʼ (whence bhāthī m. ʻ warrior ʼ); M. bhātā m. ʻ leathern bag, bellows, quiver ʼ, bhātaḍ n. ʻ bellows, quiver ʼ; <-> (X bhráṣṭra -- ?) N. bhã̄ṭi ʻ bellows ʼ, H. bhāṭhīf.
*khallabhastrā -- .Addenda: bhástrā -- : OA. bhāthi ʻ bellows ʼ  (CDIAL 9624) bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj]Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭhm., ˚ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhībhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v.bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- .Addenda: bhráṣṭra -- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ.*bhraṣṭrapūra ʻ gridiron -- cake ʼ. [Cf. bhrāṣṭraja -- ʻ pro- duced on a gridiron ʼ lex. -- bhráṣṭra -- , pūra -- 2]
P. bhaṭhūhar˚hrābhaṭhūrā˚ṭhorū m. ʻ cake of leavened bread ʼ; -- or < *bhr̥ṣṭapūra -- .
*bhraṣṭrāgāra ʻ grain parching house ʼ. [bhráṣṭra -- , agāra -- ]P. bhaṭhiār˚ālā m. ʻ grainparcher's shop ʼ.(CDIAL 9656 to 9658)

څرخ ṯs̱arḵẖ, s.m. (2nd) (P چرخ). 2. A wheeled-carriage, a gun-carriage, a cart. Pl. څرخونه ṯs̱arḵẖūnah. (Pashto)   څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel (particularly a potter's, or of a water-mill or well). 2. A grindstone. 3. Circular motion, turn, revolution, the act of turning. 4. Fortune, chance. 5. The heavens, the sphere, the celestial globe. 6. A kind of hawk or falcon, an eagle. 7. A stab, a puncture, a prick, a wound produced by a spear, an arrow, or the like. Pl. څرخرنه ṯs̱arḵẖ-ūnah; 8. adj. Punctured, pricked, pierced, stabbed; (Fem.) څرکهṯs̱arkaʿhڅرخیدل ṯs̱arḵẖedal, verb intrans. To revolve, to turn round, to wheel. 2. To dance. Pres. څرخبږي ṯs̱arḵẖej̱ẕī (W.) or څرخیګي ṯs̱arḵẖegī (E.); past ؤ څرخیده wu-ṯs̱arḵẖedah or ؤ څرخیدَ wu-ṯs̱arḵẖeda; fut. ؤ به څرخیږي wu bah ṯs̱arḵẖej̱ẕī or ؤ به څرخیګي wu bah ṯs̱arḵẖegī; imp. ؤ څرخیږه wu-ṯs̱arḵẖej̱ẕah or ؤ څرخیګه wu-ṯs̱arḵẖegah; act. part. څرخیدونکيَ ṯs̱arḵẖedūnkaey or څرخیدونيَ ṯs̱arḵẖedūnaey; past part. څرخید ليَ ṯs̱arḵẖedalaey; verb. n. څرخیدنه ṯs̱arḵẖedanaʿhڅرخول ṯs̱arḵẖawul, verb trans. To turn, to make revolve, to wheel round. 2. To sharpen. Pres. څرخوي ṯs̱arḵẖawī; past ؤ څرخاوه wu-ṯs̱arḵẖāwuh or ؤ څرخاوو wu-ṯs̱arḵẖāwo; fut. ؤ به څرخوي wu bah ṯs̱arḵẖawī; imp. ؤ څرخوه wu-ṯs̱arḵẖawah; act. part. څرخوونکيَṯs̱arḵẖawūnkaey or څرخوونيَ ṯs̱arḵẖawūnaey; past part. څرخوليَ ṯs̱arḵẖawulaey; verb. n. څرخونه ṯs̱arḵẖawunaʿh. (P چرخ).

Rebus: arká1 m. ʻ flash, ray, sun ʼ RV. [√arc].Pa. Pk. akka -- m. ʻ sun ʼ, Mth. āk; Si. aka ʻ lightning ʼ, inscr. vid -- äki ʻ lightning flash ʼ.(CDIAL 624)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. eṟeto 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). (DEDR 866)

रथोत्सव   rathōtsava m (S) रथोत्साह m (S) A festival in which idols are placed in their cars and paraded about.(Marathi)

रथ m. ( √4. ) " goer " , a chariot , car , esp. a two-wheeled war-chariot (lighter and swifter than the अनस् q.v.) , any vehicle or equipage or carriage (applied also to the vehicles of the gods) , waggon , cart RV. &c (ifc. f().)(Monier-Williams) रथी f. a small carriage or waggon , car (शिशुपाल-वध)

rátha m. ʻ chariot, cart ʼ RV.Pa. ratha -- , ˚aka -- m., Pk. OG. raha -- (Pk. m.n.); Si. riya ʻ waggon, carriage ʼ; -- ext. --  -- : L. rēhṛā m. ʻ handcart ʼ; P. rehṛārihṛā m., ˚ṛī f. ʻ cart ʼ; H. rahṛūrẽhṛū m. ʻ light open cart with one seat ʼ; -- with -- l -- : P. rahilā m., ˚lī f. ʻ cart ʼ.(CDIAL 10602) rathaśīrṣá n. ʻ forepart of a carriage ʼ ŚBr. [rátha -- , śīrṣá -- ]) Si. riya(h)isa ʻ hood of a carriage ʼ. (CDIAL 10604) rathāṅgá n. ʻ chariot -- wheel ʼ MaitrS., ʻ potter's wheel ʼ MBh. [rátha -- , áṅga -- 1]Pk. rahaṁga -- n. ʻ wheel ʼ; Si. riyan̆ga ʻ any part of a carriage, wheel ʼ. (CDIAL 10606)रथः   rathḥ रथः [रम्यतेनेन अत्र वा, रम्-कथन्; cf. Uṇ.2.2] 1 A carriage, chariot, car, vehicle; especially, a war-chariot.रथिक   rathika रथिक a. (-की f.) [रथ-ठन्] 1 Riding in a carriage. -2 The owner of a carriage. -कः A cartwright.   रथिन्   rathin रथिन् a. [रथ-इनि] 1 Riding or driving in a carriage. -2 Possessing or owning a carriage. -m. 1 An owner of a carriage. -2 A warrior who fights from a chariot; आत्मानं रथिनं विद्धि शरीरं रथमेव तु । बुद्धिं तु सारथिं विद्धि मनः प्रग्रहमेव च ॥ Kaṭha Up.1.3.3; R.7.37. -3 A man of क्षत्रिय caste. -4 A driver. -नी A number of carriages or chariots.   रथिन   rathina रथिन a. See रथिन् above.   रथिर   rathira रथिर a. 1 Possessing a carriage. -2 Riding in a carriage. -3 Quick, speedy. -रः = रथिन् m. 

   रथ्यः   rathyḥ रथ्यः [रथं वहति यत्] 1 A chariot-horse; धावन्त्यमी मृगजवाक्षमयेव रथ्याः Ś.1.8; Śi.4.14. -2 A part of a chariot. -Comp. -चयः a team of horses. -विरथ्यः N. of Śiva. (Apte)

रथ a warrior , hero , champion MBh. Katha1s. BhP. (Monier-Williams)


ráthya ʻ pertaining to a chariot ʼ RV., ʻ collection of chariots ʼ Pāṇ., n. ʻ chariot with its team or equipment (?) ʼ RV. [rátha -- : for the extension of meaning cf. rathakārá -- ʻ chariot -- builder, carpenter ʼ, Pk. rahaāra -- m. ʻ id. ʼ, Dhp. radhe'aro ʻ shoemaker ʼ Brough Dhp 237 and similar development of mahānasa -- . <-> (Poss. < *rapsa -- : √*rap2 in rápas -- ʻ (demon of) injury ʼ RV. (cf. Lith. rẽplės ʻ tongs ʼ IEW 865) and conn. with *rapaka -- and *rampa -- : J. C. W.)]S. rachu m. ʻ treddles of a loom, fish net, vessel or utensil for holding or cooking food &c. ʼ, rachī f. ʻ turner's point for hollowing with ʼ; L. racch m. ʻ tools, implements ʼ; P. racch m. ʻ that part of loom to which web is attached and along which shuttle plays ʼ; H. rāch m. ʻ instrument, implement, apparatus, weaver's toothed instrument ʼ; G. rāc m. ʻ tools, implements, furniture, materials ʼ.(CDIAL 10607)*rathyadhānī ʻ instrument -- case ʼ. [ráthya -- , dhāˊna -- ]L. richāhaṇracchāṇīrichāhṇī f. ʻ barber's case of tools ʼ, P. rachāṇī f.(CDIAL 10608) रथः   rathḥ -2 A hero (for रथिन्); अपवातेषु पार्येषु त्रयस्ते$भावञ् रथाः Mb.1.2.92. -3 A foot. -4 A limb, part, member. -5 The body; cf. आत्मानं रथिनं विद्धि शरीरं रथमेव तु Kaṭh. 1.3.3. -6 A reed. -7 Pleasure, delight. -Comp. -अक्षः 1 a carriage-axle. -2 a measure of length (= 14 aṅgulas). -अङ्गम् 1 any part of a carriage. -2 particularly, the wheels of a carriage; रथो रथाङ्गध्वनिना विजज्ञे R.7.41; Ś.7.1. -3 a discus, especially of Viṣṇu; चक्रधर इति रथाङ्गमदः सततं विभर्षि भुवनेषु रूढये Śi.15.26. -4 a potter's wheel. (-ङ्गः) the ruddy goose. ˚आह्वयः, ˚आह्वानः, ˚नामकः, ˚नामन् m. the ruddy goose (चक्रवाक); रथाङ्गनामन् वियुतो रथाङ्गश्रोणिबिम्बया । अयं त्वां पृच्छति रथी मनोरथशतैर्वृतः ॥ V.4. 18; Ku.3.37; R.3.24; रथाङ्गाह्वानानां भवति विधुरम् Udb.; (the male bird is said by poets to be separated from the female at night, and to be united at sun-rise). ˚पाणिः N. of Viṣṇu; रथाङ्गपाणेः पटलेन रोचिषा Śi.1.21; दुरन्तवीर्यस्य रथाङ्गपाणेः Bhāg. -अभ्रः a reed cane. -अर्थकः a small carriage. -अश्वः a carriage-horse -आयुधकः a kind of bow. -आरोहः one who fights from a chariot. -ईशः a warrior fighting from a chariot. -ईषा, -शा the pole of a carriage; रथेषाश्च रथेषाभिः ... संगतैः सहिताः Mb.6.46.5. -उडुपः, -पम् the body of a chariot. -उद्वहः, -उपस्थः the seat of a chariot, the driving-box; रथोपस्थ उपाविशत् Bg.1.47. -कट्या, -कड्या an assem- blage of chariots. -कल्पकः an officer who is in charge of a king's chariots. -करः, -कारः 1 a coachbuilder, carpenter, wheel-wright; रथकारः स्वकां भार्यां सजारां शिरसा- वहत् Pt.4.54. -2 N. of a caste called सौधन्वन (q. v.); तस्मादत्रैवर्णिको रथकारः ŚB. on MS.6.6.47; परिशेषाद- त्रैवर्णिको रथकारः स्यात् ŚB. on MS.6.1.44. ˚न्यायः The rule according to which the रूढ अर्थ is stronger than the यौगिक अर्थ; cf. योगाद्रूढिर्बलीयसी. This is discussed and established in connection with the word रथकार by Jai- mini and शबर in MS.6.1.44-5. -सुटुम्बिकः, -कुटुम्बिन् m. a charioteer, coachman. -कूबरः, -रम् the pole or shaft of a carriage; कूबरा रथकूबरैः ... संगतैः सहिताः Mb.6. 46.5. -केतुः the flag of a chariot. -क्षोभः the jolting of a chariot; रथक्षोभपरिश्रमम् R.1.58. -गणकः an officer who counts chariots. -गर्भकः a litter, palanquin. -गुप्तिः f. a fence of wood or iron with which a chariot is provided as a protection from collision. -घोषः the rat- tling of a chariot. -चरणः, -पादः 1 a chariot-wheel; धृतरथचरणो$भ्ययाच्चलद्गुः Bhāg.1.9.37; Dk.2.7. -2 the सुदर्शन wheel; रथाङ्गे चन्द्रार्कौ रथचरणपाणिः शर इति Śiva- mahimna 18. -2the ruddy goose. -चर्या chariot-exercise, the use of a chariot, travelling by carriage; अनभ्यस्त- रथचर्याः U.5; सारथे रथचर्यासु सज्जो भव सुशिक्षितः Bm.1.684. -जङ्घा the hinder part of a chariot. -ज्वरः a crow. -दुर्गम् the throng of chariots. -धुर् f. the shaft or pole of a chariot. -नाभिः f. the nave of the wheel of a chariot; रथनाभिरिवाभिख्यायेत Ait. Up.2.4.5. -नीडः the inner part or seat of a chariot. -पुंगवः a chief or distinguished warrior. -बन्धः 1 the fastenings or har- ness of a chariot. -2 a league of warriors. -महोत्सवः, -यात्रा the solemn procession of an idol placed in a car (usually drawn by men). -मुखम् the forepart of a carriage. -युद्धम् 'a chariot-fight', a fight between combatants mounted on chariots. -योगः a team (of horses etc.) on a chariot; Bri. Up. -योजकः a chariot- eer, harnesser of a chariot. -वंशः a number of chariots. -वर्त्मन् n., -वीथिः f. highway, main road. -वारकः son of a Śūdra and a Sairandhrī. -वाहः 1 a carriage- horse. -2charioteer. -विज्ञानम्, -विद्या the art of driving chariots. -शक्तिः f. the staff which supports the banner of a war-chariot; रथशक्तिं मुमोचासौ दीप्तामग्नि- शिखामिव Mb.1.6.13. -शाला a coach-house, carriage- shed. -शास्त्रम्, -शिक्षा the art of driving a chariot, coachmanship. -सप्तमी the seventh day in the bright half of Māgha.(Apte)

Persepolis Darius & Achemenid period seals with Indus Script hypertexts signify metalwork wealth ledgers

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https://tinyurl.com/y5qvhuk8
Oriental Institute 
period cylinder seal from the site of . It shows a human-headed winged lion. The human-headed sphinx is chasing a caprid 🐐 with its head turned backwards!

Caprid with head turned backwards: meḍh kamar 'merchant smith'.
Winged feline: kola 'tiger' rebus: kolhe 'smelter' PLUS kammaṭa 'mint'. Thus, the seal signifies mint of a ironsmith merchant.

Human-headed winged lion is an anthropomorph: kola 'tiger' rebus:kol 'working in iron' kolhe 'smelter';thus, iron smelter PLUS khambh'wing'*skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ]S. khambhu˚bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236)

melh,mr̤eka 'goat or antelope' rebus: milakkhu, mleccha 'copper'  mē̃ḍh 'ram' rebus: meḍh: 'helper of merchantPLUS krammara 'head turnedbackwards' rebus: kamar 'artisan, smith'.

Ka. mēke she-goat;  the bleating of sheep or goats. Te. mē̃ka, mēka goat. Kol. me·ke id. Nk. mēke id. Pa. mēva, (S.) mēya she-goat. Ga. (Oll.) mēge, (S.) mēge goat. Go. (M) mekā, (Ko.) mēka id. ? Kur. mēxnā (mīxyas) to call, call after loudly, hail. Malt. méqe to bleat. [Te. mr̤ēka (so correct) is of unknown meaning. Br. mēḻẖ is without etymology; see MBE 1980a.] / Cf. Skt. (lex.) meka- goat. (DEDR 5087) 


Darius cylinder seal. Holds two lions. Achemenid period 539-331 BCE
https://www.kimbellart.org/collection/ap-200105 ACC.NO AP 2001.05
Date
c. 5th century B.C. (reign of Darius)
Artist
Persian
Period
Achaemenian period (539–331 B.C.)
Medium
Chalcedony
Classification
Seal
Dimensions
H. 1 3/16 in. (3 cm); Diam. 5/8 in. (1.6 cm)



https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=282610&partId=1 No. 89132 British Museum


"Chalcedony cylinder seal: streaked, green to grey-brown, clouded; carved scene shows chariot, lions, symbol, tree and inscription; a royal personage (Darius I) facing right, stands at the back of a chariot, with his torso presented frontally; he has a long pointed beard, striated across the cheek and vertically down the chin and chest, his hair, in diagonal lines, is in a full-page boy style at the nape of the neck, he wears a dentate crown with four well-defined points set on wide circlet decorated with a band of dots, and is dressed in the full-length formal robe (only the top half of the garment is visible), with pendant sleeves folded back from the arms and hands to leave them free to aim his bow, which ends in a curved bird-head. The charioteer stands before the king, leans forward and guides the two horses; his short pointed beard and shoulder-length hair are striated, he wears a diadem with central boss and his upper garment is a cape with a double line border.
The waist high sides of the two-wheeled chariot are covered by three narrow crossed (possibly cruciform) panels or straps, a rounded handle-like, looped projection protrudes from the upper end of the back, against which the king leans, while at the front is a notched, curved pole-brace; the wheel is eight-spoked with a thick, studded rim; the pole links chariot to the yoke. The two horses (the heads are shown as double, but only one body is depicted) gallop with forelegs stretched out and bent slightly downwards, their harnesses are decorated with large tassels, the penis is shown and the tail hangs down but appears to be knotted at the tip. The king has shot two arrows into the eye and front paw of a confronting, rampant and snarling lion; its heavy mane is marked by a cross-hatched pattern ending in a ventral projection down the body. Beneath the hooves of the horses lies a lion cub, face downwards (probably dead). All the animals have well-defined and lightly modelled musculature, discreet drill-holes mark out the eyes, jaws and hind paws of the lion; a curious group of drill-holes mark the lower end of the further foreleg of the horse.

Above the scene hovers a winged sun-disc from which rises the upper part of a male figure (the god Ahuramazda), his beard is striated, he wears a crown with spikes (giving it a feather-like appearance), set on a narrow circlet, his garment has long pendant sleeves from which emerge his hands, one raised, the other extended and holding a ring. The wings are long and narrow but widen slightly at the tips and are marked by long horizontal lines and divided into six sections but diagonal lines, while the tail is marked by fine vertical lines sectioned across by one curving line; two scroll-like appendages emerge from each side. Flanking the scene are two identical palm-trees or date-palms with globular bunches of fruit beneath the palm fronds on each side, and base petioles shown by a continuous criss-cross pattern down the trunks ending in widened bases. The whole is placed on a ground line. To the side is three-line vertical inscription panel."

Image result for achaemenid cylinder seal winged feline
Achaemenid Cylinder Seal with Horned Cattle, 5th Century BCE
kuṭhi 'vagina'; rebus: kuṭhi 'smelting furnace'.
melh,mr̤eka 'goat or antelope' rebus: milakkhu, mleccha 'copper'  mē̃ḍh 'ram' rebus: meḍh: 'helper of merchant'
lokhaṇḍa 'metalware'.Thus, the seal signifies a metals merchant with a smelting furnace selling copper, iron, pewter ware.
Hieroglyhph: buffalo: Ku. N. rã̄go ʻ buffalo bull ʼ (or < raṅku -- ?).(CDIAL 10538, 10559) Rebus: raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅrāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562) B. rāṅ(g) ʻ tinsel, copper -- foil ʼ.(CDIAL 10567)
melh,mr̤eka 'goat or antelope' rebus: milakkhu, mleccha 'copper'  mē̃ḍh 'ram' rebus: meḍh: 'helper of merchantPLUS krammara 'head turnedbackwards' rebus: kamar 'artisan, smith'.

Ka. mēke she-goat;  the bleating of sheep or goats. Te. mē̃ka, mēka goat. Kol. me·ke id. Nk. mēke id. Pa. mēva, (S.) mēya she-goat. Ga. (Oll.) mēge, (S.) mēge goat. Go. (M) mekā, (Ko.) mēka id. ? Kur. mēxnā (mīxyas) to call, call after loudly, hail. Malt. méqe to bleat. [Te. mr̤ēka (so correct) is of unknown meaning. Br. mēḻẖ is without etymology; see MBE 1980a.] / Cf. Skt. (lex.) meka- goat. (DEDR 5087) 
eluhha hieroglyph 'overflowing pot' with rebus reading: metal tools, pots and pans

m1656 Mohenjodro Pectoral. kāṇṭam
kāṇḍam காண்டம்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16). Rebus:  khāṇḍā ‘metal tools,  pots and pans’ (Marathi)
<lo->(B)  {V} ``(pot, etc.) to ^overflow''.  See <lo-> `to be left over'.  @B24310.  #20851. Re<lo->(B)  {V} ``(pot, etc.) to ^overflow''.   See <lo-> `to be left over'. (Munda ) Rebus: loh ‘copper’ (Hindi) The hieroglyph clearly refers to the metal tools, pots and pans of copper. 
The pot carried by the woman accompanying the Meluhha sea-faring merchant could also be a hieroglyphic rebus reading of kāṇṭam signifying metal pots and pans and tools.



The following semantic cluster indicates that the early compound:  loha + kāṇḍa  referred to copper articles, tools, pot and pans. The early semantics of 'copper' got expanded to cover 'iron and other metals'. It is suggested that the hieroglyph of an overflowing vase refers to this compound: lohakāṇḍā.

खांडा [ khāṇḍā ] m A kind of sword, straight, broad-bladed, two-edged, and round-ended (Marathi) M. lokhãḍ n. ʻironʼ(Marthi) yields the clue to the early semantics of khāṇḍā  which should have referred to tools, pots and pans (of metal). Kumaoni has semantics: lokhaṛ  ʻiron tools'. लोहोलोखंड [ lōhōlōkhaṇḍa ] n (लोह & लोखंड) Iron tools, vessels, or articles in general (Marathi).

Thus lohakāṇḍā would have referred to copper tools. The overflowing vase on the hands of Gudea would have referred to this compound, represented by the hieroglyphs and rendered rebus.

N. lokhar ʻ bag in which a barber keeps his tools ʼ; H. lokhar m. ʻ iron tools, pots and pans ʼ; -- X lauhabhāṇḍa -- : Ku. lokhaṛ ʻ iron tools ʼ; H. lokhaṇḍ m. ʻ iron tools, pots and pans ʼ; G. lokhãḍ n. ʻ tools, iron, ironware ʼ; M. lokhãḍ n. ʻ iron ʼ (LM 400 < -- khaṇḍa -- )(CDIAL 11171). lōhitaka ʻ reddish ʼ Āpast., n. ʻ calx of brass, bell- metal ʼ lex. [lṓhita -- ]K. lŏy f. ʻ white copper, bell -- metal ʼ. (CDIAL 11166). lōhá ʻ red, copper -- coloured ʼ ŚrS., ʻ made of copper ʼ ŚBr., m.n. ʻ copper ʼ VS., ʻ iron ʼ MBh. [*rudh -- ] Pa. lōha -- m. ʻ metal, esp. copper or bronze ʼ; Pk. lōha -- m. ʻ iron ʼ, Gy. pal. li°lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻ steel ʼ; Kho. loh ʻ copper ʼ; S. lohu m. ʻ iron ʼ, L. lohā m., awāṇ.lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃u n., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā, Ku. luwā, N. lohu°hā, A. lo, B. lono, Or. lohāluhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H.lohlohā m., G. M. loh n.; Si. loho ʻ metal, ore, iron ʼ; Md. ratu -- lō ʻ copper ʼ.(CDIAL 11158).  lōhakāra m. ʻ iron -- worker ʼ, °rī -- f., °raka -- m. lex., lauhakāra -- m. Hit. [lōhá -- , kāra -- 1Pa. lōhakāra -- m. ʻ coppersmith, ironsmith ʼ; Pk. lōhāra -- m. ʻ blacksmith ʼ, S. luhā̆ru m., L. lohār m., °rī f., awāṇ. luhār, P. WPah.khaś. bhal. luhār m., Ku. lwār, N. B. lohār, Or. lohaḷa, Bi.Bhoj.  Aw.lakh. lohār, H. lohārluh° m., G. lavār m., M. lohār m.; Si. lōvaru ʻ coppersmith ʼ. Addenda: lōhakāra -- : WPah.kṭg. (kc.) lhwāˋr m. ʻ blacksmith ʼ, lhwàri f. ʻ his wife ʼ, Garh. lwār m.(CDIAL 11159). lōhahala 11161 lōhala ʻ made of iron ʼ W. [lōhá -- ](CDIAL 11161). Bi. lohrā°rī ʻ small iron pan ʼ(CDIAL 11160)Bi. lohsārī ʻ smithy ʼ(CDIAL 11162). P.ludh. lōhṭiyā m. ʻ ironmonger ʼ.(CDIAL 11163). लोहोलोखंड [ lōhōlōkhaṇḍa ] n (लोह & लोखंड) Iron tools, vessels, or articles in general.रुपेशाई लोखंड [ rupēśāī lōkhaṇḍa ] n A kind of iron. It is of inferior quality to शिक्केशाईलोखंड [ lōkhaṇḍa ] n (लोह S) Iron. लोखंडाचे चणे खावविणें or चारणें To oppress grievously. लोखंडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith. लोखंडी [ lōkhaṇḍī ] a (लोखंड) Composed of iron; relating to iron. 2 fig. Hardy or hard--a constitution or a frame of body, one's हाड or natal bone or parental stock. 3 Close and hard;--used of kinds of wood. 4 Ardent and unyielding--a fever. 5 लोखंडी, in the sense Hard and coarse or in the sense Strong or enduring, is freely applied as a term of distinction or designation. Examples follow. लोखंडी [ lōkhaṇḍī ] f (लोखंड) An iron boiler or other vessel. लोखंडी जर [ lōkhaṇḍī jara ] m (लोखंड & जर) False brocade or lace; lace &c. made of iron.लोखंडी रस्ता [ lōkhaṇḍī rastā ] m लोखंडी सडक f (Iron-road.) A railroad. लोह [ lōha ] n S Iron, crude or wrought. 2 m Abridged from लोहभस्म. A medicinal preparation from rust of iron.लोहकार [ lōhakāra ] m (S) A smelter of iron or a worker in iron.लोहकिट्ट [ lōhakiṭṭa ] n (S) Scoriæ or rust of iron, klinker.लोहंगी or लोहंगी काठी [ lōhaṅgī or lōhaṅgī kāṭhī ] f (लोह & अंग) A club set round with iron clamps and rings, a sort of bludgeon.लोहार [ lōhāra ] m ( H or लोहकार S) A caste or an individual of it. They are smiths or workers in iron. लोहारकाम [ lōhārakāma ] n Iron-work, work proper to the blacksmith.लोहारकी [ lōhārakī ] f (लोहार) The business of the blacksmith.लोहारडा [ lōhāraḍā ] m A contemptuous form of the word लोहार.लोहारसाळ [ lōhārasāḷa ] f A smithy.
Loha (nt.) [Cp. Vedic loha, of Idg. *(e)reudh "red"; see also rohita & lohita] metal, esp. copper, brass or bronze. It is often used as a general term & the individual application is not always sharply defined. Its comprehensiveness is evident from the classification of loha at VbhA 63, where it is said lohan ti jātilohaŋ, vijāti˚, kittima˚, pisāca˚ or natural metal, produced metal, artificial (i. e. alloys), & metal from the Pisāca district. Each is subdivided as follows: jāti˚=ayo, sajjhaŋ, suvaṇṇaŋ, tipu, sīsaŋ, tambalohaŋ, vekantakalohaŋ; vijāti˚=nāga -- nāsika˚; kittima˚=kaŋsalohaŋ, vaṭṭa˚, ārakūṭaŋ; pisāca˚=morakkhakaŋ, puthukaŋ, malinakaŋ, capalakaŋ, selakaŋ, āṭakaŋ, bhallakaŋ, dūsilohaŋ. The description ends "Tesu pañca jātilohāni pāḷiyaŋ visuŋ vuttān' eva (i. e. the first category are severally spoken of in the Canon). Tambalohaŋ vekantakan ti imehi pana dvīhi jātilohehi saddhiŋ sesaŋ sabbam pi idha lohan ti veditabbaŋ." -- On loha in similes see J.P.T.S. 1907, 131. Cp. A iii.16=S v.92 (five alloys of gold: ayo, loha, tipu, sīsaŋ, sajjhaŋ); J v.45 (asi˚); Miln 161 (suvaṇṇam pi jātivantaŋ lohena bhijjati); PvA 44, 95 (tamba˚=loha), 221 (tatta -- loha -- secanaŋ pouring out of boiling metal, one of the five ordeals in Niraya).    -- kaṭāha a copper (brass) receptacle Vin ii.170. -- kāra a metal worker, coppersmith, blacksmith Miln 331. -- kumbhī an iron cauldron Vin ii.170. Also N. of a purgatory J iii.22, 43; iv.493; v.268; SnA 59, 480; Sdhp 195. -- guḷa an iron (or metal) ball A iv.131; Dh 371 (mā ˚ŋ gilī pamatto; cp. DhA iv.109). -- jāla a copper (i. e. wire) netting PvA 153. -- thālaka a copper bowl Nd1 226. -- thāli a bronze kettle DhA i.126. -- pāsāda"copper terrace," brazen palace, N. of a famous monastery at Anurādhapura in Ceylon Vism 97; DA i.131; Mhvs passim. -- piṇḍa an iron ball SnA 225. -- bhaṇḍa copper (brass) ware Vin ii.135. -- maya made of copper, brazen Sn 670; Pv ii.64-- māsa a copper bean Nd1 448 (suvaṇṇa -- channa). -- māsaka a small copper coin KhA 37 (jatu -- māsaka, dāru -- māsaka+); DhsA 318. -- rūpa a bronze statue Mhvs 36, 31. -- salākā a bronze gong -- stick Vism 283. Lohatā (f.) [abstr. fr. loha] being a metal, in (suvaṇṇassa) aggalohatā the fact of gold being the best metal VvA 13. (Pali) agga- is explained: erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tulu) agasāle, agasāli, agasālavāḍu = a goldsmith (Telugu) cf. eruvai = copper (Tamil)cylinder seal
Cylinder seal impression from the Akkadian period with a combat scene between a bearded hero and a bull-man and various beasts; in the Oriental Institute, University of Chicago.
  - stock photo
Cylinder seal with two registers. On the upper register two bull-men crouch on either side of a triple plant on a stylised mountain, possibly representing the tree of life. Eagles bite the backs of the bull-men and are driven off by two mythological figures, the bull-man "Enkidu" (left) and the naked hero "Gilgamesh" (right). On the lower register: Two bulls bow in worship before the eagle, possibly a representatin of the god Imdugud, with the outspread wings. Behind, a goat and deer with a bird between them. Culture: Mesopotamian Period: Early Dynastic III, 3000-2340 BC Material:Lazulite. Credit Line: Werner Forman Archive/ British Museum, London
poladu, 'black drongo' bird' rebus: poladu 'steel'
ḍāṅgā 'mountain'; ḍã̄gar'bull-man', rebus: ṭhākur'blacksmith'.
melh,mr̤eka 'goat or antelope' rebus: milakkhu, mleccha 'copper'  mē̃ḍh 'ram' rebus: meḍh: 'helper of merchant'
loa 'ficus glomerata' rebus: loh 'metal, copper' PLUS kolom'three' rebus: kolimi 'smithy, forge'. Thus, the seal signifies an ironsmith with a smithy, forge is a blacksmith merchant.

Shape of Caturaśra Śyena in Mānava Śulbasūtra, Harappa seal h166 narrative Caturaśra Śyena rebus آهن ګر āhan gar 'thunderbolt makersmith'

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It appears that the body of the syena is quadrangular Caturaśra Śyena, or "four-sided falcon."  (Mānava Śulbasūtra):

Archiecture of Ellora Kailāsa mandiram is also Caturaśra, consistent with Veda tradition.
image.png
Objective of śyena citi is heaven. The Veda metaphor is that worshipper and his wife mount the caṣāla to attain heaven. Yajña, मेधा , intelligence , knowledge , understanding is also = धन Naigh. ii , 10 in the context of Indus Script metaphorical rebus renderings. 

The evidence is emphatic that Indus Script is a Veda cultural continuum.Here are two seals which are representative; they seal the Indus Script narrative in over 8000 inscriptions. The thunderbolt maker is آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto). Hence, gaṇḍabheruṇḍa idiom of the historical tradition continuum from Veda metaphors.

Thunderbolt, vajra
See:

Homa bird, श्येन śyena, sēṇa brings down Soma. Sellers of Mujavata Soma. Indus Script evidences बहुसुवर्णक, bahusuvarṇaka Soma Samsthā yāga. https://tinyurl.com/yb72o7za

ahar12Harappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255   

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

dhanga 'mountain range' Rebus: dhangar 'blacksmith'

Ta. eruvai a kind of kite whose head is white and whose body is brown; eagle. Ma. eruva eagle, kite.(DEDR 818). Rebus: eruvai ‘copper’ (Tamil).

eṟaka ‘wing’ (Telugu) Rebus: erako ‘molten cast’ (Tulu) loa ‘ficus’; rebus: loh ‘copper’. Pajhar ‘eagle’; rebus: pasra ‘smithy’.

      
kanda.’fire-altar’.khamba ‘wing’ rebus: kammaTa ‘mint’. gaṇḍa ‘four’ Rebus: khaṇḍa ‘metal implements.  Together with cognate ancu ‘iron’ the message is: native metal implements mint.

श्येन [p= 1095,2] m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle Śulbas. (Monier-Williams) śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sensẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala): 

aśáni f. ʻ thunderbolt ʼ RV., °nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.] Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ. &circmacrepsilon;n (both with n, not ), P. āhiṇ, f., āhaṇaihaṇ m.f., WPah. bhad. ã̄ṇhiṇi f., N. asino, pl. °nā; Si. senaheṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be *ā̤n; -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v.śilāˊ -- . (CDIAL 910) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ]Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207)Bogazkoy Indus Script seal, sēṇa 'eagle' rebus: sena ʻvajra, thunderboltʼ PLUS dhAtu 'strands of rope' Rebus'mineral, metal, ore' (CDIAL 6773) Alternative: मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f. ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: me'iron'. mẽṛhet ‘iron’ (Mu.Ho.)  Alternative: pajhar 'eagle' rebus: pasra 'smithy, forge' dul 'pair' rebus: dul 'metal casting'.
On the cylinder seal of Adda (c. 2300 BCE), scribe, the eagle flying down towards the water overflowing from the horned person's shoulders compose the key Indus Script hypertexts in Meluhha, which link to Sarasvati Civilization and to R̥gveda ākhyāna 'historical narrative' of श्येन m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c. The word also signifies: firewood laid in the shape of an eagle (शुल्ब-सूत्र). Etyma link श्येन with آهن āhan P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garān. آهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing.(Pashto) ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmiri) āhaṇaihaṇ m.f., WPah. bhad. ã̄ṇhiṇi f., N. asino, pl. °nā; Si. senaheṇa ʻ thunderboltʼ (CDIAL 910). The thunderbolt produced by  han-gār अहन्-गार्, 'blacksmith' is the vajra, 'thunderbolt' eulogised as the powerful weapon of Indra in R̥gveda. This is iron metalwork, weapon in armoury par excellence of अहन्-गार् 'blacksmiths' of Sarasvati Civilization. Overflowing pot signifies: lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans' (Marathi) emanating from khamba 'shoulder' rebus: kammaṭa 'mint' and the eagle signifies: senaheṇa ʻ thunderboltʼ PLUS khamba 'wings' rebus: kammaṭa 'mint', i.e. metallic weapon, vajra, from the mint. A leafless tree is signified on the mountain of Adda, scribe seal: khōṇḍa'leafless tree' (Marathi). Rebus: kõdār 'turner' (Bengali) Rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃daपयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri).A one-horned young bull frequently signified on Indus Script Corpora is signified below the feet of the horned person on Adda, scribe cylinder seal: the hypertext is:  kō̃da 'young bull' rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri). Thus, working with a smelter, The mountain-range is topped by a kuṭi 'tree' rebus: kuṭhi'smelter' worked by danga 'mountain range' rebus: dhangar 'blacksmith'. In another register on the Adda, scribe cylinder seal, an archer stands next to a roaring lion to signify a brass mint: arye 'lion' rebus: āra 'brass' PLUS kamaḍha 'archer' Rebus: kammaṭa 'mint, coiner, coinage'; The thunderbolt is made of ayaskāṇḍa, 'excellent iron': ayo 'fish' rebus: ayas 'metal alloy' aya 'iron' (Gujarati) PLUS kāṇḍā 'water', rebus:  'metalware, tools'. Thus, ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ). āhan is iron, ayas is iron, also alloy metal.

Interpretation of Caturaśra Śyena in Mānava Śulbasūtra and in Indus Script narratives, validated by शब्दकल्पद्रुमः and वाचस्पत्यम्

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This is an addendum to: 

 https://tinyurl.com/y3s9tomm
I submit that the interpretation of the expression Caturaśra Śyena is consistent with evidence of Purulia citi (archaeology), the Harappa tablet and the elucidations in:शब्दकल्पद्रुमः and वाचस्पत्यम् Reproduced below.
चतुरश्रः, त्रि, (चतस्रोऽश्रयोऽस्य । “सुप्रातसुश्व-सुदिवेति ।” ५ । ४ । १२० । इति अच्प्रत्ययेननिपातितः ।) चतुष्कोणः । यथा, --“चतुरश्रं त्रिकोणं वा वर्त्तुलं चार्द्धचन्द्रकम् ।कर्त्तव्यमानुपूर्ब्बेण ब्राह्मणादिषु मण्डलम् ॥”इत्याह्रिकतत्त्वे बौधायनः ॥लग्नाच्चतुर्थाष्टमलग्नम् । इति दीपिका ॥ https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः
चतुरश्र त्रि० चतस्रोऽश्रयः कोणा अस्य नि० अच् । १चतुष्कोणे पा० तालव्यमध्यस्यैव निपातनम् । दन्तमध्यत्वेचतुरस्रिरित्येव स्यात् । अस्य दन्त्यमध्यत्वं शब्दकल्पद्रु-मोक्तं चिन्त्यम् सुप्रातसुश्वेति” पा० ५ । ४ । १ सू०तालमध्यस्यैव ग्रहणात् “चतुरश्रं त्रिकोणं वा वर्त्तुलंचार्द्धचन्द्रकम् । कर्त्तव्यमानुपूर्ब्बेण ब्राह्मणादिषु मण्ड-लम्” वौधा० । २ ब्रह्मसन्ताने केतुभेदे पु० “चतुरश्रा,ब्रह्मसन्तानाः” वृ० सं० ११ अ० । केतुशब्दे दृश्यम् । ३ अन्यू-नानतिरिक्ते त्रि० । “बभूव तस्याश्चतुरश्रशोभि” कुमा० ।“चतस्रोऽश्रयोऽस्य तच्चतुरश्रमन्यूनानतिरिक्तम्” मल्लि० ।https://sa.wikisource.org/wiki/वाचस्पत्यम्

Śyena, Simorg, Anzu, Amśu (Soma), Indus Script Corpora wealth-accounting ledgers, are Veda veneration continuum seeking heaven

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-- Tablets of destiny brought by Śyena are Indus Script Corpora Soma, amśu wealth accounting metalwork ledgers
-- Inthe prayers of R̥gveda IV.27.1-4 the devatā is Śyena; it is the rock from which the eagle brought Soma (RV 4.26, 27)
-- Śyena citi is a Veda altar shape which is caturaśra, 'quadrangular' to bring home and purify Soma, amśu
-- Soma purification is metallurgical process in Agni,'fire' in a citi, 'fire-altar'
-- Offspring of Viśvakarman are artisans working with Soma, amśu to create the shared wealth of a Rāṣṭrram
-- Saēna in Avestan, Simorg in Persian is cognate śyēna mr̥ga (Samskr̥tam)

-- Tablets of Destiny, vajra 'thunderbolt' are Indus Script hypertexts brought home by Śyena, amśu, Anzu to create the wealth of a Rāṣṭrram


--Śyena brings Soma from heaven (RV IV.38.5), parallel narratives of saena or simorg

--Metalwork using Agni, consecrated, sacred fire constituted a revolutionary phenomenon of the Bronze Age in a way men and women related to and worked with products of nature, mineral ores, in particular, which created a new meaning for Soma, ayas, 'alloy metal' or wealth or treasure of a nation
-- Zoomorphic means 'of or relating to a deity or other being conceived of as having the form of an animal'.


-- Tablets of destiny brought by Anzu (zoomorph of Veda amśu)= Śyena are 
Indus Script Corpora tablets, seals and inscriptions documented by kāyastha, 'scribes' of Soma = amśu wealth accounting metalwork ledgers; this is exemplified by the anthropomorphs of Nandi or bull-man in Citragupta mandiram of Khajuraho.
-- Anzu (Sumer)(cognate amśu (RV), ancu 'iron' (Tocharian) or thunderbolt is biting into a bulll-man or bull-anthropomorph, a brilliant narrative of the desire of the artisan to attain heaven, to acquire wealth, Soma.

 

Bas relief of Anzud attacking a man-headed bull. For more information on Imdugud/Anzud, see Beijing World Art Museum for an article by Richard Zettler.(embedded).

See:

 https://tinyurl.com/y5wxnszv


Image result for nandi citragupta templeImage result for chitragupta temple khajuraho bull-manOne of the Aṣṭa Vasus, holding triśūla, lotus stalk (stylus) and Kamaṇḍalu, with fire by his side, Chitragupta Temple, Khajuraho.

The monograph is organized in the following sections:


Section A. Śyena brings Soma from heaven

Section B. Anzu steals the Tablets of Destiny

Section C. Saēna, simorg (Persian), Sēnmurw (Pahlavi), Sīna-Mrū (Pāzand) are cognate with Śyena

Section D. Soma amśu, products; śyēna, Anzu metaphors; Indus Script hypertexts of metals foundries 

Section E. Thunderbolt, vajra



Bhāratīya traditions of veneration, objective of Soma Yajña, is heaven; work as worship is kailāsa heaven

Soma is amśu, anzu of the jangama, the itinerant artisan, seafaring merchant. Soma is the product of the strong work, profession, trade of the Meluhha artisan who is also a seafaring merchant immersed in Veda, i.e., acquiring knowledge about properties of matter and enable creation of shared wealth of a nation.

Soma is quintessential sacred process of  R̥gveda. Significance of the falcon-shape for the Citi, 'fire-altar' to process Soma, is emphatically declared in YV V.4.1.11.1: "He should pile in hawk shape who desires the sky; the hawk is the best flier among birds; verily becoming a hawk he flies to the world of heaven...by the offspring to Viśvakarman he was set free from evil; in that he offers a libation to Agni of the front, Agni of the front, delighted with his own portion, burns away his evil, and he is set free from his evil by the offering to Visvakarman." The hawk-shape or quadrangular-body shape of the falcon, in the expression Caturaśra Śyena Citi is elaborated in Veda texts. This shape yields sacred space. The bird will return the tablets of destiny, the Indus Script Corpora to the offspring of Viśvakarman, artisan par-excellence, the divinity. Artisans, maruts, Rudra, Vasu are divine and are venerated. The intensity of human endeavours to accomplish the desires gets enshrined in the famous dictum succinctly stated by Basava in the exhortaion: kāyakave kailāsa, 'work is worship'.
కాయకము  or కులకాయకము kāyakamu. [Tel.] n. Profession, trade, art. జీవనము. See కాయికముకాయకము (among the Jangams) signifies a prayer or vow. ప్రార్థనవ్రతము.కాయికము  kāyikamu. [Skt.] n. Daily interest నానాటివడ్డికాయికములమారి a rogue or cheat. adj. Lit. pertaining to the body. దేహసంబంధమైనSlight, not strong, జబ్బుకాయికపుపని not strong work.  జింగమము  jangamamu. [Skt.] adj. Moveable, not stationary. తిరుగునది.జంగమ కట్టుబడి a temporary bailiff. జంగమనగము, (Vasu. iii. 249.) జంగమగ్రావము, or జంగమాద్రి rolling rock, a moving hill. P. i. 202; iii. 62. n. A moveable or chattel; property, personalty. Cattle, cows, sheep, &c. జంగముడు jangamuu. n. Jangam, or worshipper of Basava. L. XIV. 210. జంగమత్వము jangamatvamu. n. Moveableness, locomotion. G. ix. 121జంగము ḍzangamu. [Tel.] n. (Lit. a sojourner) A Jangam. Name of a Saivite sect, the members of which wear the lingam.
Sign1 of Indus Script Corpora (ASI 1977 sign list of Mahadevan). This hieroglyph signifies kāyaka'body' rebus: kāyaka 'work, profession' PLUS me 'body' rebus: meḍ, med 'iron, copper'.; thus, metal worker or metal artisan or metalsmith.





This is the highest tribute paid to the artisans of the civilization, the offspring of.Viśvakarman.

Three flying birds are abiding metaphors in R̥gveda.


The glosses are: śyēna, patanga, mākṣikā. The three glosses are rebus-metonymy renderings of sena 'thunderbolt';  patanga 'mercury'; mākṣikā 'pyrites' -- three references to metalwork catalogs of Bhāratam Janam, 'lit. metalcaster folk'. A variant phonetic form of mākṣikā is makha 'fly, bee, swarm of bees' (Sindhi). The rebus-metonymy for this gloss is: makha 'the sun'. Mahavira pot is a symbol of Makha, the Sun (S'Br. 14.1.1.10). 

In Vedic texts, weapon of Divinity Indra is vajra, thunderbolt lightning. The name "thunderbolt" or "thunderstone" -- vajrāśani (Ramayana) --has also been traditionally applied to the fossilised rostra of belemnoids. The origin of these bullet-shaped stones was not understood, and thus a mythological explanation of stones created where a lightning struck has arisen. (Vendetti, Jan (2006). "The Cephalopoda: Squids, octopuses, nautilus, and ammonites", UC Berkeley) In Malay and Sumatra they are used to sharpen the kris, are considered very lucky objects, and are credited with being touchstones for gold.


Caturaśra Śyena Citi, the shape of the Vedic fire-altar becomes the recurrent hieroglyph used on Indus Script Corpora and in the architectural designs of sacred places of worship
called mandiram or temples. 


 https://tinyurl.com/y3s9tomm

It appears that the body of the syena is quadrangular Caturaśra Śyena, or "four-sided falcon."  (Mānava Śulbasūtra):
Śyena as sacred space is defined by the shape of the body of the falcon which is called Caturaśra Śyena. The expression is documented in ancient texts. शब्दकल्पद्रुमः and वाचस्पत्यम्

चतुरश्रः, त्रि, (चतस्रोऽश्रयोऽस्य । “सुप्रातसुश्व-सुदिवेति ।” ५ । ४ । १२० । इति अच्प्रत्ययेननिपातितः ।) चतुष्कोणः । यथा, --“चतुरश्रं त्रिकोणं वा वर्त्तुलं चार्द्धचन्द्रकम् ।कर्त्तव्यमानुपूर्ब्बेण ब्राह्मणादिषु मण्डलम् ॥”इत्याह्रिकतत्त्वे बौधायनः ॥लग्नाच्चतुर्थाष्टमलग्नम् । इति दीपिका ॥ https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः

चतुरश्र त्रि० चतस्रोऽश्रयः कोणा अस्य नि० अच् । १चतुष्कोणे पा० तालव्यमध्यस्यैव निपातनम् । 
दन्तमध्यत्वेचतुरस्रिरित्येव स्यात् । अस्य दन्त्यमध्यत्वं शब्दकल्पद्रु-मोक्तं चिन्त्यम् सुप्रातसुश्वेति” पा० ५ । ४ ।
 १ सू०तालमध्यस्यैव ग्रहणात् “चतुरश्रं त्रिकोणं वा वर्त्तुलंचार्द्धचन्द्रकम् । कर्त्तव्यमानुपूर्ब्बेण ब्राह्मणादिषु मण्ड-लम्” वौधा० । २ ब्रह्मसन्ताने केतुभेदे पु० “चतुरश्रा,ब्रह्मसन्तानाः” वृ० सं० ११ अ० । केतुशब्दे दृश्यम् । ३ अन्यूनानतिरिक्ते त्रि० ।“बभूव तस्याश्चतुरश्रशोभि” कुमा० ।“चतस्रोऽश्रयोऽस्य तच्चतुरश्रमन्यूनानतिरिक्तम्” मल्लि० । https://sa.wikisource.org/wiki/वाचस्पत्यम्



This Harappa seal h166 shows how a चतुरश्र citi or  are comparable architectural forms.

Archiecture of Ellora Kailāsa mandiram is also Caturaśra, consistent with Veda tradition.
image.png
Objective of śyena citi is heaven. The Veda metaphor is that worshipper and his wife mount the caṣāla to attain heaven. Yajña, मेधा , intelligence , knowledge , understanding is also = धन Naigh. ii , 10 in the context of Indus Script metaphorical rebus renderings. 

The evidence is emphatic that Indus Script is a Veda cultural continuum. Here are two seals which are representative; they seal the Veda foundations of Indus Script narratives in over 8000 inscriptions. The thunderbolt maker is آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto). Hence, gaṇḍabheruṇḍa idiom of the historical tradition continuum from Veda metaphors.

GonurTepe settlement layout architecture is Caturaśra 'quadrangular'.
Image result for gonur tepe


Caturaśra Śyena Citi is a foundational framework for the processing of Soma to create the wealth of a nation by the shared wealth created by artisans and seafaring Meluhha merchants.



Section A. Śyena brings Soma from heaven

Śyena is associated with a bird of happy omen (RV II.42.3), the vigour of the falcon (RV I.118.11) brings Soma from heaven (RV IV.38.5). 


A prayer for prosperity is a prayer to the heavenly falcon in Atharvaveda to be rich in food among our Fathers: Becoming a hawk he flies to the world of heaven (KYV V.4.11.1). The world of heaven is a world of prosperity and wealth; this is symbolised by Śyena 'falcon, hawk'. The worshipper and his consort climb the yupa with caṣāla 'ring of wheat chaff' which infuses carbon into the moltenmetal, and reach heaven.
RV I.32.14
14 Whom sawest thou to avenge the Dragon, Indra, that fear possessed thy heart when thou hadst slain him;
That, like a hawk affrighted through the regions, thou crossedst nineandninety— flowing rivers?

RV I.33.2

2 I fly to him invisible Wealthgiver- as flies the falcon to his cherished eyrie,
With fairest hymns of praise adoring Indra, whom those who laud him must invoke in battle.

RV I.118.11

11 Come unto us combined in love, Nasatyas come with the fresh swift vigour of the falcon.
Bearing oblations I invoke you, Asvins, at the first break of everlasting morning.

RV I.163.1
RV I.163.2




(AA Macdonell and AB Keith, 1912, Vedic index of names and subjects, Vol. 2,, Delhi,Motilal Banarsidass)

śyēnḥ श्येनः [श्यै-इनन् Uṇ.2.45] 1 The white colour. -2 Whiteness. -3 A hawk, falcon. -4 Violence. -5 Ved. A horse. -6 A kind of array in battle. -Comp. -अवपातः the swoop of a hawk; श्येनावपातचकितावनवर्ति- केव Māl.8.8. -कपोतीय a. (from Śibi story) sudden (calamity). -करणम्, -करणिका 1burning on a separate funeral pile. -2 a hawk-like, i. e. rash and desperate, act. -चित्, -जीविन् m. falconer; Ms.3.164. -पातः the swoop of a hawk or eagle; वडवेइवसंयुक्तेश्येनपातेदिवौकसाम्Mb.3.133.26. (Apte) श्येन m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle (शुल्ब-सूत्र); a kind of array (in battle) (MBh. कामन्दकीय-नीतिसार).; N. of a सामन् (आर्षेय-ब्राह्मणलाट्यायन)(Monier-Williams). 

YV V.4.1 to 11

PRAPATHAKA IV (4) Explanation of the Piling of the Fire Altar v. 4. 1 to 11

V.4.1

The gods and the Asuras were in conflict, they could not decide the issue; Indra saw these bodies, he put them down; with them he conferred upon himself power, strength, and body; then the gods prospered, the Asuras were defeated.
In that he puts down Indra s bodies, the sacrificer with them bestows on himself power, strength, and body; verily also he piles up the fire with Indra and with a body; be prospers himself, his foe is [1] defeated.
The sacrifice departed from the gods; they could not recover it; they saw these bodies of the sacrifice, they put them down, and by them they recovered the sacrifice.
In that he puts down the bodies of the sacrifice, the sacrificer by them wins the sacrifice.
Three and thirty he puts down; the gods are three and thirty; verily he wins the gods; verily also he piles up the fire with itself and with a body; he becomes with his body in yonder world [2], who knows thus.
He puts down the lighted (bricks); verily he confers light upon it; the fire blazes piled up with these (bricks); verily with them he kindles it; in both worlds is there light for him.
He puts down the constellation bricks; these are the lights of the sky; verily he wins them; the Naksatras are the lights of the doers of good deeds; verily he wins them; verily also he makes these lights into a reflection [3] to light up the world of heaven.
If he were to place them in contact, he would obstruct the world of rain, Parjanya would not rain; he puts them down without touching; v rily he produces the world of rain, Parjanya is likely to rain; on the east he puts down some pointing west, on the west some pointing east; therefore the constellations move both west and east.

v. 4. 2.

He puts down the seasonal (bricks), to arrange the seasons.
He puts down a pair; therefore the seasons are in pairs.
This middle layer is as it were unsupported; it is as it were the atmosphere; he puts down a pair on the other layers, but four in the middle one, for support.
The seasonal (bricks) are the internal cement of the layers; in that he puts down the seasonal (bricks), (it is) to keep apart the layers.
He puts down next an Avaka plant; this is the birthplace of Agni; verily he piles up the fire with its birthplace [1].
Visvamitra says, He shall eat food with holy power, for whom these shall be put down, and he who shall know them thus
It is the year which repels from support him who having piled up the fire does not find support; there are five layers preceding, and then he piles up the sixth; the year has six seasons; verily in the seasons the year finds support.
These are the bricks [2], called the over ladies; he for whom they are put down becomes the overlord of his equals; he should think of him whom he hates as he puts (them down); verily he cuts him off for those deities; swiftly he goes to ruin.
The Angirases, going to the world of heaven, made over to the seers the accomplishment of the sacrifice; it became gold; in that he anoints with fragments of gold, (it is) for the completion of the sacrifice; verily also he makes healing for it [3]; moreover he unites it with its form, and with golden light he goes to the world of heaven.
He anoints with that wh ch contains the word of a thousand Prajapati is of a thousand; (verily it serves) to win Prajapati.
May these bricks, O Agni, be for me milch cows he says; verily he makes them milch cows; they, milking desires, wait upon him yonder in yonder world.

v. 4. 3.

The fire is Rudra; he is born then when he is completely piled up; just as a calf on birth desires the teat, so he here seeks his portion; if he were not to offer a libation to him, he would suck the Adhvaryu and the sacrificer.
He offers the Satarudriya (oblation); verily he appeases him with his own portion; neither Adhvaryu nor sacrificer goes to ruin.
If he were to offer with the milk of domesticated animals [1], he would afflict domestic animals with pain; if (with that) of wild (animals), wild (animals); he should offer with groats of wild sesame or with groats of Gavidhuka grass; he harms neither domesticated nor wild animals.
Then they say, Wild sesame and Gavidhuka grass are not a proper offering he offers with goat s milk, the female goat is connected with Agni; verily he offers with a proper offering; he harms neither domesticated nor wild animals.
The Angirases going to the world of heaven [2] spilled the cauldron on the goat; she in pain dropped a feather (like hair), it became the Arka (plant); that is why the Arka has its name.
He offers with a leaf of the Arka, to unite it with its birthplace.
He offers standing facing north; this is the quarter of Rudra; verily he propitiates him in his own quarter.
He offers on the last brick; verily at the end he propitiates Rudra.
He offers dividing it into three; these worlds are three; verily he makes these worlds of even strength; at this height he offers [3], then at this, then at this; these worlds are three; ver ly he appeases him for these worlds.
Three further libations he offers; they make up six, the seasons are six; verily with the seasons he appeases him.
If he were to offer while wandering round, he would make Rudra come within (the sacrifice).
Or rather they say, In what quarter is Rudra or in what? He should offer them while wandering round; verily he appeases him completely [4].
The highest (bricks) are the heavenly deities; over them he makes the sacrificer speak; verily by them he makes him attain the world of heaven; he should throw (the leaf) down in the path of the cattle of him whom he hates; the first beast that steps upon it goes to ruin.

v. 4. 4.

The strength on the stone (with these words) he moistens (the fire), and so purifies it; verily also he delights it; it delighted attends him, causing him neither hunger nor pain in yonder world; he rejoices in offspring, in cattle who knows thus.
That food and strength, do ye, O Maruts, bounteously bestow on us he says; strength is food, the Maruts are food; verily he wins food.
In the stone is thy hunger; let thy pain reach N.N.[1], whom we hate he says; verily he afflicts him whom he hates with its hunger and pain.
He goes round thrice, moistening; the fire is threefold; verily he calms the pain of the whole extent of the fire.
Thrice again he goes round; they make up six, the seasons are six; verily with the seasons he calms its pain.
The reed is the flower of the waters, the Avaka is the cream of the waters [2]; he draws over (it) with a branch of reeds and with Avaka plants; the waters are appeased; verily with them appeased he calms his pain.
The beast that first steps over the fire when piled, it is liable to burn it up with its heat.
He draws over (it) with a frog; this of animals is the one on which one does not subsist, for neither among the domesticated nor the wild beasts has it a place; verily he afflicts it with pain.
With eight (verses) he draws across [3]; the Gayatri has eight syllables, the fire is connected with the Gayatri; verily he calms the pain of the whole extent of the fire.
(He draws) with (verses) containing (the word) purifying the purifying (one) is food; verily by food he calms its pain.
The fire is death; the black antelope skin is the form of holy power; he puts on a pair of black sandals; verily by the holy power he shuts himself away from death.
He shuts himself away from death, and away from eating food they say; one he puts on, the other not; verily he shuts himself away [4] from death and wins the eating of food.
Honour to thy heat, thy blaze he says, for paying honour they wait on a richer man; may thy bolts afflict another than us he says; verily him whom he hates he afflicts with its pain; be thou purifying and auspicious to us he says; the purifying (one) is food; verily he wins food.
With two (verses) he strides over (it), for support; (with two) containing (the word) water for soothing.

v. 4. 5.

To him that sits in man hail! (with these words) he pours butter on; verily with the Pankti and the offering he takes hold of the beginning of the sacrifice.
He pours on butter transversely; therefore animals move their limbs transversely, for support.
If he were to utter the Vasat cry, his Vasat cry would be exhausted; if he were not to utter the Vasat cry, the Raksases would destroy the sacrifice; Vat he says; verily, mysteriously he utters the Vasat cry; his Vasat, cry is not exhausted, the Raksases do not destroy the sacrifice.
Some of the gods eat the offerings [1], others do not; verily he delights both sets by piling up the fire.
Those gods among gods (with these words) he anoints (it) with curds mixed with honey; verily the sacrificer delights the gods who eat and those who do not eat the offerings; they delight the sacrificer.
He delights those who eat the offerings with curds, and those who do not with honey; curds is a food of the village, honey of the wild; in that he anoints with curds mixed with honey, (it serves) to win both.
He anoints with a large handful (of grass); the large handful is connected with Prajapati [2]; (verily it serves) to unite it with its birthplace; with two (verses) he anoints, for support.
He anoints going round in order; verily he delights them completely.
Now he is deprived of the breaths, of offspring, of cattle who piling the fire steps upon it.
Giver of expiration art thou, of inspiration he says; verily he bestows on himself the breaths; giver of splendour, giver of wide room he says; splendour is offspring; wide room is cattle; verily he bestows on himself offspring and cattle.
Indra slew Vrtra; him Vrtra [3] slain grasped with sixteen coils; he saw this libation to Agni of the front; he offered it, and Agni of the front, being delighted with his own portion, burnt in sixteen places the coils of Vrtra; by the offspring to Visvakarman he was set free from evil; in that he offers a libation to Agni of the front, Agni of the front, delighted with his own portion, burns away his evil, and he is set free from his evil by the offering to Visvakarman.
If he desire of a man, May he be set free slowly from evil [4], he should offer one by one for him; verily, slowly he is set free from evil; if he desire of a man, Swiftly may he be set free from evil he should run over all of them for him and make one offering; swiftly is he set free from evil.
Or rather he sacrifices separately with each hymn; verily severally he places strength in the two hymns; (verily they serve) for support.

v. 4. 6.

Do thou lead him forward (with these words) he puts on the kindling sticks; that is as when one provides hospitality for one who has come on a visit.
He puts down three; the fire is threefold; verily he provides his portion for the whole extent of the fire.
They are of Udumbara wood, the Udumbara is strength; verily he gives him strength.
May the All gods thee he says; the All gods are the breaths; verily with the breaths [1] he raises him up; I bear up with their thoughts, O Agni he says; verily he unites him with the thought for which he lifts him up.
May the five regions divine aid the sacrifice, the goddesses he says, for he moves forward along the quarters.
Driving away poverty and hostility he says, for smiting away the Raksases.
Giving to the lord of the sacrifice increase of wealth, he says; increase of wealth is cattle [2]; verily he wins cattle.
He takes (him) with six (verses); the seasons are six; verily with the seasons he takes him; two have (the word) embracing for the smiting away of the Raksases.
With the rays of the sun, with tawny hair, before us he says, for instigation.
Then let our pure invocations be accepted he says; the pure (one) is food; verily he wins food.
The gods and the Asuras were in conflict; the gods saw the unassailable (hymn) and with it they conquered the Asuras [3]; that is why the unassailable (hymn) has its name.
In that the second Hotr recites the unassailable (hymn) the sacrificer conquers his foes therewit unassailably; verily also he conquers what has not been conquered.
(The hymn) has ten verses; the Viraj has ten syllables, by the Viraj are kept apart these two worlds; (verily it serves) to keep apart these two worlds.
Again the Viraj has ten syllables, the Viraj is food; verily he finds support in the Viraj, in eating food.
The atmosphere is as it were unreal; the Agnidh s altar is as it were the atmosphere; on the Agnidh s altar [4] he puts down a stone, for reality; with two (verses), for support.
As measurer, he standeth in the midst of the sky he says; verily with this he measures; in the middle of the sky is the dappled stone set down he says; the dappled is food; verily he wins food.
With four (verses) he goes up to the tail; the metres are four; verily (he goes) with the metres.
All have caused Indra to wax he says; verily he attains increase.
True lord and lord of strength [5], he says; strength is food; verily he wins food.
Let the sacrifice invoke favour, and bring the gods he says; favour is offspring and cattle; verily be bestows on himself offspring and cattle.
Let the god, Agni, offer and bring to us the gods he says, to make the cry, Godspeed! He hath seized me with the impulse of strength, with elevation he says; elevation is yonder sun in rising; depression is it when setting; verily with holy power he elevates himself, with holy power he depresses his foe.

v. 4. 7.

Along the eastern quarter do thou advance, wise one he says; verily with this (verse) he moves to the world of heaven.
Mount ye, with Agni, to the vault he says; verily with this he mounts these worlds.
From earth have I mounted to the atmosphere, he says; verily with it he mounts these worlds.
Going to the heaven they look not away he says; verily he goes to the world of heaven.
O Agni, advance [1] first of worshippers he says; verily with it he bestows eyesight upon both gods and men.
He steps upon (the altar) with five (verses); the sacrifice is fivefold; verily he goes to the world of heaven with the full extent of the sacrifice.
Night and dawn he recites as the Puronuvakya, for preparation.
O Agni, of a thousand eyes he says; Prajapati is of a thousand; (verily it serves) to obtain Prajapati.
To thee as such let us pay honour; to strength hail! he says; strength is food; verily he wins food [2].
He offers on the naturally perforated brick (a ladle) of Udumbara wood filled with curds; curds are strength, the Udumbara is strength, the naturally perforated is yonder (sky); verily he places strength in yonder (sky); therefore we live on strength coming hitherward from yonder.
He puts (it) in place with three (verses); the fire is threefold; verily be makes the whole extent of the fire attain support.
Enkindled, O Agni, shine before us (with these words) he takes (the kindling stick) of Udumbara wood; this is a pipe with projections; by it [3] the go s made piercings of hundreds of the Asuras; in that he takes up the kindling stick with this (verse), the sacrificer hurls the hundred slaying (verse) as a bolt at his enemy, to lay him low without fail.
Let us pay homage to thee in thy highest birth, O Agni (with these words) he takes up (the kindling stick) of Vikankata wood; verily he wins radiance.
That various of Savitr, the adorable (with these words) be takes up (the kindling stick) of Sami wood, for soothing.
The fire milks the piler up of the fire; the piler up, milks the fire; that [4] various of Savitr, the adorable he says; this is the milking of the fire.
This of it Kanva Srayasa knew, and with it he was wont to milk it; in that be takes up the kindling stick with the verse, the piler up of the fire milks the fire.
Seven are thy kindling sticks, O Agni, seven tongues verily he delights seven sevens of his.
With a full (ladle) he offers, for Prajapati is as it were full, to obtain Prajapati [5].
He offers with a half filled (ladle), for from the half filled Prajapati created creatures, for the creation of offspring.
Agni departed from the gods; he entered the quarters; he who sacrifices should think in his mind of the quarters; verily from the quarters he wins him; with curds he offers at first, with butter afterwards; verily he bestows upon him brilliance and power in accord.
There is (an offering) to Vaisvanara on twelve potsherds; the year has twelve months, Agni Vaisvanara is the year; verily st aightway [6] he wins Vaisvanara.
If he were to offer the fore and after sacrifices, there would be a bursting of the sacrifice; he offers an oblation with a ladle, for the support of the sacrifice.
Vaisvanara is the kingly power, the Maruts the people; having offered the offering to Vaisvanara, he offers those to the Maruts; verily he attaches the people to the kingly power.
He utters aloud (the direction to the Agnidh) for Vaisvanara, he offers the offerings of the Maruts muttering; therefore the kingly power speaks above the people.
(The offerings) are for the Maruts; the people of the gods are the Maruts; verily he wins for him by the people of the gods the people among men.
There are seven; the Maruts are in seven troops; verily in troops he wins the people for him; running over troop by troop he offers; verily he makes the people obedient to him.

v. 4. 8.

He offers the stream of wealth; May a stream of wealth be mine (with this hope) is the offering made; this stream of ghee waits upon him in yonder world, swelling up.
He offers with butter; butter is brilliance, the stream of wealth is brilliance; verily by brilliance he wins brilliance for him.
Again the stream of wealth is desires; verily he wins desires.
If he desire of a man, May I separate his breaths and his eating of food [1], he should offer separately for him; verily he separates his breaths and his eating of food; if he desire of a man, May I continue his breaths and his eating of food he should offer for him in a continuous stream; verily he continues his breaths and his eating of food.
Twelve sets of twelve he offers; the year has twelve months; verily by the year he wins food for him.
May for me food, for me freedom from hunger he says; that [2] is the form of food; verily he wins food.
May for me fire, for me the waters be says; this is the birthplace of food; verily he wins food with its birthplace.
He offers those where Indra, is half; verily he wins the deities; since Indra is half of all and a match, therefore Indra is the most appropriating of gods; he says Indralater; verily he places strength in him at the top.
He offers the weapons of the sacrifice; the weapons of the sacrifice are the sacrifice [3]; verily he wins the sacrifice.
Again this is the form of the sacrifice; verily he wins the sacrifice by its form.
May for me the final bath and the cry of Godspeed! he says, to utter Godspeed! May the fire for me, the cauldron he says; that is the form of splendour; verily by the form he wins splendour.
May the Rc for me, the Saman he says [4]; that is the form of the metres; verily by the form he wins the metres.
May the embryo for me, the calves he says; that is the form of cattle; verily by the form he wins cattle.
He offers the orderers, to order the disordered.
He offers the even and the odd, for pairing; they are in ascending ratio, for ascent.
May one for me, three he says; one and three are the metres of the gods [51, four and eight the metres of men; verily he wins both the metres of gods and men.
Up to thirty three he offers; the gods are three and thirty; verily he wins the gods; up to forty eight he offers, the Jagati has forty eight syllables, cattle are connected with the Jagati: verily by the Jagati he wins cattle for him.
Strength, instigation (with these words) he offers a set of twelve; the year has twelve months; verily he finds support in the year.

v. 4. 9.

Agni departed from the gods, desiring a portion; the gods said to him, come back to us, carry the oblation for us.
He said, Let me choose a born; let them offer to me the Vajaprasaviya therefore to Agni they offer the Vajaprasaviya.
In that he offers the Vajaprasaviya, he unites Agni with his own portion; verily also this is his consecration.
He offers with fourteen (verses); there are seven domesticated, seven wild 1] animals; (verily it serves) to win both sets.
He offers of every kind of food, to win every kind of food.
He offers with an offering spoon of Udumbara wood; the Udumbara is strength, food is strength; verily by strength he wins for him strength and food.
Agni is the consecrated of gods, the piler of the fire of men; therefore when it rains a piler of the fire should not run, for he has thus obtained food; rain is as it were food; if he were to run he would be running from food.
He should go up to it; verily be goes up to food [2].
Night and dawn (with these words) he offers with the milk of a black cow with a white calf; verily by the day he bestows night upon him, by night day; verily day and night being bestowed upon him milk his desire and the eating of food.
He offers the supporters of the kingly power; verily he wins the kingdom.
He offers with six (verses); the seasons are six; verily he finds support in the seasons.
O lord of the world (with these words) he offers five libations at the chariot mouth; the chariot is a thunderbolt; verily w th the thunderbolt he conquers the quarters [3].
In yonder world the wind blows over the piler of the fire; he offers the names of the winds; verily over him in yonder world the wind blows; three he offers, these worlds are three; verily from these worlds he wins the wind.
Thou art the ocean, full of mist he says; that is the form of the wind; verily by the form he wins the wind.
He offers with his clasped hands, for not other wise can the oblation of these be accomplished.

v. 4. 10.

The chariot of the gods is yoked for the world of heaven, the chariot of man for wherever his intention is fixed; the fire is the chariot of the gods.
Agni I yoke with glory, with ghee he says; verily he yokes him; he, yoked, carries him to the world of heaven.
If he were to yoke with all five together, his fire yoked would fall away, the libations would be without support, the Stomas without support, the hymns without support.
He strokes (the fire) with three (verses) at the morning pressing; the fire is threefold [1]; verily he yokes the full extent of the fire; that is as when something is placed on a yoked cart; the oblations find support, the Stomas find support, the hymns find support.
He strokes with two (verses) in the Stotra of the Yajnayajniya; the sacrifice is as great as is the Agnistoma; a further extension is performed over and above it; verily he mounts at the end the whole extent of the sacrifice.
(He strokes) with two (verses), for support; when it is not completed by one (verse), then [2] does he stroke; the rest of the sacrifice resorts to him; (verily it serves) for continuity.
He who piles up the fire falls away from this world; his libation cannot be performed in a place without bricks; whatever libation he offers in a place without bricks, it runs away, and with its running away the sacrifice is ruined, with the sacrifice the sacrificer; in that he piles up a second piling, (it is) to support the libations; the libations find support [3], the sacri ice is not ruined, nor the sacrificer.
He puts down eight; the Gayatri has eight syllables; verily he piles it with the Gayatri metre; if eleven, with the Tristubh, if twelve with the Jagati verily he piles it with the metres.
The fire that is re piled is called the descendant; he who knowing thus re piles the fire eats food up to the third generation.
The re piling is like the re establishment of the fire; he who does not succeed through the establishment of the fire [4] re establishes it; he who does not succeed by the piling up of the fire re piles it.
In that he piles up the fire, (it is) for prosperity.
Or rather they say, one should not pile it up.
The fire is Rudra, and it is as if one stirs up a sleeping lion.
But again they say, One should pile it up.
It is as if one awakens a richer man with his due portion.
Manu piled the fire; with it he did not prosper; he saw this re piling, he piled it, with it he prospered; in that he piles the re piling, (it is) for prosperity.

v. 4. 11.

He who desires cattle should pile a piling with the metres; the metres are cattle; verily he becomes rich in cattle.
He should pile in hawk shape who desires the sky; the hawk is the best flier among birds; verily becoming a hawk he flies to the world of heaven.
He should pile in heron form who desires, May I be possessed of a head in yonder world verily he becomes possessed of a head in yonder world.
He should pile in the form of an Alaja bird, with four furrows, who desires support; there are four quarters; verily he finds support in the quarters.
He should pile in the form of a triangle, who has foes [1]; verily he repels his foes.
He should pile in triangle form on both sides, who desires, May I repel the foes I have and those I shall have verily he repels the foes he has and those he will have.
He should pile in the form of a chariot wheel, who has foes; the chariot is a thunderbolt; verily he hurls the thunderbolt at his foes.
He should pile in the form of a wooden trough who desires food; in a wooden trough food is kept; verily he wins food together with its place of birth.
He should pile one that has to be collected together, who desires cattle; verily he becomes rich in cattle [2].
He should pile one in a circle, who desires a village; verily he becomes possessed of a village.
He should pile in the form of a cemetery, who desires, May I be successful in the world of the fathers verily he is successful in the world of the fathers.
Visvamitra and Jamadagni h d a feud with Vasistha; Jamadagni saw these Vihavya (bricks); he put them down, and with them he appropriated the power and strength of Vasistha; in that he puts down the Vihavyas, the sacrificer with them appropriates the power and strength of his foe.
He puts down on the altar of the Hotr; the Hotr is the abode of the sacrificer [3]; verily in his abode he wins for him power and strength.
Twelve he puts down; the Jagati has twelve syllables, cattle are connected with the Jagati; verily with the Jagati he wins cattle for him.
Eight each he puts down in the other altars; cattle have eight half hooves; verily he wins cattle.
(He puts down) six on the Marjaliya; the seasons are six, the gods, the fathers, are the seasons; verily he delights the seasons, the gods, the fathers.

RV I.32.14

14 Whom sawest thou to avenge the Dragon, Indra, that fear possessed thy heart when thou hadst slain him;
That, like a hawk affrighted through the regions, thou crossedst nineandninety— flowing rivers?

RV I.33.2


RV I.33.2 I fly to him invisible Wealthgiver- as flies the falcon to his cherished eyrie,
With fairest hymns of praise adoring Indra, whom those who laud him must invoke in battle.

RV I.118.11

 11 Come unto us combined in love, Nasatyas come with the fresh swift vigour of the falcon.
Bearing oblations I invoke you, Asvins, at the first break of everlasting morning.

RV I.163.1
RV I.163.2




 1. WHAT time, first springing into life, thou neighedst, proceeding from the sea or upper waters,
Limbs of the deer hadst thou, and eagle pinions. O Steed, thy birth is nigh and must be lauded.
2 This Steed which Yama gave hath Trita harnessed, and him, the first of all, hath Indra mounted.
His bridle the Gandharva grasped. O Vasus, from out the Sun ye fashioned forth the Courser.
3 Yama art thou, O Horse; thou art Aditya; Trita art thou by secret operation.
Thou art divided thoroughly from Soma. They say thou hast three bonds in heaven that hold thee.


1. WHAT time, first springing into life, thou neighedst, proceeding from the sea or upper waters,
Limbs of the deer hadst thou, and eagle pinions. O Steed, thy birth is nigh and must be lauded.
2 This Steed which Yama gave hath Trita harnessed, and him, the first of all, hath Indra mounted.
His bridle the Gandharva grasped. O Vasus, from out the Sun ye fashioned forth the Courser.
3 Yama art thou, O Horse; thou art Aditya; Trita art thou by secret operation.
Thou art divided thoroughly from Soma. They say thou hast three bonds in heaven that hold thee.

RV II.42.2 Kapinjala  कपिञ्जलः   kapiñjalḥ कपिञ्जलः 1 The Chātaka bird; सोमपीथं तु यत्तस्य शिर आसीत्कपिञ्जलः Bhāg.6.9.5. -2 The Tittiri bird. (Apte) francoline partridge; N. of a sparrow: -nyâya, in. after the fashion of the Kapiñgala topic (in the Pûrvamîmâmsâ) according to which the plural (kapiñgalân) means only three.(Macdonell).
शकुन्त m. a bird MBh. Ka1v. &c; a particular bird of prey BhP.(Monier-Williams)

Image result for Sassanid silver plate of a simurgh (Sēnmurw), 7-8th c. CE.
Image result for The Senmurvs are set into an overall pattern of curved rhomboids.
RV II.42.2 Kapinjala  कपिञ्जलः   kapiñjalḥ कपिञ्जलः 1 The Chātaka bird; सोमपीथं तु यत्तस्य शिर आसीत्कपिञ्जलः Bhāg.6.9.5. -2 The Tittiri bird. (Apte) francoline partridge; N. of a sparrow: -nyâya, in. after the fashion of the Kapiñgala topic (in the Pûrvamîmâmsâ) according to which the plural (kapiñgalân) means only three.(Macdonell).

RV II.42.1. TELLING his race aloud with cries repeated, he sends his voice out as his boat a steersman.
O Bird, be ominous of happy fortune from no side may calamity befall thee.
2 Let not the falcon kill thee, nor the eagle let not the arrowbearing- archer reach thee.
Still crying in the region of the Fathers, speak here auspicious, bearing joyful tidings.
3 Bringing good tidings, Bird of happy omen, call thou out loudly southward of our dwellings,
So that no thief, no sinner may oppress us. Loud may we speak, with heroes, in assembly.

Wilson: 2.042.01 Crying repeatedly, and foretelling what will come to pass, (the kapin~jala) gives (due) direction to its voice, as a helmsman (guides) a boat; be ominous, bird, of good fortune, and may no calamity whatever befall you from any quarter. [Kapin~jala: The Anukraman.ika_ has kanimataru_pindro devata_; kapin~jala = francoline partridge]. 
2.042.02 May no kite, no eagle, kill you; may no archer armed with arrows, reach you; crying repeatedly, in the region of the Pita_, be ominous of good fortune; proclaimer of good luck, speak to us on this occasion. [In the region of the pita_: the south; the cry of the birds on the south is a good omen, cf. next hymn].
2.042.03 Bird, who are ominous of good fortune, the proclaimer of good luck, cry from the south of our dwellings; may no thief, no evil-doer prevail agains tus; that blessed with excellent descendants we may worthily praise you at this sacrifice.
RV II.42.1. TELLING his race aloud with cries repeated, he sends his voice out as his boat a steersman.
O Bird, be ominous of happy fortune from no side may calamity befall thee.
2 Let not the falcon kill thee, nor the eagle let not the arrowbearing- archer reach thee.
Still crying in the region of the Fathers, speak here auspicious, bearing joyful tidings.
3 Bringing good tidings, Bird of happy omen, call thou out loudly southward of our dwellings,
So that no thief, no sinner may oppress us. Loud may we speak, with heroes, in assembly.

Wilson: 2.042.01 Crying repeatedly, and foretelling what will come to pass, (the kapin~jala) gives (due) direction to its voice, as a helmsman (guides) a boat; be ominous, bird, of good fortune, and may no calamity whatever befall you from any quarter. [Kapin~jala: The Anukraman.ika_ has kanimataru_pindro devata_; kapin~jala = francoline partridge]. 
2.042.02 May no kite, no eagle, kill you; may no archer armed with arrows, reach you; crying repeatedly, in the region of the Pita_, be ominous of good fortune; proclaimer of good luck, speak to us on this occasion. [In the region of the pita_: the south; the cry of the birds on the south is a good omen, cf. next hymn].
2.042.03 Bird, who are ominous of good fortune, the proclaimer of good luck, cry from the south of our dwellings; may no thief, no evil-doer prevail agains tus; that blessed with excellent descendants we may worthily praise you at this sacrifice.

RV IV.38.5

5 Loudly the folk cry after him in battles, as it were a thief who steals away a garment;
Speeding to glory, or a herd of cattle, even as a hungry falcon swooping downward.

RV IV.38.5 Wilson: Whom men call after in battles, as after a thief carrying off a garment, or as (after) a hungry hawk pouncing (upon his prey); they call after him, hastening to obtain food, or a herd of cattle. [They call after him: s'ravasca_ccha_ pas'umacca yu_tham = annam ki_rttim va_ pas'umad yu_tham ca accha_ abhilaks.ya gacchantam enam anukros'anti, they call after him, that is Dadhikra_, going, having in view either food or fame, or a herd consisting of cattle]. 

Atharva Veda

[0704101] Observing men, and viewing home, the Falcon hath cleft his swift way over wastes and waters.
May he, with Indra for a friend, auspicious, traversing all air s lower realms, come hither.
[0704102] The heavenly Falcon, viewing men, well pinioned, strength giver, hundred footed, hundred nested, Shall give us treasure which was taken from us.
May it be rich in food among our Fathers.(AV VII.41.1-2)

KRISHNA YAJUR VEDA KANDA 2 PRAPATHAKA IV (4)

II.4.7 a Thou I art connected with the Maruts, thou art the force of the Maruts, cleave the stream of the waters.
b Stay, O Maruts, the speeding falcon, Swift as mind, the strong, the glorious; That whereby the dread host goeth set loose, Do ye, O Asvins, put around; hail! c East wind, raining, quicken; Ravat! Hail! Storming, raining, dread; Ravat! Hail! Thundering, raining, formidable; Ravat! Hail! Thundering without lightning, lightning, raining, resplendent; Ravat! Hail! Raining over night, satisfying; Ravat! [1] Hail! Famed as having rained I much; Ravat! Hail! Raining while the sun shines, radiant; Ravat! Hail! Thundering, lightning, raining, waxing great; Ravat! Hail! d Gladdening, obedient, purifying, agile, Full of light, full of darkness, flooding, with fair foam, Supporting friends, supporting the warrior caste, With fair realms, do ye help me.
e Thou art the fetter of the strong steed; for rain I yoke thee.


KRISHNA YAJUR VEDA KANDA 2 PRAPATHAKA IV (4)

II.4.7 a Thou I art connected with the Maruts, thou art the force of the Maruts, cleave the stream of the waters.
b Stay, O Maruts, the speeding falcon, Swift as mind, the strong, the glorious; That whereby the dread host goeth set loose, Do ye, O Asvins, put around; hail! c East wind, raining, quicken; Ravat! Hail! Storming, raining, dread; Ravat! Hail! Thundering, raining, formidable; Ravat! Hail! Thundering without lightning, lightning, raining, resplendent; Ravat! Hail! Raining over night, satisfying; Ravat! [1] Hail! Famed as having rained I much; Ravat! Hail! Raining while the sun shines, radiant; Ravat! Hail! Thundering, lightning, raining, waxing great; Ravat! Hail! d Gladdening, obedient, purifying, agile, Full of light, full of darkness, flooding, with fair foam, Supporting friends, supporting the warrior caste, With fair realms, do ye help me.
e Thou art the fetter of the strong steed; for rain I yoke thee.


See: http://www.iranicaonline.org/articles/simorg

See: http://en.wikipedia.org/wiki/Simurgh

Image result for Sassanid silk twill textile of a simurgh in a beaded surround, 6-7th c. CE

Sassanid silk twill textile of a simurgh in a beaded surround, 6-7th c. CE

"The simurgh was considered to purify the land and waters and hence bestow fertility. The creature represented the union between the earth and the sky, serving as mediator and messenger between the two. The simurgh roosted in Gaokerena, the Hōm (Avestan: Haoma) Tree of Life, which stands in the middle of the world sea Vourukhasa. The plant is potent medicine, is called all-healing, and the seeds of all plants are deposited on it. When the simurgh took flight, the leaves of the tree of life shook making all the seeds of every plant to fall out. These seeds floated around the world on the winds of Vayu-Vata and the rains of Tishtrya, in cosmology taking root to become every type of plant that ever lived, and curing all the illnesses of mankind. The relationship between the simurgh and Hōm is extremely close. Like the simurgh, Hōm is represented as a bird, a messenger and as the essence of purity that can heal any illness or wound. Hōm - appointed as the first priest - is the essence of divinity, a property it shares with the simurgh. The Hōm is in addition the vehicle of farr(ah) (MP: khwarrah, Avestan: khvarenah, kavaēm kharēno) "[divine] glory" or "fortune". Farrah in turn represents the divine mandate that was the foundation of a king's authority."Sogdian Samarqand in the 7th century AD Archaeology in the landscapes of ancient Sogd has furnished us with a great amount of works of art, mainly from the early Middle Ages. Of highest value are the wall paintings from a palace hall (object 23, room 1) of the Sogdian ruler Varxuman at Samarqand (Afrasiab site)... The western wall is the most important one in room 23/1 due to its position opposite the entrance. This feature seems to be common in Sogdian architectural layouts both of private main halls and palace throne rooms. Who is figure no. 4 of the western wall? (page II) The following proposal for an identification of figure 4 is certainly only an attempt. As we have seen, group A2 of delegates seems to belong to nations of the west. A second hint comes from the clothes of figure 4. The delicate ornamentation depicts fabulous beasts known as "Senmurvs". Look below: 

Image result for The Senmurvs are set into an overall pattern of curved rhomboids.

Left: The Senmurvs are set into an overall pattern of curved rhomboids. 

Right: Close-up of the garment of figure 4 Originally more than hundred human figures must have been depicted on the walls of our room. Many of these persons are dressed with richly ornamented and multicoloured clothes. But it seems noteworthy that the Senmurv is, in contrary to other patterns, only to meet with figure 4 on the western wall. The reason for that must be the symbolic nature of the Senmurv. Speaking of this creature we concentrate only on the "dog-peackock" as depicted on the Afrasiab murals. Doubtless it originates from Iranian symbolism. The most spectacular examples can be seen on the late Sasanian rock reliefs of Taq-e Bustan (Iran): 

Image result for Senmurvs as pattern on the caftan of a Sasanian king, Taq-e Bustan, Great Ivan, left wall.

Left: Senmurvs as pattern on the caftan of a Sasanian king, Taq-e Bustan, Great Ivan, left wall. 

Image result for Senmurv in medaillon on the clothes of the heavy-armoured rider, Taq-e Bustan, Geat

Right: Senmurv in medaillon on the clothes of the heavy-armoured rider, Taq-e Bustan, Geat Ivan. Comparing these images with the Senmurvs from Afrasiab we notice a striking similarity. Apparently the Senmurv in Sasanian iconography was a symbol with intimate connection to kingship. Images concentrate on representations of royal persons and on royal silverware. Only in post-Sasanian times, when dynastic restrictions were lost, the Senmurv spread wide as a merely ornamental motif on Near and Middle Eastern textiles, metalwork, and so on. Concerning the Afrasiab murals we have a general date within the limits of the Sasanian dynasty (i.e., before 652), as we have tried to explain on another page. Therefore, if the Senmurv (i.e., the "dog-peacock"!) was a Sasanian royal emblem, his appearance on the Afrasiab murals should point to the same symbolic value. In other words: The "owner" of the symbol should represent a Sasanian king. http://www.orientarch.uni-halle.de/ca/afras/text/w4b.htm 

Image result for Chal Tarhan. 7th-8th c. Stucco.Inv. Nr. 6642.

Wall panel with a Senmurv. Iran, Chal Tarhan. 7th-8th c. Stucco.Inv. Nr. 6642. Image of a quite similar panel which is in better condition that came from the same site, see British Museum, inv. no. ME 1973.7-25.3. 

Sassanid silver plate of a simurgh (Sēnmurw), 7-8th c. CE. An exquisite and beautifully gilded Sassanid silver plate. The central creature within it is usually identified as the senmurw of Zoroastrian mythology which features the head of a snarling dog, the paws of a lion and the tail of a peacock. This object is today displayed in the Persian Empire collection of the British Museum. Peacock-dragon or peacock-griffin? 

British Museum. Department: Middle East Registration number: 1922,0308.1 BM/Big number: 124095. Date 7thC-8thC (?) Description Gilded silver plate with low foot-rim and centering mark on the underside; single line engraved around the outside of the rim, with a second engraved line defining the interior; hammered and lathe-turned, then decorated; interior shows a senmurw (a legendary dog-headed bird) facing left, a leaf hanging from its mouth; neck and lower portion of the wing are punched with an imbricated design; the breast is enriched with a foliated motif; the tail feathers are conventionally rendered by punching, the lowest portion concealed by a bold scroll in relief; below the tail, a branch of foliage projects into the field; the foliate border is composed of overlapping leaves, on each of which are punched three divergent stems surmounted by berries in groups of three. Old corrosion attack on part of the underside. Condition of gilding suggests that this is re-gilding. Dimensions : Diameter: 18.8 centimetres (rim)Diameter: 6.8 centimetres (interior, foot-ring)Diameter: 7.3 centimetres (exterior, foot-ring)Height: 3.8 centimetres Volume: 450 millilitresWeight: 541.5 grammes. Hammered gilt silver plate with a low circular foot ring measuring 7.3 cm. across at the base; centering mark and extensive traces of old corrosion attack on the underside; single line engraved around the outside of the rim, with a second engraved line defining the interior. The plate was made by hammering, and decorated through a combination of chasing and punching, with thick gilding over the background. Early published references to the raised portion being embossed separately and added with solder are incorrect, and only the foot ring is soldered on. XRF analysis indicates that the body has a composition of 92% silver, 6.9% copper and 0.45% gold, and the foot has a slightly different composition of 93.4% silver, 5.4% copper and 0.5% gold. The decoration is limited to the interior and shows a composite animal with a dog's head, short erect mane, vertical tufted ears and lion's paws, facing left with a foliate spray dangling from its open mouth like a lolling tongue; a ruff-like circle of hair or fur frames its face; the neck, muscular shoulders and lower tail feathers are punched with an imbricated or overlapping wave design resembling feathers or scales; the breast is enriched with a foliated motif; a pair of wings with forward curling tips rise vertically from behind the shoulders, with a broad rounded peacock-like tail behind decorated with a bold foliate scroll and conventionally rendered by punching; below the tail, a second branch of foliage projects into the field. The foliate border is composed of overlapping leaves, on which are punched three divergent stems surmounted by berries in groups of three. This plate is said to have been obtained in India prior to 1922 when it was purchased in London by the National Art Collections Fund on behalf of the British Museum. It is usually attributed to the 7th, 8th or early 9th century, thus is post-Sasanian, Umayyad or early Abbasid in political terms. Initially described as a hippocamp, peacock-dragon or peacock-griffin, most scholars follow Trever's (1938) identification of this as a senmurw (New Persian simurgh), or Avestan Saena bird (cf. also Schmidt 1980). The iconographic features of a senmurw include the head of a snarling dog, the paws of a lion and the tail of a peacock, with the addition of the plant motifs on the tail or hanging out of the mouth being allusions to its role in regenerating plants. This bird is described in Pahlavi literature as nesting "on the tree without evil and of many seeds" (Menog-i Xrad 61.37-42), and scattering them in the rainy season to encourage future growth (Bundahišn XVI.4). For this reason it was believed to bestow khwarnah (glory and good fortune), and particularly that of the Kayanids, the legendary ancestors of the Sasanians. This motif is first attested in a datable Sasanian context on the rock-cut grotto of Khusrau II (r. 591-628) at Taq-i Bustan, when it appears within embroidered roundels decorating the royal gown. The same motif recurs within a repeating pattern of conjoined pearl roundels depicted on silks from the reliquary of St Lupus and a tomb at Mochtchevaja Balka in the north Caucasus, a press-moulded glass inlay and vessel appliqué in the Corning Museum of Glass, metalwork, Sogdian murals, and the late Umayyad palace façade at Mshatta (e.g. Harper et al. 1978: 136, no. 60; Trever & Lukonin 1987: 115, pl. 73, no. 26; Overlaet ed. 1993: 270, 275-77, nos 119, 127-28). However, there are significant differences of detail between all of these, and a little caution is necessary before making definite attributions of iconography, date or provenance. Many of the features are also repeated on the depiction of a horned quadruped depicted on a 7th century plate in the Hermitage (Trever & Lukonin 1987: 117-18, pl. 106, no. 36); most recently, Jens Kröger has reiterated the possibility of an early Abbasid date for the present plate, and observed that the distinctive decoration on the tail resembles the split palmette motifs on early Abbasid and Fatimid rock crystal. Source: http://tinyurl.com/7wbzcxgThe heroic theft: myths from Rgveda and the Ancient Near East - David M. Knipe (1967).

Section B. Anzu steals the Tablets of Destiny

"In the Sumerian poem Ninurta and the Turtle it is the god Enki, rather than Enlil, who holds the tablet. Both this poem and the Akkadian Anzû poem share concern of the theft of the tablet by the bird Imdugud (Sumerian) or Anzû (Akkadian)" (Black, J; Green, A (1992), "Tablet of Destinies", Gods, Demons and Symbols of Ancient Mesopotamia: An Illustrated Dictionary, London: British Museum Press.) 

https://en.wikipedia.org/wiki/Tablet_of_Destinies_(mythic_ite)
Zu or Anzu (from An 'heaven' and Zu 'to know' in Sumerian language), as a lion-headed eagle, ca. 2550–2500 BCE, LouvreVotive relief of Ur-Nanshe, king of Lagash, representing the bird-god Anzu (or Im-dugud) as a lion-headed eagle. Alabaster, Early Dynastic III (2550–2500 BCE). Found in Telloh, ancient city of Girsu. H. 21.6 cm (8 ½ in.), W. 15.1 cm (5 ¾ in.), D. 3.5 cm (1 ¼ in.)


Alabaster votive relief of Ur-Nanshe, king of Lagash, showing Anzû as a lion-headed eagle, ca. 2550–2500 BCE; found at Tell Telloh the ancient city of Girsu, (Louvre).

See: J. Aro, “Anzu and Sīmurgh,” in Barry L. Eichler , ed., Kramer Anniversary Volume: Cuneiform studies in honor of Samuel Noah Kramer, Kevelar, 1976, pp. 25-28.


"Anzû, also known as dZû and Imdugud Sumerian: 𒀭𒅎𒂂 AN.IM.
DUGUDMUŠEN ), is a lesser divinity or monster in several Mesopotamian religions. He was conceived by the pure waters of the Apsu and the wide Earth, or as son of Siris Anzû was depicted as a massive bird who can breathe fire and water, although Anzû is alternately depicted as a lion-headed eagle...The name of the mythological being usually called Anzû was actually written in the oldest Sumerian cuneiform texts as 𒀭𒉎𒈪𒄷 (AN.IM.MIMUŠEN; the cuneiform sign 𒄷, or MUŠEN, in context is an ideogram for "bird"). In texts of the Old Babylonian period, the name is more often found as 𒀭𒉎𒂂𒄷 AN.IM.DUGUDMUŠEN.In 1961, Landsberger argued that this name should be read as "Anzu", and most researchers have followed suit. In 1989, Thokild Jacobsen noted that the original reading of the cuneiform signs as written (giving the name "dIM.dugud") is also valid, and was probably the original pronunciation of the name, with Anzu derived from an early phonetic variant. Similar phonetic changes happened to parallel terms, such as imdugud (meaning "heavy wind") becoming ansuk. Changes like these occurred by evolution of the im to an (a common phonetic change) and the blending of the new n with the following d, which was aspirated as dh, a sound which was borrowed into Akkadian as z or s....It has also been argued based on contextual evidence and transliterations on cuneiform learning tablets, that the earliest, Sumerian form of the name was at least sometimes also pronounced Zu, and that Anzu is primarily the Akkadian form of the name. However, there is evidence for both readings of the name in both languages, and the issue is confused further by the fact that the prefix 𒀭 (AN) was often used to distinguish deities or even simply high places. AN.ZU could therefore mean simply "heavenly eagle"" (Charles Penglase (4 October 2003). Greek Myths and Mesopotamia: Parallels and Influence in the Homeric Hymns and HesiodTaylor & FrancisAlster, B. (1991). Contributions to the Sumerian lexiconRevue d'Assyriologie et d'archéologie orientale85(1): 1-11.).

See: J. Aro, “Anzu and Sīmurgh,” in Barry L. Eichler , ed., Kramer Anniversary Volume: Cuneiform studies in honor of Samuel Noah Kramer, Kevelar, 1976, pp. 25-28.

Section C. Saēna, simorg (Persian), Sēnmurw (Pahlavi), Sīna-Mrū (Pāzand) are cognate with Śyena
Avestan mərəγō saēnō ‘the bird Saēna’, simorg (Persian), Sēnmurw (Pahlavi), Sīna-Mrū (Pāzand), is a fabulous, mythical bird; etymologically cognate with Śyena of R̥gveda. "In the Avestan Yašt 14.41 Vərəθraγna, the deity of victory, wraps xarnah, fortune, round the house of the worshipper, for wealth in cattle, like the great bird Saēna, and as the watery clouds cover the great mountains, which means that Saēna will bring rain...In the Ayādgār-ī Zarērān (Jamasp-Asa I, 12.3) Zarēr’s horse is called sēn-i murwag, possibly because of its strength and swiftness...In the chapter on the classification of animals of the Bundahišn the three-fingered Sēn is called the largest of the birds (13.10), and also the Sēnmurw is of the species of birds (13.22); they are obviously identical. The three-fingered Sēn was created first among the birds, but is not the chief, a position held by the Karšipt (according to the Indian Bundahišn 24.11 a carg, falcon or hawk), the bird that brought the religion to the enclosure (var) of Jamšēd (cf. Vd. 2.42) (17.11). In 13.34-35 the Sēnmurw has come to the sea Frāxkard (Vourukaša) before all the other birds...The three-fingered Sēn is the largest bird (Bundahišn 13.10) mentioned among the large birds, side by side with the eagle (āluh) and the lammergeier (dālman); this excludes the falcon, which is much smaller than either of them...In post-Sasanian times the Simorḡ occurs in the epic, folktales, and mystical literature (cf. PLATE I, a medieval representation...The Sēnmurw is very prominent on the coinage of the Hephthalites in the seventh and eighth centuries C.E. It is distinguished from the standard Sasanian form by having rather a cock’s than a peacock’s tail and also frequently showing reptilian features, which are rare in the Sasanian form...In Modern Armenian paskuč is the griffin vulture (Gyps fulvus). In Georgian sources a p’asgunǰi is described as having a body like that of a lion, head, beak, wings and feet like those of an eagle, and covered in down; some have four legs, some two; it carries off elephants and injures horses; others are like a very large eagle." (Hanns-Peter Schmidt, 2002, Simorg, Encyclopaedia Iranica

PLATE I. "The Simorḡ,” Marāḡa, 697 or 699/ca. 1297-1300, illustration from the Manāfeʿ-e ḥayawān. Courtesy of The Pierpont Morgan Library, New York, Ms. M. 500, fol. 55r.


Senmurv on the tomb of Abbess Theodote, Pavia early 8th c. "Griffin-like .
Simurgh (Persian: سیمرغ), also spelled simorgh, simurg, simoorg or simourv, also known as Angha (Persian: عنقا), is the modern Persian name for a fabulous, benevolent, mythical flying creature. The figure can be found in all periods of Greater Iranian art and literature, and is evident also in the iconography of medieval Armenia, the Byzantine empire , and other regions that were within the sphere of Persian cultural influence. Through cultural assimilation the Simurgh was introduced to the Arabic-speaking world, where the concept was conflated with other Arabic mythical birds such as the Ghoghnus, a bird having some mythical relation with the date palm, and further developed as the Rukh (the origin of the English word "Roc")." http://www.flickr.com/photos/27305838@N04/4830444236/


Legend of Anzu which stole the tablets of destiny and allegory of soma


Seventh century BCE cylinder seal found in Israel depicting the battle of Ninurta and Anzu. Nili Wazana, in a brilliant exposition on Anzu and Ziz asks and tentatively answers the question: "Were the Israelites acquainted with the Epic of Anzu?" She cites this rendering of a seventh century BCE cylinder seal portraying the battle of Ninurta and Anzu, discovered in Israel.

Ancient Near east Anzu, falcon-shaped fire-altar Uttarakhand, turning aṁśú (Rigveda), ancu (Tocharian) in smithy. 

The seventh century BCE cylinder seal found in Israel, is paralleled in an Akkadian cylinder seal.
Ninurta with his thunderbolts pursues Anzû stealing the Tablet of Destinies from Enlil's sanctuary (Austen Henry Layard Monuments of Nineveh, 2nd Series, 1853)

“On the mountainside  Anzu and Ninurta met … Clouds of death rained down, an arrow flashed lightning. Whizzed the battle force roared between them.“ Anzu Epic, tablet 2,in S. Dalley, Myths from Mesopotamia (Oxford - New York, 1989), p. 21. One narration reads: Marduk, sun god of Babylon, with his thunderbolts pursues Anzu after Anzu stole the Tablets of Destiny. Note: The tablets of destiny may be a reference to Indus writing corpora which were veritable stone-, mineral-, metal-ware catalogs.
As a researcher on ancient Hindu civilization a contribution was made by me in Journal of Indo-Judaic Studies, Vol. 1, Number 11 (2010) -- The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” By S. Kalyanaraman. The 'rosetta stones' were two pure tin ingots discovered in a shipwreck in Haifa and with Indus writing. The Indus writing on these tin ingots have been read rebus as denoting 'tin' (mineral) which was in demand to be used to alloy with copper to create bronze, thus replacing the naturally-occurring but rare arsenic-copper minerals and heralding a true bronze age.

Marduk, sun god of Babylon, with his thunderbolts pursues Anzu after Anzu stole the Tablets of Destiny. (cf. Marut in Rigveda associated with storms and winds comparable to Anzu or Imdugud associated with storms). Battle between Marduk (Bel) and the Dragon. Drawn from a bas-relief from the Palace of Ashur-nasir-pal, King of Assyria, 885-860 B.C., at Nimrûd. [Nimrûd Gallery, Nos. 28 and 29.]

Marduk is a remembered memory of Indra. Anzu, the eagle is the remembered protector,śyena, the hawk, who brought amśu (anzu) from the heavens to the people working with fire-altars in yajña-s.

According to Louis Renou, the immense Rigvedic collection is present in nuce in the themes related toSoma. Rigveda mentions amśu as a synonym of soma. The possibility of a link with Indus writing corpora which is essentially a catalog of stone-, mineral-, metalware, cannot be ruled out.

George Pinault has found a cognate word in Tocharian, ancu which means 'iron'. I have argued in my book, Indian alchemy, soma in the Veda, that Soma was an allegory, 'electrum' (gold-silver compound). See:  http://bharatkalyan97.blogspot.in/2011/10/itihasa-and-eagle-narratives.html for Pinault's views on ancu, amśu concordance.

The link with the Tocharian word is intriguing because Soma was supposed to come from Mt. Mujavant. A cognate of Mujavant is Mustagh Ata of the Himalayan ranges in Kyrgystan.

Is it possible that the ancu of Tocharian from this mountain was indeed Soma?

The referemces to Anzu in ancient Mesopotamian tradition parallels the legends of śyena 'falcon' which is used in Vedic tradition of Soma yajña attested archaeologically in Uttarakhand with a śyenaciti, 'falcon-shaped' fire-altar.
http://bharatkalyan97.blogspot.in/2011/11/syena-orthography.html śyena, orthography, Sasanian iconography. Continued use of Indus Script hieroglyphs.
Comparing the allegory of soma and the legend of Anzu, the bird which stole the tablets of destiny, I posit a hypothesis that the tablets of destiny are paralleled by the Indus writing corpora which constitute a veritable catalog of stone-, mineral- and metal-ware in the bronze age evolving from the chalcolithic phase of what constituted an 'industrial' revolution of ancient times creating ingots of metal alloys and weapons and tools using metal alloys which transformed the relation of communities with nature and resulted in the life-activities of lapidaries transforming into miners, smiths and traders of metal artefacts.                                                   

Section D.Soma amśu, products; śyēna, Anzu metaphors; Indus Script hypertexts of metals foundries


Abstract. Soma is amśu, is a product deified. Ancu (Tocharian) signifies iron pyrite FeS2 purchased from a seller from Mūjavat. माक्षिक, the fly, betrays Soma. RV 1.119.9. Soma is described -- at an ādibhautika (material) level of analyses -- as a Bronze Age product. Indus Script hypertexts are deciphered as documentation of metal foundries. Mlecchita vikalpa, Indus Script cipher is an alternative representation of reality.

This monograph is organized in two sections:

Section 1. Soma is amśu > ancu, 'iron' (Tocharian)
Section 2. Pyrite, iron sulfide biochemistry and origin of life

Some scientists have proposed the role of pyrites in the origin of life suggesting early life formation on the surface of iron sulfide minerals (pyrites).  No link is posited between these hypotheses and the allegory of Soma in ancient texts, starting with the R̥gveda which in a nutshell relates to Soma. 

This monograph posits a hypothesis -- at an ādibhautika (material) level of analyses -- that these sacred texts which have survived over 7 millennia have profoundly impacted Bhāratīya Itihāsa

The other three analyses levels of ādidaivika (divine), ādhyātmika (cosmic-life-consciousness 
receptacle), and turīya (brahman) levels, (circumscribed by dharma-dhamma principles of righteousness), define the very raison d'etre of  Bhāratam Janam identified by R̥ṣi Viśvāmitra in RV 3.53.12.

Section 1. Soma is amśu > ancu, 'iron' (Tocharian)

Soma is a deified pyrite purchased from a seller from Mūjavat. 

Soma is amśu.

Soma is an allegory of metalwork with amśu, 'an iron pyrite'. The cognate word is ancu, 'iron' (Tocharian). amśu is linked to wealth in RV 8.5.26: यथोतकृत्व्येधनेंशुम्गोष्वगस्त्यम्यथावाजेषुसोभरिम्  (RV 8.5.26) Trans. And in like manner as (you protected) Ams'u when wealth was to be bestowed, and Agastya when his cattle (were to be recovered), and Sobhari when food (was to be supplied to him). 

Viewed as a Pilgrim's Progress, R̥gveda is studded with many allegories and narratives which can be interpreted at many levels of comprehension and 'meaning': ādibhautika(material), ādidaivika (divine), 
ādhyātmika (cosmic-life-consciousness receptacle), and turīya (brahman).  

This monogrpah is restricted to the ādibhautika (material) level.

The persons engaged in Soma processing are named in ancient texts. Vīvanhvant, Āthwya, and Thrita (Avesta) are identified -- as remembered ākhyāna narratives -- from the ancient days of R̥gveda tradition as Vivasvant and Trita Āptya.

Common synonym of Soma is Indu, 'bright drop'. Hieroglyph: इन्दु the point on a die AV. vii , 109 , 6 Rebus: इन्दु  m. ( √ उन्द् Un2. i , 13 ; probably fr. इन्द् = √ उन्द् , " to drop " [cf. /इन्द्र] ; perhaps connected with बिन्दु , which last is unknown in the ऋग्-वेद BRD. ), Ved. a drop (especially of सोम) , सोमRV. AV. VS.; a bright drop , a spark TS.; the weight of a silver पल, L.; a coin (Monier-Williams) In Indus Script Corpora, 'drop' is orthographed as the dot-in-a-circle hypertext to signify a synonym: dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ (Sindhi); dhāˊtu ʻ *strand of rope ʼ (R̥gveda)(CDIAL 6773) rebus: dhāū, dhāv 'red stone minerals'; dhā̆vaḍ m. ʻa caste of iron-smeltersʼ, dhāvḍī ʻcomposed of or relating to ironʼ. Alternative: dāya 'Number one in the game of dice' rebus: dhāū, dhāv, dhāˊtu 'red stone minerals'.

The drop comes from Soma pressed, pounded with adri, grāvan, 'stones' which lie on a skinAvestan tradition uses mortar and pestle to press Haoma.

The drop is strained through a sieve which is a skin, hair, wool, filter. The flow of the drop becomes Pavamāna. R̥gveda prays to divinity Soma Pavamāna 'Purified Soma' in 120 hymns. An entire Yasht of Avesta is devoted to Haoma.

पवमान  mfn. being purified or strained , flowing clear (as सोम) RV.; m. wind or the god of wind VS. TS. Ka1v. Ra1jat.; m. N. of a partic. अग्नि (associated with पावक and शुचि and also regarded as a son of अग्नि by स्वाहाor of अन्तर्-धान and by शिखण्डिनी) TS. Br. Pur.; m. N. of partic. स्तोत्रs sung by the साम- at the ज्योतिष्टोम sacrifice (they are called successively at the 3 सवनबहिष्पवमा* , माध्यंदिन and तृतीय or आर्भव)
TS. Br. S3rS. (cf. Religious Thought and Life in India, also called 'ब्राह्मन् ism and हिन्दू ism,' by Sir M. Monier-Williams, p.368).

-शिर् are milk, fresh or curdled, and barley mixed with Soma to purify it. (RV. AV. TS. Ka1tyS3r. &c) Waters are mixed with Soma. Soma is the sharp-horned bull. Soma gives immortality to both divinities and human beings. Soma inspires speech. Soma is the bolt for Indra. Soma rides in a chariot with Indra and is connected with the Maruts. The votary declares: RV 8.48.3 Griffith translation:
ápāma sómam amŕtā abhūmâganma jyótir ávidāma devân
kíṃ nūnám asmân kṛṇavad árātiḥ kím u dhūrtír amṛta mártyasya

We have drunk Soma and become immortal; we have attained the light, the Gods discovered.Now what may foemans' malice do to harm us? What, O Immortal, mortal man's deception?

This is clearly a metaphorical statement and DOES NOT identify Soma as a juice. For, the Chandogya Upanishad is emphatic.


I suggest that references in R̥gveda related to Soma are metaphorical expressions of 'drink' in Chandas (Vedic Samskrtam), while the product processed results in a molten state. 

I submit that such references do NOT constitute a direct reference to a herbal fluid or juice or any edible material.

Louis Renous noted: R̥gveda is Soma in nuce (Soma in a nut). Identification of Soma as a product so vividly enunciated in Vedic texts is of fundamental importance so as not to mis-interpret the sacred texts.

The Chandogya in 8 chapters is Vedantic philosophy.

esha somo rājā devānam annam tam devā bhakṣayanti: "That soma is king; this is the devas' food. The devas eat it." [Chandogya.Upanishad (Ch.Up.)]

This is the clearest statement that references to or attributes of Soma in the Vedic tradition, right from the R̥gveda, should be viewed as metaphors. Even when Agni or ghee or Soma are viewed as products, the emphatic statement is that Soma is NOT for human digestion or consumption but associated with divinities, digested by the divinities (deva bhakshyanti) -- not by mortals or worshippers in the sacred yajna.

It will thus be an error to interpret Soma as an edible product. Such interpretations that Soma is a hallucinogen or an inebriant are not sanctioned by tradition. If at all there is a refrain metaphor, it relates to processing of Soma to generate or obtain wealth. 

There may be some questions raised based on received wisdom that translations refer to expressions of 'drinking' soma.

Here for example are two references from R̥gveda: RV 8.48.3 nd RV 8.91.1-7
 
[08-048] HYMN XLVIII. Soma. 1. WISELY have I enjoyed the savoury viand, religious-thoughted, best to find out treasure, The food to which all Deities and mortals, calling it meath, gather themselves together. <337> 2 Tlou shalt be Aditi as thou hast entered within, appeaser of celestial anger. Indu, enjoying Indra's friendship, bring us - as a swift steed the car - forward to riches. 3 We have drunk Soma and become immortal; we have attained the light, the Gods discovered. Now what may foeman's malice do to harm us? What, O Immortal, mortal man's deception?
Griffith Translation RV 8.91.1-7
1. DOWN to the stream a maiden came, and found the Soma by the way. Bearing it to her home she said, For Indra will I press thee out, for Sakra will I press thee out. 2 Thou roaming yonder, little man, beholding every house in turn, Drink thou this Soma pressed with teeth, accompanied with grain and curds, with cake of meal and song of praise. 3 Fain would we learn to know thee well, nor yet can we attain to thee. Still slowly and in gradual drops, O Indu, unto Indra flow. 4 Will he not help and work for us? Will he not make us wealthier? Shall we not, hostile to our lord, unite ourselves to Indra now? 5 O Indra, cause to sprout again three places, these which I declare,- My father's head, his cultured field, and this the part below my waist. 6 Make all of these grow crops of hair, you cultivated field of ours, My body, and my father's head. 7 Cleansing Apala, Indra! thrice, thou gavest sunlike skin to her, Drawn, Satakratu! through the hole of car, of wagon, and of yoke.

apAma may also mean 'obtained'. Here:

आप 1 [p= 142,2] m. obtaining mfn. ifc. to be obtained (cf. दुर्°).n. (fr. 2. अप् Pa1n2. 4-2 , 37), a quantity of water , मल्लिनाथ on S3is3. iii , 72. Thus, the translation of apAma 'we drank' is of doubtful validity.

Apala episode is beautiful. What she found was a stone with traces of soma (electrum, gold/silver compound as assem (Egyptian), noted by Joseph Needham).

In RV 8.48.3 'We have drunk...'? Amrutam is a metaphor. It means, we have obtained the Soma, amrutam (wealth).

This is what Winslow's Tamil lexicon says: soma maNal 'sand containing silver ore'. 

*சோமன் cōmaṉ (p. 212) s. The moon, சந்திரன். W. p. 945. SOMA. 2. The name of an ancient liberal king, ஓர்வள்ளல். 3. (c.) A cloth worn by men, sometimes by women, wrapped round the waist, வேஷ்டி. 4. Cloth in general, சீலை. 5. One of the eight demigods, அஷ்டவசுக்களிலொரு வன். 6. Camphor, கர்ப்பூரம். 7. Soap, சவக் காரம். 8. A kind of rank in Ceylon wear three cloths one over another; the வேட்டி; சோமன். and துப்பட்டி. சோமகதி, s. Moon's daily motion. சோமசுந்தரன், s. Siva, சிவன். 2. A name of one of the Pandyan kings, ஓர் பாண்டியன். சோமசூரியாக்கினி, s. The sun, moon and fire. See முச்சுடர். சோமசேகரன்--சோமநாதன், s. Siva, as worshipped at Somnauth, சிவன். சோமமணல், s. Sand containing silver, வெள்ளிமணல். 

Soma and Haoma derive from Proto-Indo-Iranian root *sav- (Sanskrit sav-) "to press".
RV 1.154.2 and 1.155.1 notes that Viṣṇu is girikṣit 'mountain-dwelling'. giriṣṭha 'mountain-abiding'. The link of Soma to the mountains is from the word: मौजवत [p= 836,2] mfn. coming from or produced on the mountain मूज-वत् RV. Nir.; m. (said to be) a patr. of अक्ष (author of RV. x , 34).  मूजवत् [p= 825,3] m. N. of a mountain VS.; name of a people (AV. S3Br.)(Monier-Williams) Mūjavat-s are mentioned together with the
mahāvr̥ṣa-s, the gandhāri-s, and the bāhika-s, in the Atharvaveda (v.22,5.7.9.1). This is consistent with a statement that Soma is found in the upper Indus and Kashmir region (Susruta Samhita: 537-538, SS.CS. 29.28-31). Avesta declares that Haoma grows in the mountains. Clearly, Soma is a product from the mountains.

It is the rock from which the eagle brought Soma (RV 4.26, 27). श्येन  m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to human beings on the terrestrial domain) RV. &c; firewood laid in the shape of an eagle S3ulbas. The eagle is like a lightning flash (thunderbolt) from the castle of iron. Yes, Soma from the castle of iron, embedded in the filament-filled pyrite or a bed of transparent quartz needles -- amśu.

The archer who shot at the falcon is कृशानु  m. (fr. √कृश् for कृष्?) , " bending the bow " , N. applied to a good archer (connected with /अस्तृ , " an archer " , though sometimes used alone ; कृशानु , according to some , is a divine being , in character like रुद्र or identified with him ; armed with the lightning he defends the " heavenly " सोम from the hawk , who tries to steal and bear it from heaven to earth) RV. VS. iv , 27 AitBr. iii , 26; N. of अग्नि or fire VS. v , 32 S3a1n3khS3r. vi , 12 3; (hence) fire Sus3r. Ragh. Kum. Bhartr2.; N. of विष्णु VarBr2S. xliii , 54; of a गन्धर्व (Monier-Williams) कृशानुः kṛśānuḥ कृशानुः[कृश्आनुक्; Uṇ.4.2] Fire; गुरोःकृशानुप्रति- माद्बिभेषिR.2.49;7.24;1.74; Ku.1.51; Bh.2.17. -Comp. -यन्त्रम् (= अग्नियन्त्रम्) a cannon; अथसपदिकृशा- नुयन्त्रगोलैः......Śiva. B.28.85. -रेतस् m.an epithet of Śiva. (Apte)

कृशानु is a conch-cutter who makes conch bangles.
Image result for bangle maker bengal bharatkalyan97 A bangle-maker from Bengal, cutting turbinella pyrum. The heavy bronze ‘shell-cutter’s saw’ is shaped like a bow of an archer. The cutter is śankha-kr̥śānu.
Soma seller is paid a price, a cow for the amśu (Soma in its rock form). 

Pyrite from the Sweet Home Mine, with golden striated cubes intergrown with minor tetrahedrite, on a bed of transparent quartz needles
Remarkable radiating form of a pyrite which justifies the semantics of अंशु as a synonym of Soma . 
https://en.wikipedia.org/wiki/Pyrite#/media/File:Pyrite-200582.jpg This image explains why अंशु is a synonym of Soma and why the rays emanating from the ore block become a hieroglyph on a gold pectoral of Mohenjo-daro, repeated on the body of a one-horned young bull (Unicorn)
 अंशु [p= 1,1] m. a filament (especially of the सोम); thread; end of a thread , a minute particle; a point , end; a ray , sunbeam; cloth cf. சோமன் cōmaṉ 'cloth' (Tamil) (The most striking parallel comes from the archaeo-metallurgical description of a pyrite shown with transparent quartz needles which are in concordance with the semantics of अंशु as thread, filament, minute particle or ray.


RV 1.154.1. I WILL declare the mighty deeds of Visnu, of him who measured out the earthly regions, Who propped the highest place of congregation, thrice setting down his footstep, widely striding.
2 For this his mighty deed is Visnu lauded, like some wild beast, dread, prowling, mountainroaming-; He within whose three wideextended- paces all living creatures have their habitation.
3 Let the hymn lift itself as strength to Visnu, the Bull farstriding-, dwelling on the mountains, Him who alone with triple step hath measured this common dwellingplace-, long, far extended.


RV 1.155. 1. To the great Hero, him who sets his mind thereon, and Visnu, praise aloud in song your draught of juice, Gods Never beguiled, who borne as it were by noble steed, have stood upon the lofty ridges of the hills.
2 Your Somadrinker- keeps afar your furious rush, Indra and Visnu, when ye come with all your might. That which hath been directed well at mortal man, bowarmed- Krsanus' arrow, ye turn far aside.



RV 4.26, 4.27 Griffith translation

HYMN XXVI. Indra. 26

1. I WAS aforetime Manu, I was Surya: I am the sage Kaksivan, holy singer. Kutsa the son of Arjuni I master. I am the sapient Usana behold me.
2 I have bestowed the earth upon the Arya, and rain upon the man who brings oblation. I guided forth the loudlyroaring- waters, and the Gods moved according to my pleasure.
3 In the wild joy of Soma I demolished Sambaras' forts, ninetyandnine—, together; And, utterly, the hundredth habitation, when helping Divodasa Atithigva.
4 Before all birds be ranked this Bird, O Maruts; supreme of falcons be this fleetwinged- Falcon, Because, strong- pinioned, with no car to bear him, he brought to Manu the Godloved oblation.
5 When the Bird brought it, hence in rapid motion sent on the wide path fleet as thought he hurried. Swift he returned with sweetness of the Soma, and hence the Falcon hath acquired his glory.
6 Bearing the stalk, the Falcon speeding onward, Bird bringing from afar the draught that gladdens, Friend of the Gods, brought, grasping fast, the Soma which be bad taken from yon loftiest heaven.
7 The Falcon took and brought the Soma, bearing thousand libations with him, yea, ten thousand. The Bold One left Malignities behind him, wise, in wild joy of Soma, left the foolish.

HYMN XXVII. The Falcon. 27

1. I, As I lay within the womb, considered all generations of these Gods in order. A hundred iron fortresses confined me but forth I flew with rapid speed a Falcon.
2 Not at his own free pleasure did he bear me: he conquered with his strength and manly courage. Straightway the Bold One left the fiends behind him and passed the winds as he grew yet more mighty.
3 When with loud cry from heaven down sped the Falcon, thence hasting like the wind he bore the Bold One. Then, wildly raging in his mind, the archer Krsanu aimed and loosed the string to strike him.
4 The Falcon bore him from heavens' lofty summit as the swift car of Indras' Friend bore Bhujyu. Then downward hither fell a flying feather of the Bird hasting forward in his journey.
5 And now let Maghavan accept the beaker, white, filled with milk, filled with the shining liquid; The best of sweet meath which the priests have offered: that Indra to his joy may drink, the Hero, that he may take and drink it to his rapture.

Riddles in R̥gveda Sukta 1.164 as relatable to Pravargya by Jan EM Houben. (The ritual pragmatics of a Vedic hymn: The 'riddle hymn' and the Pravargya ritual by Jan EM Houben, 2000, Journal of the American Oriental Society, 120 (4), pp. 499-536.) Jan EM Houben indicates the possibility that the riddle in R̥gveda Sukta 1.164 is explained as a metaphor of three birds, one of which is Suparna (garumat); the second a bird eating a sweet fig in a tree. The third bird is Patanga. The author of RV 10.177 is Rishi Patanga Prajapati and RV 10.177 is the same as RV 1.164.31. I suggest that the three birds in the Sukta RV 1.164 referred to by Houben are: śyēna, patanga, mākṣikā: 

·        śyēna is suprana (garutmat), falcon

·        mākṣikā is the pippalam sva_du atti: 'the flying bee which eats the sweet fig' (RV 1.164.20)

·        patanga is the third bird, flying insect (RV 10.177) The three flying birds (insects) are rebus-metonymy renderings as hieroglyphs signifying metalwork catalogues in archaeometallurgical transactions of Bhāratam Janam, 'metalcaster folk'  

patanga, mercury or quicksilver in transmuting metal (Soma, ams'u);

mākṣikā, pyrites (which are to be oxidised to attain purified pavamAna Soma, electrum as gold-silver compound). Hieroglyph: माक्षिक [p= 805,2] mfn. (fr. मक्षिका) coming from or belonging to a bee Ma1rkP.; n. (scil. मधु) honey Var. Sus3r.; Rebus: n. a kind of honey-like mineral substance or pyrites MBh.

śyēna, anzu, ams'u (electrum ore filaments in the pyrites).


Reinterpreting Mayabheda Sukta of R̥gveda (RV 10.177) The metaphor of the 'thunderbolt' is depicted as Anzu bird [cognate:asaṇi 'thunderbolt' (Prakritam)] carrying away the tablets of destiny in Mesopotamian legends. A phonemic variant śyēna, 'falcon' gets deified, immortalized as śyēnaciti 'falcon-shaped fire-altar' in Vedic tradition in Bharatam. This is mərəγō saēnō ‘the bird Saēna’ in Avestan. (See article on Simorg in Encyclopaedia Iranicahttp://www.iranicaonline.org/articles/simorg The cognate expression in Samskr̥tam is  śyēna mr̥ga). 



Three intriguing references to Soma in the gveda:








1. Mortals do not taste Soma. RV 10.85.3, 4 which suggest that Brahmana and those who dwell on earth do NOT partake of Soma. Similar refrain occurs in Atharva Veda. Hillebrandt and Oldenburg suggest that Soma is a metahpor for the sun or moon.
2. माक्षिक, the fly, betrays Soma. RV 1.119.9 There is a pun on the word माक्षिक which also signifies 'pyrites' (secondary ores). Rigveda citation: 

To you, O Aswins, that fly betrayed the soma: RV 1.119.9 Line 1
3. Reference to Soma in the dual and plural RV 9.66.2,3,5 refer to Soma in dual, or plural (re-inforcing the allegorical nature of the descriptions.

The references to Saēna’ in Avestan cognate śyēna mr̥ga (Samskr̥tam) find many representations on Indus Script hypertexts, at times referring to the bird as Anzu (a memory-recall of amśu 'Soma' ancu 'iron' (Tocharian)

Indus Script hypertexts and meanings in Meluhha speech, in reference to the following images:

pañja 'feline paw' rebus: pañja 'kiln, furnace'
kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'
pajhar 'eagle' rebus: pasra 'smithy'
eraka 'wing' rebus: eraka 'moltencast, copper' arka 'gold'
dhangar 'bull' Rebus: dhangar 'blacksmith'
arye 'lion' rebus: āra 'brass'

Carved horn cup showing Anzud, the lion-headed eagle, attacking a bull/man 

पोळ pōḷa, 'Zebu, bos indicus'  Rebus: पोळ pōḷa, 'magnetite, ferrite ore'; adar angra ‘zebu': Rebus: aduru hangar ‘native metal smith’. arye 'lion' āra 'brass'. min 'lightning''metal' = kol'metal'. The Pali semantics ayo, 'metals, metal alloy of gold' are consistent with the meaning provided in synonyms for the gloss, kol : மின் வெள்ளி பொன் கொல்லெனச் சொல்லும் (தக்கயாகப். 550).

Hieroglyphs which are synonyms: vajra & falcon:: śyēná श्येन [p= 1095,2] denotes a hawk , falcon , eagle and also sena, heṇa ʻ thunderbolt ʼ (Sinhala); aśáni f. ʻ thunderbolt ʼ (Rigveda).




Limestone
H. 14 cm; W. 14 cm
Tell al-Ubaid (Iraq)
Early Dynastic III
B15606 (T.O. 288)

dāmra, damrā ʻ young bull (a.)(CDIAL 6184). K. ḍangur m. ʻbullockʼ (CDIAL 5526).
 Rebus: hangar blacksmith (H.kol ‘tiger’; rebus: kol ‘smithy’. eṟaka ‘wing’ (Telugu) Rebus: eraka ‘copper’. Thus, the ligatured glyph denotes: copper smithy -- pasra. cf. pajhar 'eagle' (Santali)
Limestone plaque with relief-carved depiction of a human-faced bison, with its front hooves on a plant sprouting from a rocky outcropping or mountain. A lion-headed (eagle-like) bird of prey on the bison’s back--the mythical anzû--bites its haunch.
[quote] The bison’s body is in profile, its face forward. The stylization of the animal’s shoulder as an undulating band and the inward-curving tufts of hair on the fetlocks are typical of the late Early Dynastic period. The three overlapping semi-circles that form the rocky outcropping or mountain are reminiscent of the cuneiform sign signifying both mountain and foreign land and suggestive of a natural setting for the action depicted in the distant highlands. The lion-headed bird of prey’s folded wings, neck and tail are rendered with a grid of incised lines.
The square plaque described here is from Woolley’s 1923-24 excavations in front of Tell al-Ubaid’s late Early Dynastic temple platform (see INTRODUCTION: Tell al-Ubaid). Woolley focused his efforts on the northwest side of the central stair ramp. The plaque was relatively high in the mudbrick debris from the collapse of the platform’s superstructure and in close proximity to an inlay panel depicting milking scenes and rows of cattle. In fact, B15606 was just under and against a section of the frieze with shell figures of five bulls facing right and may have originally been attached to it. With the plaque (but detached from it), were the remains of a copper border similar to that of the inlay panels. The background of the plaque had been painted black to match the dark color of the bituminous limestone background of the inlay panels.
The human-faced bison, Sumerian (gud) alim or Akkadian kusarikku, is associated with the sun-god Utu/Shamash, perhaps in part because it inhabited the eastern mountains from which the sun rose. An Akkadian cylinder seal from Susa in fact depicts the sun god rising above two addorsed recumbent human-faced bisons in place of the stylized mountains that normally mark his abode. And in a hymn the sun god is likened to a bison, “ Lord, bison, striding over the mountain, Utu, bison, striding over the mountain.”
The mythical anzû, who nests in the high mountains, is a seemingly benevolent creature, at least in early texts and imagery. For example, in the mythical narrative Lugalbanda and the Anzû -bird, composed in the late 3rd millennium BCE, when the anzû-bird returned from hunting to find his nest embellished like a god’s dwelling, with his chick adorned and fed, the anzû exulted in his own role as intermediary to Enlil
I am the prince who decides the destiny of rolling rivers. I keep on the straight and narrow path the righteous who follow Enlil's counsel. My father Enlil brought me here. He let me bar the entrance to the mountains as if with a great door. If I fix a fate, who shall alter it? If I but say the word, who shall change it? Whoever has done this to my nest, if you are a god, I will speak with you, indeed I will befriend you. If you are a man, I will fix your fate. I shall not let you have any opponents in the mountains. You shall be 'Hero-fortified-by-Anzû'.
Anzû was Enlil’s symbol, and depictions of the anzû with wings outstretched over antithetical animals symbolic of other deities probably reflects Enlil’s all-encompassing power. The anzû -relief from Tell al-Ubaid, then, would depict Enlil over the stags associated with Ninhursag. Anzû’s close association with Ningirsu, Enlil’s son and warrior and Lagash’s tutelary deity, is evident at Tello (Girsu), both in texts and imagery in Early Dynastic-Ur III periods. On Eannatum’s Stele of the Vultures, for example, Ningirsu’s battle net is held closed by the anzû and antithetical lions, Ningursu’s animals, while a macehead, currently in the British Museum (BM 23287), dedicated to Ningirsu for the life of Enannatum shows the anzû grasping lions. In Gudea’s Cylinders Ningirsu’s temple Eninnu had the epithet “white anzû,” perhaps a reference to some significant architectural embellishment such as Urnamma affixed to the gates of Enlil’s Ekur.
But the anzû was a complex creature and one portrayed as more troublesome in later literary compositions. The Epic of Anzû, which exists in copies dating to the early 2nd millennium BCE, tells the tale of a malevolent anzû who steals the “tablet of destinies” and is eventually slain by Ninurta. Though Akkadian seals, showing a bird-man brought before Enki, may depict excerpts from this story, suggesting that at least in certain traditions the anzû was thought of as a creature with a dual—benevolent and malevolent--character already at the end of the 3rd millennium BCE, their reading remains a matter of controversy.
Whatever the complexity of the mythology regarding the anzû, the imagery of B15606, on which the anzû is shown in overtly aggressive behavior toward an animal of the mountains, associated with the sun god, remains perplexing. Similar scenes occur on shell inlays from Tello and Ur, as well as Tell Mardikh (Ebla) in western Syria. For example, one end panel of the Royal Standard of Ur shows the anzû attacking recumbent human-faced bisons on each side of a mountain from which a plant grows. Such scenes may reflect the menacing behavior of the anzû to men and gods, but more likely depict the anzû’s normal behavior in its natural habitat. B15606’s juxtaposition with scenes of herding and milking cattle, then, could be read as contrasting the settled conditions of a “civilized” floodplain with life in the mountains, where, as Lugalanda and the Anzû describes, bulls ran wild and the anzû hunted to feed its offspring. [unquote]
Richard L. Zettler





Inscribed head of a mace with Imdugud (Anzu) and Enannatum, the British Museum, London.

Stone mace head, front and back:  A votive offering to a temple; it is too large to have been used as a weapon. Anzud is also known as Imdugud. 
British Museum.  Stone mace head Kingdom of Lagash, about BC Possibly from Tello (ancient Girsu), southern Iraq

Taken from the original plaque
Sumer.Anzud with two lions.  I photographically repaired some of the damage done to the figures and remodeled the background.
File:Imdugud.jpg

Copper friezeImdugud (also Zu or Anzu), the lion-headed eagle; Sumerian metalwork (sheets of copper), Temple of Ninhursag at Tell al-'Ubaid; ca. 2500 BCE http://commons.wikimedia.org/wiki/File:Imdugud.jpg.
From the temple of Ninhursag, Tell al-'Ubaid, southern Iraq
Pendant of gold and lapis lazuli.

About 2600-2400 BCE A rare metalwork survival

[quote] This relief was one of a group of objects found at the small site of Tell al-'Ubaid, close to the remains of the city of Ur. It was discovered at the base of a mud-brick platform on which had been built a temple dedicated to the goddess Ninhursag.
The frieze may have originally stood above the door of the temple, and if so, is the most striking element of what survives of the temple façade. The frieze was badly damaged when it was found. Only one stag's head was recovered intact and the head of the eagle had to be restored. This restoration, based on images of similar date, shows the lion-headed eagle Imdugud, the symbol of the god Ningirsu. The artist has allowed the lion head to break out of the confines of the framework, suggesting Imdugud's great power.
The relief is formed from sheets of copper alloy beaten into shape and fastened, with pins and twisted lengths of copper, to a wooden core coated with bitumen. The survival of such a large piece of metalwork from this period is exceptional. Though copper, probably from the regions of modern Oman and Iran, was the most widely-used metal at this time, most metal objects have either disintegrated or the metal was melted down and re-used. [unquote]
H.W.F. Saggs, Babylonians (London, The British Museum Press, 1995)
D. Collon, Ancient Near Eastern art (London, The British Museum Press, 1995)
M. Roaf, Cultural atlas of Mesopotamia (New York, 1990)
H.R. Hall and C.L. Woolley, Ur Excavations, vol. I: Al-Uba(London, Oxford University Press, 1927)


Fragment of an Iranian Chlorite Vase decorated with the lion headed eagle (Imdugud) found in the temple of Ishtar during the 1933 - 1934 fieldwork by Parrot. Dated 2500 - 2400 BC. Louvre Museum collection AO 17553. 

Elamite bird (eagle?) with spread wings on an axe head from Tepe Yahya (Lamberg-Karlovsky and Potts 2001: 

 

m1390Bt Text 2868 Pict-74: Bird in flight.

Harappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255   

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

dhanga 'mountain range' Rebus: dhangar 'blacksmith'


Ta. eruvai a kind of kite whose head is white and whose body is brown; eagle. Ma. eruva eagle, kite.(DEDR 818). Rebus: eruvai ‘copper’ (Tamil).

eṟaka ‘wing’ (Telugu) Rebus: erako ‘molten cast’ (Tulu) loa ‘ficus’; rebus: loh ‘copper’. Pajhar ‘eagle’; rebus: pasra ‘smithy’.

      
kanda.’fire-altar’.khamba ‘wing’ rebus: kammaTa ‘mint’. gaṇḍa ‘four’ Rebus: khaṇḍa ‘metal implements.  Together with cognate ancu ‘iron’ the message is: native metal implements mint.

श्येन [p= 1095,2] m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle Śulbas. (Monier-Williams) śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sensẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala): 

aśáni f. ʻ thunderbolt ʼ RV., °nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.] Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ. &circmacrepsilon;n (both with n, not ), P. āhiṇ, f., āhaṇaihaṇ m.f., WPah. bhad. ã̄ṇhiṇi f., N. asino, pl. °nā; Si. senaheṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be *ā̤n; -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v.śilāˊ -- . (CDIAL 910) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ]Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207)Bogazkoy Indus Script seal, sēṇa 'eagle' rebus: sena ʻvajra, thunderboltʼ PLUS dhAtu 'strands of rope' Rebus'mineral, metal, ore' (CDIAL 6773) Alternative: मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f. ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: me'iron'. mẽṛhet ‘iron’ (Mu.Ho.)  Alternative: pajhar 'eagle' rebus: pasra 'smithy, forge' dul 'pair' rebus: dul 'metal casting'.
On the cylinder seal of Adda (c. 2300 BCE), scribe, the eagle flying down towards the water overflowing from the horned person's shoulders compose the key Indus Script hypertexts in Meluhha, which link to Sarasvati Civilization and to R̥gveda ākhyāna 'historical narrative' of श्येन m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c. The word also signifies: firewood laid in the shape of an eagle (शुल्ब-सूत्र). Etyma link श्येन with آهن āhan P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garān. آهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing.(Pashto) ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmiri) āhaṇaihaṇ m.f., WPah. bhad. ã̄ṇhiṇi f., N. asino, pl. °nā; Si. senaheṇa ʻ thunderboltʼ (CDIAL 910). The thunderbolt produced by  han-gār अहन्-गार्, 'blacksmith' is the vajra, 'thunderbolt' eulogised as the powerful weapon of Indra in R̥gveda. This is iron metalwork, weapon in armoury par excellence of अहन्-गार् 'blacksmiths' of Sarasvati Civilization. Overflowing pot signifies: lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans' (Marathi) emanating from khamba 'shoulder' rebus: kammaṭa 'mint' and the eagle signifies: senaheṇa ʻ thunderboltʼ PLUS khamba 'wings' rebus: kammaṭa 'mint', i.e. metallic weapon, vajra, from the mint. A leafless tree is signified on the mountain of Adda, scribe seal: khōṇḍa'leafless tree' (Marathi). Rebus: kõdār 'turner' (Bengali) Rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃daपयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri).A one-horned young bull frequently signified on Indus Script Corpora is signified below the feet of the horned person on Adda, scribe cylinder seal: the hypertext is:  kō̃da 'young bull' rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri). Thus, working with a smelter, The mountain-range is topped by a kuṭi 'tree' rebus: kuṭhi'smelter' worked by danga 'mountain range' rebus: dhangar 'blacksmith'. In another register on the Adda, scribe cylinder seal, an archer stands next to a roaring lion to signify a brass mint: arye 'lion' rebus: āra 'brass' PLUS kamaḍha 'archer' Rebus: kammaṭa 'mint, coiner, coinage'; The thunderbolt is made of ayaskāṇḍa, 'excellent iron': ayo 'fish' rebus: ayas 'metal alloy' aya 'iron' (Gujarati) PLUS kāṇḍā 'water', rebus:  'metalware, tools'. Thus, ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ). āhan is iron, ayas is iron, also alloy metal.

m0451A
m0451BText 3235


m0451A,B Text3235 h166A,B Harappa Seal; Vats 1940, II: Pl. XCI.255. http://www.metmuseum.org 
eṟaka ‘wing’ (Telugu) Rebus: erako ‘molten cast’ (Tulu) loa ‘ficus’; rebus: loh ‘copper’. pajhar ‘eagle’; rebus: pasra ‘smithy’. पाजिकः A falcon (Skt.)
ḍato = claws of crab (Santali) ḍato ‘claws or pincers (chelae) of crabs’; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhātu = mineral (Skt.) kamaṭha crab (Skt.) Rebus: kammaṭa = portable furnace (Te.) kampaṭṭam coiner, mint (Ta.)
Peg ‘khuṇṭa’; rebus: kūṭa ‘workshop’ khũṭi = pin (M.) kuṭi= smelter furnace (Santali) konḍu  मूलिकादिघर्षणवस्तु m. a washerman's dressing iron (El. kunḍh); a scraper or grater for grating radishes, or the like; usually ˚ -- , the second member being the article to be grated, as in the following: -- kȧnḍi-mujü घर्षिता मूलिका f. grated radish, but mujĕ-konḍu, a radish-grater (cf. mujü). (Kashmiri) *khuṭṭa1 ʻ peg, post ʼ. 2. *khuṇṭa -- 1. [Same as *khuṭṭa -- 2? -- See also kṣōḍa -- .]1. Ku. khuṭī ʻ peg ʼ; N. khuṭnu ʻ to stitch ʼ (der. *khuṭ ʻ pin ʼ as khilnu from khil s.v. khīˊla -- ); Mth. khuṭā ʻ peg, post ʼ; H. khūṭā m. ʻ peg, stump ʼ; Marw. khuṭī f. ʻ peg ʼ; M. khuṭā m. ʻ post ʼ.2. Pk. khuṁṭa -- , khoṁṭaya -- m. ʻ peg, post ʼ; Dm. kuṇḍa ʻ peg for fastening yoke to plough -- pole ʼ; L. khū̃ḍī f. ʻ drum -- stick ʼ; P. khuṇḍ, ḍā m. ʻ peg, stump ʼ; WPah. rudh. khuṇḍ ʻ tethering peg or post ʼ; A. khũṭā ʻ post ʼ, ṭi ʻ peg ʼ; B. khũṭā, ṭi ʻ wooden post, stake, pin, wedge ʼ; Or. khuṇṭa, ṭāʻ pillar, post ʼ; Bi. (with -- ḍa -- ) khũṭrā, rī ʻ posts about one foot high rising from body of cart ʼ; H. khū̃ṭā m. ʻ stump, log ʼ, ṭī f. ʻ small peg ʼ (→ P.khū̃ṭā m., ṭī f. ʻ stake, peg ʼ); G. khū̃ṭ f. ʻ landmark ʼ, khũṭɔ m., ṭī f. ʻ peg ʼ, ṭũ n. ʻ stump ʼ, ṭiyũ n. ʻ upright support in frame of wagon ʼ, khū̃ṭṛũn. ʻ half -- burnt piece of fuel ʼ; M. khũṭ m. ʻ stump of tree, pile in river, grume on teat ʼ (semant. cf. kīla -- 1 s.v. *khila -- 2), khũṭā m. ʻ stake ʼ, ṭī f. ʻ wooden pin ʼ, khũṭaḷṇẽ ʻ to dibble ʼ.Addenda: *khuṭṭa -- 1. 2. *khuṇṭa -- 1: WPah.kṭg. khv́ndɔ ʻ pole for fencing or piling grass round ʼ (Him.I 35 nd poss. wrong for ṇḍ); J. khuṇḍā m. ʻ peg to fasten cattle to ʼ. (CDIAL 3893) Vikalpa: pacar = a wedge driven ino a wooden pin, wedge etc. to tighten it (Santali.lex.) pasra = a smithy, place where a black-smith works, to work as a blacksmith; kamar pasra = a smithy; pasrao lagao akata se ban:? Has the blacksmith begun to work? pasraedae = the blacksmith is at his work (Santali.lex.)
khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.)

Alternative decipherment:

[alloy metal mint workshop]



Field symbol 1: पोळा [ ā ] 'zebu, bos indicus taurus' rebus: पोळा [ ā ] 'magnetite, ferrite ore: Fe3O4' 

Field symbol 2: sea 'falcon' rebus: sea, aśani 'thunderbolt', āhan gar 'blacksmith'  PLUS kambha 'wing' rebus: kammaa 'mint, coiner, coinage[Metwork catalogues: ferrite ore, blacksmith mint] Alternate titles: sēnāpati m. ʻ leader of an army ʼ AitBr. [sḗnā -- , páti -- ]Pa. sēnāpati -- , °ika -- m. ʻ general ʼ, Pk. āvaï -- m.; M. śevaī°vīśeai m. ʻ a class of Brahmans ʼ, Ko. śevi; Si. senevi ʻgeneralʼ.(CDIAL 13589) Vikalpa: eruvai ‘eagle’ rebus: eruvai ‘copper’ 

Text 3235

loa 'ficus glomerata' Rebus: loha 'copper, iron'. PLUS karī  ‘ears’ rebus: karī 'supercargo, scribe' [supercargo in charge of copper, iron ores]

kuila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuika— ‘bent’ MBh. Rebus: kuila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūa, 'brass'  Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl°lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥकौटिलिकः 1 A hunter.-2 A blacksmith  PLUS dula ‘duplicated’ rebus: dul ‘metal casting’. Thus, bronze castings. [bronze castings]

khaṇḍa 'division'. rebus: kaṇḍa 'implements' PLUS dula 'two' rebus: dul 'metal casting' [metal implement castings]

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

ayo, aya 'fish' rebus: aya 'iron' ayas 'metal alloy' (Rigveda) PLUS khambhaā 'fish-fin rebus: kammaa 'mint, coiner, coinage'.PLUS sal ‘splinter’ rebus: sal ‘workshop’ [alloy metal mint workshop]

Thus, the Mohenjodaro tablet is a metalwork catalogue of: 1.ferrite ore; 2.blacksmith mint, army general.

Accounted sub-categories: 

[supercargo in charge of copper, iron ores]
[bronze castings]
[metal implement castings]
[ingots, implements]
[alloy metal mint workshop]

 

216).Harappa seal. Eagle in flight. 

Enmetena silver vase

Image result for Tripod silver vase of Enmetena, dedicated to the war god Ningirsu. The legs are made of copper. The vase features an image of Anzud, the lion-headed eagle, grasping two lions with his talons.

Tripod silver vase of Enmetena, dedicated to the war god Ningirsu. The legs are made of copper. The vase features an image of Anzud, the lion-headed eagle, grasping two lions with his talons.
Image result for Tripod silver vase of Enmetena, dedicated to the war god Ningirsu. The legs are made of copper. The vase features an image of Anzud, the lion-headed eagle, grasping two lions with his talons.

The image of Anzud shows up better in this old photograph. Anzud (also known as Imdugud) was the symbolic animal of Ningirsu. The image of Anzud with the two lions seems to be symbolic of the city of Lagash.
Image result for Tripod silver vase of Enmetena, dedicated to the war god Ningirsu. The legs are made of copper. The vase features an image of Anzud, the lion-headed eagle, grasping two lions with his talons.

Another view of the silver vase of Enmetena

The dedicatory inscriptions wrap around the neck of the vase: 

Translation of the inscriptions from the CDLI (P222539):


For Ningirsu, the hero of Enlil,
Enmetena, ruler of Lagash,
chosen by the heart of Nanshe,
chief ruler of Ningirsu,
son of Enannatum, ruler of Lagash,
for the king who loved him, Ningirsu,
(this) gurgur-vessel of refined silver,
from which Ningirsu will consume the monthly oil (offering),
he had fashioned for him.
For his life, before Ningirsu of the Eninnu (temple)
he had it set up.
At that time Dudu
was the temple administrator of Ningirsu. http://sumerianshakespeare.com/70701/74901.html

Terracotta plaque showing a bull-man holding a post

Old Babylonian, about 2000-1600 BCE From Mesopotamia Length: 12.800 cm Width: 7.000 cm ME 103225 Room 56: Mesopotamia
This plaque depicts a creature with the head and torso of a human but the horns, lower body and legs of a bull. Though similar figures are depicted earlier in Iran, they are first seen in Mesopotamian art around 2500 BC, most commonly on cylinder seals, and are associated with the sun-god Shamash. The bull-man was usually shown in profile, with a single visible horn projecting forward. However, here he is depicted in a less common form; his whole body above the waist, shown in frontal view, shows that he was intended to be double-horned. He may be supporting a divine emblem and thus acting as a protective deity.
Baked clay plaques like this were mass-produced using moulds in southern Mesopotamia from the second millennium BC. While many show informal scenes and reflect the private face of life, this example clearly has magical or religious significance.
British Museum, A guide to the Babylonian and, 3rd ed. (London, British Museum, 1922)
J. Black and A. Green, Gods, demons and symbols of -1(London, The British Museum Press, 1992)

Image result for Neo-Sumerian Statuette of an Androcephalous Bull, C. 2350-2000 BC Made of Chlorite with inlays (now mostly missing)Neo-Sumerian Statuette of an Androcephalous Bull, C. 2350-2000 BC Made of Chlorite with inlays (now mostly missing)



 
Base for a ritual offering, carved with animals Elamite period, mid-3rd millennium BCE

Tell of the Acropolis, Susa, Iran Bituminous rock H. 19 cm; Diam. 11 cm Jacques de Morgan excavations, 1908 Lions and gazelles passant; eagles protecting their young Sb 2725
This base for a ritual offering is made of bitumen. This material was plentiful throughout the Middle East, but only in Susa was it used in sculpture. The object is carved with big cats, gazelles, and eagles. The theme of the eagle spreading its wings to protect its young was found only in Iran and also features on painted ceramics of the same period. 
Bitumen: a plentiful material used in an unusual manner
This object in the form of a truncated cone is a base for a ritual offering. It is carved from bituminous rock, found throughout the region but used in sculpture only in Susa. It was used to make vases similar to this object (Louvre, Sb2726), and later, in the early years of the 2nd millennium BC, vases carved with bas-relief decorations and an animal's head in high relief (Louvre, Sb2740). The shape of this object - a truncated cone - is similar to other pieces made of chlorite and dating from the same period. The mortise at the top of the cone and the unfinished lip suggest that the object originally had a second part that fitted on top of the cone. However, the precise purpose of the object remains a mystery.
The animal carvings
The cone is carved with two registers separated by a narrow strip. The upper register is decorated with two gazelles calmly grazing on vegetation, represented by stalks between each animal. Alongside the two gazelles are two big cats, almost certainly lions, with their backs to each other. Their stylized manes are shown as vertical strips, reminiscent of those of the woolen Mesopotamian garments known as kaunakes. Their tails are raised horizontally over their backs, similar to depictions of lions on cylinders from Uruk or Susa. Their heads are depicted in geometrical form. All four animals are shown in profile. The artistic desire to create a scene and a landscape imbued with life is also evident in two cylinders from Uruk and Khafaje. 
The lower register shows two highly stylized eagles, upright, as if resting on their tail feathers. Their wings and talons are spread to protect the chicks beneath them. These eagles differ somewhat from the usual representation of eagles as the attribute of the Sumerian god Ningirsu, where the birds are depicted with a lion's head, holding two lion cubs, which are shown face on.
Mythological creatures or carvings of local wildlife?
Eagles were a major theme in Susian and Mesopotamian art. This depiction of an eagle resting on its tail feathers is also found in ceramics, glyptics, and perforated plaques dating from the 3rd millennium BC. However, unlike Mesopotamian eagles, Susian eagles never resembled composite animals. Likewise, Mesopotamian eagles had a mythological dimension, which was absent from Susian portrayals of the bird. In Susa, eagles were simply considered ordinary birds of prey.
Bibliography
Amiet Pierre, Élam, Auvers-sur-Oise, Archée, 1966, p. 166, fig. 119.
Les quatre grandes civilisations mondiales. La Mésopotamie entre le Tigre 
et l'Euphrate, cat. exp., Setagaya, musée d'Art, 5 août-3 décembre 2000, Fukuoka, musée d'Art asiatique, 16 décembre 2000-4 mars 2001, Tokyo, NHK, 2000, pp. 214-215.

http://www.louvre.fr/en/oeuvre-notices/base-ritual-offering-carved-animals
Sumer of Anzu, the eagle is compared with śyena-amśu (soma) of Rigveda. Similarities are striking indeed and should provide a pause to an understanding of the bronze-age recorded in the many metaphors and hieroglyphs (such as the overflowing vase of Gudea, discussed in 

Ancient near East Gudea statue hieroglyph (Indus writing): lokhãḍ, 'copper tools, pots and pans' Rebus: lo 'overflow', kāṇḍa 'sacred water'.
The parallels of metaphors/imageries are so vivid that a relationships between the people who narrated the exploits of heroes of Sumer and the exploits of Indra narrated in the Rigveda have to be deep indeed and cannot be explained away as mere coincidences.
Anzu stole the tablet of destinies. Śyena of Rigveda brought the amśu (soma) from the heavens. Anzu is derived from An "heaven" and Zu "to know", in Sumerian language.
See: http://bharatkalyan97.blogspot.in/2011/09/decipherment-of-soma-and-ancient-indo.html Soma-haoma, *sauma ? somnakay ! samanom ! *haeusom-
French scholar, Prof. Pinault identifies amśu of Rigveda with anzu of Tocharian. In Tocharian it means 'iron'. Tocharin language as an Indo-European language has revealed a word anzu in Tocharian which meant 'iron'. It is likely that this is the word used for soma in Rigveda. The imagery of an eagle stealing soma also occurs in ancient Indian texts. There is a hymn to śyena in Atharvaveda (7.41).

A synonym of soma is amśu. śyena, the hawk has brought the soma from the heaven.

श्येन आसां अदितिः कक्ष्यो मदों विज्वारस्य याजतस्य मायिनः
सं अन्यं अन्यं अर्थयन्थ्येतवे विदुर्विष्आणं परिपानं RV 5.44.11
5.044.11 Swift is the excessive and girth-distending inebriation of Viśvavārā, Yajata and Māyin; (by partaking) of these (juices) they urge one another to drink; they find the copious draught the prompt giver of intoxication. [Swift is...inebriation: śyena āsām aditih kakṣyo madah: śyena = śīghra, quick; aditi = atisamṛddhah; āsām = of these, Soma juices; mada = intoxication, is the devata_ of the verse].

उत स्मास्य द्रवतस्तुरण्यतः पर्णं न वेरनु वाति प्रगर्धिनः श्येनस्येव ध्रजतो अङ्कसम्परि दधिक्राव्णः सहोर्जा तरित्रतः RV 4.40.3

4.40.03 And after him who is quick-going, hastening, eager (to arrive at his gold, men) follow (as other birds pursue) the flight of a swift (bird) striving together to keep up by the side of Dadhikrāvaṇ the transporter (of others) as swift as a hawk. [Yajus. 9.15; after him who is: asya dravatas turaṇyatah parṇam nādādhāram urah pradeśam vā of Dadhikrāvaṇ, together with strength, or for the sake of strength together, enabling to cross; an:kasam pari = a horse's trappings, the cloth, tail, vastracamarādikam, over all his body, which fly open as the horse gallops, like the wings of a bird, the horse has the speed of a hawk].

Vāmadevagautama sings the following rca-s for śyena:
प्र सु श विभ्यो मरुतो विरस्तु प्र श्येनः श्येनेभ्य आशुपत्वा अचक्रया यात स्वधया सुपर्णो हव्यं भरन्मनवे देवजुष्टं (RV 4.26.4)
4.26.4 May this bird, Maruts, be pre-eminent over (other) hawks, since with a wheelless car the swift-winged bore the Soma, accepted by the gods, to Manu. [With a wheelless car: acakrayā vadhayā = cakrarahitena rathena, with a car without wheels; the text has havyam, this is a metonymy for the Soma, which is said to have been brought from heaven by the gāyatrī, in the form of a hawk; by the hawk, we are to understand the supreme spirit, parabrahma].
Alternative: Before you measure this falcon, O Maruts, supreme is this swift-winged Shyena, strongly self-possessed with no one to bear him, That One brought to Manu the wholesome offerings.Explanation: It is impossible to measure the comprehensive energy existing in That One, who as swift-moving falcon envelops and pervades far distant places. In earlier days Manu, who was effulgent with Bliss, the essence of That One, was provided with wholesome offerings. Seer seems to suggest that even as Manu earlier, with whom he has established companionship, he too now should be the beneficiary of the choice offerings.
भरद्यदि विरतो वेविजानः पथोरुणा मनोजवा असर्जि तूयं ययौ मधुना सोम्येनोत श्रवो विविदे श्येनो RV 4.26.5
4.26.5 When the bird, intimidating (its guardians), carried off from hence (the Soma) it was at large; (flying) swift as thought along the vast path (of the firmament), it went rapidly with the sweet Soma, and the hawks thence acquired the celebrity in this world.
Alternative: When the bird brought in rapid movements and sent the swift thoughts on widespread Path, the same were returned with sweetness of Bliss, the Falcon in that process attaining brilliance. Explanation: Bird is the energy that elevates the thought fastest moving in universe, with swiftness of a falcon, unless it is with difficulty restrained. The thoughts imbibe the bliss of That One, the falcon, in that process shining with resplendence.
ऋजीपी श्येनो ददमानो अम्शुम्परावतः शकुनो मन्द्रं मदं सोमं भरद्दादृहाणो देवावान्दिवो अमुश्मा दुद्दरादआदाय RV 4.26.6
4.26.6 The straight-flying hawk, conveying the Soma from afar; the bird, attended by the gods, brought, resolute of purpose, the adorable exhilarating Soma, having taken it from that lofty heaven.
Alternative: Climbing above holding the thought and the bird bringing the draught that gladdens, the Falcon spreads upward. Comrade of the luminous beings clutching Soma which the birds had brought it rises to the loftiest heavens.
Explanation: Noble thoughts elevate the soul upward and ignoble ones relegate it downward. As the thoughts become energetic with bliss brought by birds from the heavens, the falcon takes elevates them thus enriched with the Bliss of Beatitude, the loftiest of heavens.
आदाय श्येनो अभारत्सोमं सहस्रं सवा अयुतं च साकं अत्रा पुरन्धिरजहाद अरातीर मदे सोमस्य मूरा अमूरः RV 4.26.7
4.26.7 Having taken it, the hawk brought the Soma with him to a thousand and ten thousand sacrifices, and this being provided, the performer of many (great) deeds, the unbewildered (Indra) destroyed, in the exhilaration of the Soma, (his) bewildered foes.
Alternative: Providing Soma bearing thousand libations, yes, ten thousand libations Shyena the falcon bringing it from above offers it down here on earth. Therein, the courageous ones leave all the malignant ones behind, the wise with wild ecstasy, leaving the unwise far behind.Explanation: That One, the falcon brings luminous libations from above and offers them here down below to those who deserve. The enlightened bold ones leave the malignant ones far behind, wise becomes wild with abundance and the timid sinking in scarcity. [Source for the alternative renderings of 4.26.4 to 7: http://nageshsonde.com/Rigveda_A_Study_on_Forty_Hymns.pdf]
Vāmadevagautama continues the prayer to śyena in the next Sūkta:
गर्भे नु सन्नन्वेषां अवेदं अहं देवानां जनिमानि विश्वा शतं मा पूर आयासीराराक्षन्नध श्येनो जवसा निरदीयं RV 4.27.1
4.27.1 Being still in the germ, I have known all the births of these divinities in their order; a hundred bodies of metal confined me, but as a hawk I came forth with speed. [i.e., until the sage comprehended the differences between the body and soul, and learned that soul was unconfined, he was subject to repeated births; but in this stage he acquired divine knowledge, and burst through the bonds with the force and celerity of a hawk from its nest; Vāmadevaśyena rūpam āsthāya garbhād yogena nihsṛtah = Vāmadeva, having assumed the form of a hawk, came forth from the womb by the power of Yoga (Nītimañjari)].
न घा स मां अप जोषं जभाराभीं आस त्वक्षसा वीर्येण ईर्मा पुरंधिरआजहादरातीरुत वाता अतरच्छू शुवानः RV 4.27.2
4.27.2 That embryo did not beguile me into satisfaction, but by the keen energy (of divine wisdom), I triumphed over it; the impeller of all, the sustainer of many, abandoned the foes (of knowledge), and, expanding, passed beyond the winds (of worldly troubles). [The impeller of all: the paramātmā, or supreme spirit; beyond the winds: the vital airs, or life, the cause of worldly existence, which is pain].
अव यच्छ्येनो अस्वनीदध द्योर्वि यद् यदि वात ऊहुः पुरन्धिं सुजद्यदस्मा अव हा क्षिपज्ज्यां कुशानुरस्ता मनसा भरण्यन् RV 4.27.3
4.27.3 When the hawk screamed (with exultation) on his descent from heaven, and (the guardians of the Soma) perceived that the Soma was (carried away) by it then, the archer of Kṛśānu, pursuing with the speed of thought, and stringing his bow, let fly an arrow against it. [Note: śankha Kṛśānu is a conch-shell cutter.]
ऋजिप्य ईं इन्द्रावतो न भुज्युम श्येनो जभार बृहतो अधि ष्णोः अन्तः पतत्पतत्र्यस्य पर्णं अध यामनि प्रसितस्य तद्वेः RV 4.27.4
4.27.4 The straight-flying hawk carried off the Soma from above the vast heaven, as (the Aśvins carried off) Bhujyu from the region of Indra, and a falling feather from the middle of the bird dropped from him wounded in the conflict. [antah parṇam tan madhye sthitam; one nail of the left foot and the shaft was broken by the collision, the fragments of the nail became the quills of the fretful porcupine, those of the arrow, water-snakes, flying foxes, and worms].
अध श्वेतं कलशं गोभिरं आपिप्यानं मघवा शुक्रमन्धः अध्वर्युभिः प्रयातं मध्वो अग्रम इन्द्रो मदाय प्रत्पिबध्यै शूरो मदाय प्रति धत्पिबध्यै RV 4.27.5
4.027.05 Now may Maghavan accept the pure nutritious (sacrificial) food in a white pitcher, mixed with milk and curds, offered by the priests; the upper part of the sweet (beverage) to drink for his exhilaration; may the hero accept (it) to drink for (his) exhilaration.
आवर्त्या शुन आन्त्राणि पेचे न देवेषु विविदे मर्डितारं अपश्यं जायां अमहॆयमानां अधा मे श्येनो मध्वाजभरि RV 4.18.13
4.18.13 In extreme destitution I have cooked the entrails of a dog; I have not found a comforter among the gods; I have beheld my wife disrsepected; then the falcon, (Indra), has brought to me sweet water. [In extreme destitutuin: So Manu has, Vāmadeva, who well knew right and wrong, was by no means rendered impure, though desirous when oppressed with hunger, of eating the flesh of dogs for the preservation of his life; icchan attum, wishing to eat; the text has śuno āntrāṇi pece, I cooked the entrails of a dog; the falcon: i.e., as swift as a hawk, śyena vat śīghragāmīndrah]. [Sūkta 18: Ṛṣi vāmadeva, while yet in the womb, was reluctant to be born and chose to come into the world through his mother's side; aware of his purpose, the mother prayed to Aditi, who thereupon came, with her son Indra, to expostulate with the Ṛṣi; this is the subject of the Sūkta].
The Sūkta's of Ṛṣi vāmadeva are brilliant evocations of the deeds of Indra, the thunder-bolt wielder and repeatedly evoke the memories enshrined in the Sumerian relief sculptures.
नवंनुस्तोमंअग्नयेदिवःश्येनायजीजनंवस्वःविदवनातिनः RV 7.15.4
7.15.4 May Agni, to whom as to a (swift) hawk in heaven, I address this new hymn, bestow upon us ample wealth. Alternative: 1 have begotten this new hymn for Agni, falcon of the Sky: will he not give us of his wealth? (Griffith trans.)(Note: "As mediator between the realms of men and of the gods, the characteristics of flight are often Agni's. As divine eagle or falcon (śyena) he is depicted in the Agnicayana (Yajur Veda), the ritual construction of a 10,800 brick fire-altar in the form of a flying bird. The iron fort with a hundred walls in stanza 14 below perhaps recalls the eagle's soma-theft in Rig Veda, IV, 26 and 27."

[quote]Zu, also known as Anzu and Imdugud, in Sumerian, (from An "heaven" and Zu "to know", in the Sumerian language) is a lesser divinity of Akkadian mythology, and the son of the bird goddess Siris. He was conceived by the pure waters of the Apsu and the wide Earth.[1] Both Zu and Siris are seen as massive birds who can breathe fire and water, although Zu is alternately seen as a lion-headed eagle (cf: The Griffin). Zu as a lion-headed eagle, ca. 2550–2500 BC, Louvre Anzu was a servant of the chief sky god Enlil, guard of the throne in Enlil's sanctuary, (possibly previously a symbol of Anu), from whom Anzu stole the Tablet of Destinies, so hoping to determine the fate of all things. In one version of the legend, the gods sent Lugalbanda to retrieve the tablets, who in turn, killed Anzu. In another, Ea and Belet-Ili conceived Ninurta for the purpose of retrieving the tablets. In a third legend, found in The Hymn of Ashurbanipal, Marduk is said to have killed Anzu. [unquote] https://en.wikipedia.org/wiki/Zu_(mythology) See: http://www.sacred-texts.com/ane/blc/blc08.htm

[quote] In Mesopotamian mythology, the Tablet of Destinies - Dup Shimati in Sumerian - (not, as frequently misquoted in general works, the 'Tablets of Destinies') was envisaged as a clay tablet inscribed with cuneiform writing, also impressed with cylinder seals, which, as a permanent legal document, conferred upon the god Enlil his supreme authority as ruler of the universe. In the Sumerian poem 'Ninurta and the Turtle' it is the god Enki, rather than Enlil, who holds the tablet. Both this poem and the Akkadian Anzû poem share concern of the theft of the tablet by the bird Imdugud (Sumerian) or Anzû (Akkadian). Supposedly, whoever possessed the tablet ruled the universe.In the Babylonian Enuma Elish, Tiamat bestows this tablet on Qingu (in some instances spelled "Kingu") and gives him command of her army. Marduk, the chosen champion of the gods, then fights and destroys Tiamat and her army. Marduk reclaims the Tablet of Destinies for himself, thereby strengthening his rule among the gods.The tablet can be compared with the concept of the Me, divine decrees.
[unquote] https://en.wikipedia.org/wiki/Tablet_of_Destiny
Sennacherib and the Tablet of Destinies
Author(s): A. R. George
Source: Iraq, Vol. 48 (1986), pp. 133-146
Published by: British Institute for the Study of Iraq
Stable URL: http://www.jstor.org/stable/4200258 .
http://www.scribd.com/doc/149113821/Senna-Cherib-Tablet-of-Destinies-A-R-George-1986
Senna Cherib &amp; Tablet of Destinies : A. R. George (1986)                  


Syena-citi: A Monument of Uttarkashi  The first layer of  one kind of śyenaciti or falcon altar described in the Śulbasūtras, made of 200 bricks of six shapes or sizes, all of them adding up to a specified total area. 

Distt.EXCAVATED SITE -PUROLA Geo-Coordinates-Lat. 30° 52’54” N Long. 77° 05’33” E Notification No& Date;2742/-/16-09/1996The ancient site at Purola is located on the left bank of river Kamal. The excavation yielded the remains of Painted Grey Ware (PGW) from the earliest level alongwith other associated materials include terracotta figurines, beads, potter-stamp, the dental and femur portions of domesticated horse (Equas Cabalus Linn). The most important finding from the site is a brick alter identified as Syenachiti by the excavator. The structure is in the shape of a flying eagle Garuda, head facing east with outstretched wings. In the center of the structure is the chiti is a square chamber yielded remains of pottery assignable to circa first century B.C. to second century AD. In addition copper coin of Kuninda and other material i.e. ash, bone pieces etc and a thin gold leaf impressed with a human figure tentatively identified as Agni have also been recovered from the central chamber. http://asidehraduncircle.in/uttarkashi.html 

KV Sarma mentions:

“Pravara Sena I, who is placed around at 275 AD to 335 AD by the authors Ramesh Chandra Majumdar and Anant Sadashiv Altekar in this book, is said to have conducted all Yajnams successfully including the most difficult Vajapeya Yajnam, after which he was given the title “Samrat”, which can be loosely translated to Emperor in English.

Pravarasena I (275 - 335 AD) performed Athirathra Yajnam

While dates of Pravarasena I, Vakatakas and Gupta dynasty is a topic of huge controversy and discussion, one cannot disprove the argument that Pravarasena conducted Athirathram and other Yajnams.

Section 2. Pyrite, iron sulfidebiochemistry and origin of life

"The iron–sulfur world hypothesis is a set of proposals for the origin of life and the early evolution of life advanced in a series of articles between 1988 and 1992 by Günter Wächtershäuser, a Munich patent lawyer with a degree in chemistry, who had been encouraged and supported by philosopher Karl R. Popper to publish his ideas. The hypothesis proposes that early life may have formed on the surface of iron sulfide minerals, hence the name. Pioneer organism. Wächtershäuser proposes that the earliest form of life, termed "pioneer organism", originated in a volcanic hydrothermal flow at high pressure and high (100 °C) temperature. It had a composite structure of a mineral base with catalytic transition metal centers (predominantly iron and nickel, but also perhaps cobalt, manganese, tungsten and zinc). The catalytic centers catalyzed autotrophic carbon fixation pathways generating small molecule (non-polymer) organic compounds from inorganic gases (e.g. carbon monoxide, carbon dioxide, hydrogen cyanide and hydrogen sulfide). These organic compounds were retained on or in the mineral base as organic ligands of the transition metal centers with a flow retention time in correspondence with their mineral bonding strength thereby defining an autocatalytic "surface metabolism". The catalytic transition metal centers became autocatalytic by being accelerated by their organic products turned ligands. The carbon fixation metabolism became autocatalytic by forming a metabolic cycle in the form of a primitive sulfur-dependent version of the reductive citric acid cycle. Accelerated catalysts expanded the metabolism and new metabolic products further accelerated the catalysts. The idea is that once such a primitive autocatalytic metabolism was established, its intrinsically synthetic chemistry began to produce ever more complex organic compounds, ever more complex pathways and ever more complex catalytic centers..Nutrient conversions. The water gas shift reaction (CO + H2O → CO2 + H2) occurs in volcanic fluids with diverse catalysts or without catalysts.The combination of ferrous sulfide and hydrogen sulfide as reducing agents in conjunction with pyrite formation – FeS + H2S → FeS2 + 2H+ + 2e (or H2 instead of 2H+ + 2e) – has been demonstrated under mild volcanic conditions.This key result has been disputed." 
1.      Drobner, E.; H. Huber; G. Wächtershäuser; D. Rose; K. O. Stetter (1990). "Pyrite formation linked with hydrogen evolution under anaerobic conditions". Nature. 346(6286): 742–744. Bibcode:1990Natur.346..742D. doi:10.1038/346742a0.
2.     Jump upCahill, C. L.; L. G. Benning; H. L. Barnes; J. B. Parise (June 2000). "In situ time-resolved X-ray diffraction of iron sulfides during hydrothermal pyrite growth". Chemical Geology167 (1–2): 53–63. doi:10.1016/S0009-2541(99)00199-0. Retrieved 2009-05-02.


Iron sulfide or Iron sulphide can refer to a range of chemical compounds composed of iron and sulfur.

"Pyrite's metallic luster and pale brass-yellow hue give it a superficial resemblance to gold, hence the well-known nickname of fool's gold. The color has also led to the nicknames brassbrazzle, and Brazil, primarily used to refer to pyrite found in coal. The name pyrite is derived from the Greek πυρίτης (pyritēs), "of fire" or "in fire",in turn from πύρ (pyr), "fire".[In ancient Roman times, this name was applied to several types of stone that would create sparks when struck against steel; Pliny the Elder described one of them as being brassy, almost certainly a reference to what we now call pyrite... pyrite is sometimes found in association with small quantities of gold. Gold and arsenic occur as a coupled substitution in the pyrite structure. In the Carlin–type gold deposits, arsenian pyrite contains up to 0.37% gold by weight."

Natural minerals
By increasing order of stability:
·         Iron(II) sulfide, FeS, the less stable amorphous form;
·         Greigite, a form of iron(II,III) sulfide (Fe3S4), analog to magnetite, Fe3O4;
·         Pyrrhotite, Fe1−xS (where x = 0 to 0.2), or Fe7S8;
·         Troilite, FeS, the endmember of pyrrhotite;
·         Mackinawite, Fe1+xS (where x = 0 to 0.1);
·         Marcasite, or iron(II) disulfide, FeS2 (orthorhombic);
·         Pyrite, or iron(II) disulfide, FeS2 (cubic), the more stable endmember, known as fool's gold.


Section E. Thunderbolt, vajra

Harappa seal signifies फडाphaḍā 'metals manufactory' sēṇa 'eagle' rebus sena 'thunderbolt' https://tinyurl.com/yar94t7p

Bogazkoy Indus Script seal, sēṇa 'eagle' rebus: sena ʻvajra, thunderboltʼ PLUS dhAtu 'strands of rope' Rebus'mineral, metal, ore' (CDIAL 6773) Alternative: मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f. ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: meḍ'iron'. mẽṛhet ‘iron’ (Mu.Ho.)  Alternative: pajhar 'eagle' rebus: pasra 'smithy, forge' dul 'pair' rebus: dul 'metal casting'.

https://3.bp.blogspot.com/-WTGQqrIWA3Q/Wrh-wWz2ofI/AAAAAAABQs0/Qox6yMWOqWwc0Ouqz9gsmxp4_1JhZ3_GACLcBGAs/s320/vajra4.JPG

Molded plaque: the weather god Adad and a bull standing on a lion-dragon Period: Old Babylonian Date: ca. 2000–1600 B.C.E Geography: Southern Mesopotamia Culture: Babylonian Medium: Ceramic Dimensions: 5.25 x 3.86 in. (13.34 x 9.8 cm) Classification: Ceramics-Reliefs.

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)
eruvai 'kite' rebus: eruvai 'copper'
Hieroglyph: wings: *skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ]S. khambhu°bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mintKa. kammaṭa id.; kammaṭi a coiner. (DEDR 1236).
पोळ pōḷa, 'Zebu, bos indicus'  Rebus: पोळ pōḷa, 'magnetite, ferrite ore'; adar ḍangra ‘zebu': Rebus: aduru ḍhangar ‘native metal smith’. arye 'lion' āra 'brass'. min 'lightning''metal' = kol'metal'. The Pali semantics ayo, 'metals, metal alloy of gold' are consistent with the meaning provided in synonyms for the gloss, kol : மின்வெள்ளிபொன்கொல்லெனச்சொல்லும் (தக்கயாகப். 550).

Hieroglyphs which are synonyms: vajra & falcon:: śyēná श्येन [p= 1095,2] denotes a hawk , falcon , eagle and also sena, heṇa ʻ thunderbolt ʼ (Sinhala); aśáni f. ʻ thunderbolt ʼ (Rigveda).

The repeated reference to 'wealth'  in RV VIII.5 while invoking and venerating Soma suggests that acquisition of Soma is acquisition of 'wealth'.


RV VIII.5.24 to 30
24 Come near with those most recent aids of yours which merit eulogy,
When I invoke you, Wealthy Gods.
25 As ye protected Kanva erst, Priyamedha and Upastuta,
Atri, Sinjara, Asvins Twain
26 And Amsu in decisive fight, Agastya in the fray for kine.
And, in his battles, Sobhari.
27 For so much bliss, or even more, O Asvins, Wealthy Gods, than this,
We pray white singing hymns to you.
28 Ascend your car with golden seat, O Asvins, and with reins of gold,
That reaches even to the sky.
29 Golden is its supporting shaft, the axle also is of gold,
And both the wheels are made of gold.
30 Thereon, ye Lords of ample wealth, come to us even from afar,
Come ye to this mine eulogy.

The reference is to battles of ancient R̥ṣi-s specified and how wealth was won with the protection of  āśvinau, 'two āśvin'.) The ancient R̥ṣi-s specified include: ancient Kanva, Priyamedha, Upastuta, Atri, Sinjara, अंशु amśu, Sobhari. The two āśvin ride in a golden chariot whose axle and wheels are also of gold. काण्व 'descendant of कण्व ); प्रिय-मेध m. (प्रिय्/अ-) N. of a ऋषि (a descendant of अङ्गिरस् and author of the hymns RV. viii , 1-40 , 57 , 58 , 76 ; ix , 28) and (pl.) of his descendants RV. Nir.;  a descendant of अज-मीढ; उप-स्तुत mfn. invoked , praised RV. AV. xix , 5 , 1;  'name of a R̥ṣi; अत्रि N. of a great ऋषि , author of a number of Vedic hymns; शिञ्जार 'name of a  R̥ṣi; सो* भरि (or °री) m. N. of the author of the hymns RV. viii , 19-22 &c (having the patr. काण्व , or आङ्गिरस) RV. AV.

aṃśulaअंशुल a. Radiant, luminous. -लः [अंशुं प्रभां बुद्धिप्रतिभां लाति, or अंशुरस्य अस्तीति ला-क] N. of Chāṇakya; of any sage.aṃśumat
अंशुमत् a. [अंशु-अस्त्यर्थे मतुप्] 1 Luminous, radiant; ज्योतिषां रविरंशुमान् Bg.1.21. -2 Pointed. -3 Fibrous, abounding in filaments (Ved.) -m. (˚मान्) 1 The sun; वालखिल्यैरिवांशुमान् R.15.1; अंशुमानिव तन्वभ्रपटलच्छन्नविग्रहः Ki.11.6; जलाधारेष्विवांशुमान् Y.3.144; rarely the moon also; ततः स मध्यंगतमंशुमन्तं Rām.5.5.1. -2 N. of the grandson of Sagara, son of Asamañjasa and father of Dilīpa. -3 N. of a mountain; ˚मत्फला N. of a plant, कदली Musa sapientum or Paradisiaca. -ती 1 N. of a plant सालपर्णी (Mar. डवला, सालवण) Desmodium Gangeticum. -2 N. of the river Yamunā.aṃśuḥअंशुः [अंश्-मृग˚ कु.] 1 A ray, beam of light; चण्ड˚, घर्मं˚ hot-rayed the sun; सूर्यांशुभिर्भिन्नमिवारविन्दम् Ku.1.32; Iustre, brilliance चण्डांशुकिरणाभाश्च हाराः Rām.5.9.48; Śi.1.9. रत्न˚, नख˚ &c. -2 A point or end. -3 A small or minute particle. - 4 End of a thread. -5 A filament, especially of the Soma plant (Ved.) -6 Garment; decoration. -7 N. of a sage or of a prince. -8 Speed, velocity (वेग). -9 Fine thread -Comp. -उदकम् dew-water. -जालम् a collection of rays, a blaze or halo of light. -धरः -पतिः -भृत्-बाणः -भर्तृ-स्वामिन् the sun, (bearer or lord of rays). -पट्टम् a kind of silken cloth (अंशुना सूक्ष्मसूत्रेणयुक्तं पट्टम्); सश्रीफलैरंशुपट्टम् Y. 1.186; श्रीफलैरंशुपट्टानां Ms.5.12. -माला a garland of light, halo. -मालिन् m. [अंशवो मालेव, ततः अस्त्यर्थे इनि] 1 the sun (wreathed with, surrounded by, rays). -2 the number twelve. -हस्तः [अंशुः हस्त इव यस्य] the sun (who draws up water from the earth by means of his 1 hands in the form of rays).(Apte)

सोम-सुत्-वत् mfn. possessing offerers of सोम-juice (said of a hermitage , a sacrifice &c ) (Monier-Williams)

अंशु a kind of सोम libation (Śatapatha Brāhmaṇa); m. a filament (especially of the सोम plant); end of a thread , a minute particle; a ray , sunbeam; N. of a ऋषि RV. viii , 5 , 26 (Monier-Williams).

I suggest tht the descriptive expression ayojālāni 'nets of iron' in Rāmāyaṇa araṇya kāṇḍa 3.35.35 in reference to amṝtam is a semantic determinant of Soma as a divine metaphor for metal.

See: Homa bird, श्येन śyena, sēṇa brings down Soma. Sellers of Mujavata Soma. Indus Script evidences बहुसुवर्णक, bahusuvarṇaka Soma Samsthā yāga. https://tinyurl.com/yb72o7za
Field symbol 1: पोळा [ pōḷā ] 'zebu, bos indicus taurus' rebus: पोळा [ pōḷā ] 'magnetite, ferrite ore: Fe3O4' 
Field symbol 2: seṇa 'falcon' rebus: seṇa, aśani 'thunderbolt', āhan gar 'blacksmith'  PLUS kambha 'wing' rebus: kammaṭa 'mint, coiner, coinage[Metwork catalogues: ferrite ore, blacksmith mint] Alternate titles: sēnāpati m. ʻ leader of an army ʼ AitBr. [sḗnā -- , páti -- ]Pa. sēnāpati -- , °ika -- m. ʻ general ʼ, Pk. sēṇāvaï -- m.; M. śeṇvaī°vīśeṇai m. ʻ a class of Brahmans ʼ, Ko. śeṇvi; Si. senevi ʻgeneralʼ.(CDIAL 13589) Vikalpa: eruvai ‘eagle’ rebus: eruvai ‘copper’
Text 3235

loa 'ficus glomerata' Rebus: loha 'copper, iron'. PLUS karṇī  ‘ears’ rebus: karṇī 'supercargo, scribe' [supercargo in charge of copper, iron ores]

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

khaṇḍa 'division'. rebus: kaṇḍa 'implements' PLUS dula 'two' rebus: dul 'metal casting' [metal implement castings]

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

ayo, aya 'fish' rebus: aya 'iron' ayas 'metal alloy' (Rigveda) PLUS khambhaṛā 'fish-fin rebus: kammaṭa 'mint, coiner, coinage'.PLUS sal ‘splinter’ rebus: sal ‘workshop’ [alloy metal mint workshop]

Thus, the Mohenjodaro tablet is a metalwork catalogue of: 1.ferrite ore; 2.blacksmith mint, army general.

Accounted sub-categories: 

[supercargo in charge of copper, iron ores]
[bronze castings]
[metal implement castings]
[ingots, implements]

Desinamamala of Hemacandra ed. R. Pischel (1938) meḍ 'iron'(Munda); मेढ meḍh'merchant's helper'(Prakrtam) meḍho 'one who helps a merchant' (Desi) meḍ iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand (Santali.Munda) 
Gonur Tepe Indus Script. karibha 'trunk of elephant' rebus: karba 'iron' ibha 'elephant' rebus: ib 'iron' Hieroglyph: ingot out of crucible: muh 'ingot' kuThAru 'crucible' rebus:kuThAru 'armourer' kolmo 'rice plant' rebus:kolimi 'smithy, forge'. Thus ingot for forge.  sal 'splinter'rebus: sal 'workshop' aDaren 'lid' rebus: aduru 'native metal' aya, ayo 'fish' rebus: aya 'iron' ayas 'metal' Hieroglyph: kāmṭhiyɔ m. ʻ archer ʼ.rebus: kammaTa 'mint, coin, coiner' ranku 'liquid measure' rebus: ranku 'tin' kolmo 'rice plant' rebus: kolimi 'smithy, forge' karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karnaka 'engraver, scribe'.

kamaṭha m. ʻ bamboo ʼ lex. 2. *kāmaṭha -- . 3. *kāmāṭṭha -- . 4. *kammaṭha -- . 5. *kammaṭṭha -- . 6. *kambāṭha -- . 7. *kambiṭṭha -- . [Cf. kambi -- ʻ shoot of bamboo ʼ, kārmuka --2 n. ʻ bow ʼ Mn., ʻ bamboo ʼ lex. which may therefore belong here rather than to kr̥múka -- . Certainly ← Austro -- as. PMWS 33 with lit. -- See kāca -- 3]1. Pk. kamaḍha -- , °aya -- m. ʻ bamboo ʼ; Bhoj. kōro ʻ bamboo poles ʼ.2. N. kāmro ʻ bamboo, lath, piece of wood ʼ, OAw. kāṁvari ʻ bamboo pole with slings at each end for carrying things ʼ, H. kã̄waṛ, °ar, kāwaṛ, °ar f., G. kāvaṛ f., M. kāvaḍ f.; -- deriv. Pk. kāvaḍia -- , kavvāḍia-- m. ʻ one who carries a yoke ʼ, H. kã̄waṛī, °ṛiyā m., G. kāvaṛiyɔ m.3. S. kāvāṭhī f. ʻ carrying pole ʼ, kāvāṭhyo m. ʻ the man who carries it ʼ.4. Or. kāmaṛā, °muṛā ʻ rafters of a thatched house ʼ;G. kāmṛũ n., °ṛī f. ʻ chip of bamboo ʼ, kāmaṛ -- koṭiyũ n. ʻ bamboo hut ʼ.5. B. kāmṭhā ʻ bow ʼ, G. kāmṭhũ n., °ṭhī f. ʻ bow ʼ; M. kamṭhā, °ṭā m. ʻ bow of bamboo or horn ʼ; -- deriv. G. kāmṭhiyɔ m. ʻarcherʼ.6. A. kabāri ʻ flat piece of bamboo used in smoothing an earthen image ʼ.7. M. kã̄bīṭ°baṭ,
 °bṭīkāmīṭ°maṭ°mṭīkāmṭhīkāmāṭhī f. ʻ split piece of bamboo &c., lath ʼ.(CDIAL 2760)
Text on Indus seal impression found in Tell Umma. kāmsako, kāmsiyo = a large sized comb (G.) Rebus: kasa 'bronze' (Te.) kāga 'comb' Rebus: kanga 'brazier, fireplace' sal 'splinter' rebus: sal 'workshop' kanka, karNaka 'rm of jar'rebus:karNI 'Supercargo' karNaka 'scribe, engraver' kāmṭhiyɔ m. ʻarcherʼ rebus:kammaTa 'mint, coiner, coinage'. Thus, a metalwork catalogue of bronze workshop,mintwork brought inby Supercargo, merchant's representative responsible for the shipment.
indus_seal_impressionsThese objects document long-distance contact in the MAIS: (a) an impression of an Indus “unicorn” seal thought to come from Tell Umma; (b) an Indus “unicorn” seal from Mohenjo-daro; (c) one of the seals published by Gadd (now on display in the British Museum) showing an Indus script and animal device on a Persian Gulf–style seal; and (d) the Indus elephant seal from Gonur Depe (compiled from images supplied by Maurizio Tosi, Gregory L. Possehl, and Viktor Sarianidi). 
middle_asia_sitesSites across Middle Asia have revealed BMAC, or BMAC-like, artifacts (adapted from figure 10.8 in Fredrik T. Hiebert. Origins of the Bronze Age Oasis Civilization in Central Asia. Cambridge, MA: Peabody Museum of Archaeology and Ethnology, Harvard University, 1994).

The word Meluhha used in cuneiform texts is called mleccha in Ancient Indian texts. The region of Meluhha speakers may include regions of Ancient India and also Straits of Malaka (Malacca) in the Indian Ocean. More than 2000 words of Meluhha speakers explain the readings of over 8000 Indus Script inscriptions. These inscriptions are in Meluhha hypertexts read rebus; for e.g. karibha, ibha 'elephant' rebus: karba, ib 'iron'. Such an elephant is shown on an Indus Script seal from Gonur Tepe. It is for linguists to figure out how Meluhha word for elephant travelled in Eurasia and got used in Gonur Tepe (spelled as Gonur Depe on the map) of Bactria-Mariana Cultural Complex. With the comments of Angela Marcangonio presented in the following excerpts, it is suggested that the linguists shold re-visit their theories about the roots of Indo-European language family.Let me cite a reference in Mahābhārata which refers to mleccha (cognate Meluhha, as a language used by Vidura and Yudhishthira): "Vaisampayana continued, 'Hearing these words, the illustrious Kunti was deeply grieved, and with her children, O bull of Bharata's race, stepped into the boat and went over the Ganges. Then leaving the boat according to the advice of Vidura, the Pandavas took with them the wealth that had been given to them (while at Varanavata) by their enemies and safely entered the deep woods. In the house of lac, however, that had been prepared for the destruction of the Pandavas, an innocent Nishada woman who had come there for some purpose, was, with her children burnt to death. And that worst of Mlechchhas, the wretched Purochana (who was the architect employed in building the house of lac) was also burnt in the conflagration. And thus were the sons of Dhirtarashtra with their counsellors deceived in their expectations. And thus also were the illustrious Pandavas, by the advice of Vidura, saved with their mother. But the people (of Varanavata) knew not of their safety. And the citizens of Varanavata, seeing the house of lac consumed (and believing the Pandavas to have been burnt to death) became exceedingly sorry. And they sent messengers unto king Dhritarashtra to represent everything that had happened. And they said to the monarch, 'Thy great end hath been achieved! Thou hast at last burnt the Pandavas to death! Thy desire fulfilled, enjoy with thy children. O king of the Kurus, the kingdom.' Hearing this, Dhritarashtra with his children, made a show of grief, and along with his relatives, including [paragraph continues] Kshattri (Vidura) and Bhishma the foremost of the Kurus, performed the last honours of the Pandavas.' (Mahābhārata, Section CXLIII,, Jatugriha Parva, pp. 302-303). The Great Epic is replete with hundreds of references to Mlecchas and mleccha speakers.Image result for gonur bharatkalyan97
https://tinyurl.com/ybhlynzk

"The merchants of Gonur and Central Asia could even have been the possible originators of the Silk Roads." -- K.E. Eduljee

I suggest that the settlement of Gonur Tepe was by people from Sarasvati-Sindhu civilization. Parallels between Sarasvati-Sindhu civilization settlements and Gonur settlements are vivid and emphatic, apart from the commonly shared writing system of Indus Script cipher.

The fortified settlements of Gonur Tepe with citadel compare with the layout of Dholavira fortified settlement and citadel with gateway suggesting that the Dholavira artisans migrated to Gonur in search of minerals and settled there for metalwork. The evidence for metalwork of Gonur Tepe is provided by a seal with Indus Script inscription including pictorial motif of an elephant and text message of 8 hieroglyphs/hypertexts deciphered in this monograph.
Image result for dholavira citadel
Dholavira. gateway. A designer's impressions (reconstruction) of the world's first signboard on the gateway of fortification or citadel.

Gonur south complex.
Reconstruction of the Gonur south fortifications at National Museum of Turkmenistan
Reconstruction of the Gonur south fortifications at National Museum of Turkmenistan. Photo credit: Kerri-Jo Stewart at Flickr

Decipherment of Gonur Tepe Indus Script inscription on seal
Image result for gonur tepe
Gonur Tepe.Indus Script. Seal, Seal impression. t:

Pictorial motif: karabha, ibha 'elephant, trunk of elephant' rebus: karba, ib 'iron', ibbo 'merchant' 
This is a unique hypertext composed of a crucible PLUS a sprig. The sprig compares with the sprig inscribed on the exquisite terracotta image found at Altyn Tepe.
Hypertext: ingot out of crucible: mũh, muhã 'ingot' Rebus: muhã 'quantity of metal produced at one time in a native smelting furnace.'.PLUS kuṭhāru 'crucible' rebus:kuṭhāru 'armourer' PLUS kolmo'rice plant' rebus: kolimi 'smithy, forge'. Thus ingot for forge. Alternative: xoli 'fish-tail' rebus: kolhe'smelter', kol 'working in iron'  Thus, the hypertext is: muhã kuṭhāru kolhe 'ingot (-maker) armourer smelter'. Alternative: muhã kuṭhāru kuṭhi 'ingot, armourer, smelter' (Note: The twig ligatured may signify: कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ईAV. v , 19 , 12 Kaus3.accord. to Kaus3. Sch. = बदरी, "Christ's thorn".Rebus: kuṭhi 'smelter'.)

sal 'splinter'rebus: sal 'workshop' 


aḍaren 'lid' rebus: aduru 'native metal' PLUS aya, ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' khambhaṛā 'fish-fin' rebus: kammaa 'mint, coiner, coinage'. 



खांडा  khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). Rebus:khaṇḍa 'implements' PLUS aya, ayo 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, aya khaṇḍa 'excellent iron (metal) implements'.


Hieroglyph: kāmṭhiyɔ m. ʻ archer ʼ.rebus: kammaṭa 'mint, coin, coiner' 




ranku 'liquid measure' rebus: ranku 'tin' 



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




कर्णक karṇaka, kanka 'rim of jar' rebus: karṇī 'Supercargo' karṇaka 'engraver, scribe' कर्णिक, 'helmsman, steersman'; name of a people.
Votive figure from Altyn-Depe (the Golden Hill), Turkmenistan. Altyn-Depe is an ancient settlement of the Bronze Age (3,000 - 2,000 B.C.E.) on the territory of ancient Abiver. It's known locally as the "Turkmen Stonehenge". União Soviética.:
Votive figure from Altyn-Depe (the Golden Hill), Turkmenistan. Altyn-Depe is an ancient settlement of the Bronze Age (3,000 - 2,000 B.C.E.) on the territory of ancient Abiver. It's known locally as the "Turkmen Stonehenge". União Soviética.

I suggest that this figure has inscribed Indus Script hypertexts read rebus related to metal smelting of elements, aduru 'native metal' and metal implements work.

Hieroglyph: kola 'woman' (Nahali) rebus: kol 'working in iron'

Hieroglyph: Ka. (Hav.) aḍaru twig; (Bark.) aḍïrï small and thin branch of a tree; (Gowda) aḍəri small branches. Tu. aḍaru twig.(DEDR 67) Rebus: Ta. ayil iron. Ma. ayir, ayiram any ore. Ka. aduru native metal. Tu. ajirda karba very hard iron. (DEDR 192) Alternative 'twig': कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.accord. to Kaus3. Sch. = बदरी, "Christ's thorn".Rebus: kuṭhi'smelter'.

Two hair strands signify: dula 'pair' rebus: dul 'metal casting' PLUS Hieroglyph strand (of hair): dhāˊtu  *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV.,ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773)

Rebus: dhāvḍī  'iron smelting': Shgh. ċīwċōwċū ʻ single hair ʼ ; Ash. dro ʻ woman's hair ʼ, Kt. drū, Wg.drūdrū̃; Pr. ui ʻ a hair ʼ; Kho. dro(hʻ 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) drava द्रव [p= 500,3] flowing , fluid , dropping , dripping , trickling or overflowing with (comp.) Ka1t2h. Mn.MBh. Ka1v. fused , liquefied , melted W. m. distilling , trickling , fluidity Bha1sha1p. dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ 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)(CDIAL 6773)

Hieroglyph: *mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ]
S. mī˜ḍhī f., °ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔmiḍ° m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.(CDIAL 10312) Ta. miṭai (-v-, -nt-) to weave as a mat, etc. Ma. miṭayuka to plait, braid, twist, wattle; miṭaccal plaiting, etc.; miṭappu tuft of hair; miṭalascreen or wicket, ōlas plaited together. Ka. meḍaṟu to plait as screens, etc. (Hav.) maḍe to knit, weave (as a basket); (Gowda) mEḍi plait. Ga.(S.3) miṭṭe a female hair-style. Go. (Mu.) mihc- to plait (hair) (Voc. 2850).(DEDR 4853) Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.)

Three lines below the belly of the figure: kolom 'three' rebus: kolimi 'smithy, forge'

Hieroglyph: kuṭhi  ‘vagina’ Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛi f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) kuhi ‘a furnace for smelting iron ore to smelt iron’; kolheko kuhieda koles smelt iron (Santali) kuhi, kui (Or.; Sad. kohi) (1) the smelting furnace of the blacksmith; kuire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of ēkui has been given to the fire which, in lac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kuhi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, as seen in fig. 1, and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari) kuhi = a factory; lil kuhi = an indigo factory (kohi - Hindi) (Santali.Bodding) kuhi = an earthen furnace for smelting iron; make do., smelt iron; kolheko do kuhi benaokate baliko dhukana, the Kolhes build an earthen furnace and smelt iron-ore, blowing the bellows; tehen:ko kuhi yet kana, they are working (or building) the furnace to-day (H. kohī ) (Santali. Bodding)  kuṭṭhita = hot, sweltering; molten (of tamba, cp. uttatta)(Pali.lex.) uttatta (ut + tapta) = heated, of metals: molten, refined; shining, splendid, pure (Pali.lex.) kuṭṭakam, kuṭṭukam  = cauldron (Ma.); kuṭṭuva = big copper pot for heating water (Kod.)(DEDR 1668). gudgā to blaze; gud.va flame (Man.d); gudva, gūdūvwa, guduwa id. (Kuwi)(DEDR 1715). dāntar-kuha = fireplace (Sv.); kōti wooden vessel for mixing yeast (Sh.); kōlhā house with mud roof and walls, granary (P.); kuhī factory (A.); kohābrick-built house (B.); kuhī bank, granary (B.); koho jar in which indigo is stored, warehouse (G.); kohīlare earthen jar, factory (G.); kuhī granary, factory (M.)(CDIAL 3546). koho = a warehouse; a revenue office, in which dues are paid and collected; kohī a store-room; a factory (Gujarat) ko = the place where artisans work (Gujarati) 

Hieroglyph: sprig: ḍāla 5546 ḍāla1 m. ʻ branch ʼ Śīl. 2. *ṭhāla -- . 3. *ḍāḍha -- . [Poss. same as *dāla -- 1 and dāra -- 1: √dal, √d&rcirclemacr;. But variation of form supports PMWS 64 ← Mu.]1. Pk. ḍāla -- n. ʻ branch ʼ; S. ḍ̠āru m. ʻ large branch ʼ, ḍ̠ārī f. ʻ branch ʼ; P. ḍāl m. ʻ branch ʼ, °lā m. ʻ large do. ʼ, °lī f. ʻ twig ʼ; WPah. bhal. ḍām. ʻ branch ʼ; Ku. ḍālo m. ʻ tree ʼ; N. ḍālo ʻ branch ʼ, A. B. ḍāl, Or. ḍāḷa; Mth. ḍār ʻ branch ʼ, °ri ʻ twig ʼ; Aw. lakh. ḍār ʻ branch ʼ, H. ḍāl°lām., G. ḍāḷi°ḷī f., °ḷũ n.2. A. ṭhāl ʻ branch ʼ, °li ʻ twig ʼ; H. ṭhāl°lā m. ʻ leafy branch (esp. one lopped off) ʼ.3. Bhoj. ḍāṛhī ʻ branch ʼ; M. ḍāhaḷ m. ʻ loppings of trees ʼ, ḍāhḷā m. ʻ leafy branch ʼ, °ḷī f. ʻ twig ʼ, ḍhāḷā m. ʻ sprig ʼ, °ḷī f. ʻ branch ʼ.*ḍāla -- 2 ʻ basket ʼ see *ḍalla -- 2.ḍālima -- see dāḍima -- .*ḍāva -- 1 ʻ box ʼ see *ḍabba -- .*ḍāva -- 2 ʻ left ʼ see *ḍavva -- .Addenda: ḍāla -- 1. 1. S.kcch. ḍār f. ʻ branch of a tree ʼ; WPah.kṭg. ḍāḷ m. ʻ tree ʼ, J. ḍā'l m.; kṭg. ḍaḷi f. ʻ branch, stalk ʼ, ḍaḷṭi f. ʻ shoot ʼ; A. ḍāl(phonet. d -- ) ʻ branch ʼ AFD 207.टाळा (p. 196) ṭāḷā ...2 Averting or preventing (of a trouble or an evil). 3 The roof of the mouth. 4 R (Usually टाहळा) A small leafy branch; a spray or sprig. टाळी (p. 196) ṭāḷī f R (Usually टाहळी) A small leafy branch, a sprig.ढगळा (p. 204) ḍhagaḷā m R A small leafy branch; a sprig or spray.   डगळा or डघळा (p. 201) ḍagaḷā or ḍaghaḷā m A tender and leafy branch: also a sprig or spray. डांगशी (p. 202) ḍāṅgaśī f C A small branch, a sprig, a spray. डांगळी (p. 202) ḍāṅgaḷī f A small branch, a sprig or spray.  डाहळा (p. 202) ḍāhaḷā लांख esp. the first. 2 (dim. डाहळी f A sprig or twig.) A leafy branch. Pr. धरायाला डाहळी न बसायाला सावली Used.


Rebus: ḍhāla 'large ingot' (Gujarati)

"This review of recent archaeological work in Central Asia and Eurasia attempts to trace and date the movements of the Indo-Iranians—speakers of languages of the eastern branch of Proto-Indo-European that later split into the Iranian and Vedic families. Russian and Central Asian scholars working on the contemporary but very different Andronovo and Bactrian Margiana archaeological complexes of the 2d millennium BCE have identified both as Indo-Iranian, and particular sites so identified are being used for nationalist purposes. There is, however, no compelling archaeological evidence that they had a common ancestor or that either is Indo-Iranian. Ethnicity and language are not easily linked with an archaeological signature, and the identity of the Indo-Iranians remains elusive." (C. C. Lamberg-Karlovsky,2002, 'Archaeology and Language, The Indoiranians', in Current Anthropology, Vol. 43, No. 1, Feb. 2002 http://www.journals.uchicago.edu/doi/abs/10.1086/324130)

This is an addendum to:
Shape of Caturaśra Śyena in Mānava Śulbasūtra, Harappa seal h166 narrative 
Caturaśra Śyena rebus آهن ګر āhangar 'thunderbolt-maker-smith'
https://tinyurl.com/y3s9tomm

The monograph is organized in the following sections to narrate 
Śyena, anzu, Saēna narratives and intimations from Indus Script hypertexts 
of metals foundries linked to amśu, a synonym of Soma and ancu, 'iron' (Tocharian). 

A stellar evidence for the use of Caturaśra Śyena 'quadrangular body of falcon' comes from the architecture of the planning of Gonur Tepe settlement.

Caturaśra Śyena Citi is a foundational framework for the processing of Soma to create the wealth of a nation by the shared wealth created by artisans and seafaring Meluhha merchants..

Bronze Age Indo-Iranian Archaeological Complexes
Bronze Age Indo-Iranian Archaeological Complexes, west of Sarasvati-Sindhu civilization

Image credit: Wikipedia "In 1976, Viktor Sarianidi proposed that the Bronze Age archaeological sites dating from c. 2200 to 1700 BCE and located in present day Turkmenistan, northern Afghanistan, southern Uzbekistan and western Tajikistan, were the remains of a connected Bronze Age civilization centered on the upper Amu Darya (Oxus). He named the complex the Bactria-Margiana Archaeological Complex (BMAC) and the inhabitants of that period and region, the Oxus civilization. The name Andronovo complex comes from the village of Andronovo in Siberia where in 1914, several graves were discovered, with skeletons in crouched positions, buried with richly decorated pottery. The name has been used to refer to a set of contemporaneous Bronze Age cultures that flourished c. 2300–1000 BCE in western Siberia and the west Asiatic steppes of Kazakhstan. This culture is thought to have been a pastoral people who reared horses, cattle, sheep and goats."
South Turkmenistan Mugrab delta and oasis
Murgab delta and oasis (circled) in the south of Turkmenistan

The Murgab river spreads out and disappears into the Kara Kum desert to the north
Distribution of archaeological sites (in red) in the Murgab DeltaDistribution of archaeological sites (in red)
in the Murgab Delta. "The northern delta settlements include those now known as the ruins at Kelleli, Adji Kui, Taip, Gonur, and Togolok (Togoluk)...It is presumed that as the northern delta area became more dry, large metropolises like Gonur were abandoned. Further to the south, the ancient city of Mervbecame an Achaemenid era (519-331 BCE) administrative centre and perhaps even the capital of the satrapy that included Mouru. Mouru was then known to the Achaemenians as Margu(sh) and to the Greeks as Μαργιανή. Margiana is the derived English-Latin name of Margu. The Sassanian name for the region was Marv. " 

Photo credit: University of BolognaSource: http://www.heritageinstitute.com/zoroastrianism/merv/gonur.htm "The environs of Mouru, the third nation listed in the Zoroastrian scriptures, the Avesta's book of Vendidad, are generally thought to have included the Murgab river delta, that is, the region around Merv which today is a city in southern Turkmenistan. Ruins of over 150 ancient settlements dating back to the early Bronze Age (2500-1700 BCE) have been found in the Murgab delta region which covers an area of more than 3000 sq. km. and contains about 78 oases."


GAerial photo of Gonur showing both complexes
Aerial photo of Gonur showing two complexes of Gonur (looking almost directly north). Photo credit: Kenneth Garrett
Gonur south complex
Gonur south complex.
Reconstruction of the Gonur south fortifications at National Museum of Turkmenistan
Reconstruction of the Gonur south fortifications at National Museum of Turkmenistan. Photo credit: Kerri-Jo Stewart at Flickr
Excavated Gonur north complex
Excavated Gonur north complex. Photo credit: Black Sands Film
Artist's reconstruction of the Gonur north complexArtist's reconstruction of the Gonur north complex. Note the successive protective walls with the outer-most surrounding what appear to be dwellings.

Reconstruction of the Gonur north citadel at National Museum of Turkmenistan
Reconstruction of the Gonur north citadel complex at National Museum of Turkmenistan. Photo credit: Kerri-Jo Stewart at Flickr
Another reconstruction of the Gonur north complex
Another reconstruction of the Gonur north complex. "A large necropolis lies to the west of the site. In the centre of the northern complex is a fortified citadel-like structure. Both complexes have fortification walls. The fortification walls of the southern complex are wide, 8 to 10 metres tall and interspaced with round towers along its sides and corners. There are residential quarters walls within the fortifications."
Reference:
Excavations at Southern Gonur, by V. Sarianidi, 1993, British Institute of Persian Studies.
» Brief History of Researches in Margiana by Museo-on

Other web articles include Discover MagazineAnahita GalleryKar Po's Travel BlogDan & Mary's MonasteryArchaeology OnlineTurkmenistan June 2006 and Stantours. Generally, we find the quality of research and reports available of the web to be poorly researched, highly speculative and sensationalistic. (Note: All citations from KE Eduljee http://www.heritageinstitute.com/zoroastrianism/merv/gonur.htm)

Image result for gonur bharatkalyan97


See: http://www.iranicaonline.org/articles/simorg

See: http://en.wikipedia.org/wiki/Simurgh

"Griffin-like Simurgh (Persian: سیمرغ), also spelled simorgh, simurg, simoorg or simourv, also known as Angha (Persian: عنقا), is the modern Persian name for a fabulous, benevolent, mythical flying creature. The figure can be found in all periods of Greater Iranian art and literature, and is evident also in the iconography of medieval Armenia, the Byzantine empire , and other regions that were within the sphere of Persian cultural influence. Through cultural assimilation the Simurgh was introduced to the Arabic-speaking world, where the concept was conflated with other Arabic mythical birds such as the Ghoghnus, a bird having some mythical relation with the date palm, and further developed as the Rukh (the origin of the English word "Roc")." http://www.flickr.com/photos/27305838@N04/4830444236


"During the first half of the 2nd millennium BC, a civilization was established in the ancient delta of the Murghab River, on the southeastern edge of a territory famous than as Turkestan. This Bronze Age site is recognized as Gonur Tepe. A civilization that flourished before being buried by time and discovered later on in present-day Turkmenistan. In the seventh millennium BC, Murgab River became the place where first agricultural settlements started to appear. The site was called “Margush” in Old Iranian texts and “Margiana” in Greek. The Margiana region has an area of 3000 square kilometers, housing 70 oasis, and 150 settlements.Gonur Tepe (or Gonur Depe) became the capital, serving as the administrative and religious center, and also a trade hub of the Margiana region.Nothing much was recognized about the complex of Gonur Tepe until 1972. When the Margiana Archaeological Expedition directed by the Greek-Russian archaeologist Victor Sarianidi discovered the fortress town. In this expedition, it was revealed that Gonur Tepe was a rectangular fortress with defensive walls, semicircular bastions, and adobe buildings. A palace and temples with fire altars dedicated to the Zoroastrian religion were also discovered. Archeologist Sarianidi explained that Gonur Tepe is the 5th oldest civilization on Earth. And it was the birthplace of Zoroastrianism. Other discoveries included extensive irrigation systems. That was similar to the ones found in Egypt, models of two-wheeled carts, and silver and gold artifacts. The artifacts discovered on-site suggest that the town of Gonur Tepe had craftsmen who could mold metal and create materials for cult worship. Besides metal, the craftsmen also did bone and stone carvings. Sarianidi also found out what appears to be the boiler for the soma. A ritual drink is known to give immortality mentioned in the Rigveda and also known as haoma in the Avesta. Dishes with traces of cannabis, poppy, and ephedrine were also found. Which led to the theory that these were the ingredients of the immortality drink soma. Therefore; in 2009, a royal tomb was excavated in which remains of dogs, a cart with bronze-rimmed wheels, and a large bronze cauldron were discovered." (Mr Devotor, Gonur Tepe, the buried fortress gtown of Turkmenistan, April 16, 2019) Source: https://charismaticplanet.com/gonur-tepe/ 


See: Archaeological, Indus Script evidence for Meluhha smiths, traders moving into Indo-European speaker areas of BMAC and Anau, Turkmenistan, ca. 2300 BCE http://tinyurl.com/y4h4qu3  

Thunderbolt, vajra

Finds at Purola include Painted Gray Ware dated to ca. 1000 BCE.

24x18 m. vedika discovered in Purola, ca. 2nd cent. BC to 1st cent. CE. Laid out in the east-west direction. "Researchers also uncovered a square central chamber measuring 60 x 60 cm. in the middle of the altar. Excavation of this pit yielded five red-ware miniature bowls containing ash, charcoal, sandy clay and copper coins of the Kuninda period. But the most important discovery was an impressed gold-leaf showing a human figure in flowing apparel. Along with this was found a circular gold pendant and a small piece of a -chain. A lot of charcoal and charred bones were also recovered from the chamber.https://www.facebook.com/ouruki/posts/720924017918479

श्येन [p= 1095,2]m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle S3ulbas. (Samskritam)

Syena-citi: A Monument of Uttarkashi  The first layer of  one kind of śyenaciti or falcon altar described in the Śulbasūtras, made of 200 bricks of six shapes or sizes, all of them adding up to a specified total area. 
Syena Chiti, Garuda shaped Chiti Schematic as described by John F Price. Context: Panjal Atiratra yajnam (2011). cf.The paper of John Price: Applied geometry of śulbasūtras.
First layer of vakrapakṣa śyena altar. The wings are made from 60 bricks of type 'a', and the body, head and tail from 50 type 'b', 6 of type 'c' and 24 type 'd' bricks. Each subsequent layer was laid out using different patterns of bricks with the total number of bricks equalling 200.
"Sênmurw (Pahlavi), Sîna-Mrû (Pâzand), a fabulous, mythical bird. The name derives from Avestan mərəγô saênô 'the bird Saêna', originally a raptor, either eagle or falcon, as can be deduced from the etymologically identical Sanskrit śyena." 

Semantics in choice of śyēna citi 'Veda fire-altar' and Indus Script with Śyena, śen, śenī 'thunderbolt, falcon' hypertexts

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https://tinyurl.com/y3h6n7uj

This is an addendum to:

 https://tinyurl.com/y5rcpy6t


-- Śyena, śen, śenī, aśáni'thunderbolt, falcon' Indus Script hypertext signifies  آهن āhan'Iron', āhan gar 'blacksmith'
-- Śyena, śen, śenī'thunderbolt, falcon' shaped fire-altar brings Soma, havyam from aśan 'heaven'; rebus by sēna 'kāyastha, scribe'āhan gar 'blacksmith'
-- Caturaśra Śyena is the shape of the fire-altar because Soma as havyam in śen, śenī falcon from aśan heaven rebus sēna 'kāyastha, scribe'
-- śyēna derived from Meluhha aśáni'hail, thunderbolt' yields Meluhha Indus Script expression ahan-gār अहन्-गार्, āhan gar 'thunderbolt weapon-maker blacksmith';  آهن āhan, s.m. (9th) Iron;  -gar, or -gār suffix is reflex of khār'blacksmith'
-- A pun on the word śyēna is derived from Meluhha dialect phonetic form śen, śenī 'falcon'. The rebus reading is sēna 'a revenue collector, a kāyastha, 'scribe''.








श्येन [p= 1095,2] m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle Śulbas. (Monier-Williams) śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sensẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala): 

aśáni f. ʻ thunderbolt ʼ RV., °nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.] Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ. &circmacrepsilon;n (both with n, not ), P. āhiṇ, f., āhaṇaihaṇ m.f., WPah. bhad. ã̄ṇhiṇi f., N. asino, pl. °nā; Si. senaheṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be *ā̤n; -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v.śilāˊ -- . (CDIAL 910) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ]Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207)Bogazkoy Indus Script seal, sēṇa 'eagle' rebus: sena ʻvajra, thunderboltʼ PLUS dhAtu 'strands of rope' Rebus'mineral, metal, ore' (CDIAL 6773)  Alternative: pajhar 'eagle' rebus: pasra 'smithy, forge' dul 'pair' rebus: dul 'metal casting'
Śyena, śen, śenī 'falcon' rebus: Śyena, śen, śenī'thunderbolt'.

मेढा [ mēhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meh f. ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: me'iron'. mẽhet ‘iron’ (Mu.Ho.)


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)


eruvai 'kite' rebus: eruvai 'copper'; eraka 'wing' rebus: eraka 'moltencast, metal infusion'

dula 'pair' rebus: dul 'cast metal' PLUS Hieroglyph: wings: *skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ]S. khambhu°bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mintKa. kammaṭa id.; kammaṭi a coiner. (DEDR 1236).
ahar12Harappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255   

śyēna comes from पारावत'remote, distant quarters', 'mountain'; from remote Mujavant (RV 10.34.1). Yaska takes it as Mt. Mujavant. (Nir. IX.8) Munjavant is a mountain in the Himalayas according to MBh.(MBh.X.485; XIV.180).
śyēna brings Soma from heaven. (AV VII.41.2; RV 4.26.4: where the word havyam is a metonymy for the Soma brought from heaven by the gāyatrī in the form of a hawk, by the hawk; śyēna carried off Soma (RV 4.26.5)
śyēna is an eagle, falcon or hawk; it is a swift bird; it is a strong bird.

In local parlance or Meluhha, Indian sprachbund 'language union', the word 
śyēná has many pronunciation variants, linked with the word root ŚYAI which signifies 'congeal, freeze' hence, the derived semantics of āhiṇ, f., āhaṇaihaṇ 'hail' (Punjabi). āhiṇāhaṇ are pronunciation variants of aśáni 'thunderbolt, lightning'. Thus, āhaṇ in Meluhha means 'hailstone'. This meaning gets enshrined in derived expressions in Pashto, Kashmiri and other sprachbund dialects semantically related to blacksmith/blacksmithy where metal weapons are produced; thus ahan-gār अहन्-गार् or آهن ګر āhan gar signify 'blacksmith producing vajra-or thunderbolt-like metal weapons'. Since अशन् aśan also means 'the firmament', śyēna rmetaphor in r̥ca-s refers to the Soma brought from heaven: अशन् aśan 'the firmament' RV. i , 164 , i ; 173 , 2 ; x , 27 , 15 [in the first two of these three passages the form /अश्नस् has before been taken as nom. sg. m. fr. 1. अश्न q.v.]. 

Thus, Soma is brought from mountains in the form of a hawk or falcon or by the hawk or falcon, अशन् aśan,śyēná. I submit that this is the reason for the śyēná 'falcon or hawk' chosen as the shape of a citi or file-altar.

I am thankful to Prof. Ramasubramanian for the types of Agni Citi, 'fire-altars' and the objects desired from a particular citi shape. The significant summary from this list is that the objective of heaven is achieved through three types of Citi: śyēna citi, Kanka citi, Alaja citi.

śyēna 'hawk, falcon, eagle'

कङ्कः   kaṅkḥ कङ्कः 1 A heron; Mb.11.16.7.... -4 A Kṣatriya. -5 A Vṛiṣṇi. -6 A false or pretended Brāhmaṇa. -7 Name assumed by Yudhiṣṭhira in the palace of Virāṭa. -8 One of the 18 divisions of the continent. -9 N. of a people (pl.); cf. कङ्कस्तरङ्गे गुप्ते च गृध्ने काके युधिष्ठिरे । कूले मधुरिपौ कोके पिके वैवस्वते$प्यथ ॥(Apte) kaṅká m. ʻ heron ʼ VS. [← Drav. T. Burrow TPS 1945, 87; onomat. Mayrhofer EWA i 137. Drav. influence certain in o of M. and Si.: Tam. Kan. Mal. kokku ʻ crane ʼ, Tu. korṅgu, Tel. koṅga, Kuvi koṅgi, Kui kohko]Pa. kaṅka -- m. ʻ heron ʼ, Pk. kaṁka -- m., S. kaṅgu m. ʻ crane, heron ʼ (→ Bal. kang); B. kã̄k ʻ heron ʼ, Or. kāṅka; G. kã̄kṛũ n. ʻ a partic. ravenous bird ʼ; -- with o from Drav.: M. kõkā m. ʻ heron ʼ; Si. kokā, pl. kokku ʻ various kinds of crane or heron ʼ, kekī ʻ female crane ʼ, kēki ʻ a species of crane, the paddy bird ʼ (ē?).(CDIAL 2595)

अलज m. a kind of bird (वाजसनेयि-संहिताxxiv , 34).


  آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garānآهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing. and Pl.); (W.) Pl. آهن رباوي āhan-rubāwī. See اوسپنه.(Pashto)  ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashiri)

*āhana ʻ striking, blow ʼ. [√han1]OG. āhaṇa m. ʻ blow ʼ; OM. āhāṇā ʻ harmful ʼ.
Addenda: *āhana -- : †*āhanaśālā -- .(CDIAL 1539)*āhanaśālā -- ʻ blacksmith's forge ʼ? [*āhana -- , śāˊlā -- ]Garh. aṇsāḷ ʻ blacksmith's workshop ʼ.(CDIAL 1539a)āˊhanti ʻ strikes ʼ RV. [√han1]Pa. āhanati ʻ strikes, presses against ʼ; Pk. āhaṇaï ʻ strikes, kills ʼ; OG. āhaṇiu ʻ beaten ʼ, pres. part. āhaṇataü. (CDIAL 1540)
śyēná m. ʻ hawk, falcon, eagle ʼ RV.Pa. sēna -- , ˚aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sensẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.ŚYAI ʻ congeal, freeze ʼ(CDIAL 12674)

In local parlance or Meluhha, Indian sprachbund 'language union' the word aśáni signifes a 'thunderbolt'; asani signifies 'thunderbolt,lightning' (Pali); āhiṇ, f., āhaṇaihaṇ (Punjabi) signifies 'hail'; thus, vajrāśani is 'Indra's thunderbolt' or 'hailstone' which is bajāsani (Awadh)(coming from vajra'thunderbolt,meteorite, lightning'.

aśáni f. ʻ thunderbolt ʼ RV., ˚nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.]
Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ.; (both with n, not ), P. āhiṇ, f., āhaṇaihaṇ m.f., WPah. bhad. ã̄ṇ, bhal.; f., N. asino, pl. ˚nā; Si. senaheṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be *ā̤n; -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v. śilāˊ -- .vajrāśani -- .áśayat ʻ he was lying ʼ: see śḗtē.aśiṣṭa -- ʻ untrained, rude ʼ Āp. [śiṣṭa -- 2]See śiṣṭi -- 2.Addenda: aśáni -- : Sh. aĩyĕˊr (Lor. aĩyār → Bur. *lhyer ʻ hail ʼ BurLg iii 17) poss. < *aśari -- from heteroclite n/r stem (cf. áśman -- : aśmará -- ʻ made of stone ʼ).†*aśari -- ʻ stone ʼ see aśáni -- .(CDIAL 910) vájra m. ʻ thunderbolt ʼ RV., ʻ diamond ʼ ṢaḍvBr. [√*vaj]Pa. vajira -- m. ʻ thunderbolt ʼ, m.n. ʻ diamond ʼ, Pk. vajja -- , vayara -- , vaïra -- ; Sh. (Lor.) b*l, pl. ˚c̣e m. ʻ thunderbolt, meteorite, lightning ʼ (< *baJ̣?); B. bāj ʻ thunderbolt ʼ; Si. vidu ʻ Indra's thunderbolt (or < vidyút -- ?), diamond ʼ, vaduraviduru.vajrakūṭa -- , *vajrāgni -- , vajrāśani -- .Addenda: vájra -- : X vidyút -- Add2.(CDIAL 11204) *vajrāgni ʻ fire occasioned by thunderbolt ʼ. [vájra -- , agní -- ]OAw. bajāgi f. ʻ fire caused by lightning ʼ.(CDIAL 11206) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ]Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207)

śyēna is a pun on the word अशन् which means 'stone, rock' (RV 10.68.8: the expression used is aśnāpinaddham madhu'rock-imprisoned sweetnesss'); 'a stone for slinging , missile stone' RV. iI.30.4 and IV.28.5 (In RV II.30.4, asna is interpreted as a 'bolt or missile'; in RV IV.28.5 Soma and Indra piercethrough the  aśnā 'stone'; in RV X.27.15 aśna is a 'stone'); अशन्   aśan m. Ved. A stone for slinging; a stone or cloud. अश्नापिनद्धं मधु पर्यपश्यन् Rv.10.68.8; दश प्राक् सानु वि तिरन्त्यश्नः Rv.X.27.15): 

RV X.68.8 He looked around on rockimprisoned- sweetness as one who eyes a fish in scanty water.
Brhaspati, cleaving through with varied clamour, brought it forth like a bowl from out the timber.




RV II.30.4 As with a bolt, Brhaspati, fiercely flaming, pierce thou Vrkadvaras', the Asuras', heroes.

Even as in time of old with might thou slewest, so slay even now our enemy, O Indra.





RV IV.28.5 So, of a truth, Indra and Soma, Heroes, ye burst the stable of the kine and horses,
The stable which the bar or stone obstructed; and piercing through set free the habitations.              
RV X.27.15 Seven heroes from the nether part ascended, and from the upper part came eight together.
Nine from behind came armed with winnowingbaskets-: ten from the front pressed over the rocks'
high ridges.



Vāmadevagautama sings the following rca-s for śyena:
प्र सु श विभ्यो मरुतो विरस्तु प्र श्येनः श्येनेभ्य आशुपत्वा अचक्रया यात स्वधया सुपर्णो हव्यं भरन्मनवे देवजुष्टं (RV 4.26.4)
4.26.4 May this bird, Maruts, be pre-eminent over (other) hawks, since with a wheelless car the swift-winged bore the Soma, accepted by the gods, to Manu. [With a wheelless car: acakrayā vadhayā = cakrarahitena rathena, with a car without wheels; the text has havyam, this is a metonymy for the Soma, which is said to have been brought from heaven by the gāyatrī, in the form of a hawk; by the hawk, we are to understand the supreme spirit, parabrahma].

भरद्यदि विरतो वेविजानः पथोरुणा मनोजवा असर्जि तूयं ययौ मधुना सोम्येनोत श्रवो विविदे श्येनो RV 4.26.5
4.26.5 When the bird, intimidating (its guardians), carried off from hence (the Soma) it was at large; (flying) swift as thought along the vast path (of the firmament), it went rapidly with the sweet Soma, and the hawks thence acquired the celebrity in this world.



मूजवत् m. N. of a mountain (वाजसनेयि-संहिता).; pl. N. of a people (अथर्व-वेद, शतपथ-ब्राह्मण)(Monier-Williams)  मुञ्जवत्   muñjavat मुञ्जवत् a. Overgrown with rushes, rushy.(Apte)


पारावत mf()n. (fr. परा-वत्) remote , distant , coming from a distance , foreign RV. (instr. pl. " from distant quarters " AV. ); m. N. of a नाग of the race of ऐरावत , MBh.; a mountain (Monier-Williams) पारावतः   pārāvatḥ 1 pigeon, turtle-dove, dove; पारावतः खरशिलाकणमात्रभोजी कामी भवत्यनुदिनं वद को$त्र हेतुः Bh.3.154; Me.4. -2 A monkey. -3 A mountain. -Comp. -अङ्घ्रिपिच्छः a kind of pigeon. -घ्नी N. of the river Sarasvatī.(Apte)

अशन् m. (connected with √ अश्) ([only /अश्ना (instr.) and /अश्नस् , perhaps better derived from /अश्मन् q.v. , cf. Whitney's Gr. 425 e]) , stone , rock RV. x , 68 , 8; a stone for slinging , missile stone RV. ii , 30 , 4 and iv , 28 , 5; ( NBD. ) the firmament RV. i , 164 , i ; 173 , 2 ; x , 27 , 15 [in the first two of these three passages the form /अश्नस् has before been taken as nom. sg. m. fr. 1. अश्न q.v.] (Monier-Williams) अशन्   aśan m. Ved. A stone for slinging; a stone or cloud. अश्नापिनद्धं मधु पर्यपश्यन् Rv.10.68.8; दश प्राक् सानु वि तिरन्त्यश्नः Rv.1.27.15. (Apte) 






RV IV.17.13 Maghavan makes the settled man unsettled: he scatters dust that he hath swept together,
Breaking in pieces like Heaven armed with lightning: Maghavan shall enrich the man who lauds hm.


अशनि f. (rarely m. R. Pa1n2. Sch.) the thunderbolt , a flash of lightning RV. &c;
the tip of a missile RV. x , 87 , 4; a hail-stone, (कौशिक-सूत्र); m. one of the nine names of रुद्र (पारस्कर-गृह्यसूत्र); m. N. of शिव MBh. xiii;pl. N. of a warrior tribe , (g. पर्श्व्-ादि , q.v.); अशनि--मत् अश्/अनि-mfn. possessing the thunderbolt RV. iv , 17 , 13.अशनि--हत mfn. struck by lightning काठक); अशनिन्  mfn. = अश्/अनि-मत् q.v. MBh. xiii , 1157; अशनी f. = अश्/अनि , the thunderbolt (शतपथब्राह्मण.xi )(voc.R. iii , 35 , 40.(Monier-Williams) अशनिः   aśaniḥ m., f. [अश्नुते संहति, अश् अनि Uṇ 2.11] 1 Indra's thunderbolt; शक्रस्य महाशनिध्वजम् R.3.56. -2 Flash of lightning; अनुवनमशनिर्गतः Sk.; अशनिः कल्पित एष वेधसा R.8.47; अशनेरमृतस्य चोभयोर्वशिनश्चाम्बुधराश्च योनयः Ku.4.43. -3 A missile. अष्टचक्रां महाघोरामशनिं रुद्रनिर्मिताम् Mb.7.175.96. -4 The tip of a missile. -5 A sacrificial rite (अनुयाज) to kill an enemy. -6 A master. -Comp. -दण्डः The thunderbolt. निर्भिद्याशनिदण्डचण्डतरया चञ्चूवाधुना वक्षसि Nāg.4.27. -नि m. 1 Indra. -2 Fire. -3 Fire produced from lightning.(Apte)

 श्येनः   śyēnḥ श्येनः [श्यै-इनन् Uṇ.2.45] 1 The white colour. -2 Whiteness. -3 A hawk, falcon. -4 Violence. -5 Ved. A horse. -6 A kind of array in battle. -Comp. -अवपातः the swoop of a hawk; श्येनावपातचकिता वनवर्ति- केव Māl.8.8. -कपोतीय a. (from Śibi story) sudden (calamity). -करणम्, -करणिका 1 burning on a separate funeral pile. -2 a hawk-like, i. e. rash and desperate, act. -चित्, -जीविन् m. falconer; Ms.3.164. -पातः the swoop of a hawk or eagle; वडवे इव संयुक्ते श्येनपाते दिवौकसाम् Mb.3.133.26.(Apte) श्येन  m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle (शुल्ब-सूत्र); a kind of array (in battle) MBh. Ka1m.; partic. एका*ह (षड्विंश-ब्राह्मण, कात्यायन-श्रौत-सूत्र); a horse; with or without इन्द्रश्यN. of a सामन् (आर्षेय-ब्राह्मण,लाट्यायन); श्येना, श्येनी a female hawk; श्येन eagle-like (ऐतरेय-ब्राह्मण); mfn. coming from an eagle (as " eagle's flesh ") , Kr2ishn2aj. ?? (prob. w.r. for श्यैन) (Monier-Williams)  श्यैनंपाता   śyainampātā श्यैनंपाता [श्येनस्य पातो$त्र अण् मुम् च] Hawking, hunting, chase; इह विहरणैः श्यैनंपातां रवेरवधारयन् N.19.12; श्यैनिकशास्त्रम्   śyainikaśāstram श्यैनिकशास्त्रम् The science of hunting; Gīrvāṇa.; श्यै   śyai श्यै 1 Ā. (श्यायते, श्यान, शीत or शीन) 1 To go, move.(Apte)

In search of a mythical river -- Dr.KK Paul

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In search of a mythical river

 | In search of a mythical river
The Saraswati might have been a myth for some but satellite imagery clearly shows that such a river system did exist in line with present-day Ghaggar and had a very wide basin right up to the Rann of Kutch. It was linked to the Sutlej River valleys over the centuries have cradled and nurtured some famous civilisations. For obvious reasons, this pattern has continued and even today most of the large cities continue to flourish on the river banks. Excavations and discoveries undertaken by Sir Mortimor Wheeler during the earlier decades of the last century unravelled the secrets of the Indus Valley civilisation hitherto lying buried under centuries of history.
We may have known about the Indus Valley civilisation much earlier had the original discoveries by Charles Mason, a noted archaeologist in the 1820s, been given more serious consideration. It may come as a surprise but some of the Harappan sites around the Indus are known to have been pillaged by contractors for brick ballast to build a portion of the Lahore railway in the later half of the nineteenth century.
 Archaeological evidence shows that Indus was highly prone to floods and frequent changes of course. As the sister river to the Indus, the Mihran also carried large volumes of water along a course parallel and eastwards of Indus. But over the millennia, the Mihran has ceased to exist, so also the towns on its banks. In later studies, the Mihran came to be identified with Hakra as well as the Saraswati (also extinct).
Recent (May 2019) excavations reported from Ganweriwala indicate the town to have been located on the banks of old river Hakra, often cited as the mythical Saraswati. There has been a renewed interest in the recent years in river Saraswati, as the department of culture has initiated a project for research on satellite imagery to ascertain and chart out the entire route of this ancient river. It would be in the general area of the present states of Haryana and Rajasthan that evidence would be attempted to be collected to ascertain whether the civilisation around the Saraswati was an extension of the Indus valley or vice versa.
The mythical Saraswati River, which is now extinct, has found wide mention in the Puranas and ancient Indian history. The Skanda Purana mentions that the Kanyakubja Mahadesh of Bhoja, comprising 36 lakh villages, extended up to Kurukshetra and Saraswati. In the Rigveda, a river course has been mentioned, which now corresponds to the Saraswati and Ghaggar. The Saraswati has been mentioned as a mighty river from the pre-Vedic times. By the time the Manusmriti and the Mahabharata came to be written, it had already developed its present character. Manu calls the place where it disappears as Vinasana. The Mahabharata states that after disappearing, the river reappeared at three places. It disappears in sands near the village of Chalaur and reappears at Bhavanipur. At Ballchapart, it again disappears, only to appear again at Barakhera. At Urnai, near Pehova, (ancient Prithudaka), it is joined by the Markanda stream. At Sirsa (ancient Sairishka), it is joined by Drishavadi or Chitang.
The area between the Saraswati and Drishadvati is known to be the sacred land of Brahmavarta, the home of the Vedic rishis. After disappearing, the dry bed reappears south of Rohri and runs parallel to the Indus into the Arabian Sea, which is analogous to the ancient Mihran Hakra System. The other cities of the Saraswati era were Kapishthala (Kaithal), Sonaprastha or Sonepat and Paniyaprastha or Panipat.
Reports of the appearance of sweet water in certain dry areas of Kutch after the earthquake also led to a revival of interest in the archaeology of the Indus Valley and the impact of tectonic movements on the river systems. It is widely believed that the Saraswati river system may have become dry on account of one such upheaval. There is sufficient data to show that the original course of the Sutlej was to follow a southward flow from Ropar (Punjab) towards the Ghaggar, the two coming together near Shatrana in Sangrur district and then flowing towards Kutch. The sharp bend and a directional change at Ropar, which is extremely unusual considering the flat terrain, may appear to have been possible on account of a tectonic uplift. This may have led to the ultimate drying up of the Ghaggar-Saraswati system as Sutlej was the only perennial source of water in the area, which may have changed course due to an earthquake.
That the Sutlej was earlier joined to the Ghaggar-Saraswati system is also borne out from a legend in the Mahabharata, where it is mentioned that Vashistha threw himself into the Sutlej to commit suicide. The Saraswati might have been a myth for some but satellite imagery clearly shows that such a river system did exist in line with the present day Ghaggar, and had a very wide basin right up to the Rann of Kutch.
Another interesting feature of the ancient history of this area is the speculation on the possible linkage between the Harappan civilisation and the Gangetic plain. Is it that the river Saraswati could provide the missing link? Only forthcoming research would be able to decipher this centuries-old secret whether Saraswati was originally joined by Sutlej or by river Yamuna, both these rivers having changed course centuries ago.
(The writer is a former Commissioner of Police, Delhi)

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Soma is yajñasya ātmā, śyenaciti is signified on Indus Script, on seven soma samsthā yajña of Veda, thunderbolt metalwork

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Soma is yajñasya ātmā, Within soma, amśu which is a component, is ātmā yajñasya  (RV 9.2.10, 9.6.8); आत्मन् 'essential nature, principle of life, of sensation'. 

-- A synonym of Soma is amśu, cognate ancu 'iron' (Tocharian); metaphor of Anzu 'winged lion' (Sumerian) in vajra 'thunderbolt' battle with Enlil
Image result for anzu bharatkalyan97

-- Soma is āprī divinity, deified objects of yajña in 12 āprī sūkta-s; Vālakhilya in R̥gveda (RV 8.49 to 8.59) is a brick.

-- śyena, 'falcon' is the thunderbolt which brings Soma from distant mountain, the heaven.
Image result for syena bogazkoyImage result for kankacitiBogazkhoy seal impression; 
Harappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255
phaḍā 'cobrahood' rebus:फडा phaḍā 'metals manufactory'sēṇa'eagle' rebus sena'thunderbolt'. dhanga 'mountain range' rebus:thakur 'blacksmith' kāṇḍa 'water' kanda 'fire-altar' rebus: khaṇḍa 'metalware'. dula 'two' rebus dul 'metal casting'meha'twist' rebus medhā 'yajña, dhanam'.
Related image
Double-headed eagle,falcon. Sirkap Stupa.
Image result for axe head bmacAxe with eagle headed anthropomorph, boar, winged-tiger, 3rd - early 2nd millennium BCE
-- śyena 'falcon, thunderbolt, hailstone' [derived from श्यै cl.1 P. श्यायति , to cause to congeal or freeze;;hence from the Himalayas, Mūjavant], is cognate  mərəγô saênô (Avestan), Saêna (Persian)Sênmurw (Pahlavi), Sîna-Mrû (Pâzand) 
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RV 9.2.10 Winner of kine, Indu, art thou, winner of heroes, steeds, and strength Primeval ātmā of yajña. आत्मन् 'essential nature, principle of life, of sensation'
RV 9.6.8 ātmā of yajña, the 'molten fluid' effused flows quickly on: he keeps His ancient wisdom of a Sage. 

Soma is processed in a citi. Citi is derived from the root ci (to arrange or protect) and means a mound constructed of baked bricks in five layers. 

There are three types of citi to attain the objective of reaching haven. The three such citi or Soma altars which are bird-shaped are which are caturaśra (square) framework ifor the body of the bird: śyenaciti (for one who desires heaven), kankaciti (for one who desires to be high in the world,like head), alajaciti (for one who desires higher reputation). All three are bird-shaped caturaśra, 'quadrangular' altars.






































Image result for śyenacitiImage result for kankaciti
There are seven soma samsthā yajña: f. the basis or initial form of a सोम sacrifice (महाभारतm  गौतम-धर्म-शास्त्र, मार्कण्डेय-पुराण); सं- √ स्था A1. -तिष्ठते ( Pa1n2. 1-3 , 22 ; ep. and mc. also P. -तिष्ठति ; Ved. inf. -स्थातोस् A1pS3r. ) , to stand together , hold together (pf. p. du. -तस्थान्/ए, said of heaven and earth) RV. ; to heap , store up (goods)(वराह-मिहिर 's बृहत्-संहिता); occupation , business , profession (Monier-Williams)  sōmḥ सोमः -संस्था a form of the Soma-sacrifice; (these are seven:अग्निष्टोम, अत्यग्निष्टोम, उक्थ, षोढशी, अतिरात्र, आप्तोर्याम and वाजपेय).(Apte)
  1. Agniṣṭoma,
  2. atyagniṣṭoma,
  3. uktha,
  4. ṣoḍhaśī,
  5. atirātra,
  6. āptoryāma and
  7. vājapeya

Effect of Soma

The effect of Soma is excitation, inspiration: 
RV 9.22.3 These Soma juices, blended with curds, purified, skilled in sacred hymns,
Have gained by song their hearts’ desire'.  
विपश्--चित् inspired, wise, learned, versed in or acquainted with; thus, vipa, ‘inspiration’ signifies vipaścitah ‘excitation’.

How is Soma realized?

वृत्र a thunder-cloud RV. iv , 10 , 5 (cf. Naigh. i , 10); n. (mostly in pl.) "coverer , investor , restrainer", an enemy, foe, hostile host. Vr̥tra is Asura, the powerful being, the enveloping cloud of unpurified Soma. Purification of Soma is the process of killing Vr̥tra with Indra’s thunderbolt, to release the purified waters and make Soma Pavamāna flow. Varuṇa is also with Vrtra and is persuaded to join Indra in the revolt against Vr̥tra (RV 10.124.7). Soma says: ‘I have spent many years within him.Now I choose Indra and desert the father…the power of kingship has turned around’ (RV 10.124.4)
Griffith translation: 
RV 10.124.4  I tarried many a year within this altar: I leave the Father, for my choice is Indra. Away pass Agni, Varuṇa and Soma. Rule ever changes: this I come to favour.

RV 10.l24.7  The Sage hath fixed his form by wisdom in the heavens: Varuṇa with no violence let the waters flow. Like womenfolk-, the floods that bring prosperity have eau lit his hue and colour as they gleamed and shone.

Benefits of Soma

What benefits accrue from Soma? Soma protects the body, removes illness, lifts from depression, illumines scaring away darkness, averts hostility, exhilarates, inflames and illumines, stirs good thoughts, puts one on top of the world, leads to immortality. (RV 8.48)

Griffith translation RV 8.48

1. WISELY have I enjoyed the savoury viand, religiousthoughted-, best to find out treasure,
The food to which all Deities and mortals, calling it meath, gather themselves together.
2 Thou shalt be Aditi as thou hast entered within, appeaser of celestial anger.
Indu, enjoying Indras' friendship, bring us, as a swift steed the car, forward to riches.
3 We have drunk Soma and become immortal; we have attained the light, the Gods discovered.
Now what may foemans' malice do to harm us? What, O Immortal, mortal mans' deception?
4 Absorbed into the heart, be sweet, O Indu, as a kind father to his son, O Soma,
As a wise Friend to friend: do thou, wideruler-, O Soma, lengthen out our days for living.
5 These glorious drops that give me freedom have I drunk. Closely they knit my joints as straps secure a car.
Let them protect my foot from slipping on the way: yea, let the drops I drink preserve me from disease.
6 Make me shine bright like fire produced by friction: give us a clearer sight and make us better.
For in carouse I think of thee, O Soma, Shall I, as a rich man, attain to comfort?
7 May we enjoy with an enlivened spirit the juice thou givest, like ancestral riches.
SomaKing, prolong thou our existence as Surya makes the shining days grow longer.
King Soma, favour us and make us prosper: we are thy devotees; of this be mindful.
Spirit and power are fresh in us, O Indu give us not up unto our foemans' pleasure.
9 For thou hast settled in each joint, O Soma, aim of mens' eyes and guardian of our bodies.
When we offend against thine holy statutes, as a kind Friend, God, best of all, be gracious.
10 May I be with the Friend whose heart is tender, who, Lord of Bays! when quaffed will never harm me-
This Soma now deposited within me. For this, I pray for longer life to Indra.
11 Our maladies have lost their strength and vanished: they feared, and passed away into the darkness.
Soma hath risen in us, exceeding mighty, and we are come where men prolong existence.
12, Fathers, that Indu which our hearts have drunken, Immortal in himself, hath entered mortals.
So let us serve this Soma with oblation, and rest securely in his grace and favour.
13 Associate with the Fathers thou, O Soma, hast spread thyself abroad through earth and heaven.
So with oblation let us serve thee, Indu, and so let us become the lords of riches,
14 Give us your blessing, O ye Gods preservers. Never may sleep or idle talk control us.
But evermore may we, as friends of Soma, speak to the synod with brave sons around us.
15 On all sides,. Soma, thou art our lifegiver-: aim of all eyes, lightfinder-, come within us.
Indu, of one accord with thy protections both from behind and from before preserve us.

One argument is that R̥gveda venerates a brick altar and a brick is Vālakhilya. A synonym for Agni is Apāṃ Napāt, i.e. one which does not allow water to fall down; thus, Agni as Energy may mean latent heat of vapourisation of water - a form of Agni. Together with Agni as Apāṃ Napāt, 
Soma as amśu [cognate ancu, 'iron' (Tocharian)], the veneration of Agni and 
Soma is a veneration of Energy forms thus, both Agni and Soma are āprī divinities, 
i.e. deified objects or cosmic phenomena. .

Dīrghatamas offers a new vision of Agni (RV 1.143.1): I bring forward a strong and new vision (praise) to Agni, a hymn of Vāc to the son of strength; [he is] Apāṃ Napāt, the beloved hotā, who together with the Vasus has sat down on the Earth observing the appointed time.

Laszlo Forizs traslates RV 1.143.8 indicating brick-altar: 

"O Agni (Sun), attentive with your attentive, kind and powerful guardians 
(i.e., the stars), preserve us; O Iṣṭi (Altar/Apāṃ Napāt),with your unimpaired,uninflamed,unwinking [guardians], 
protect our children!."

Sayana/Wilson translation: RV 1.143

1.143.01 I offer devoutly to Agni, the son of strength, an invigorating and most new sacrifice, with words of adoration; (that Agni), the grandson of the waters, who, (present) in due season, the friend and ministering priest (of the sacrificer), sits upon the altar with (many) good things. [The grandson of the waters: apa_m napa_t; vegetable substances are the progeny of rain, and fire is the progeny of vegetable substances, timber, or fuel; upon the altar: pr.thivya_m = lit. on the earth, on the mount of earth constituting the altar].
1.143.02 As soon as born, what that (Agni) manifested to Mataris'van in the highest atmosphere, and his radiance, kindled by vigorous effort, spread through heaven and earth.  [ma_taris'van: to the wind, to be fanned into flame; in another text: tvam agne prathamo ma_taris'vane a_virbhava, by first manifest, Agni, to the wind; or ma_taris'van = yajama_na, or sacrificer].
1.143.03 His radiance is undecaying; the rays of him who is of pleasing aspect, are everywhere visible and bright; the intensely shining, all-pervading, unceasing, undecaying (rays) of Agni, desist not (from their functions). [Desist not: na rejante, do not tremble; they do not move, or are moved in burning, maturing; da_hapa_ka_dis.u na calanti na ca_lyante va_ anyaih, or na may imply comparison, when bha_tvaks.asasor na sindhavah = like the rays of the sun].
1.143.04 Bring to his own abode with hymns that Agni, the possessor of all riches, whom the descendants of Bhr.gu placed by the strength of all beings upon the navel of the earth; for, like Varun.a, he reigns sole (monarch) over (all) treasure.
1.143.05 Agni, who, like the roaring of the winds, like a victorious host, like the thunderbolt in heaven, is not to be arrested, devours and destroys (our foes) with sharpened teeth (bharva him.sa_ya_m; bharvatirattikarma_: Nirukta 9.23), and, as a warrior (annihilates his enemies), he, (Agni), lays waste the woods.
1.143.06 May Agni be ever desirous of our praise; may the giver of wealth satisfy our utmost expectation with riches; may the inspirer (of our devotion) hasten our rites to fruition. I glorify him, the radiant-limbed (Agni), with this laudation.
1.143.07 The kindler (of the sacrificial fire) propitiates Agni, of glistening form; the upholder of your ceremony, like a friend; well kindled and well supplied (with fuel); blazing brightly at holy rites, he illumines our pure and pious observances. [Well kindled: akrah = fr. kram, to go= akranta or anukra_nta, surpassed or exceeded by; jva_la_ samida_dibhih, flame, fuel and the like].
1.143.08 Agni, never heedless (of us), guard us with never heedless, auspicious, and joy-bestowing cares; do you, who are desired (by all), protect us, and those born of us, with unobstructed unovercome, and never slumbering (vigilance).

Griffith: Agni. 143

1. To Agni I present a newer mightier hymn, I bring my words and song unto the Son of Strength,
Who, Offspring of the Waters, bearing precious things sits on the earth, in season, dear Invoking
Priest.
2 Soon as he sprang to birth that Agni was shown forth to Matarisvan in the highest firmament.
When he was kindled, through his power and majesty his fiery splendour made the heavens and earthto shine.
3 His flames that wax not old, beams fair to look upon of him whose face is lovely, shine withbeauteous sheen.
The rays of Agni, him whose active force is light, through the nights glimmer sleepless, ageless,like the floods.
4 Send thou with hymns that Agni to his own abode, who rules, one Sovran Lord of wealth, likeVaruna,
Him, Allpossessor-, whom the Bhrgus with their might brought to earths' central point, the centreof the world.
5 He whom no force can stay, even as the Maruts' roar, like to a dart sent forth, even as the boltfrom heaven,
Agni with sharpened jaws chews up and eats the trees, and conquers them as when the warrior smiteshis foes.
6 And will not Agni find enjoyment in our praise, will not the Vasu grant our wish with gifts ofwealth?
Will not the Inspirer speed our prayers to gain their end? Him with the radiant glance I laud withthis my song.
7 The kindler of the flame wins Agni as a Friend, promoter of the Law, whose face is bright withoil.
Inflamed and keen, refulgent in our gatherings, he lifts our hymn on high clad in his radiant hues.
8 Keep us incessantly with guards that cease not, Agni, with guards auspicious, very mighty.
With guards that never slumber, never heedless, never beguiled. O Helper, keep our children.

Phala or objective of Soma:

अपम [p= 50,2] mfn. (fr. /अप) , the most distant , the last RV. x , 39 , 3 AV. x , 4 , 1

अपाम सोमम् अमृता अभ्म ऋगन्म ज्योतिर अविदाम देवान् 
किम् नूनम् अस्मान् कृणवद अरातीः किम् उधूर्तिर अमृत मर्त्यस्य 

8.048.03 We drink the Soma, may we become immortal; we have attained the light of (heaven), we have known the gods; what now could the enemy do to us, or what, O immortal, should the aggriever do to the mortal? [Taittiri_ya Sam.hita_ 3.2.5: the past tense is used in the sense of wish, as'am.sadyotana_ya bhu_ta_rthanir des'ah].

We have drunk soma and attained immortality; we have ourselves seen that light which was discovered by the Gods. Now then what harm can the evil intentions of our enemies do to us? Of what avail is the deception of mortals, O immortal one!

Soma confers wealth, treasures:

O Indra, O Soma, send us now great opulence from every side, pour on us treasures a thousand fold (RV 9.90.3)

Since you are purified, give us the strength of a hero and riches to those who worship you. (RV 9.40.5)

Soma possessor of weapons. Pour on us streams of riches doubly great; and make us better than what we are. (RV 9.4.7)

Allegorical rreferences to Soma to many forms of life and things: Soma is a strong bull (RV 9.2.1; 9.5.7), splendid specimen of cattle (RV 9.2.2), a war horse (RV 3.3; RV 9.28.1); a bird upon the wings (RV 9.3.1); a tree whose praise never fails to yield heavenly milk amidst our hymns (RV 9.12.7)

Soma is the food of the Gods, flows to the banquet of the gods; feast and service for the Gods (RV 9.1.4; RV 9.6.6); Soma goes to Indra, Vayu and Aśvins gives them joy (RV 9.7.7).

László Fórizs, 2007, Apāṃ Napāt, Dīrghatamas and the Construction of the Brick Altar Analysis of RV 1.143  http://www.forizslaszlo.com/tudomany/forizs_dirghatamas.pdf
Binjor. ca. 2500 BCE. yajña kuṇḍa
Image result for sanchi fire altarImage result for sanchi fire altarSanchi.Sculptural friezes. Smiths at work. yajña kuṇḍa
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Angkorwat. Sculptural frieze.yajña kuṇḍa
Site Name: Bharhut
Monument: Bharhut stupa
Subject of Photo: section of coping from vedika
Locator Info. of Photo: 3rd section from the left
Photo Orientation: overview

Dynasty/Period: Sunga
Date: ca. 100-80 BCE, 100 BCE - 80 BCE

Material: brown sandstone
Architecture: structural

Current Location: Indian Museum, Calcutta, West Bengal, India

Copyright Holder: Huntington, John C. and Susan L.
Photo Year: 1970
Scan Number: 0004827
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Tukulti-Ninurta I (meaning: "my trust is in [the warrior god] Ninurta"; reigned 1243–1207 BCE) was a king of Assyria (Sumer-Akkad) during the Middle Assyrian Empire (1366 - 1050 BCE). 
Image result for tukulti ninurta pedestalRelated imageSee: 

 https://tinyurl.com/y6zqc397eraka 'nave of wheel' rebus: eraka 'metal infusion';    څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel (particularly a potter's, or of a water-mill or well).rebus: arka 'sun's rays'
kāṇḍa काण्डः m. the stalk or stem of a reed. Rebus: kāṇḍa 'tools, pots and metalware'.
 करडई  karaḍī f Safflower, Carthamus. 2 Its seed. करडी karaḍī f (See करडई) Safflower: also its seed. करडेल karaḍēla n (करडई & तेल) Oil of Carthamus or safflower.  karaṭa2 m. ʻ Carthamus tinctorius ʼ lex. Pk. karaḍa -- m. ʻ safflower ʼ, °ḍā -- f. ʻ a tree like the karañja ʼ; M. karḍī°ḍaī f. ʻ safflower, Carthamus tinctorius and its seed ʼ.*karaṭataila ʻ oil of safflower ʼ. [karaṭa -- 2, tailá -- ] M. karḍel n. ʻ oil from the seed of safflower ʼ.(CDIAL 2788, 2789) Rebus:  karandi 'fire-god' (Munda.Remo)
It is also possible that the legend of ANZU celebrated in Sumeria may be recalled memory of amśu 'Soma' (Vedic) cognate ancu 'iron' (Tocharian). The ANZU as a fierce bird is comparable to the śyena 'falcon' of Vedic narratives which is rendered rebus as aśani ‘thunderbolt’ cognate śyena ‘falcon’, sena ‘thunderbolt’. The semantics of aśani ‘thunderbolt’ leads to the expression āhangar ‘blacksmith’. (Pashto. Kashmiri). See: 
R̥gveda ākhyāna of śyena by Gautama, son of Rāhugaṇa who migrated to Karatoya, Ganga-Brahmaputra basin. Soma and the Eagle (Agni as śyena 'thunderbolt' ) -- Maurice Bloomfield 


Mujavan: 
rvs.10.34Dearer to me the die that never slumbers than the deep draught of Mujavan s own Soma.
प्रावेपा मा बृहतो मादयन्ति प्रवातेजा हरिणे व अर्वृतानाः  
सोमस्येव मौजतस्य भक्षो विभीदको जागृविर मह्यम् अच्छान् 

10.034.01 The large rattling dice exhilarate me as torrents borne on a precipice flowing in a desert; the exciting dice animate me as the taste of the Soma of Maujavat (delights the gods). [Flowing in a desert: irin.e varvr.ta_nah: a reference to the dice; rolling on the dice-board; exciting dice: vibhi_taka, the seed of the myrobalan, used as a die; Maujavat: a mountain, where is said the best Soma is found]. 
avs.5.22[0502205] His mansions are the Mujavans, and the Mahavrishas his home, Thou, Fever, ever since thy birth hast lived among the Bahlikas.
avs.5.22[0502207] Go, Fever, to the Mujavans, or, farther, to the Bahlikas.
avs.5.22[0502208] Go hence and eat thy kinsmen the Mahavrishas and Mujavans.
avs.5.22[0502214] We to GandharisMujavans, to Angas and to Magadhas.

yvk.1.8k This is thy portion, O Rudra; rejoice in it; with it for food, do thou go away beyond the Mujavants.
l With unstrung bow, thy club in thy hand, clad in skins.

From N.N. Bhattacharyya, "The Geographical Dictionary -- Ancient and Early Medieval India" 1991, Munshiram:

Mujavant, Mujavat >A people that took their name from Mujavant, a mountain in the Himalayas.

They are mentioned along with the Mahavrsas, Gandhaaris and Baalhikas in AV V.22.5-14. They are also mentioned in Taitt. Sam. I.8.62; Kaathaka Sam.IX.7, XXXVI.14; Mait. Sam. I.4.10.20; Vaaj. Sam. III.61; Sat. Br.>II.6.2.17; Baudh. D.S. II.5

I found the following references in Macdonell and Keith, Vedic Index, 1958, Motilal:

MUjavant is the name of a people who, along with the mahAvRshas, the gandhAris, and the balhikas, are mentioned in the Atharvaveda (v.22,5.7.9.14 cf. baudhAyana Srauta sUtra, ii.5) as dwelling far away, and to whom fever is to be banished. Similarly in the yajurveda saMhitAs (TaittirIya S, i.8,6,2;Kathaka S, ix.7; xxxvi.14; maitrAyaNI s, i.4,10.20; vAjasneyi s, iii.61; Satapatha b, ii.6,2,17) the mUjavants are chosen as a type of distant folk, beyond which Rudra with his bow is entreated to depart. In the Rgveda (x.34,1) soma is described as maujavata, 'coming from the mUjavants,' or, as yAska (Nirukta, ix.8) takes it, 'from mount mUjavant.' The Indian commentators (mahIdhara on vAjasneyi s, loc.cit.; sAyaNa on RV. i.161,8; baudhAyana Srauta sUtra and prayoga, cited by Hillebrandt, vedische mythologie, 1,63) agree with yAska in taking mUjavant as the name of a mountain, and though Hillebrandt (op.cit., 1,65) is justified in saying that the identification of mUjavant by Zimmer (Altindisches leben, 29) with one of the lower hills on the south-west of kashmIr lacks evidence, it is not reasonable to deny that mUjavant was a hill from which the people took their name. yAska (loc. cit. cf. siddhAnta kaumudI on pANini, iv.4,110, where instead of maujavata in RV x.34, maunjavata is read) suggests that mUjavant is equivalent to munjavant, which actually occurs later, in the epic (mahAbhArata, x.785; xiv,180) as the name of a mountain in the himAlaya.

Georges Pinault pointed to the concordance between Vedic and Tocharian: amśu ~~ ancu, 'iron' (Tocharian). Amśis a synonym for Soma (as Louis Renou noted that Rigveda is present in nuce, 'nutshell' in the themes related to Soma). The direction of borrowing amśu ~~ ancu is a matter to be studied further in historical linguistic studies, but is relatable to a date prior to 1800 BCE, the date of the Tarim mummies in Tushara (Tocharian). Tushara are mleccha (meluhha).
 The Tarim mummies are a series of mummies discovered in the Tarim Basin in present-day Xinjiang, China, which date from 1800 BCE to the first centuries BCE. Many centuries separate these mummies from the first attestation of the Tocharian languages in writing. A 2008 study by Jilin University that the Yuansha population has relatively close relationships with the modern populations of South Central Asia and Indus Valley, as well as with the ancient population of Chawuhu. (Mitochondrial DNA analysis of human remains from the Yuansha site in Xinjiang Science in China Series C: Life Sciences Volume 51, Number 3 / March, 2008).  The scientists extracted enough material to suggest the Tarim Basin was continually inhabited from 2000 BCE to 300 BCE and preliminary results indicate the people, rather than having a single origin, originated from Europe, Mesopotamia, Indus Valley and other regions yet to be determined.(Amanda Huang https://archive.today/bK4h).
 The Samskritam expression túṣāra, 'frost, snow' is consistent with the Tushara ~~Tocharian cognates since Muztagh Ata is a high Himalayan mountain (24,758 ft.) cognate Mujavant was the mountain from which Soma was traded. Frits Staal has indicated possible routes for such trade. (Staal, Frits, 2004, in: Three mountains and seven rivers in: Hino, Shoun and Toshihiro Wada, 2004, Three mountains and seven rivers: Prof. Musashi Tachikawa's Felicitation Volume, Delhi, Motilal Banarsidass, pp.3-24). This trade in Soma (or, amśu ~~ ancu) might have occurred anytime after 7th millennium BCE, or 4th millennium BCE, the dates indicated for Rigveda, respectively, by astronomical/ archaeological or language evidence contained in the text. 

Image result for kanka citi sulba sutra

Salavo bronze drums. Hieroglyphs: frog, peacock, elephant, palm tree.

tALa 'palm' rebus: dhALa 'large ingot'.

maraka 'peacock' (Santali. Mu.) Rebus: मारक loha 'a kind of calcining metal' (Samskritam)


Kur. mūxā frog. Malt. múqe id. / Cf. Skt. mūkaka- id. (DEDR 5023)Rebus: mū̃h ‘ingot’.  Muha. The quantity of iron produced at one time in a native smelting furnace. (Santali) karibha 'trunk of elaphant' ibha 'elephant' rebus: karba 'iron' ib 'iron'. Hieroglyph: arka 'sun' Rebus: arka, eraka 'copper, gold, moltencast'. miṇḍāl ‘markhor’ 

(Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) 

 Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)Hieroglyph: कंकर [ kaṅkara ](Commonly कांकर) A brace of a drum. (Marathi)

karaṛa 'a very large aquatic bird' (Sindhi) kāraṇḍava m. ʻ a kind of duck ʼ MBh. [Cf. kāraṇḍa- m. ʻ id. ʼ R., karēṭu -- m. ʻ Numidian crane ʼ lex.: see karaṭa -- 1]
Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , °ḍaga -- , °ḍava -- m. ʻ a partic. kind of bird ʼ; S. kānero m. ʻ a partic. kind of water bird ʼ < *kāreno.(CDIAL 3059) करढोंक or की (p. 78) karaḍhōṅka or kī m करडोक m A kind of crane or heron (Marathi)  kāraṇḍava m. ʻ a kind of duck ʼ MBh. [Cf. kāraṇḍa- m. ʻ id. ʼ R., karēṭu -- m. ʻ Numidian crane ʼ lex.: see karaṭa -- 1]Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , °ḍaga -- , °ḍava -- m. ʻ a partic. kind of bird ʼ; S. kānero m. ʻ a partic. kind of water bird ʼ < *kāreno.(CDIAL 3059) करढोंक or की (p. 78) karaḍhōṅka or kī m करडोक m A kind of crane or heron (Marathi) 

Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi)

Hieroglyph: kaṅká m. ʻ heron ʼ VS

Ta. kokku common crane, Grus cinerea; stork, paddy bird; kuruku heron, stork, crane, bird, gallinaceous fowl, aṉṟil bird. Ma. kokku, kokkan, kocca, kuriyan paddy bird, heron; kuru heronTo. košk heron. Ka. kokku, kokkare crane; kukku heron, crane. Tu. korṅgu  crane, stork. 
Te. koṅga, kokkera, kokkarāyi crane; pegguru, begguru (< peru-kuru) adjutant crane. Kol. (Kin.) koŋga crane. Pa. kokkal (pl. kokkacil) id. Ga. (S) kokkāle (pl.kokkāsilheron; (S.2koŋalin (pl. koŋasil), (S.3kokalin crane. Go. (L.) koruku id. (Voc. 921); (Mu.) kokoḍal 
heron, duck (Voc. 870); (Ma. Ko.) koŋga crane (Voc. 874). Kui kohko paddy bird. Kuwi (S.) kongi, (Ṭ.) kokoṛacrane. Br. xāxūr demoiselle crane. / Cf. Skt. kaṅka- heron; Turner, CDIAL, no. 2595.(DEDR 2125) kaṅká m. ʻ heron ʼ VS. [← Drav. T. Burrow TPS 1945, 87; onomat. Mayrhofer EWA i 137. Drav. influence certain in o of M. and Si.: Tam. Kan. Mal. kokku ʻ crane ʼ, Tu. korṅgu, Tel. koṅga, Kuvi koṅgi, Kui kohko]Pa. kaṅka -- m. ʻ heron ʼ, Pk. kaṁka -- m., S. kaṅgu m. ʻ crane, heron ʼ (→ Bal. kang); B. kã̄k ʻ heron ʼ, Or. kāṅka; G. kã̄kṛũ n. ʻ a partic. ravenous bird ʼ; -- with o from Drav.: M. kõkā m. ʻ heron ʼ; Si. kokā, pl. kokku ʻ various kinds of crane or heron ʼ, kekī ʻ female crane ʼ, kēki ʻ a species of crane, the paddy bird ʼ (ē?).(CDIAL 2595)

káṅkata m. ʻ comb ʼ AV., n. lex., ˚tī -- , ˚tikã -- f. lex. 2. *kaṅkaṭa -- 2. 3. *kaṅkaśa -- . [Of doubtful IE. origin WP i 335, EWA i 137: aberrant -- uta -- as well as -- aśa -- replacing -- ata -- in MIA. and NIA.]1. Pk. kaṁkaya -- m. ʻ comb ʼ, kaṁkaya -- , ˚kaï -- m. ʻ name of a tree ʼ; Gy. eur. kangli f.; Wg. kuṇi -- přũ ʻ man's comb ʼ (for kuṇi -- cf. kuṇälík beside kuṅälík s.v. kr̥muka -- ; -- přũ see prapavaṇa -- ); Bshk. kēṅg ʻ comb ʼ, Gaw. khēṅgīˊ, Sv. khḗṅgiā, hal. khyḗṅgiakēṅgī f., 
kāṅga ʻ combing ʼ in ṣiṣ k˚ dūm ʻ I comb my hair ʼ; Tor. kyäṅg ʻ comb ʼ (Dard. forms, esp. Gaw., Sv., Phal. but not Sh., prob. ← L. P. type < *kaṅgahiā -- , see 3 below); Sh. kōṅyi̯ f. (→ Ḍ. k*lṅi f.), gil. (Lor.) kōĩ f. ʻ man's comb ʼ, kōũ m. ʻ woman's comb ʼ, pales. kōgō m. ʻ comb ʼ; K. kanguwu m. ʻ man's comb ʼ, kangañ f. ʻ woman's ʼ; WPah. bhad. kãˊkei ʻ a comb -- like fern ʼ, bhal. kãkei f. ʻ comb, plant with comb -- like leaves ʼ; N. kāṅiyokāĩyo ʻ comb ʼ, A. kã̄kai, B. kã̄kui; Or. kaṅkāikaṅkuā ʻ comb ʼ, kakuā ʻ ladder -- like bier for carrying corpse to the burning -- ghat ʼ; Bi. kakwā ʻ comb ʼ, kaka˚hī, Mth. kakwā, Aw. lakh. kakawā, Bhoj. kakahī f.; H. kakaiyā ʻ shaped like a comb (of a brick) ʼ; G. (non -- Aryan tribes of Dharampur) kākhāī f. ʻ comb ʼ; M. kaṅkvā m. ʻ comb ʼ, kã̄kaī f. ʻ a partic. shell fish and its shell ʼ; -- S. kaṅgu m. ʻ a partic. kind of small fish ʼ < *kaṅkuta -- ? -- Ext. with -- l -- in Ku. kã̄gilokāĩlo ʻ comb ʼ.2. G. (Soraṭh) kã̄gaṛ m. ʻ a weaver's instrument ʼ?
3. L. kaṅghī f. ʻ comb, a fish of the perch family ʼ, awāṇ. kaghī ʻ comb ʼ; P. kaṅghā m. ʻ large comb ʼ, ˚ghī f. ʻ small comb for men, large one for women ʼ (→ H. kaṅghā m. ʻ man's comb ʼ, ˚gahī˚ghī f. ʻ woman's ʼ, kaṅghuā m. ʻ rake or harrow ʼ; Bi. kãga ʻ comb ʼ, Or. kaṅgei, M. kaṅgvā); -- G. kã̄gsī f. ʻ comb ʼ, with metath. kã̄sko m., ˚kī f.; WPah. khaś. kāgśī, śeu. kāśkī ʻ a comblike fern ʼ or < *kaṅkataśikha -- .*kaṅkatakara -- , *kaṅkataśikha -- .Addenda: káṅkata -- : WPah.kṭg. kaṅgi f. ʻ comb ʼ; J. kāṅgṛu m. ʻ small comb ʼ.   2599 *kaṅkatakara ʻ comb -- maker ʼ. [káṅkata -- , kará -- 1]
H. kãgherā m. ʻ caste of comb -- makers ʼ, ˚rī f. ʻ a woman of this caste ʼ.(CDIAL 2597 to 2599)

kāˊṁsya ʻ made of bell -- metal ʼ KātyŚr., n. ʻ bell -- metal ʼ Yājñ., ʻ cup of bell -- metal ʼ MBh., ˚aka -- n. ʻ bell -- metal ʼ. 2. *kāṁsiya -- . [kaṁsá -- 1]
1. Pa. kaṁsa -- m. (?) ʻ bronze ʼ, Pk. kaṁsa -- , kāsa -- n. ʻ bell -- metal, drinking vessel, cymbal ʼ; L. (Jukes) kã̄jāadj. ʻ of metal ʼ, awāṇ. kāsā ʻ jar ʼ (← E with -- s -- , not ñj); N. kã̄so ʻ bronze, pewter, white metal ʼ, kas -- kuṭ ʻ metal alloy ʼ; A. kã̄h ʻ bell -- metal ʼ, B. kã̄sā, Or. kãsā, Bi. kã̄sā; Bhoj. kã̄s ʻ bell -- metal ʼ, kã̄sā ʻ base metal ʼ; H. kāskã̄sā m. ʻ bell -- metal ʼ, G. kã̄sũ n., M. kã̄sẽ n.; Ko. kã̄śẽ n. ʻ bronze ʼ; Si. kasa ʻ bell -- metal ʼ.2. L. kã̄ihã̄ m. ʻ bell -- metal ʼ, P. kã̄ssīkã̄sī f., H. kã̄sī f.*kāṁsyakara -- , kāṁsyakāra -- , *kāṁsyakuṇḍikā -- , kāṁsyatāla -- , *kāṁsyabhāṇḍa -- .Addenda: kāˊṁsya -- : A. kã̄h also ʻ gong ʼ, or < kaṁsá -- .   2988 *kāṁsyakara ʻ worker in bell -- metal ʼ. [See next: kāˊṁsya -- , kará -- 1]L. awāṇ. kasērā ʻ metal worker ʼ, P. kaserā m. ʻ worker in pewter ʼ (both ← E with -- s -- ); N. kasero ʻ maker of brass pots ʼ; Bi. H. kaserā m. ʻ worker in pewter ʼ.   2989 kāṁsyakāra m. ʻ worker in bell -- metal or brass ʼ Yājñ. com., kaṁsakāra -- m. BrahmavP. [kāˊṁsya -- , kāra -- 1]N. kasār ʻ maker of brass pots ʼ; A. kãhār ʻ worker in bell -- metal ʼ; B. kã̄sāri ʻ pewterer, brazier, coppersmith ʼ, Or. kãsārī; H. kasārī m. ʻ maker of brass pots ʼ; G. kãsārɔkas˚ m. ʻ coppersmith ʼ; M. kã̄sārkās˚ m. ʻ worker in white metal ʼ, kāsārḍā m. ʻ contemptuous term for the same ʼ.   2990 *kāṁsyakuṇḍikā ʻ bell -- metal pot ʼ. [kāˊṁsya -- , kuṇḍa -- 1]N. kasaũṛi ʻ cooking pot ʼ.   2991 kāṁsyatāla m. ʻ cymbal ʼ Rājat. [kāˊṁsya -- , tāla -- 1]
Pa. kaṁsatāla -- m. ʻ gong ʼ; Pk. kaṁsālā -- , ˚liyā -- f. ʻ cymbal ʼ, OB. kaśālā, Or. kãsāḷa; G. kã̄sāḷũ n. ʻ large bell -- metal cymbals ʼ with ã̄ after kã̄sũ ʻ bell -- metal ʼ; M. kã̄sāḷ f. ʻ large cymbal ʼ; -- Si. kastalaya ʻ metal gong ʼ (EGS 40) is Si. cmpd. or more prob. ← Pa.   2992 *kāṁsyabhāṇḍa ʻ bell -- metal pot ʼ. [kāˊṁsya -- , bhāṇḍa -- 1]Pa. kaṁsabhaṇḍa -- n. ʻ brass ware ʼ; M. kāsã̄ḍī˚sãḍī f. ʻ metal vessel of a partic. kind ʼ.(CDIAL 2987 to 2992)

kāgni m. ʻ a small fire ʼ Vop. [ka -- 3 or kā -- , agní -- ]K. kang m. ʻ brazier, fireplace ʼ?(CDIAL 2999) *kāṅgārikā ʻ poor or small brazier ʼ. [Cf. kāgni -- m. ʻ a small fire ʼ Vop.: ka -- 3 or kā -- , aṅgāri -- ]K. kã̄gürükã̄gar f. ʻ portable brazier ʼ whence kangar m. ʻ large do. ʼ (or < *kāṅgāra -- ?); H. kã̄grī f. ʻ small portable brazier ʼ.(CDIAL 3006)   kā̃gürü काँग॒॑रू॒ or kā̃gürü काँग॑रू॒ or kā̃gaकाँग्र् । हसब्तिका f. (sg. dat. kã̄grĕ काँग्र्य or kã̄garĕ काँगर्य, abl. kã̄griकाँग्रि), the portable brazier, or kāngrī, much used in Kashmīr (K.Pr. kángár, 129, 131, 178; káṅgrí, 50, 128, 129). For particulars see El. s.v. kángri; L. 70, 250, kangar; and K.Pr. 129. The word is a fem. dim. of kang, q.v. (Gr.Gr. 37). kā̃gri-khŏphürü काँग्रि-ख्वफ॒॑रू॒ । भग्ना काष्ठाङ्गारिका f. a worn-out brazier. -khôru -खोरु॒ । काष्ठाङ्गारिका- र्धभागः m. the outer half (made of woven twigs) of a brazier, remaining after the inner earthenware bowl has been broken or removed; see khôru. -kŏnḍolu -क्वंड॑लु॒ । हसन्तिकापात्रम् m. the circular earthenware bowl of a brazier, which contains the burning fuel. -köñü -का॑ञू॒ । हसन्तिकालता f. the covering of woven twigs outside the earthenware bowl of a brazier; see köñü 2.(Kashmiri)


Sulbasutras: Indian Texts on Sacred Geometry



BY: PARAMESWARAN MURTHIYEDATH (2005)




A Few Sutras


An extract from the book


with Commentary by Parameswaran Murthiyedath




Sutra 12 (Kankaciti)


Sutra 12.1 Kankacita


etenatma Puccam ca vyakhyatam


(The Kankacita defined here will have a body
and a tail)


The Kankacita is known to have the shape of a
heron.


Sutra 12.2


sirasi pancopadadhyat 


tasyakrtirvyakhyata 


sirasi pancopadadhya


ttasyakrtirvyakhyata


(the head will be obtained as 5 by definition
of its shape)


As per the definition the head will be obtained
as 5.


This states that the length of the head along
the east west is 5 aratni from the body. With the same words a meaning that the
area of the head is 5 sq. aratni could also be derived. Both meanings are true
and so meant.



Sutra 12.3


Saptapancasaddaksine paksa upadadhyat


tathottare 


Saptapancasaddaksinepaksa upadadhya


ttathottare


(5 and 7 to south the wing will be obtained
next the north)


The wing at south will be obtained as 5 and
7and likewise the north. Again, The wing tips are at a distance of 12aratni’s
to south (5+7) and at the same time it means that the area of the wings are 57
sq. aratni.


Sutra 12.4


Vyayamena sapradesna paksayorapanamah
pancamabhagiyardhyabhih sat sat patrani kuryat adhyardhavasisyate vyayamena
sapradesnapaksayorapanamah pancamabhagiyardhyabhih sat sat patrani kuryat
adhyardhavasisyate


(by vyayama measure with the pradesa the wings
bent with the pancami and adhyardha six and six wing cuts as stated an
adhyardha will be balanced)





Figure 2: Karika city layout (BSS-12.2-6)



(The wings will be set out at a measure of 1 vyayama added with 1 pradesa at an angle and the wings tips will have six notches of a measurement of 1 pancami by 1 pancami and a half. An adhyardha will be balanced)


The configuration of the wings are made by the diagonal of a square of 108A first taken forward and then retraced to give a mirrored bent. The sutra further categorically states that the wing tips configuration is with 6 nos of 1aratni by 1 adhyardha cuts. This adds to the area of 54 sq. aratni and additional 3aratni and the statement of 57 sq. aratni are now established. The statement ‘adhyardhavasisyate’ is about the excess area resulted amounting to 1½ aratni in the configuration which will be later adjusted by the leg trimming of the tail.


Fig. 12.1 given here shows the citi geometry. First a basic square 1-2-3-4 will be established with side as 144A, deriving from the statement of ‘saratnipradesa’. The south end of the wings from which the wing tips take off is line 9-10, parallel to1-4 and at a distance of 12 aratni (288A). Line 4-8 is the diagonal of a square of 108A as side. Line 8-9 is mirrored from line 4-8. Thus the wing formation of 4-8-9-10-13-1 is established. The six wing tips are formed by the diagonals of boxes of an aratni by an adhyardha (1½ aratni) as sides, as shown within9-10-11-12.


Sutra 12.5


taya pucchasyavastat  padavaratnimatravaratnyantaralau pradesavyasau bhavatah  tayoravastadabhito dvaudvavastamabhagau pragbhedavupadadhyat  taya pucchasyavastat padavaratnimatravaratnyantaralau pradesavyasau bhavatah tayoravastadabhito dvaudvavastamabhagau pragbhedavupadadhyat


(At the backside of the tail feet of an aratni length in an aratni gap with 1 pradesa as width at the back and near as 2 and 2, and 8 sided with a forward cut will be obtained)




The tail is having a forward cut of 1 aratni length and 1 pradesa as width of sides, in a gap of 1 aratni, and thus having 8 sides split into two as forward cut.


The tail portion of 15-14-16-17 contains the details mentioned above. Thus the tail have two cuts of 1 aratni square which is modified to form the root and two such feet are placed touching each other as stated forming an 8 sided cut in total.


A statement like ‘pancadasa pucche’ is judiciously left out for the reason of the cut in the tail, though the overall outline agreed to such a statement. Further in sutra 12.8 the placement of two astamsi bricks at the tail to obtain this configuration are mentioned, to which the presentation here corresponds.





Figure 2: Karika city layer 1



Sutra 12.6


evam saratnipradesah saptavidhah sampadyate  evam saratnipradesah saptavidhah sampadyate




(With only the aratni and pradesa the saptavidhah concept will be achieved)


Thus with the aratni and pradesa measures alone, the saptavidhah concept will be achieved. Indeed, the altar shape graphically feeds back an area report of exactly 7.5 times the purusam square, as could also be seen from the calculation of area given here.





Table 1: Area of Kankacit



Archaeologists find ancient linga statue in Kratie province, Phnom Penh

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Noel Tan  
Linga found in Kratie province. Source: Phnom Penh Post 20190521
Linga found in Kratie province. Source: Phnom Penh Post 20190521

via Phnom Penh Post, 21 May 2019: Statue of a linga discovered in Kratie province.
An archeological team has found a metre-long tipless stone linga (penis) of the Hindu deity Shiva in the foundations of a temple in Kratie province’s historical Samphu Borak area, a former capital of the pre-Angkor Empire Chenla period.
Thuy Chanthourn, the deputy director of the Institute of Arts and Culture and the team leader, told The Post on Sunday that the find was important as the tip of the sculpture was likely to have been originally covered in a precious metal, which had probably been removed by robbers.
This made it different from other such artefacts in the National Museum in Phnom Penh, the Angkor Conservation Centre and other museums across Cambodia.
“Friends of mine who are experts of the Angkor era said the linga sculpture was unusual as it was found without its tip, which was likely to have been originally covered in a precious metal.”

 | Publication date 21 May 2019 | 07:38 ICT
An archeological team has found a metre-long tipless stone linga (penis) of the Hindu deity Shiva in the foundations of a temple in Kratie province’s historical Samphu Borak area, a former capital of the pre-Angkor Empire Chenla period.
Thuy Chanthourn, the deputy director of the Institute of Arts and Culture and the team leader, told The Post on Sunday that the find was important as the tip of the sculpture was likely to have been originally covered in a precious metal, which had probably been removed by robbers.
This made it different from other such artefacts in the National Museum in Phnom Penh, the Angkor Conservation Centre and other museums across Cambodia.
“Friends of mine who are experts of the Angkor era said the linga sculpture was unusual as it was found without its tip, which was likely to have been originally covered in a precious metal."
“We see many examples of ancient linga sculptures covered with gold, silver or bronze. So this sculpture may well have also been covered in a precious metal before it was dug up and the tip removed by robbers."
“Everywhere, 100 per cent of all the temple remnants I have unearthed, [I have found that] the foundations have been destroyed by people who dug them up while searching for valuable artefacts,” he said.
Chanthourn, who is also deputy president of the Cambodian Historians Association at the Royal Academy of Cambodia, said on Friday that he also led a group of the academy’s trainee archaeologists on a research tour of the Samphu Borak site on May 10.
On the dig, they found previously undiscovered artefacts including a carved stone hollow, a trough for holy water and parts of the supports for a gate, as well as the Shiva linga sculpture, in the remnants of two temples, he said.
Appeal
In early March he found an unusual sculpture with three linga of the same size and shape sticking out from a base like an inverted tripod, he added.
Chanthourn said the linga sculptures were of huge value as relics of Cambodian history and called on the relevant authorities, especially the provincial department of culture, to have them placed in a museum.
“I don’t have the money to transport them to a museum myself. I would like to appeal to the authorities, especially the Kratie provincial Department of Culture, [after] seeing my report and knowing the information contained therein, to take these artefacts to a museum to avoid them being stolen as they are incredibly valuable,” he said.
Hok Phaliny, deputy director of the provincial Department of Culture, said on Monday that after returning to work on Tuesday, she would inform her director of the discoveries so experts could visit the location and take the artefacts to a safer place.
“Being aware of [the find], the department director will assign experts to examine [it],” she said.
Ministry of Culture and Fine Arts spokesman Thai Norak Satya could not be reached for comment.
Chanthourn’s team have unearthed the remnants of nearly 100 previously undiscovered temples dating from the 6th and 7th centuries in Kratie province’s historical Samphu Borak area.
The ancient foundations were found as part of research into the Chenla civilisation that began in 2015, which also took them to locations in Kratie, Mondulkiri, Ratanakkiri, Kampong Thom and Kampong Cham provinces, as well as to Vietnam and Laos.
He said he had used his own funds to cover transport, accommodation and food for past research trips, and appealed for the government to create a fund to assist in future archaeological research.
https://www.phnompenhpost.com/national/archeologists-find-ancient-phallic-statue

https://www.southeastasianarchaeology.com/2019/05/28/archaeologists-find-ancient-linga-statue/?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+seaarch+%28SEAArch+-+Archaeology+in+Southeast+Asia%29

Plain of Jars in Xieng Khuang province, Laos, Thong Hai Hin World Heritage Site

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    Plain of Jars to become Laos’ third World Heritage Site
|     Khonesavanh Lathsaphao     |
VIENTIANE (Vientiane Times/ANN) – Laos has been working for 20 years to have the Plain of Jars, known locally as Thong Hai Hin, listed as a World Heritage Site. When UNESCO announces the site’s inscription, it will be the third such site in Laos.
Director General of the Heritage Department, Ministry of Information, Culture and Tourism Thongbay Phothisane, said on Facebook on May 14 that Thong Hai Hin has been accepted as a World Heritage Site and its listing is expected to be officially announced at the The United Nations Educational, Scientific and Cultural Organization (UNESCO) meeting in Azerbaijan.
The Plain of Jars World Heritage proposal involves 11 separate places where the ancient stone jars are located in the province’s districts of Paek, Phaxay, Phoukoud and Kham.
The mysterious jars were carved from sandstone and granite, and their size ranges from very small to about 3.5 metres in height. They are thought to be more than 2,000 years old.
The Plain of Jars comprises about 80 distinct sites but only 11 are included in the listed area as they have the highest concentration of stone jars.
A site on the Plain of Jars in Xieng Khuang province. – VIENTIANE TIMES/ANN
Some jars are also found in Phoukhoun district of Luang Prabang province, which borders with Xieng Khuang.
Three large sites in Paek district are particularly popular with visitors.
The first site is 15km southwest of the provincial capital Phonsavanh, and has about 300 jars. The second site is 25km south of Phonsavanh and contains about 90 jars spread over two hills. The third site is 35km southeast of Phonsavanh and has about 150 jars.
Laos achieved UNESCO recognition of its first World Heritage Site in 1995 when Luang Prabang’s old town was nominated for listing. The second followed in 2001 when the Vat Phou temple complex in Champassak province was declared a World Heritage Site. The ministry is currently working on a submission to UNESCO with regard to the Hin Namno National Protected Area, otherwise known as the Stone Formation Forest Karst, in Khammuan province.

Explaining iconography of Assyrian anthropomorphs 9th cent.BCE in Indus Script hypertext tradition of wealth metalwork ledgers

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-- Winged humanheaded bull of Khorsabad (Dur Sharrukin), Assyria, Iraq, 721-705 BCE is an Indus Script hypertext memorial of ancestor smiths

"Winged genie", Nimrud c. 870 BC, with inscription running across his midriff. Wings evoke the divinity of śyenasēna 'falcon, thunderbolt'; He holds a bunch of sunflowers:करडी [ karaī ] f (See करडई) Safflower rebus: करडा karaā 'hard alloy'; kharādī = turner (G.) Rebus 3:  kharaa, brief memoranda of metalwork, wealth-accounting ledgers Rebus: karaṇḍ'fire-god' (Remo)Remo <karandi>E155 {N} ``^fire-^god''.(Munda).  



The wings which signify śyenasēna 'falcon, thunderbolt' are memrials of attributes of ancestors who were armourers, thunderbolt-maker-smiths and sena ‘scribes’.


eṟake, 'upper arm' rebus: eraka'moltencast, metal infusion'. Ta. ciṟai, ciṟaku, ciṟakar wing; iṟai, iṟaku, iṟakar, iṟakkai wing, feather. Ma. iṟaku, ciṟaku wing. Ko. rek wing, feather. Ka. eṟake, eṟaṅke, ṟakke, ṟekke wing; ṟaṭṭe, ṟeṭṭe wing, upper arm. Koḍ. rekke wing; raṭṭe upper arm. Tu. ediṅke, reṅkè wing. Te.eṟaka, ṟekka, rekka, neṟaka, neṟi id. Kol. reḍapa, (SR.) reppā id.; (P.) reṛapa id., feather. Nk. rekka, reppa wing. Pa. (S.) rekka id. Go. (S.)
 rekka wing-feather; reka (M.) feather, (Ko.) wing (Voc. 3045). Konḍa ṟeka wing, upper arm. Kuwi (Su.) rekka wing(DEDR 2591)



Pair of lamassu or shedu from Khorsabad, with the five legs of the left one showing. Palace of Sargon II
Lamassu or shedu, a human-headed winged bull, Dur-Sharrukin/Khorsabad. Chicago. c. 721–705 BCE

See: 

 ttps://tinyurl.com/y29nwwof

-- Jagati, jagali, cēdi is a pedestal for an idol, for e.g., to hold a śivalinga

-- anthropomorph bull-man is ̄gu 'bull', ã̄go ʻmale (of animals)ʼ rebus hakkura ʻidol' hākur 'blacksmith', 'deity';  āro ʻ term of contempt for a blacksmith (Nepalese)(CDIAL 5524)

A less frequently used name is shedu (Cuneiform𒀭𒆘, an.kal×bad; Sumerian: dalad; Akkadian, šēdu), which refers to the male counterpart of a lamassu.(Black, Jeremy; Green, Anthony (2003). An Illustrated dictionary, Gods, Demons and Symbols of Ancient Mesopotamia. The British Museum Press).https://en.wikipedia.org/wiki/Lamassu

I submit that this Akkadian word shedu is cognate with the substrate Meluhha word cēdi which is a synonm of jagati, jagali, 'a pedestal for an idol, for e.g., to hold a śivalinga'. This cēdi, 'pedestal' is archaeologically evidenced from Mohenjo-daro.

I suggest that shedu or lamassu is cognate with cēdi interpreted as a jagati, 'pedestal'; a shedu however is a guardian at the doorways. (cf. cēdi kingdom of ancient India)."cēdi or Chedi was an ancient Indian kingdom which fell roughly in the Bundelkhand division of Madhya Pradesh regions to the south of river Yamuna along the river Ken. Its capital city was called Suktimati in Sanskrit and Sotthivati-nagara in Pali.In Pali-language Buddhist texts, it is listed as one of the sixteen mahajanapadas ("great realms" of northern and central India).According to the Mahabharata, the Chedi Kingdom was ruled by Shishupala, an ally of Jarasandha of Magadha and Duryodhana of Kuru. He was a rival of Vasudeva Krishna who was his uncle's son. He was killed by Vasudeva Krishna during the Rajasuya sacrifice of the Pandava king Yudhishthira. Bhima's wife was from Chedi. Prominent Chedis during the Kurukshetra War included Damaghosha, Shishupala, Dhrishtaketu, Suketu, Sarabha, Bhima's wife, Nakula's wife Karenumati, Dhrishtaketu's sons. Other Chedis included King Uparichara Vasu, his children, King Suvahu, King Sahaja. It was ruled during early periods by Paurava kings and later by Yadava kings in the central part of the country...Surrounding the kingdom of the Kurus, are, many countries beautiful and abounding in corn, such as Panchala, Chedi, MatsyaSurasena, Pattachchara, Dasarna, Navarashtra, MallaSalva, Yugandhara, SaurashtraAvanti, and the spacious Kuntirashtra. (4,1)https://en.wikipedia.org/wiki/Chedi_Kingdom

Chedi Kingdom and other Mahajanapadas in the Post Vedic period.



cēdi cognate shedu are smāraka or stupa, i.e. memorials for ancestors. I submit that shedu are memorials of the ancestors who were ̄gu 'bull', ã̄go ʻmale (of animals)ʼ rebus hakkura ʻidol' hākur 'blacksmith', 'deity'.



Discovering 'buried' channels of the Palaeo-Yamuna river in NW India-- Imran Khan, Rajiv Sinha (2019)

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--Or, how Rakhigarhi, capital of the civilization linked Ganga-Yamuna-Sarasvati waterways
Kalyan












Śyena Citi (R̥gveda), Gonur archaeology, Adda cylinder seal c. 2300 BCE, composite animal narratives of Indus Script wealth-accounting

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https://tinyurl.com/yyc38jp5

-- Anzu (Sumerian), Simorg (Persian), Śyena (R̥gveda),'falcon, thunderbolt' associated with metalwork
-- aśan, ahan 'falcon' rebus: ahan 'iron' PLUS kamadha 'penance' rebus: kammaṭa; together, the Meluhha expression is:ahan kammaṭa 'iron mint'
-- Śyena ('falcon, thunderbolt' (R̥gveda, Indus Script) elaborated as metalwork narratives of Anzu (Sumerian), Simorg (Persian) ahan kammaṭa 'iron mint'
-- श्येन is N. of a ऋषि (having the patr. आग्नेय and author of RV. x , 188) (अनुक्रमणिका )
-- श्येन is a particular एका* ह (षड्विंश-ब्राह्मण, कात्यायन-श्रौत-सूत्र); एका* ह is सोम sacrifice in which सोम is prepared during one day only (as the अग्निष्टोम &c ) (शतपथ-ब्राह्मण iv , vi , xii , xiii ऐतरेय-ब्राह्मण vi आश्वलायन-श्रौत-सूत्र ii , कात्यायन-श्रौत-सूत्र &c) 

Indus Script Corpora evidence points to the early working with magnetite, ferrite ore as seen by the signifier hieroglyph पोळ pōḷa, 'bos indicus, zebu'. The prologue dedication is first to this bos indicus signified by the synonym: Nanda, nandi. The word नांदी nāndī signifies prologue dedication
.
पोळ (p. 305) pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large. Rebus: पोळ pōḷa 'magnetite, ferrite ore'. As eulogium or praise of the divine, the synonym used is: नंदी (p. 256) nandī m (S) The bull on which Mahádeva rides. A stone-bull is fixed in front of all temples to Mahádeva. The word nanda has specific meanings in the context of trade transactions. नंद (p. 256) nanda m नंदकी f (नंद was a proper name.) A clandestine or covert term, amongst dealers and brokers, for दल्लाली or the fees of brokerage. De- vised to keep the secrets of trade from the employer of the broker and the mere customer. Its vocabulary is भुरका One rupee, ढोकळा One pysa, केवली One, अवारू Two, उधानू Three, पोकू Four, मुळू Five, शेली Six, पवित्रू Seven, भंगी Eight, तेवसू or लेवनू Nine, अंगुळू Ten, एकडू Eleven, रेघी Twelve, ठेपरू Thirteen, चोपडू Fourteen, तळी Fifteen. To this last term the first four numerals successively added (the sense of addition being expressed by तान) form successively 16, 17, 18, 19, as भुरका तान तळी अवारू तान तळी, उधानू तान तळी, पोकू तान तळी. काटी stands for 20; then भुरका तान काटी, अवारू तान काटी &c. express 21, 22 &c. बिटी is 100, ढकार 1000, फाटा is An̤á, अवारू फाटे Two án̤ás, मंगी फाटे Eight án̤ás, तळी फाटे Fifteen án̤ás, दुकार One án̤á, चकार Two án̤ás, पकार Four án̤ás, टाली Half a rupee. The नंद vocabulary however has variations. Expressive of the above account the following अभंग has been composed, मुळू 5 वदनाचा उधानु 3 नेत्राचा ॥ अंगूळू 10 हातांचा स्वामी माझा ॥1॥ मुगुट जयाचा केव- ळ्या 1 आगळी कांटी 20 पवित्र तळवटी चरण ज्याचे ॥2॥ ढकार 1000 वदनाचा आला वर्णावया ॥ जिव्हा त्याच्या चिरल्या वर्णवेना ॥3॥ शेली 6 वेडावली पोकू 4 भौनावली ॥ अगुंळूमंगि 18 थकली नकळे त्यांसी ॥4॥ सद्भावें शरण आवारू 2 जोडून ॥ खेचरवीसा म्हणे स्वामी माझा ॥5॥. नंद थाकणें or ठेवणें To make (i. e. obtain) नंद or secret brokerage.

Another connotation is a mystical figure of lines drawn on the sacred cloth held at marriages between bride and bridegroom: नंद (p. 256) nanda m (S) Red lines or figures, esp. the mystical figure called स्वस्तिक, drawn on the अंतःपट or cloth which, at marriages, is held between the bride and bridegroom. 2 Vertigo incidental to puerperal women. नंदाचा पासोडा (p. 256) nandācā pāsōḍā m नंदाचा शेला m The अंतःपट (cloth held at marriages between the bride and bridegroom) having red lines or figures drawn over it, esp. the mystical figure called स्वस्तिक which is termed नंद. नंदी nandī  (Or नंद) The lines or figures drawn with कुंकूं &c. upon the अंतःपट.

Thus, the terms nanda, nandi get associated with mystic, vikalpa signifiers as in पोळ (p. 305) pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large, as a rebus signifier of: पोळ pōḷa 'magnetite, ferrite ore'.

While rendering eulogies and prayers to the divine, the oblations are signified as नांदीमुख nāndīmukha

A set of synonymous words & expressions:  नांदी (p. 259) nāndī f S Eulogium of a king or praise of a deity recited in benedictory verses at the opening of a drama &c. नांदीमुख nāndīmukha n S नांदीश्राद्ध n S Oblations to the manes offered on festal occasions. నాంది (p. 640) nāndi nāndi. [Skt.] n. A preliminary. The exordium, prelude, prologue dedication, or praise of a deity, recited in benedictory verses at the commencement of a religious ceremony or poem. నాందీ యాగము the opening rite. Anand. vi. 1. The opening benedictory verses in a drama. నాటకప్రథమాంగము, మొదలుపెట్టడము. నాందీకరుడు or నాందివాది nāndī-karuḍu. n. One who pronounces the benediction. ఆశీర్వాదముచేయువాడు.

నంది (p. 626) nandi or నందికేశ్వరుడు nandi. [Skt.] n. The name of the bull of Siva. A bull, వృషభము.


A synonym for 'bull', bos indicus, is: poḷa 'zebu' which is a definitive Indus Script hieroglyph. Rebus signifier of poḷa 'magnetite, ferrite ore'-- a metalwork for wealth creation by artisans of Sarasvati_Sindhu Civilization. This Indus Script hieroglyph which signifies 'zebu' or poḷa is seen on early inscriptions of Indus Script as on the paintings of Nausharo pots. The bird perched on the shoulder of the zebu painting is black drongo: pōlaḍu, 'black drongo',rebus: pōlaḍ, 'steel', The zebu is tied to a post with a rope to signify:  meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ (Lahnda)(CDIAL 10317) rebus: mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end;  mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Vikalpa:Glyph: ‘zebu’: khũ ‘zebu’. Rebus: khũṭ ‘guild, community’ (Semantic determinant of the ‘jointed animals’ glyphic composition). kūṭa joining, connexion, assembly, crowd, fellowship (DEDR 1882)  Pa. gotta ‘clan’; Pk. gotta, gōya id. (CDIAL 4279) Semantics of Pkt. lexeme gōya is concordant with Hebrew ‘goy’ in ha-goy-im (lit. the-nation-s). Pa. gotta -- n. ʻ clan ʼ, Pk. gotta -- , gutta -- , amg. gōya -- n.; Gau.  ʻ house ʼ (in Kaf. and Dard. several other words for ʻ cowpen ʼ > ʻ house ʼ: gōṣṭhá -- , Pr. gūˊṭu ʻ cow ʼ; S. g̠oṭru m. ʻ parentage ʼ, L. got f. ʻ clan ʼ, P. gotargot f.; Ku. N. got ʻ family ʼ; A. got -- nāti ʻ relatives ʼ; B. got ʻ clan ʼ; Or. gota ʻ family, relative ʼ; Bhoj. H. got m. ʻ family, clan ʼ, G. got n.; M. got ʻ clan, relatives ʼ; -- Si. gota ʻ clan, family ʼ ← Pa. (CDIAL 4279). Alternative: adar ḍangra ‘zebu or humped bull’; rebus: aduru ‘native metal’ (Ka.); ḍhangar ‘blacksmith’ (H.)
khuṇḍ ʻtethering peg or post' (Western Pahari) Rebus: kūṭa ‘workshop’; kuṭi= smelter furnace (Santali); Rebus 2: kuṇḍ 'fire-altar'
Why are animals shown in pairs?

dula ‘pair’ (Kashmiri); rebus: dul ‘cast metal’ (Mu.)

Tukulti Ninurta venerates the tablet and stylus of destiny.
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Image result for tukulti ninurta pedestalRelated image
Tukulti-Ninurta I (meaning: "my trust is in [the warrior god] Ninurta"; reigned 1243–1207 BCE) was a king of Assyria (Sumer-Akkad) during the Middle Assyrian Empire (1366 - 1050 BCE). https://tinyurl.com/y6zqc397eraka 'nave of wheel' rebus: eraka 'metal infusion';    څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel (particularly a potter's, or of a water-mill or well).rebus: arka 'sun's rays' eraka 'metal infusion'. dang 'mountain rage' rebus: dhangar,thakur 'blacksmith, deity'. medha 'ram' rebus: medho 'merchant'.
kāṇḍa काण्डः m. the stalk or stem of a reed. Rebus: kāṇḍa 'tools, pots and metalware'.
 करडई  karaḍī f Safflower, Carthamus. 2 Its seed. करडी karaḍī f (See करडई) Safflower: also its seed. करडेल karaḍēla n (करडई & तेल) Oil of Carthamus or safflower.  karaṭa2 m. ʻ Carthamus tinctorius ʼ lex. Pk. karaḍa -- m. ʻ safflower ʼ, °ḍā -- f. ʻ a tree like the karañja ʼ; M. karḍī°ḍaī f. ʻ safflower, Carthamus tinctorius and its seed ʼ.*karaṭataila ʻ oil of safflower ʼ. [karaṭa -- 2, tailá -- ] M. karḍel n. ʻ oil from the seed of safflower ʼ.(CDIAL 2788, 2789) Rebus:  karandi 'fire-god' (Munda.Remo)



Votive figure from Altyn-Depe (the Golden Hill), Turkmenistan. Altyn-Depe is an ancient settlement of the Bronze Age (3,000 - 2,000 B.C.E.) on the territory of ancient Abiver. It's known locally as the "Turkmen Stonehenge". União Soviética.:
Votive figure from Altyn-Depe (the Golden Hill), Turkmenistan. Altyn-Depe is an ancient settlement of the Bronze Age (3,000 - 2,000 B.C.E.) on the territory of ancient Abiver. It's known locally as the "Turkmen Stonehenge". União Soviética.

I suggest that this figure has inscribed Indus Script hypertexts read rebus related to metal smelting of elements, aduru 'native metal' and metal implements work.

Hieroglyph: kola 'woman' (Nahali) rebus: kol 'working in iron'खोंड   khōṇḍa, खुंडी khuṇḍī  A variety of जोंधळा.जोंधळा jōndhaḷā m A cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz. उता- वळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा. There are however many others as केळी, अरगडी, डुकरी, बेंदरी, मडगूप &38;c.; दगडी जोंधळा dagaḍī jōndhaḷā m or शाळू f A variety of the corn जोंधळा. Its ear is hard and close-filled.

Rebus:    kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). --khasüñü --खस॑ञू॒ । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 1033, where the causal form of the verb is used.

Alternative 'twig': कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.accord. to Kaus3. Sch. = बदरी, "Christ's thorn".Rebus: kuṭhi'smelter'.

Two hair strands signify: dula 'pair' rebus: dul 'metal casting' PLUS Hieroglyph strand (of hair): dhāˊtu  *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV.,ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773)

Rebus: dhāvḍī  'iron smelting': Shgh. ċīwċōwċū ʻ single hair ʼ ; Ash. dro ʻ woman's hair ʼ, Kt. drū, Wg.drūdrū̃; Pr. ui ʻ a hair ʼ; Kho. dro(hʻ 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) drava द्रव [p= 500,3] flowing , fluid , dropping , dripping , trickling or overflowing with (comp.) Ka1t2h. Mn.MBh. Ka1v. fused , liquefied , melted W. m. distilling , trickling , fluidity Bha1sha1p. dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ 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)(CDIAL 6773)

Hieroglyph: *mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ]
S. mī˜ḍhī f., °ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔmiḍ° m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.(CDIAL 10312) Ta. miṭai (-v-, -nt-) to weave as a mat, etc. Ma. miṭayuka to plait, braid, twist, wattle; miṭaccal plaiting, etc.; miṭappu tuft of hair; miṭalascreen or wicket, ōlas plaited together. Ka. meḍaṟu to plait as screens, etc. (Hav.) maḍe to knit, weave (as a basket); (Gowda) mEḍi plait. Ga.(S.3) miṭṭe a female hair-style. Go. (Mu.) mihc- to plait (hair) (Voc. 2850).(DEDR 4853) Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.)

Three lines below the belly of the figure: kolom 'three' rebus: kolimi 'smithy, forge'

Hieroglyph: kuṭhi  ‘vagina’ Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛi f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) kuhi ‘a furnace for smelting iron ore to smelt iron’; kolheko kuhieda koles smelt iron (Santali) kuhi, kui (Or.; Sad. kohi) (1) the smelting furnace of the blacksmith; kuire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of ēkui has been given to the fire which, in lac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kuhi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, as seen in fig. 1, and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari) kuhi = a factory; lil kuhi = an indigo factory (kohi - Hindi) (Santali.Bodding) kuhi = an earthen furnace for smelting iron; make do., smelt iron; kolheko do kuhi benaokate baliko dhukana, the Kolhes build an earthen furnace and smelt iron-ore, blowing the bellows; tehen:ko kuhi yet kana, they are working (or building) the furnace to-day (H. kohī ) (Santali. Bodding)  kuṭṭhita = hot, sweltering; molten (of tamba, cp. uttatta)(Pali.lex.) uttatta (ut + tapta) = heated, of metals: molten, refined; shining, splendid, pure (Pali.lex.) kuṭṭakam, kuṭṭukam  = cauldron (Ma.); kuṭṭuva = big copper pot for heating water (Kod.)(DEDR 1668). gudgā to blaze; gud.va flame (Man.d); gudva, gūdūvwa, guduwa id. (Kuwi)(DEDR 1715). dāntar-kuha = fireplace (Sv.); kōti wooden vessel for mixing yeast (Sh.); kōlhā house with mud roof and walls, granary (P.); kuhī factory (A.); kohābrick-built house (B.); kuhī bank, granary (B.); koho jar in which indigo is stored, warehouse (G.); kohīlare earthen jar, factory (G.); kuhī granary, factory (M.)(CDIAL 3546). koho = a warehouse; a revenue office, in which dues are paid and collected; kohī a store-room; a factory (Gujarat) ko = the place where artisans work (Gujarati) 

Hieroglyph: sprig: ḍāla 5546 ḍāla1 m. ʻ branch ʼ Śīl. 2. *ṭhāla -- . 3. *ḍāḍha -- . [Poss. same as *dāla -- 1 and dāra -- 1: √dal, √d&rcirclemacr;. But variation of form supports PMWS 64 ← Mu.]1. Pk. ḍāla -- n. ʻ branch ʼ; S. ḍ̠āru m. ʻ large branch ʼ, ḍ̠ārī f. ʻ branch ʼ; P. ḍāl m. ʻ branch ʼ, °lā m. ʻ large do. ʼ, °lī f. ʻ twig ʼ; WPah. bhal. ḍām. ʻ branch ʼ; Ku. ḍālo m. ʻ tree ʼ; N. ḍālo ʻ branch ʼ, A. B. ḍāl, Or. ḍāḷa; Mth. ḍār ʻ branch ʼ, °ri ʻ twig ʼ; Aw. lakh. ḍār ʻ branch ʼ, H. ḍāl°lām., G. ḍāḷi°ḷī f., °ḷũ n.2. A. ṭhāl ʻ branch ʼ, °li ʻ twig ʼ; H. ṭhāl°lā m. ʻ leafy branch (esp. one lopped off) ʼ.3. Bhoj. ḍāṛhī ʻ branch ʼ; M. ḍāhaḷ m. ʻ loppings of trees ʼ, ḍāhḷā m. ʻ leafy branch ʼ, °ḷī f. ʻ twig ʼ, ḍhāḷā m. ʻ sprig ʼ, °ḷī f. ʻ branch ʼ.*ḍāla -- 2 ʻ basket ʼ see *ḍalla -- 2.ḍālima -- see dāḍima -- .*ḍāva -- 1 ʻ box ʼ see *ḍabba -- .*ḍāva -- 2 ʻ left ʼ see *ḍavva -- .Addenda: ḍāla -- 1. 1. S.kcch. ḍār f. ʻ branch of a tree ʼ; WPah.kṭg. ḍāḷ m. ʻ tree ʼ, J. ḍā'l m.; kṭg. ḍaḷi f. ʻ branch, stalk ʼ, ḍaḷṭi f. ʻ shoot ʼ; A. ḍāl(phonet. d -- ) ʻ branch ʼ AFD 207.टाळा (p. 196) ṭāḷā ...2 Averting or preventing (of a trouble or an evil). 3 The roof of the mouth. 4 R (Usually टाहळा) A small leafy branch; a spray or sprig. टाळी (p. 196) ṭāḷī f R (Usually टाहळी) A small leafy branch, a sprig.ढगळा (p. 204) ḍhagaḷā m R A small leafy branch; a sprig or spray.   डगळा or डघळा (p. 201) ḍagaḷā or ḍaghaḷā m A tender and leafy branch: also a sprig or spray. डांगशी (p. 202) ḍāṅgaśī f C A small branch, a sprig, a spray. डांगळी (p. 202) ḍāṅgaḷī f A small branch, a sprig or spray.  डाहळा (p. 202) ḍāhaḷā लांख esp. the first. 2 (dim. डाहळी f A sprig or twig.) A leafy branch. Pr. धरायाला डाहळी न बसायाला सावली Used.


Rebus: ḍhāla 'large ingot' (Gujarati)

Hieroglyph on an Elamite cylinder seal (See illustration embedded)






Hieroglyph: holcus sorghum; stalk, thorny: खोंड   khōṇḍa, खुंडी khuṇḍī  A variety of जोंधळा.जोंधळा jōndhaḷā m A cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz. उता- वळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा. There are however many others as केळी, अरगडी, डुकरी, बेंदरी, मडगूप etc. Rebus:    kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). --khasüñü --खस॑ञू॒ । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 1033, where the causal form of the verb is used.


This is an addendum to: 

https://tinyurl.com/yydlmsq2


--Orthographic emphasis of  kōḍe bull-calf hieroglyph is on its tender age, youth; the cognate word is खोंड khōṇḍa m A young bull, a bullcalf.  

-- खोंडा   khōṇḍā m A कांबळा of which one end is formed into a cowl or hood; खुंडी khuṇḍī f A cloth doubled over and sewn at one end, forming a घोंगता, खोपा, or खोळ (an open or outspread shovel-form sack). Used in exposing grain in the market. Thus, the pannier on the 'unicorn' is a semantic determinant.

--खोंड   khōṇḍa, खुंडी khuṇḍī  A variety of जोंधळा.जोंधळा jōndhaḷā m A cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz. उता- वळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा. There are however many others as केळी, अरगडी, डुकरी, बेंदरी, मडगूप &38;c.; दगडी जोंधळा dagaḍī jōndhaḷā m or शाळू f A variety of the corn जोंधळा. Its ear is hard and close-filled.

Mari priest carries a standard in a procession. The standard is composed of the culm of millet or of holcus sorghum. One-horned young bull adorns the pedestal of the flagstaff carried by the priest. The underlying Meluhha word signified is: खोंड   khōṇḍa which has three meanings: holcus sorghum, pannier, bull-calf. These semantics explain the unique orthography of the unicorn which is a young bull-calf, has a pannier on its shoulder and the flagstaff used to carry the unicorn standard in a Mari procession is the culm of millet or holcus sorghum which is खोंड   khōṇḍa, a variety of corn. 

The images from Mari procession clearly demonstrate that they were Meluhha speakers who tried to convey the underlying Meluhha semantics of youth of the bull-calf and the pannier on the bull-calf's shoulder. The one-horn is a semantic determinative for a closely homonymous word ko 'horn' rebus:ko 'workshop'.

Hundreds of seals of Indus Script Corpora show these orthographic components to be concordant with the semantics -- pannier, youth -- of the 'unicorn' vividly:
 


కొదమ  kodama. [Tel.] adj. Young. Hard. ధృఢమైన. కొదమసింగము or సింగపుకొదమ a young lion. కొదమతుమ్మెద or తేటికొదమ a young bee. కొదిమపిడుగు a fierce flash of lightning. n. A young animal, a cub. పశుపక్ష్యాదులపిల్ల. A female lamb or kid. ఆడుమేకపిల్ల.
కోడె  kōḍe. [Tel.] n. A bullcalf. కోడెదూడ. A young bull. కాడిమరపదగినదూడ. Plumpness, prime. తరుణము. జోడుకోడయలు a pair of bullocks. కోడె adj. Young. కోడెత్రాచు a young snake, one in its prime. "కోడెనాగముం బలుగుల రేడుతన్ని కొని పోవుతెరంగు"రామా. vi. కోడెకాడు kōḍe-kāḍu. n. A young man. పడుచువాడు. A lover విటుడు


Santali
குழ kuḻaadj. < kuḍa. Young, tender; இள மையான. (தொல். சொல். 312.)*kuḍa1 ʻ boy, son ʼ, ˚ḍī ʻ girl, daughter ʼ. [Prob. ← Mu. (Sant. Muṇḍari koṛa ʻ boy ʼ, kuṛi ʻ girl ʼ, Ho koakui, Kūrkū kōnkōnjē); or ← Drav. (Tam. kur̤a ʻ young ʼ, Kan. koḍa ʻ youth ʼ) T. Burrow BSOAS xii 373. Prob. separate from RV. kŕ̊tā -- ʻ girl ʼ H. W. Bailey TPS 1955, 65. -- Cf. kuḍáti ʻ acts like a child ʼ Dhātup.] NiDoc. ǵ ʻ boy ʼ, kuḍ'i ʻ girl ʼ; Ash. kūˊṛə ʻ child, foetus ʼ, istrimalī -- kuṛäˊ ʻ girl ʼ; Kt. kŕūkuŕuk ʻ young of animals ʼ; Pr. kyǘru ʻ young of animals, child ʼ, kyurú ʻ boy ʼ, kurīˊ ʻ colt, calf ʼ; Dm. kúŕa ʻ child ʼ, Shum. kuṛ; Kal. kūŕ*lk ʻ young of animals ʼ; Phal. kuṛĭ̄ ʻ woman, wife ʼ; K. kūrü f. ʻ young girl ʼ, kash. kōṛī, ram. kuṛhī; L. kuṛā m. ʻ bridegroom ʼ, kuṛī f. ʻ girl, virgin, bride ʼ, awāṇ. kuṛī f. ʻ woman ʼ; P. kuṛī f. ʻ girl, daughter ʼ, P. bhaṭ. WPah. khaś. kuṛi, cur. kuḷī, cam. kǒḷā ʻ boy ʼ, kuṛī ʻ girl ʼ; -- B. ã̄ṭ -- kuṛā ʻ childless ʼ (ã̄ṭa ʻ tight ʼ)? -- X pṓta -- 1: WPah. bhad.  ʻ son ʼ, kūī ʻ daughter ʼ, bhal. ko m., koi f., pāḍ. kuākōī, paṅ. koākūī. *kuḍa -- 2 ʻ wall ʼ see kuḍya -- .
kuḍapa -- see kuḍava -- .Addenda: *kuḍa -- 1 [Same Drav. root as in kuḍmalá -- q.v.] (CDIAL 3245)3249 *kuḍma ʻ bud ʼ.M. kõb˚bā m., ˚bī f. ʻ young shoot ʼ, kõbeṇẽ ʻ to sprout ʼ; Si. kumu ʻ unopened flower ʼ.kuḍmalá -- .   3250 kuḍmalá ʻ filled with buds ʼ MBh., m.n. ʻ bud ʼ BhP. 2. kuṭmalá -- . [*kuḍma -- ]1. Pa. kuḍumala -- , ˚aka -- m. ʻ opening bud ʼ; L. poṭh. kūmlīpū˘mlī f. ʻ bud, young shoot ʼ, P. pumlī f.; WPah. roh. kumbəḷe ʻ tuft of grass ʼ.2. Pa. kuppila -- ʻ a kind of flower (?) ʼ; Pk. kuppala -- , kuṁpala -- m.n. ʻ bud ʼ, N. kopilo; H. kõpal˚lī f. ʻ opening bud ʼ; . kũpaḷkõpaḷ n., kõpḷo m. ʻ tender sprout, new twig ʼ.Addenda: kuḍmalá -- [M. B. Emeneau Bull. Institute of History and Philology, Academia Sinica xxxix 1, 9ff. ← Drav. ʻ young new sprout ʼ in DED and DEDS 1787, which appears also as loan in *kōra -- , kōraka -- , kuḍa -- 1]1. WPah.kṭg. kvmbḷi f. ʻ sprout, bud ʼ, J. kumaḷ m., kumḷi f. ʻ sprout ʼ.2. kuṭmalá -- : OMarw. kūpaḷa m. ʻ fresh bud or shoot ʼ. (CDIAL 3249, 3250)

Hieroglyph: young bull: Te. kōḍiya, kōḍe young bull; adj. male (e.g. kōḍe dūḍa bull calf), young, youthful; kōḍekã̄ḍu a young man. Kol. (Haig) kōḍē bull. Nk. khoṛe male calf. Konḍa kōḍi cow; kōṛe young bullock. Pe. kōḍi cow. Manḍ. kūḍi id. Kuikōḍi id., ox. Kuwi (F.) kōdi cow; (S.) kajja kōḍi bull; (Su. P.) kōḍi cow.(DEDR 2199)

Hieroglyph: horn: Ta. kōṭu (in cpds. kōṭṭu-) horn, tusk, branch of tree, cluster, bunch, coil of hair, line, diagram, bank of stream or pool; kuvaṭu branch of a tree; kōṭṭāṉ, kōṭṭuvāṉ rock horned-owl (cf. 1657 Ta. kuṭiñai). Ko. ko·ṛ (obl. ko·ṭ-) horns (one horn is kob), half of hair on each side of parting, side in game, log, section of bamboo used as fuel, line marked out. To. kwï·ṛ (obl. kwï·ṭ-) horn, branch, path across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn. Ga. (Oll.) kōr (pl. kōrgul) id. Go.(Tr.) kōr (obl. kōt-, pl. kōhk) horn of cattle or wild animals, branch of a tree; (W. Ph. A. Ch.) kōr (pl. kōhk), (S.) kōr (pl. kōhku), (Ma.) kōr̥u (pl. kōẖku) horn; (M.) kohk branch (Voc. 980); (LuS.) kogoo a horn. Kui kōju (pl. kōska)horn, antler. Cf. 2049 Ta. koṭi. (DEDR 2200)
GAerial photo of Gonur showing both complexes



Aerial photo of Gonur showing two complexes of Gonur (looking almost directly north). Photo credit: Kenneth Garrett "A large necropolis lies to the west of the site. In the centre of the northern complex is a fortified citadel-like structure. Both complexes have fortification walls. The fortification walls of the southern complex are wide, 8 to 10 metres tall and interspaced with round towers along its sides and corners. There are residential quarters walls within the fortifications.Reference: Excavations at Southern Gonur, by V. Sarianidi, 1993, British Institute of Persian Studies.
Gonur south complex
Gonur south complex.

The Sumerian Lexicon

Bendt Alster

Revue d'Assyriologie et d'archéologie orientale
Vol. 85, No. 1 (1991), pp. 1-11 (11 pages)
Published by: Presses Universitaires de France https://www.jstor.org/stable/23282051












Finds at Purola include Painted Gray Ware dated to ca. 1000 BCE Śyena Citi (R̥gveda)

24x18 m. vedika discovered in Purola, ca. 2nd cent. BC to 1st cent. CE. Laid out in the east-west direction. "Researchers also uncovered a square central chamber measuring 60 x 60 cm. in the middle of the altar. Excavation of this pit yielded five red-ware miniature bowls containing ash, charcoal, sandy clay and copper coins of the Kuninda period. But the most important discovery was an impressed gold-leaf showing a human figure in flowing apparel. Along with this was found a circular gold pendant and a small piece of a -chain. A lot of charcoal and charred bones were also recovered from the chamber.https://www.facebook.com/ouruki/posts/720924017918479

श्येन [p= 1095,2]m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle S3ulbas. (Samskritam)

Syena-citi: A Monument of Uttarkashi  The first layer of  one kind of śyenaciti or falcon altar described in the Śulbasūtras, made of 200 bricks of six shapes or sizes, all of them adding up to a specified total area. 
Syena Chiti, Garuda shaped Chiti Schematic as described by John F Price. Context: Panjal Atiratra yajnam (2011). cf.The paper of John Price: Applied geometry of śulbasūtras.
First layer of vakrapakṣa śyena altar. The wings are made from 60 bricks of type 'a', and the body, head and tail from 50 type 'b', 6 of type 'c' and 24 type 'd' bricks. Each subsequent layer was laid out using different patterns of bricks with the total number of bricks equalling 200.
"Sênmurw (Pahlavi), Sîna-Mrû (Pâzand), a fabulous, mythical bird. The name derives from Avestan mərəγô saênô 'the bird Saêna', originally a raptor, either eagle or falcon, as can be deduced from the etymologically identical Sanskrit śyena." 

See: Gāndhāri, Parsu, Araṭṭa Meluhha artisans & Indus Script evidence for their metalwork in Gonur https://tinyurl.com/ybhlynzk 
"The merchants of Gonur and Central Asia could even have been the possible originators of the Silk Roads." -- K.E. Eduljee
I suggest that the settlement of Gonur Tepe was by people from Sarasvati-Sindhu civilization. Parallels between Sarasvati-Sindhu civilization settlements and Gonur settlements are vivid and emphatic, apart from the commonly shared writing system of Indus Script cipher.
The fortified settlements of Gonur Tepe with citadel compare with the layout of Dholavira fortified settlement and citadel with gateway suggesting that the Dholavira artisans migrated to Gonur in search of minerals and settled there for metalwork. The evidence for metalwork of Gonur Tepe is provided by a seal with Indus Script inscription including pictorial motif of an elephant and text message of 8 hieroglyphs/hypertexts deciphered in this monograph.
Decipherment of Gonur Tepe Indus Script inscription on seal
Image result for gonur tepe
Gonur Tepe.Indus Script. Seal, Seal impression. t:

Pictorial motif: karabha, ibha 'elephant, trunk of elephant' rebus: karba, ib 'iron', ibbo 'merchant' 
This is a unique hypertext composed of a crucible PLUS a sprig. The sprig compares with the sprig inscribed on the exquisite terracotta image found at Altyn Tepe.
Hypertext: ingot out of crucible: mũh, muhã 'ingot' Rebus: muhã 'quantity of metal produced at one time in a native smelting furnace.'.PLUS kuṭhāru 'crucible' rebus:kuṭhāru 'armourer' PLUS kolmo'rice plant' rebus: kolimi 'smithy, forge'. Thus ingot for forge. Alternative: xoli 'fish-tail' rebus: kolhe'smelter', kol 'working in iron'  Thus, the hypertext is: muhã kuṭhāru kolhe 'ingot (-maker) armourer smelter'. Alternative: muhã kuṭhāru kuṭhi 'ingot, armourer, smelter' (Note: The twig ligatured may signify: कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ईAV. v , 19 , 12 Kaus3.accord. to Kaus3. Sch. = बदरी, "Christ's thorn".Rebus: kuṭhi 'smelter'.)

sal 'splinter'rebus: sal 'workshop' 


aḍaren 'lid' rebus: aduru 'native metal' PLUS aya, ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' khambhaṛā 'fish-fin' rebus: kammaa 'mint, coiner, coinage'. 



खांडा  khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). Rebus:khaṇḍa 'implements' PLUS aya, ayo 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, aya khaṇḍa 'excellent iron (metal) implements'.


Hieroglyph: kāmṭhiyɔ m. ʻ archer ʼ.rebus: kammaṭa 'mint, coin, coiner' 




ranku 'liquid measure' rebus: ranku 'tin' 



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




कर्णक karṇaka, kanka 'rim of jar' rebus: karṇī 'Supercargo' karṇaka 'engraver, scribe' कर्णिक, 'helmsman, steersman'; name of a people.

Image result for gonur bharatkalyan97
Image result for gonur bharatkalyan97

The references to Saēna’ in Avestan cognate śyēna mr̥ga (Samskr̥tam) find many representations on Indus Script hypertexts, at times referring to the bird as Anzu (a memory-recall of amśu 'Soma' ancu 'iron' (Tocharian)


-- World's first wealh accounting Indus Script system of Sarasvati-Sindhu Civilization Pictographs of pasaramu 'animals' of Indus Script Corpora are dhanam, 'wealth' categories of metalwork in pasra 'smithy'

--   dhanam, 'cattle' rebus: dhanam 'wealth'. pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Telugu) Thus, the depiction of animals in epigraphs is read rebus in Meluhha (Indiansprachbund or language union) expressions and related to: pasra = smithy (Santali)

-- Quintessential rebus readings relate to pajhar, 'a large vulture' and pasra 'a smithy'; the choice of a large vulture explains how composite animals like 'griffins' are created in Indus Script and on artifacts of Ancient Near East (ANE).

Thunderbolt, vajra
See:

https://tinyurl.com/yb72o7za

ahar12Harappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255   

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

dhanga 'mountain range' Rebus: dhangar 'blacksmith'

Ta. eruvai a kind of kite whose head is white and whose body is brown; eagle. Ma. eruva eagle, kite.(DEDR 818). Rebus: eruvai ‘copper’ (Tamil).

eṟaka ‘wing’ (Telugu) Rebus: erako ‘molten cast’ (Tulu) loa ‘ficus’; rebus: loh ‘copper’. Pajhar ‘eagle’; rebus: pasra ‘smithy’.

      
kanda.’fire-altar’.khamba ‘wing’ rebus: kammaTa ‘mint’. gaṇḍa ‘four’ Rebus: khaṇḍa ‘metal implements.  Together with cognate ancu ‘iron’ the message is: native metal implements mint.

श्येन [p= 1095,2] m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle Śulbas. (Monier-Williams) śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sensẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala)



  1. Bas relief fragment, called the 'spinner'. Louvre.

    Technical description
    Bitumen
    J. de Morgan excavations
    Sb 2834
    Near Eastern Antiquities
    Sully wing
    Ground floor
    Iran in the Iron Age (14th––mid-6th century BC) and during the Neo-Elamite dynasties
    Room 11
    Display case 6 b: Susiana in the Neo-Elamite period (8th century–middle 6th century BC). Goldwork, sculpture, and glyptics.
  2. Decoding of hieroglyphs on spinner bas-relief:

    panja 'feline paws' rebus; panja 'kiln, smelter' kātī ‘spinner’ (G.) Rebus: khati 'wheelwright' (H.) kāṭi = fireplace in the form of a long ditch (Ta.Skt.Vedic) kāṭya = being in a hole (VS. XVI.37); kāṭ a hole, depth (RV. i. 106.6) khāḍ a ditch, a trench; khāḍ o khaiyo several pits and ditches (G.) khaṇḍrun: ‘pit (furnace)’ (Santali)
  3. आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams) آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)

  4. Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ ‘fire-altar, furnace’ (Santali) kola ‘tiger, jackal’ (Kon.); rebus: kolami ‘smithy’ (Te.) Grapheme as a phonetic determinant of the depiction of woman, kola; rebus: kolami ‘smithy’ (Te.)kola ‘woman’ (Nahali); Rebus: kolami ‘smithy’ (Te.) 
    ayo ‘fish’ (Mu.); rebus: aya ‘metal’ (G.)
    bhaṭa ‘six’ (G.); rebus: bhaṭa ‘furnace’ (Santali)  viciṟi fan; bīsāle fan (as the one made of areca spathe). Koḍ. bi·j- (bi·ji-), (Mercara dialect) bi·d- (bi·di-) to wave (tr.); (wind) blows, (tree, cloth) waves; grind with grinding stones.  Cf. Skt. vīj-, vyaj- to fan; vījana-, vyajana- fanning, a fan; Turner, CDIAL, no. 12043 (DEDR 5450) Rebus: bica 'haematite, ferrite ore'. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' PLUS panja 'feline paws' rebus: panja 'furnace, kiln'.

  5. Mohenjo-daro seal m0304: phaḍā ‘metals manufactory’


    The message of metalwork is from a brass-worker's mint and (अग्नि-)कुण्ड, (agni-)kuṇḍa, 'sacred fire-altar'.


    The hieroglyph on Seal m0304 ligatured to the buffalo-horns of the seated person.
    Hieroglyph: thattār 'buffalo horn' Rebus: taṭṭār 'brass worker' urukku, n< உருக்கு-. [T. ukku, K. urku, M. urukku.] 1. Steel; எஃகு. (சூடா.) 2. Anything melted, product of liquefaction; உருக் கினபொருள்.செப்புருக் கனைய (கம்பராகார்கா91).உருக்குத்
    தட்டார் urukku-t-taṭṭār, n< id. +. Goldsmiths; பொற்கொல்லர். (சிலப்531உரை.)பணித்தட்டார்paṇi-t-taṭṭār, n< id. +. Goldsmiths; பொற்கொல்லர்பணித்தட்டார் பணி பண்ணுமிடங்களில்(சிலப்6135உரை).தட்டார்
    பாட்டம் taṭṭār-pāṭṭam, n< தட் டான்¹ +. Profession tax on goldsmiths; தட்டார் இறுக்கும்அரசிறைவகை. (S. I. Iii, 117.) தட்டாரப்பாட்டம் taṭṭāra-p-pāṭṭam, n< தட்டார் +. Seeதட்டார்பாட்டம். (S. I. Iiii, 115.) తట్టుముట్టు taṭṭumuṭṭu ] or తట్టుముట్లు taṭṭu-muṭṭu. [Tel.] n. Things, utensils, furniture, tools, household stuff. తట్టుముట్టాడు to surround (as poverty)చుట్టుకొను. తట్రపువాడు [taṭrapuvāḍu ] taṭrapu-vāḍu. [Tel.] n. A goldsmith.

    Hieroglyph: kuṇḍa3 n. ʻ clump ʼ e.g. darbha -- kuṇḍa -- Pāṇ. [← Drav. (Tam. koṇṭai ʻ tuft of hair ʼ, Kan. goṇḍe ʻ cluster ʼ, &c.) T. Burrow BSOAS xii 374] (CDIAL 3266)

    Pictorial hieroglyph-multiplex: kuṭhi 'twig' Rebus: kuṭhi 'smelter' 

    kuṁḍa 'cluster' rebus: (अग्नि-)कुण्ड(agni-) kuṇḍa 'fire-pit'. kuṇḍa -- 1: S.kcch. kūṇḍho m. ʻ flower -- pot ʼ, kūnnī f. ʻ small earthen pot ʼ; WPah.kṭg. kv́ṇḍh m. ʻ pit or vessel used for an oblation with fire into which barley etc. is thrown ʼ; J. kũḍ m. ʻ pool, deep hole in a stream ʼ; Brj. kū̃ṛo m., °ṛī f. ʻ pot ʼ.(CDIAL 3264)

    Glyph: clump between the two horns: kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ.(CDIAL 3236). kundārturner (A.)(CDIAL 3295).. 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 (< Badagakoṇḍe). 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.) i.e. śreṇi jeṭṭha 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'. Rebus: kunda ‘nidhi’, kuṇḍaṇa ‘fine gold’

    Thus, the horned crown is read together as:  taṭṭār 'brass worker' PLUS kuṇḍa 'fire-pit'.
    Hieroglyph: Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ 'iron' (Ho.); med 'copper' (Slavic) kuṁḍa -- n. ʻ heap of crushed sugarcane stalks ʼ(Prakritam) Rebus: (agni-) kuṇḍa 'fire-pit'. dula 'pair' rebus: dul 'cast metal' Thus, cast iron. 

    Hieroglyph pair which support the platform of the person seated in penance (Mohenjo-daro Seal m0304):பட்டடை¹ paṭṭaṭai ‘corn-rick’ Rebus:  paṭṭaḍi ‘smithy, forge’ (Kannada) Rebus: phaḍā फडा 'metals manufactory’.
    maṇḍā ‘raised platform, stool’ Rebus:  maṇḍā ‘warehouse’.

    The person is seated in penance: kamaḍha 'penance' (Pkt.) Rebus: kammaṭi a coiner (Ka.); kampaṭṭamcoinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.) Thus, the over-arching message of the inscription composed of many hieroglyphs (of glyphic elements) thus is a description of the offerings of a 'mint or coiner (workshop with a golf furnace)'. Thus, together the person seated in penance PLUS platform PLUS corn-rick read: kammaṭa maṇḍā 'mint warehouse' PLUS phaḍā ‘metals manufactory’. 

    kuṇḍī = crooked buffalo horns (L.) Rebus: kuṇḍī = chief of village. kuṇḍi-a = village headman; leader of a village (Pkt.lex.) I.e. śreṇi jeṭṭha chief of metal-worker guild.

    dula 'pair' rebus: dul 'metal casting'. Thus, two hayricks and two markhors relate to 1. metalcasting furnace; and 2. copper/iron metal castings   meḍ kuṁḍa 'iron furnace or fire-altar'. 

    There is also a semantic reinforcement: 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).

    Hieroglyph: Pk. kuṁḍa -- n. ʻ heap of crushed sugarcane stalks ʼ; WPah. bhal. kunnū m. ʻ large heap of a mown crop ʼ; N. kunyũ ʻ large heap of grain or straw ʼ, baṛ -- kũṛo ʻ cluster of berries ʼ.
    Rebus: कुण्ड [p=289,3] kuṇḍa a round hole in the ground (for receiving and preserving water or fire cf. अग्नि-कुण्ड, pit , well , spring or basin of water (especially consecrated to some holy purpose or person) MBh. R. &c; n. [अस् m. L. , a bowl-shaped vessel , basin , bowl , pitcher , pot , water-pot Ka1tyS3r. MBh.&c;कुण्डी f. ( Pa1n2. 4-1 42) a bowl , pitcher , pot Hcat. Prasannar.;  कुण्ड n. ifc. a clump (e.g. दर्भ-क्°, a clump of दर्भ grass) Pa1n2. 6-2 13
    (Three-faced hieroglyph-multiplex, hypertext).
    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 (Gujarati) sodagor = a merchant, trader; sodāgor (P.B.) (Santali). 

    Face on m0304. Frontal PLUS Two faces in profile ligatured. I do not know if this signifies Tvaṣṭr̥  Triśiras or tri-dhātu mũh 'face' Rebus mũhã̄ 'iron furnace output' kolom 'three' (faces) rebus: kolimi 'smithy, forge' Horns of buffalo: rango 'buffalo' rebus: rango 'pewter' (alloy of copper, zinc, tin), hence tri-dhātu. This could be a synonym dhā̆vaḍ 'iron-smelter'

    Hieroglyph: dhāˊtu 'strand' Rebus: mineral: 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. ʻa 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).

    Rebus reading of the ‘face’ glyph: mũhe ‘face’ (Santali) mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali) mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) The Sanskrit gloss mleccha-mukhashould literally mean: copper-ingot absorbing the Santali gloss, mũh, as a suffix.
    Hieroglyph: karã̄ n.pl.ʻwristlets, banglesʼ.(Gujarati)S. karāī f. ʻ wrist ʼ(CDIAL 2779) Rebus:khār खार्  'blacksmith' (Kashmiri)

    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) 
    Four animals (elephant, leaping tiger, rhinoceros, buffalo) PLUS image of a standing person with spread legs surround the seated person. These five hieroglyph-multiplexes are read rebus:
    1.      karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' (Tulu) ib 'iron' (Santali) ibbo ‘merchant’
    2.      kāṇḍā 'rhinoceros' rebus: kaṇḍa 'implements'
    3     rango 'buffalo' rebus: rango 'pewter'
    4.      kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' kũdā kol (tiger jumping) Rebus: kũdār 'turner' (Bengali) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) Rebus: kunda ‘nidhi’, kuṇḍaṇa ‘fine gold’
    5.      meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic) karṇaka 'spread legs' rebus: 'supercargo,
    merchant's agent responsible for the cargo of shipment')
    Hypertext on m0304 (Top line of 6 hieroglyphs)

    Rebus readings from R. in two parts of hypertext.
    Part 1 (with four hieroglyphs):
    Sign 1 (Mahadevan concordance)
    1. meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic) karṇaka 'spread legs' rebus: karṇī 'supercargo, merchant's agent responsible for the cargo of shipment')

    2. ḍato =claws of crab (Santali) Rebus: dhātu 'mineral ore'. 


    3. kāru pincers, tongs. Rebus: khār 
    खार्  'blacksmith' (Kashmiri) 
    4. sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’ (Santali) PLUS Glyph of ‘rim of jar’: kárṇakam. 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) karṇī 'Supercargo'. Thus, cargo accounted from workshop  account to supercargo.

    Part 2 with two hieroglyhs:
    5.  aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'alloy metal' (Rigveda).PLUS khambhaṛā ʻfinʼ rebus: kammaṭa 'mint, coiner, coinage' 

    6. PLUS kanka, karṇaka 'rim of jar' rebus: karṇī  'Supercargo' karṇaka 'account, scribe'. Thus, this second part of the hypertext reads: Mintwork account (to) Supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.


    Thus, seal m0304 Mohenjo-daro is a comprehensive metalwork catalogue of a mint, metals manufactory, documenting, 
    using dharma saṁjñā 'responsibility markers or hieroglyphs, the tasks assigned to kuṇḍi-a= village headman' ; leader of a village (Pkt.) i.e. śreṇi jeṭṭha chief of metal-worker guild. 

    This is an unambiguous, remarkable example proving that Indus Script is a knowledge system. There are over 8000 inscriptions on Indus Script Corpora detailing the technical specifications of the knowledge system which facilitated trade/exchange transactions by seafaring merchants of Meluhha.
     
  6.     आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams)آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)


Mohenjo-daro. Sealing.  Surrounded by fishes, lizard and snakes, a horned person sits in 'yoga' on a throne with hoofed legs. One side of a triangular terracotta amulet (Md 013); surface find at Mohenjo-daro in 1936, Dept. of Eastern Art, Ashmolean Museum, Oxford. [seated person penance, crocodile?] Brief memoranda: kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’; kaṇḍo ‘stool, seat’ Rebus: kāṇḍa  ‘metalware’ kaṇḍa  ‘fire-altar’.
आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams) آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)
kAru 'crocodile' Rebus: kAru 'artisan'.

Hieroglyphs (allographs): 
kamaḍha 'penance' (Prakriam) 
kamḍa, khamḍa 'copulation' (Santali)
kamaṭha crab (Skt.)
kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.)  kamat.ha = fig leaf, religiosa (Sanskrit) kamaḍha = ficus religiosa (Sanskrit)
kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Sanskrit) 
Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)  kamaṭa = portable furnace for melting precious metals (Telugu); kampaṭṭam = mint (Tamil)

Glyph: meD 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D. Stampe's Munda etyma) meṭṭu to tread, trample, crush under foot, tread or place the foot upon (Te.); meṭṭu step (Ga.); mettunga steps (Ga.). maḍye to trample, tread (Malt.)(DEDR 5057) మెట్టు (p. 1027) [ meṭṭu ] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు, నడుచు, త్రొక్కు. "మెల్ల మెల్లన మెట్టుచుదొలగి అల్లనల్లనతలుపులండకు జేరి." BD iv. 1523. To tread on, to trample on. To kick, to thrust with the foot.మెట్టిక meṭṭika. n. A step , మెట్టు, సోపానము (Telugu)
Rebus: meD 'iron' (Mundari. Remo.)
Glyph: bhaṭa ‘six’ (G.) rebus: baṭa = kiln (Santali) baṭa = a kind of iron (Gujarati)  [Note: six legs shown on the lizard glyph]


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'.



Hieroglyph: rã̄go 'buffalo': raṅku m. ʻ a species of deer ʼ Vās., °uka -- m. Śrīkaṇṭh.Ku. N. rã̄go ʻ buffalo bull ʼ? (CDIAL 10559) Rebus:  rã̄gā m. ʻ pewter, tin ʼ (Punjabi)rāṅgā ʻ solder, spelter ʼ (Oriya)

Mohenjo-daro seal (2500-2000 BCE) showing a seated yogi with horns of a buffalo showing a twig (pipal branch?) growing out from between them. http://www.harappa.com/indus/33.html
clip_image032
m305clip_image033[4] A person with a plaited pigtail, bangles/armlets on both hands from wrist to shoulder, seated in penance, with three faces, two stars on either side of the curved buffalo-horn and twig.taTTHAr 'buffalo horn' Rebus: taTTAr 'brass worker' 

m305 A person with a plaited pigtail, bangles/armlets on both hands from wrist to shoulder, seated in penance, with three faces, two stars on either side of the curved buffalo-horn and twig. "The seal depicting seven (or six) robed figures with pig-tails and stylized twigs on their heads, for instance, is routinely interpreted as the seven (or six) presiding deities of Pleiades. K provides an additional, possible reading of the seal as pertaining to the goldsmith’s portable furnace + native metal (p. 197-199, 430)...An Indus seal showing a horned male person seated in yoga like posture figures in many text books assigned to courses on Indian religions, history, and civilization. A three-leaved branch of the Pipal tree appears on his crown with a star on either side. Two stars adorn the curved buffalo horns of the seated person who wears a scarf on pigtail. Seven bangles are depicted on the left arm and six on the right, with the hands resting on the knees. The heels are pressed together under the groin and the feet project beyond the edge of the throne. In the considered opinion of the scholarly community, the person in the seal represents (a) a yogi or an ascetic practicing meditation or engaged in austerities or penance; (b) a proto-Rudra/Shiva or (c) Agni, the god of fire...Without disputing this line of interpretation, K suggests that the seal may have additional information to communicate in the field of metallurgy. The word in Prakrit for penance is kamandha, which is homonymous with the Tamil ord kampattam meaning ‘mint. The word for large horns with sweeping upward curve as applied to buffalos is dabe in Santali. The words dab, dhimba, dhombo meaning a lump (clot) are homonyms for dabe. The word for twig in the Atharvaveda (5:19.12) is kudi. A Santali word kuthi meaning ‘smelting furnace’ would be a homonym for kudi. Another Santali
word kote meaning ‘forged’ [metal] is also relevant here. After analyzing other glyptic elements on the seal, K concludes that the person on the seal is a lapidary scribe working in a mint (p. 188 and personal communication from K)." From: Solving the Indus script puzzle: A review of Indus Script Cipher by Dr S. Kalyanraman By Shrinivas Tilak* (Sept. 9,
 2010)
आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams)آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)


Three-faced person with armlets, bracelets seated on a stool with bovine legs. Material: tan steatite Dimensions: 2.65 x 2.7 cm, 0.83 to 0.86 thickness Mohenjo-daro, DK 12050

Mohenjo-daro. Square seal depicting a nude male deity with three faces, seated in yogic position on a throne, wearing bangles on both arms and an elaborate headdress. Five symbols of the Indus script appear on either side of the headdress which is made of two outward projecting buffalo style curved horns, with two upward projecting points. A single branch with three pipal leaves rises from the middle of the headdress. 

Seven bangles are depicted on the left arm and six on the right, with the hands resting on the knees. The heels are pressed together under the groin and the feet project beyond the edge of the throne. The feet of the throne are carved with the hoof of a bovine as is seen on the bull and unicorn seals. The seal may not have been fired, but the stone is very hard. A grooved and perforated boss is present on the back of the seal.
Material: tan steatite Dimensions: 2.65 x 2.7 cm, 0.83 to 0.86 thickness Mohenjo-daro, DK 12050
Islamabad Museum, NMP 50.296 Mackay 1938: 335, pl. LXXXVII, 222 
Hypertext: shoggy face with brisltles of hair on the face of the person: 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.) id. (Santali)
kūdī 'bunch of twigs' (Sanskrit)  Rebus: kuṭhi 'smelter furnace' (Santali) कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ईAV. v , 19 , 12 Kaus3.ccord. to Kaus3. Sch. = बदरी, "Christ's thorn".(Monier-Williams)
Hieroglyph: kamaḍha ‘penance’ (Pkt.) Rebus 1: kampaṭṭa  ‘mint’ (Ma.) kamaṭa = portable furnace for melting precious metals (Te.);Rebus 2: kaṇḍa ‘fire-altar' (Santali); kan ‘copper’ (Ta.)  

आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams)آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)

Hieroglyph: karã̄ n. pl. ʻwristlets, bangles ʼ (Gujarati); kara 'hand' (Rigveda) Rebus: khAr 'blacksmith' (Kashmiri) 

The bunch of twigs = ku_di_, ku_t.i_ (Skt.lex.) ku_di_ (also written as ku_t.i_ in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kaus’ika Su_tra (Bloomsfield’s ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk,98) denotes it as a twig. This is identified as that of Badari_, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).[Note the twig adoring the head-dress of a horned, standing person]

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


 Signs 45, 46  meḍ bhaṭa '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: karaā खरडें '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; meIndus 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. 
आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams)آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)

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)

  1. No photo description available.


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

    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.

  1. 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).

आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams)آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)
  1. Unprovenanced Harappan-style cylinder seal impression; Museedu Louvre; cf. Corbiau, 1936, An Indo-Sumerian cylinder, Iraq 3, 100-3, p. 101, Fig.1; De ClercqColl.; burnt white agate; De Clercqand Menant, 1888, No. 26; Collon, 1987, Fig. 614. A hero grasping two tigers and a buffalo-and-leaf-horned person, seated on a stool with hoofed legs, surrounded by a snake and a fish on either side, a pair of water buffaloes. Another person stands and fights two tigers and is surrounded by trees, a markhor goat and a vulture above a rhinoceros. Text 9905 

  2. Hieroglyphs on the cylinder seal impression are: buffalo, tiger, rice-plant, eagle, ram, hooded snake, fish pair, round object (circle), crucible, twigs as part of hair-style of the seated person.

    kula 'hooded snake' Rebus: kol 'working in iron'; kolle 'blacksmith' kolhe 'smelter'; phaṭā फटा (Samskrtam), phaḍā फडा (Marathi), paṭam (Tamil. Malayalam), paḍaga (Telugu) have the same meaning: cobra hood. Rebus words/expressions which signify 'manufactory, metals workshop' are: bhaṭṭh m., °ṭhī f. ʻ furnaceʼ, paṭṭaṭai, paṭṭaṟai 'anvil, smithy, forge', paṭṭaḍe, paṭṭaḍi 'workshop'.

    dula 'pair' Rebus: dul 'cast metal'

    The bunch of twigs = kūdī,kūṭī (Samskritam)kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and KauśikaSūtra (Bloomsfield'sed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgrussan 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: kuThi 'smelter'

    Hieroglyph multiplexes of the hypertext of the cylinder seal from a Near Eastern Source can be identified: aquatic bird, rhinoceros, buffalo, buffalo horn, crucible, markhor, antelope, hoofed stool, fish, tree, tree branch, twig, roundish stone, tiger, rice plant.

    Hieroglyph components on the head-gear of the person on cylinder seal impression are: twig, crucible, buffalo horns: kuThI 'badari ziziphus jojoba' twig Rebus: kuThi 'smelter'; koThAri 'crucible' Rebus: koThAri 'treasurer'; tattAru 'buffalo horn' Rebus: ṭhã̄ṭhāro 'brassworker'.

     This hieroglyph multiplex ligatures head of an antelope to a snake: nAga 'snake' Rebus: nAga 'lead' ranku 'antelope' Rebus: ranku 'tin'.  tuttināgamu is a Prakritam gloss meaning 'pewter, zinc'. A comparable alloy may be indicated by the hieroglyph-multiplex of antelope-snake: rankunAga, perhaps a type of zinc or lead alloy.

    Two fish hieroglyphs flank the hoofed legs of the stool or platform signify: warehouse of cast metal alloy metal implements: 
    आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams)آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)
    Hieroglyph: kaṇḍō a stool Rebus: kanda 'implements'
    Hieroglyph: maṇḍā 'raised platform, stool' Rebus: maṇḍā 'warehouse'.

    dula 'pair' Rebus: dul 'cast metal'
    ayo 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda)
    barad, barat 'ox' Rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c.(Marathi). 

    This mkultiplx is flanked by 1. kolom 'rice plant' Rebus: kolimi 'smithy, forge'; 2. kuTi 'tree' Rebus: kuThi 'smeter'. Thus the message is that the warehouse of cast metal alloy metal implements is complemented by a smelter and a smithy/forge -- part of the metalwork repertoire.
    The hieroglyph-multiplex of a woman thwarting two rearing tigers is also signified on other seals and tablets to signify:

    Hieroglyph: kola 'woman' Rebus: kol 'working in iron'
    dula 'pair' Rebus: dul 'cast metal' PLUS kola 'tiger' Rebus: kolle 'blacksmith'; kolhe 'smeter'; kole.l 'smithy, forge'. The kolmo 'rice-plant' Rebus kolimi 'smithy, forge' is a semantic determinant of the cipher: smithy with smelter.

    The bottom register of the cylinder seal impression lists the products: smithy/forge forged iron, alloy castings (laterite PLUS spelter), hard alloy implements.

    goTa 'roundish stone' Rebus: gota 'laterite'
    dula 'pair' Rebus: dul 'cast metal' PLUS rã̄go 'buffalo' Rebus: rāṅgā 'zinc alloy, spelter, pewter'. Thus, cast spelter PLUS laterite.
    markhor PLUS tail
    miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) koṭe meṛed = forged iron, in contrast to dul meṛed, cast iron (Mundari) PLUS Kur. xolā tailMalt. qoli id. (DEDR 2135) Rebus: kol 'working in iron' Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. 

    Rhinoceros PLUS aquatic bird or eagle

    Hieroglyhph: kāṇṭā 'rhinoceros. gaṇḍá m. ʻ rhinoceros ʼ Rebus: kāṇḍa 'tools, pots and pans and metal-ware' (Gujarati)

    karaṛa 'large aquatic bird' (Sindhi) Rebus: karaḍā 'hardalloy of metals' (Marathi) Alternative: eruvai 'kite, eagle' Rebus: eruvai 'copper (red)'

    Two water-buffalos flanks a hieroglyph: something round, like a seed. Hieroglyph: rã̄go 'buffalo' Rebus: rāṅgā 'zinc alloy, spelter, pewter'. What does the hieroglyph 'something round' signify? I suggest that it signifies goTa 'laterite (ferrous ore)'.

    All these hieroglyhphs/hieroglyph-multiplexes are read as metalwork catalogue items in Prakritam which had tadbhava, tatsama identified in Samskritam in Indian sprachbund (speech union).

āˊsana1 n. ʻ sitting ʼ AV., ˚ná -- n. ʻ seat ʼ ŚBr., āsanī -- f. ʻ small seat ʼ Kauś. [√ās]Pa. āsana -- , ˚aka -- n. ʻ seat ʼ, Pk. āsaṇa -- n.; Dm. ãsai ʻ chair ʼ (or poss. < āsādá -- ); Paš. ōson ʻ stool ʼ Morgenstierne IIFL iii 3, 18, Shum. ásan ʻ seat ʼ; Gaw. āsán ʻ stool ʼ; K. āsan m. ʻ buttocks, rump ʼ; S. āsaṇu m. ʻ cloth for sitting on ʼ and P. āsaṇ m. ʻ stool, seat on a horse ʼ (note -- s -- , not -- h -- ); Ku. āsaṇ ʻ small woollen rug ʼ; A. āhon ʻ that part of an elephant's neck on which the driver sits, steersman's seat, natural seat formed by tree -- branches ʼ, āhuniyā ʻ forming a convenient seat (of branches) ʼ; B. āsan ʻ stool, withers of an elephant ʼ, āsni ʻ small stool, stall, shop ʼ; Bi. āsan ʻ driver's seat on an ekka ʼ āsnī ʻ mat of kuśa grass ʼ; H. āsan m. ʻ driver's seat, withers of an elephant, inner part of the thighs ʼ, āsnī f. ʻ a small deerskin ʼ; G. āsaṇ n. ʻ seat ʼ, Si. asuna, (CDIAL 1484)आसन n. (but आसन्/अ S3Br. ) sitting , sitting down (कात्यायन-श्रौत-सूत्र, मनु-स्मृति); sitting in peculiar posture according to the custom of devotees , (five or , in other places , even eighty-four postures are enumerated ; » पद्मा*सन , भद्रा*सन , वज्रा*सन , वीरा*सन , स्वस्तिका*सन: the manner of sitting forming part of the eightfold observances of ascetics); abiding , dwelling AV. xx , 127 , 8 Mn. Ya1jn5. Hit. &c; seat , place , stool (कात्यायन-श्रौत-सूत्र,शतपथ-ब्राह्मण xiv Kum. मनु-स्मृति)&c

आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams)آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)

آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garānآهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing. and Pl.); (W.) Pl. آهن رباوي āhan-rubāwī. See اوسپنه.(Pashto) ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmirii) 

aśáni f. ʻ thunderbolt ʼ RV., °nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.] Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ.;n (both with n, not ), P. āhiṇ, f., āhaṇaihaṇ m.f., WPah. bhad. ã̄ṇhiṇi f., N. asino, pl. °nā; Si. senaheṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be *ā̤n; -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v.śilāˊ -- . (CDIAL 910) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ] Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207) 


āhan आहन् interj. of respect (Gr.Gr. 101) and adv. of assent, employed in the following compounds:--āhanō आहनो । आमिति adv. yes, used when addressing a male of equal or lower rank; it is an expression of doubtful assent. āhanū आहनू । आमि/?/ adv. yes, addressed to a junior male of rank equal to the speaker. -bā -बा । अस्ति भोः adv. yes, addressed to an equal or superior male. -biñü -बॢञू॒ । आं भगिनि adv. yes, addressed to an equal or superior female. -möjü -मा॑जू॒ । आं मातः adv. yes, addressed to a superior or very senior female. -sö -सा॑ । आं भोः adv. yes, used by a male to a superior or senior male, as in -sö karān ha-sö chuh-सा॑ करान् हसा॑ छुह् । आं भोः करोति भोः yes, sir, he is doing it. āhanuv आहनुव् । आमिति adv. yes, addressed to a male equal or inferior in rank. āhaniy आहनिय् । आमिति adv. yes, addressed to a woman inferior or equal in rank. (Kashmiri)

Avalanche of stones or snow: ghāra m. ʻ sprinkling ʼ lex. 2. *ghāla -- . [√ghr̥1]
1. Pk. ghāra -- m. ʻ rampart ʼ (semant. cf. vápra -- ); S. ghāro m. ʻ breakage in a dike, creek, ravine ʼ, ˚rī f. ʻ dry channel left by change of river's course ʼ or < *ghāla<-> bel.; L. ghārā m. ʻ name of the combined Sutlej and Bias rivers ʼ; P. ghār m., ˚rī f. ʻ gutter formed by a flow of water, hollow place in wall of well ʼ, gharālā m. ʻ leak in roof, gully, stream of blood ʼ; WPah. bhal. ghāro m. ʻ avalanche of snow or stones ʼ; B. ghār ʻ sprinkling with water, irrigation ʼ; H. ghār m. ʻ land worn away by running water, ravine ʼ, ˚rī f. ʻ ravine ʼ; Si. gara ʻ sprinkling, wetting ʼ.2. M. ghāḷ f. ʻ gully made by flowing water, trench, ravine ʼ.(CDIAL 4468)



Bogazkoy Indus Script seal, sēṇa 'eagle' rebus: sena ʻvajra, thunderboltʼ PLUS dhAtu 'strands of rope' Rebus'mineral, metal, ore' (CDIAL 6773)
 Alternative: मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f. ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: me'iron'. mẽṛhet ‘iron’ (Mu.Ho.)  Alternative: pajhar 'eagle' rebus: pasra 'smithy, forge' dul 'pair' rebus: dul 'metal casting'


Legend of Anzu which stole the tablets of destiny and allegory of soma




Seventh century BCE cylinder seal found in Israel depicting the battle of Ninurta and Anzu. Nili Wazana, in a brilliant exposition on Anzu and Ziz asks and tentatively answers the question: "Were the Israelites acquainted with the Epic of Anzu?" She cites this rendering of a seventh century BCE cylinder seal portraying the battle of Ninurta and Anzu, discovered in Israel.


The seventh century BCE cylinder seal found in Israel, is paralleled in an Akkadian cylinder seal. 

British Museum.Greenstone seal of Adda
Akkadian, about 2300-2200 BCE From Mesopotamia Height: 3.900 cm Diameter: 2.550 cm Acquired by E.A.W. Budge ME 89115 Room 56: Mesopotamia.
On the cylinder seal of Adda (c. 2300 BCE), scribe, the eagle flying down towards the water overflowing from the horned person's shoulders compose the key Indus Script hypertexts in Meluhha, which link to Sarasvati Civilization and to R̥gveda ākhyāna 'historical narrative' of श्येन m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c. The word also signifies: firewood laid in the shape of an eagle (शुल्ब-सूत्र). Etyma link श्येन with آهن āhan آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garānآهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing.(Pashto) ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmiri) āhaṇaihaṇ m.f., WPah. bhad. ã̄ṇhiṇi f., N. asino, pl. °nā; Si. senaheṇa ʻ thunderboltʼ (CDIAL 910). The thunderbolt produced by  han-gār अहन्-गार्, 'blacksmith' is the vajra, 'thunderbolt' eulogised as the powerful weapon of Indra in R̥gveda. This is iron metalwork, weapon in armoury par excellence of अहन्-गार् 'blacksmiths' of Sarasvati Civilization. Overflowing pot signifies: lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans' (Marathi) emanating from khamba 'shoulder' rebus: kammaṭa 'mint' and the eagle signifies: senaheṇa ʻ thunderboltʼ PLUS khamba 'wings' rebus: kammaṭa 'mint', i.e. metallic weapon, vajra, from the mint. A leafless tree is signified on the mountain of Adda, scribe seal: khōṇḍa'leafless tree' (Marathi). Rebus: kõdār 'turner' (Bengali) Rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃daपयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri).A one-horned young bull frequently signified on Indus Script Corpora is signified below the feet of the horned person on Adda, scribe cylinder seal: the hypertext is:  kō̃da 'young bull' rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri). Thus, working with a smelter, The mountain-range is topped by a kuṭi 'tree' rebus: kuṭhi'smelter' worked by danga 'mountain range' rebus: dhangar 'blacksmith'. In another register on the Adda, scribe cylinder seal, an archer stands next to a roaring lion to signify a brass mint: arye 'lion' rebus: āra 'brass' PLUS kamaḍha 'archer' Rebus: kammaṭa 'mint, coiner, coinage'; The thunderbolt is made of ayaskāṇḍa, 'excellent iron': ayo 'fish' rebus: ayas 'metal alloy' aya 'iron' (Gujarati) PLUS kāṇḍā 'water', rebus:  'metalware, tools'. Thus, ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ). āhan is iron, ayas is iron, also alloy metal.

EnkiNote the overflowing water flowing from the shoulders of the horned person with one foot on the mountain-range:


Ko. ko· (obl. ko·) horns  (DEDR 2200) ṇḍa ʻ hornless ʼ(Kalash)(CDIAL 3508). Rebus: koḍ 'workshop'. 

arye 'lion' āra 'brass'. 

Variant, water flowing out from shoulders:
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)

eruvai 'kite' rebus: eruvai 'copper'

Hieroglyph: wings: *skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ]S. khambhu°bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mintKa. kammaṭa id.; kammaṭi a coiner. (DEDR 1236).

See:  https://tinyurl.com/yd58zadk

Image result for griffin mesopotamiamilky chalcedony. Griffin fights a griffin anthropomorph -- over a bull calf. The fight is over control of mineral ores: dhāūdhāv m.f. ʻ a partic. soft red stone ʼ 
damya ʻ tameable ʼ, m. ʻ young bullock to be tamed ʼ Mn. [~ *dāmiya -- . -- √dam]Pa. damma -- ʻ to be tamed (esp. of a young bullock) ʼ; Pk. damma -- ʻ to be tamed ʼ; S. ḍ̠amu ʻ tamed ʼ; -- ext. -- ḍa-- : A. damrā ʻ young bull ʼ, dāmuri ʻ calf ʼ; B. dāmṛā ʻ castrated bullock ʼ; Or. dāmaṛī ʻ heifer ʼ, dāmaṛiā ʻ bullcalf, young castrated bullock ʼ, dāmuṛ˚ṛi ʻ young bullock ʼ.
Addenda: damya -- : WPah.kṭg. dām m. ʻ young ungelt ox ʼ.(CDIAL 6184) L. ḍãvarāvaṇ, (Ju.) ḍ̠ã̄v˚ ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several buffalo -- calves together ʼ, Or. daũ̈rādaürā ʻ rope ʼ; Bi. daũrī ʻ rope to which threshing bullocks are tied, the act of treading out the grain ʼ, Mth. dã̄mardaũraṛ ʻ rope to which the bullocks are tied ʼ; H. dã̄wrī f. ʻ id., rope, string ʼ, dãwrī f. ʻ the act of driving bullocks round to tread out the corn ʼ. -- X *dhāgga<-> q.v.*dāmayati2; *dāmakara -- , *dāmadhāra -- ; uddāma -- , prōddāma -- ; *antadāmanī -- , *galadāman -- , *galadāmana -- , *gōḍḍadāman -- , *gōḍḍadāmana -- , *gōḍḍadāmara -- .dāmán -- 2 m. (f.?) ʻ gift ʼ RV. [√1]. See dāˊtu -- .*dāmana -- ʻ rope ʼ see dāˊman -- 1.Addenda: dāˊman -- 1. 1. Brj. dã̄u m. ʻ tying ʼ. (CDIAL 6283) Rebus: 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. dhāuʻ 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)

Overall: 1 5/8 × 5/8 in. (4.2 × 1.7 cm)
The Pierpont Morgan Library, New York; Morgan Seal 608
Morgan Seal 608
Provenance: 
Acquired by Pierpont Morgan sometime between 1885 and 1908
Notes: 
"In 607 and 608, both of which picture a bull calf lying between two contestants, the composition is more formal. The scheme used here--that of two fighting figures with a third between them--was preserved in Neo-Babylonian seals of the first millennium... but discarded by Neo-Assyrian seal cutters. As to the significance of the unusual scene of 608, it may be mentioned that Assyrian texts refer to a divine bull as the son of Shamash, the sun god. Furthermore, Frankfort has interpreted the griffin as the equivalent of the angel of death and the griffin-demon as its antithesis--the latter having potency to ward off the griffin, since it is equipped with the most characteristic features of its monstruous and evil opponent. The scene in 608 may therefore symbolize a struggle between the forces of life and death, in which the imperiled bull stands for a manifestation of the sun. ". Porada, CANES, p. 70
Summary: 
Griffin poised in menace over kneeling calf and held by foreleg in grasp of griffin-demon armed with dagger.
Classification: 
Department: 


















Ninurta with his thunderbolts pursues Anzû stealing the Tablet of Destinies from 
Enlil's sanctuary (Austen Henry Layard Monuments of Nineveh, 2nd Series, 1853)

pajhar̥ 'large eagle' rebus: vajra 'thunderbolt weapon'. 
वज्र mn. " the hard or mighty one " , a thunderbolt (esp. that of इन्द्र , said to have been formed out of the bones of the ऋषि दधीच or दधीचि [q.v.] , and shaped like a circular discus , or in later times regarded as having the form of two transverse bolts crossing each other thus x ; sometimes also applied to similar weapons used by various gods or superhuman beings , or to any mythical weapon destructive of spells or charms , also to मन्यु , " wrath " RV. or [with अपाम्] to a jet of water AV. &c ; also applied to a thunderbolt in general or to the lightning evolved from the centrifugal energy of the circular thunderbolt of इन्द्र when launched at a foe ; in Northern Buddhist countries it is shaped like a dumb-bell and called Dorje ; » MWB. 201 ; 322 &c RV. &c; a diamond (thought to be as hard as the thunderbolt or of the same substance with it) (षड्विंश-ब्राह्मण, Mn. MBh. &c); m. a kind of hard mortar or cement (कल्कVarBr2S. (cf. -लेप); m. a partic. सोम ceremony Shad2vBr.; n. a kind of hard iron or steel; n. a partic. posture in sitting Cat. (cf. वज्रा*सन); mfn. adamantine , hard , impenetrable; mfn. shaped like a kind of cross (cf. above ) , forked , zigzag ib. [cf. Zd. vazra , " a club. "] (Monier-Williams) वज्र   vajra वज्र a. [वज्-रन् Uṇ.2.28] 1 Hard, adamantine. -2 Severe. -3 Forked, zigzag. -4 Cross. -ज्रः, -ज्रम् 1 A thunderbolt, the weapon of Indra (said to have been formed out of the bones of the sage Dadhīchi q. v.); आशंसन्ते समितिषु सुराः सक्तवैरा हि दैत्यैरस्याधिज्ये धनुषि विजयं पौरुहूते च वज्रे Ś.2.16. -2 Any destructive weapon like the thunderbolt. -3 A diamond-pin, an instru- ment for perforating jewels; मणौ वज्रसमुत्कीर्णे सूत्रस्येवास्ति मे गतिः R.1.4. -4 A diamond in general, an adamant; वज्रादपि कठोराणि मृदूनि कुसुमादपि U.2.7; R.6.19; मुक्तां मरकतं पद्मरागं वज्रं च विद्रुमम् Śiva B.3.12. -5 Sour gruel. -ज्रः 1 A form of military arrray. -2 A kind of Kuśa grass. -3 N. of various plants. -4 A kind of pillar. -ज्रम् 1 Steel. -2 A kind of talc. -3 Thunder- like or severe language. -4 A child. -5 Emblic myro- balan. -6 The blossom of the sesamum or Vajra plant. -7 Denunciation in strong language. -8 A particular posture in sitting. -Comp. -अंशुकम् cloth marked with various patterns. -अङ्क a. studded with diamonds (Mar. हिरेजडित); ततो जाम्बूनदीः पात्रीर्वज्राङ्का विमलाः शुभाः Mb.12.171.16. -अङ्कित a. marked with Vajra-like symbol. -अङ्गः a snake. -अभ्यासः cross-multiplica- tion. -अशनिः the thunderbolt of Indra; वज्राशनिसम- स्पर्शा अर्जुनेन शरा युधि Mb.6.119.6 -अस्थिः f.Astera- cantha Longifolia (Mar. तालिमखाना). -आकरः a dia- mond mine; बभूव वज्राकरभूषणायाः (पतिः) R.18.21. -आकार, -आकृति a. 1 shaped like वज्र. -2 a cross- shaped symbol. -आख्यः a kind of mineral spar. -आघातः 1 a stroke of thunder or lightning. -2 (hence fig.) any sudden shock or calamity. -आभः a kind of spar or valuable stone. -आयुधः an epithet of Indra. -आसनम् 1 a diamond-seat. -2 a particular posture in sitting (the hands being placed in the hollow between the body and the crossed feet). -कङ्कटः an epithet of Hanumat. -कवचः, -चम् 1 adamantine mail. -2 a particular Samādhi. -कालिका N. of the mother of Śākyamuni. -कीटः a kind of insect (boring holes in wood and stone). -कीलः a thunder- bolt, an admantine shaft; जीवितं वज्रकीलम् Māl.9.37; cf. U.1.47. -कूटः a mountain consisting of diamonds; स वज्रकूटाङ्गनिपातवेगविशीर्णकुक्षिः स्तनयन्नुदन्वान् Bhāg.3.13.29. -केतुः N. of the demon Naraka. -क्षारम् an alkaline earth. -गोपः= इन्द्रगोपः q. v. -घोष a. sounding like a thunderbolt; R.18.21. -चञ्चुः a vulture. -चर्मन् m. a rhinoceros. -जित् m. N. of Garuḍa. -ज्वलनम्, -ज्वाला lightning. -तरःN. of a kind of very hard cement; Bṛi. S.57.7. -तुण्डः 1 a vulture. -2 mosquito, gnat. -3 N. of Garuḍa. -4 of Gaṇeṣa. -तुल्यः lapis lazuli or azure stone. -दंष्ट्रः a kind of insect. -दक्षिणः N. of Indra. -दण्ड a. having a staff studded with diamonds. -दन्तः 1 a hog. -2 a rat. -दंशनः a rat. -देह, -देहिन् a. having an adamantine or very hardy frame. -धरः 1 an epithet of Indra; वज्रधरप्रभावः R.18.21. -2 an owl. -धारणम् artificial gold. -नाभ a. having a hard nave (said of a wheel); see next word. -नाभः the discus of Kṛiṣṇa; वज्रनाभं ततश्चक्रं ददौ कृष्णाय पावकः Mb. 1.225.23 (com. वज्रं वरत्रासा नाभौ यस्य तत् । सूत्रबद्धशकुनिवत् पुनः प्रयोक्तुर्हस्तमायातीत्यर्थः ॥). -निर्घोषः, -निष्पेषः a clap or peal of thunder. -पञ्जरः a secure refuge, protector; वज्रपञ्जरनामेदं यो रामकवचं स्मरेत् Rāma-rakṣā 13. -पाणिः 1 an epithet of Indra; वज्रं मुमुक्षन्निव वज्रपाणिः R.2.42. -2 an owl. -पातः, -पतनम् a stroke of lightning, fall of thunder-bolt; एतद्वैशसवज्रघोरपतनम् U.4.24; यावन्निष्ठुर- वज्रपातसदृशं देहीति नो भाषते Udb. -पुष्पम् 1 the blossom of sesamum. -2 a valuable flower. -भृत् m. an epithet of Indra. -मणिः a diamond, an adamant; छेत्तुं वज्रमणी- ञ्शिरीषकुसुमप्रान्तेन संनह्यते Bh.2.6. -मय a. 1 hard, adaman- tine. -2 cruel, hard-hearted. -मुखः 1 a kind of insect; कृत्ते वज्रमुखेन नाम कृमिणा दैवान्ममोरुद्वये Karṇabhāra 1.1. -2 a kind of Samādhi. -मुष्टिः 1 an epithet of Indra. -2 an adamantine clenched fist. -3 a kind of weapon. -रदः a hog. -लिपिः a particular style of writing. -लेपः 1 a kind of very hard cement; वज्रलेपघटितेव Māl.5. 1; U.4 (for its preparation see Bṛi. S., Chapter 57 'वज्रलेपलक्षणः'). -2 The being ineffaceable, permanent one; अन्यक्षेत्रे कृतं पापं पुण्यक्षेत्रे विनश्यति । पुण्यक्षेत्रे कृतं पापं वज्र- लेपो भविष्यति ॥ Subhāṣ. -लोहकः a magnet. -वधः 1 death by thunderbolt. -2 cross-multiplication. -वारकः a title of respect. -व्यूहः a kind of military array. -शल्यः a porcupine. -संघातः N. of a kind of hard cement; Bṛi. S.57.8. -a. having the hardness of adamant; ततः स वज्रसंघातः कुमारो न्यपतद्गिरौ Mb.1.123.27. -सार a. as hard as adamant, having the strength of the thunderbolt, adamantine; क्व च निशितनिपाता वज्रसाराः शरास्ते Ś.1.1; त्वमपि कुसुमबाणान् वज्रसारीकरोषि 3.4. -सूचिः, -ची f. a diamond-needle. -हृदयम् an adamantine heart. (Apte)


“On the mountainside  Anzu and Ninurta met … Clouds of death rained down, an arrow flashed lightning. Whizzed the battle force roared between them.“ Anzu Epic, tablet 2,in S. Dalley, Myths from Mesopotamia (Oxford - New York, 1989), p. 21. One narration reads: Marduk, sun god of Babylon, with his thunderbolts pursues Anzu after Anzu stole the Tablets of Destiny. Note: The tablets of destiny may be a reference to Indus writing corpora which were veritable stone-, mineral-, metal-ware catalogs.

As a researcher on ancient Hindu civilization a contribution was made by me in Journal of Indo-Judaic Studies, Vol. 1, Number 11 (2010) -- The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” By S. Kalyanaraman. The 'rosetta stones' were two pure tin ingots discovered in a shipwreck in Haifa and with Indus writing. The Indus writing on these tin ingots have been read rebus as denoting 'tin' (mineral) which was in demand to be used to alloy with copper to create bronze, thus replacing the naturally-occurring but rare arsenic-copper minerals and heralding a true bronze age.

Marduk, sun god of Babylon, with his thunderbolts pursues Anzu after Anzu stole the Tablets of Destiny. (cf. Marut in Rigveda associated with storms and winds comparable to Anzu or Imdugud associated with storms). Battle between Marduk (Bel) and the Dragon. Drawn from a bas-relief from the Palace of Ashur-nasir-pal, King of Assyria, 885-860 B.C., at Nimrûd. [Nimrûd Gallery, Nos. 28 and 29.]

Marduk is a remembered memory of Indra. Anzu, the eagle is the remembered protector,śyena, the hawk, who brought amśu (anzu) from the heavens to the people working with fire-altars in yajña-s.

According to Louis Renou, the immense Rigvedic collection is present in nuce in the themes related toSoma. Rigveda mentions amśu as a synonym of soma. The possibility of a link with Indus writing corpora which is essentially a catalog of stone-, mineral-, metalware, cannot be ruled out.

George Pinault has found a cognate word in Tocharian, ancu which means 'iron'. I have argued in my book, Indian alchemy, soma in the Veda, that Soma was an allegory, 'electrum' (gold-silver compound). See:  http://bharatkalyan97.blogspot.in/2011/10/itihasa-and-eagle-narratives.html for Pinault's views on ancu, amśu concordance.

The link with the Tocharian word is intriguing because Soma was supposed to come from Mt. Mujavant. A cognate of Mujavant is Mustagh Ata of the Himalayan ranges in Kyrgystan.

Is it possible that the ancu of Tocharian from this mountain was indeed Soma?

The referemces to Anzu in ancient Mesopotamian tradition parallels the legends of śyena 'falcon' which is used in Vedic tradition of Soma yajña attested archaeologically in Uttarakhand with a śyenaciti, 'falcon-shaped' fire-altar.
http://bharatkalyan97.blogspot.in/2011/11/syena-orthography.html śyena, orthography, Sasanian iconography. Continued use of Indus Script hieroglyphs.

Comparing the allegory of soma and the legend of Anzu, the bird which stole the tablets of destiny, I posit a hypothesis that the tablets of destiny are paralleled by the Indus writing corpora which constitute a veritable catalog of stone-, mineral- and metal-ware in the bronze age evolving from the chalcolithic phase of what constituted an 'industrial' revolution of ancient times creating ingots of metal alloys and weapons and tools using metal alloys which transformed the relation of communities with nature and resulted in the life-activities of lapidaries transforming into miners, smiths and traders of metal artefacts.          See: http://www.iranicaonline.org/articles/simorg

See: http://en.wikipedia.org/wiki/Simurgh

Explaining iconography of Assyrian anthropomorphs 9th cent.BCE in Indus Script hypertext tradition of wealth metalwork ledgers https://tinyurl.com/y3hqbhal
Soma is yajñasya ātmā, śyenaciti is signified on Indus Script, on seven soma samsthā yajña of Veda, thunderbolt metalwork 
Semantics in choice of śyēna citi 'Veda fire-altar' and Indus Script with Śyena, śen, śenī 'thunderbolt, falcon' hypertexts https://tinyurl.com/y3h6n7uj
Śyena, Simorg, Anzu, Amśu (Soma), Indus Script Corpora wealth-accounting ledgers, are Veda veneration continuum seeking heaven https://tinyurl.com/yyqow9lo
Shape of Caturaśra Śyena in Mānava Śulbasūtra, Harappa seal h166 narrative Caturaśra Śyena rebus آهن ګر āhan gar 'thunderbolt makersmith'https://tinyurl.com/y3s9tomm
World's first wealth accounting Indus Script system of Sarasvati-Sindhu Civilization 'wealth' categories of metalwork in pasra 'smithy' https://tinyurl.com/y5rcpy6t
"Griffin-like Simurgh (Persian: سیمرغ), also spelled simorgh, simurg, simoorg or simourv, also known as Angha (Persian: عنقا), is the modern Persian name for a fabulous, benevolent, mythical flying creature. The figure can be found in all periods of Greater Iranian art and literature, and is evident also in the iconography of medieval Armenia, the Byzantine empire , and other regions that were within the sphere of Persian cultural influence. Through cultural assimilation the Simurgh was introduced to the Arabic-speaking world, where the concept was conflated with other Arabic mythical birds such as the Ghoghnus, a bird having some mythical relation with the date palm, and further developed as the Rukh (the origin of the English word "Roc")." http://www.flickr.com/photos/27305838@N04/4830444236

"During the first half of the 2nd millennium BC, a civilization was established in the ancient delta of the Murghab River, on the southeastern edge of a territory famous than as Turkestan. This Bronze Age site is recognized as Gonur Tepe. A civilization that flourished before being buried by time and discovered later on in present-day Turkmenistan. In the seventh millennium BC, Murgab River became the place where first agricultural settlements started to appear. The site was called “Margush” in Old Iranian texts and “Margiana” in Greek. The Margiana region has an area of 3000 square kilometers, housing 70 oasis, and 150 settlements.Gonur Tepe (or Gonur Depe) became the capital, serving as the administrative and religious center, and also a trade hub of the Margiana region.Nothing much was recognized about the complex of Gonur Tepe until 1972. When the Margiana Archaeological Expedition directed by the Greek-Russian archaeologist Victor Sarianidi discovered the fortress town. In this expedition, it was revealed that Gonur Tepe was a rectangular fortress with defensive walls, semicircular bastions, and adobe buildings. A palace and temples with fire altars dedicated to the Zoroastrian religion were also discovered. Archeologist Sarianidi explained that Gonur Tepe is the 5th oldest civilization on Earth. And it was the birthplace of Zoroastrianism. Other discoveries included extensive irrigation systems. That was similar to the ones found in Egypt, models of two-wheeled carts, and silver and gold artifacts. The artifacts discovered on-site suggest that the town of Gonur Tepe had craftsmen who could mold metal and create materials for cult worship. Besides metal, the craftsmen also did bone and stone carvings. Sarianidi also found out what appears to be the boiler for the soma. A ritual drink is known to give immortality mentioned in the Rigveda and also known as haoma in the Avesta. Dishes with traces of cannabis, poppy, and ephedrine were also found. Which led to the theory that these were the ingredients of the immortality drink soma. Therefore; in 2009, a royal tomb was excavated in which remains of dogs, a cart with bronze-rimmed wheels, and a large bronze cauldron were discovered." (Mr Devotor, Gonur Tepe, the buried fortress gtown of Turkmenistan, April 16, 2019) Source: https://charismaticplanet.com/gonur-tepe/ 

See: Archaeological, Indus Script evidence for Meluhha smiths, traders moving into Indo-European speaker areas of BMAC and Anau, Turkmenistan, ca. 2300 BCE http://tinyurl.com/y4h4qu3  


RV X.85.1 to 4 1. TRUTH is the base that bears the earth; by Surya are the heavens sustained.By Law the Adityas stand secure, and Soma holds his place in heaven.
2 By Soma are the Adityas strong, by Soma mighty is the earth.Thus Soma in the midst of all these constellations hath his place.3 One thinks, when they have brayed the plant, that he hath drunk the Somas' juice;Of him whom Brahmans truly know as Soma no one ever tastes.Soma, secured by sheltering rules, guarded by hymns in Brhati,
Thou standest listening to the stones none tastes of thee who dwells on earth.

1. Mortals do not taste Soma. RV 10.85.3, 4 which suggest that Brahmana and those who dwell on earth do NOT partake of Soma. Similar refrain occurs in Atharva Veda. Hillebrandt and Oldenburg suggest that Soma is a metahpor for the sun or moon. I suggest that Soma is a metaphor for metal, iron pyrites.
2. माक्षिक, the fly, betrays Soma. RV 1.119.9 There is a pun on the word माक्षिक which also signifies 'pyrites' (secondary ores). Rigveda citation: 
To you, O Aswins, that fly betrayed the soma: RV 1.119.9 Line 1
RV I.119.9 To you in praise of sweetness sang the honeybee-: Ausija calleth you in Somas' rapturous joy.
Ye drew unto yourselves the spirit of Dadhyac, and then the horses' head uttered his words to you.
10 A horse did ye provide for Pedu, excellent, white, O ye Asvins, conqueror of combatants,
Invincible in war by arrows, seeking heaven worthy of fame, like Indra, vanquisher of men.

3. Reference to Soma in the dual and plural RV 9.66.2,3,5 refer to Soma in dual, or plural (re-inforcing the allegorical nature of the descriptions.

RV IX.66.1. FOR holy lore of every sort, flow onward thou whom all men love.
Friend to be besought by friends.
2 Over all thou rulest with these Two which, Soma Pavamana, stand,
Turned, as thy stations, hitherward.
3 Wise Soma Pavamana, thou encompassest on every side
Thy stations as the seasons come.
4 Flow onward, generating food, for precious boons of every kind,
Friend for friends, to be our help.
5 Upon the lofty ridge of heaven thy bright rays with their essences,
Soma, spread purifying power.

Indus Script hypertexts and meanings in Meluhha speech, in reference to the following images:

pañja 'feline paw' rebus: pañja 'kiln, furnace'
kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'
pajhar 'eagle' rebus: pasra 'smithy'
eraka 'wing' rebus: eraka 'moltencast, copper' arka 'gold'
dhangar 'bull' Rebus: dhangar 'blacksmith'
arye 'lion' rebus: āra 'brass'

Carved horn cup showing Anzud, the lion-headed eagle, attacking a bull/man 


पोळ pōḷa, 'Zebu, bos indicus'  Rebus: पोळ pōḷa, 'magnetite, ferrite ore'; poladu, 'black drongo' bird' rebus: poladu 'steel'.; adar angra ‘zebu': Rebus: aduru hangar ‘native metal smith’. arye 'lion' āra 'brass'. min 'lightning''metal' = kol'metal'. The Pali semantics ayo, 'metals, metal alloy of gold' are consistent with the meaning provided in synonyms for the gloss, kol : மின் வெள்ளி பொன் கொல்லெனச் சொல்லும் (தக்கயாகப். 550).

Hieroglyphs which are synonyms: vajra & falcon:: śyēná श्येन [p= 1095,2] denotes a hawk , falcon , eagle and also sena, heṇa ʻ thunderbolt ʼ (Sinhala); aśáni f. ʻ thunderbolt ʼ (Rigveda).






Limestone
H. 14 cm; W. 14 cm
Tell al-Ubaid (Iraq)
Early Dynastic III
B15606 (T.O. 288)

dāmra, damrā ʻ young bull (a.)(CDIAL 6184). K. ḍangur m. ʻbullockʼ (CDIAL 5526).
 Rebus: hangar blacksmith (H.kol ‘tiger’; rebus: kol ‘smithy’. eṟaka ‘wing’ (Telugu) Rebus: eraka ‘copper’. Thus, the ligatured glyph denotes: copper smithy -- pasra. cf. pajhar 'eagle' (Santali)
Limestone plaque with relief-carved depiction of a human-faced bison, with its front hooves on a plant sprouting from a rocky outcropping or mountain. A lion-headed (eagle-like) bird of prey on the bison’s back--the mythical anzû--bites its haunch.
[quote] The bison’s body is in profile, its face forward. The stylization of the animal’s shoulder as an undulating band and the inward-curving tufts of hair on the fetlocks are typical of the late Early Dynastic period. The three overlapping semi-circles that form the rocky outcropping or mountain are reminiscent of the cuneiform sign signifying both mountain and foreign land and suggestive of a natural setting for the action depicted in the distant highlands. The lion-headed bird of prey’s folded wings, neck and tail are rendered with a grid of incised lines.
The square plaque described here is from Woolley’s 1923-24 excavations in front of Tell al-Ubaid’s late Early Dynastic temple platform (see INTRODUCTION: Tell al-Ubaid). Woolley focused his efforts on the northwest side of the central stair ramp. The plaque was relatively high in the mudbrick debris from the collapse of the platform’s superstructure and in close proximity to an inlay panel depicting milking scenes and rows of cattle. In fact, B15606 was just under and against a section of the frieze with shell figures of five bulls facing right and may have originally been attached to it. With the plaque (but detached from it), were the remains of a copper border similar to that of the inlay panels. The background of the plaque had been painted black to match the dark color of the bituminous limestone background of the inlay panels.
The human-faced bison, Sumerian (gud) alim or Akkadian kusarikku, is associated with the sun-god Utu/Shamash, perhaps in part because it inhabited the eastern mountains from which the sun rose. An Akkadian cylinder seal from Susa in fact depicts the sun god rising above two addorsed recumbent human-faced bisons in place of the stylized mountains that normally mark his abode. And in a hymn the sun god is likened to a bison, “ Lord, bison, striding over the mountain, Utu, bison, striding over the mountain.”
The mythical anzû, who nests in the high mountains, is a seemingly benevolent creature, at least in early texts and imagery. For example, in the mythical narrative Lugalbanda and the Anzû -bird, composed in the late 3rd millennium BCE, when the anzû-bird returned from hunting to find his nest embellished like a god’s dwelling, with his chick adorned and fed, the anzû exulted in his own role as intermediary to Enlil
I am the prince who decides the destiny of rolling rivers. I keep on the straight and narrow path the righteous who follow Enlil's counsel. My father Enlil brought me here. He let me bar the entrance to the mountains as if with a great door. If I fix a fate, who shall alter it? If I but say the word, who shall change it? Whoever has done this to my nest, if you are a god, I will speak with you, indeed I will befriend you. If you are a man, I will fix your fate. I shall not let you have any opponents in the mountains. You shall be 'Hero-fortified-by-Anzû'.
Anzû was Enlil’s symbol, and depictions of the anzû with wings outstretched over antithetical animals symbolic of other deities probably reflects Enlil’s all-encompassing power. The anzû -relief from Tell al-Ubaid, then, would depict Enlil over the stags associated with Ninhursag. Anzû’s close association with Ningirsu, Enlil’s son and warrior and Lagash’s tutelary deity, is evident at Tello (Girsu), both in texts and imagery in Early Dynastic-Ur III periods. On Eannatum’s Stele of the Vultures, for example, Ningirsu’s battle net is held closed by the anzû and antithetical lions, Ningursu’s animals, while a macehead, currently in the British Museum (BM 23287), dedicated to Ningirsu for the life of Enannatum shows the anzû grasping lions. In Gudea’s Cylinders Ningirsu’s temple Eninnu had the epithet “white anzû,” perhaps a reference to some significant architectural embellishment such as Urnamma affixed to the gates of Enlil’s Ekur.
But the anzû was a complex creature and one portrayed as more troublesome in later literary compositions. The Epic of Anzû, which exists in copies dating to the early 2nd millennium BCE, tells the tale of a malevolent anzû who steals the “tablet of destinies” and is eventually slain by Ninurta. Though Akkadian seals, showing a bird-man brought before Enki, may depict excerpts from this story, suggesting that at least in certain traditions the anzû was thought of as a creature with a dual—benevolent and malevolent--character already at the end of the 3rd millennium BCE, their reading remains a matter of controversy.
Whatever the complexity of the mythology regarding the anzû, the imagery of B15606, on which the anzû is shown in overtly aggressive behavior toward an animal of the mountains, associated with the sun god, remains perplexing. Similar scenes occur on shell inlays from Tello and Ur, as well as Tell Mardikh (Ebla) in western Syria. For example, one end panel of the Royal Standard of Ur shows the anzû attacking recumbent human-faced bisons on each side of a mountain from which a plant grows. Such scenes may reflect the menacing behavior of the anzû to men and gods, but more likely depict the anzû’s normal behavior in its natural habitat. B15606’s juxtaposition with scenes of herding and milking cattle, then, could be read as contrasting the settled conditions of a “civilized” floodplain with life in the mountains, where, as Lugalanda and the Anzû describes, bulls ran wild and the anzû hunted to feed its offspring. [unquote]
Richard L. Zettler



Inscribed head of a mace with Imdugud (Anzu) and Enannatum, the British Museum, London.



Stone mace head, front and back:  A votive offering to a temple; it is too large to have been used as a weapon. Anzud is also known as Imdugud. 
British Museum.  Stone mace head Kingdom of Lagash, about BC Possibly from Tello (ancient Girsu), southern Iraq

Taken from the original plaque
Sumer.Anzud with two lions.  I photographically repaired some of the damage done to the figures and remodeled the background.
File:Imdugud.jpg

Copper friezeImdugud (also Zu or Anzu), the lion-headed eagle; Sumerian metalwork (sheets of copper), Temple of Ninhursag at Tell al-'Ubaid; ca. 2500 BCE http://commons.wikimedia.org/wiki/File:Imdugud.jpg.
From the temple of Ninhursag, Tell al-'Ubaid, southern Iraq
Pendant of gold and lapis lazuli.

About 2600-2400 BCE A rare metalwork survival


[quote] This relief was one of a group of objects found at the small site of Tell al-'Ubaid, close to the remains of the city of Ur. It was discovered at the base of a mud-brick platform on which had been built a temple dedicated to the goddess Ninhursag.
The frieze may have originally stood above the door of the temple, and if so, is the most striking element of what survives of the temple façade. The frieze was badly damaged when it was found. Only one stag's head was recovered intact and the head of the eagle had to be restored. This restoration, based on images of similar date, shows the lion-headed eagle Imdugud, the symbol of the god Ningirsu. The artist has allowed the lion head to break out of the confines of the framework, suggesting Imdugud's great power.
The relief is formed from sheets of copper alloy beaten into shape and fastened, with pins and twisted lengths of copper, to a wooden core coated with bitumen. The survival of such a large piece of metalwork from this period is exceptional. Though copper, probably from the regions of modern Oman and Iran, was the most widely-used metal at this time, most metal objects have either disintegrated or the metal was melted down and re-used. [unquote]
H.W.F. Saggs, Babylonians (London, The British Museum Press, 1995)
D. Collon, Ancient Near Eastern art (London, The British Museum Press, 1995)
M. Roaf, Cultural atlas of Mesopotamia (New York, 1990)
H.R. Hall and C.L. Woolley, Ur Excavations, vol. I: Al-Uba(London, Oxford University Press, 1927)


Fragment of an Iranian Chlorite Vase decorated with the lion headed eagle (Imdugud) found in the temple of Ishtar during the 1933 - 1934 fieldwork by Parrot. Dated 2500 - 2400 BC. Louvre Museum collection AO 17553. 

Elamite bird (eagle?) with spread wings on an axe head from Tepe Yahya (Lamberg-Karlovsky and Potts 2001: 

 


m1390Bt Text 2868 Pict-74: Bird in flight.

Harappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255   

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

dhanga 'mountain range' Rebus: dhangar 'blacksmith'


Ta. eruvai a kind of kite whose head is white and whose body is brown; eagle. Ma. eruva eagle, kite.(DEDR 818). Rebus: eruvai ‘copper’ (Tamil).

eṟaka ‘wing’ (Telugu) Rebus: erako ‘molten cast’ (Tulu) loa ‘ficus’; rebus: loh ‘copper’. Pajhar ‘eagle’; rebus: pasra ‘smithy’.


      
kanda.’fire-altar’.khamba ‘wing’ rebus: kammaTa ‘mint’. gaṇḍa ‘four’ Rebus: khaṇḍa ‘metal implements.  Together with cognate ancu ‘iron’ the message is: native metal implements mint.

श्येन [p= 1095,2] m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle Śulbas. (Monier-Williams) śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sensẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala): 

aśáni f. ʻ thunderbolt ʼ RV., °nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.] Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ. &circmacrepsilon;n (both with n, not ), P. āhiṇ, f., āhaṇaihaṇ m.f., WPah. bhad. ã̄ṇhiṇi f., N. asino, pl. °nā; Si. senaheṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be *ā̤n; -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v.śilāˊ -- . (CDIAL 910) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ]Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207)Bogazkoy Indus Script seal, sēṇa 'eagle' rebus: sena ʻvajra, thunderboltʼ PLUS dhAtu 'strands of rope' Rebus'mineral, metal, ore' (CDIAL 6773) Alternative: मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f. ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: me'iron'. mẽṛhet ‘iron’ (Mu.Ho.)  Alternative: pajhar 'eagle' rebus: pasra 'smithy, forge' dul 'pair' rebus: dul 'metal casting'.
On the cylinder seal of Adda (c. 2300 BCE), scribe, the eagle flying down towards the water overflowing from the horned person's shoulders compose the key Indus Script hypertexts in Meluhha, which link to Sarasvati Civilization and to R̥gveda ākhyāna 'historical narrative' of श्येन m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c. The word also signifies: firewood laid in the shape of an eagle (शुल्ब-सूत्र). Etyma link श्येन with آهن āhan P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garān. آهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing.(Pashto) ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmiri) āhaṇaihaṇ m.f., WPah. bhad. ã̄ṇhiṇi f., N. asino, pl. °nā; Si. senaheṇa ʻ thunderboltʼ (CDIAL 910). The thunderbolt produced by  han-gār अहन्-गार्, 'blacksmith' is the vajra, 'thunderbolt' eulogised as the powerful weapon of Indra in R̥gveda. This is iron metalwork, weapon in armoury par excellence of अहन्-गार् 'blacksmiths' of Sarasvati Civilization. Overflowing pot signifies: lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans' (Marathi) emanating from khamba 'shoulder' rebus: kammaṭa 'mint' and the eagle signifies: senaheṇa ʻ thunderboltʼ PLUS khamba 'wings' rebus: kammaṭa 'mint', i.e. metallic weapon, vajra, from the mint. A leafless tree is signified on the mountain of Adda, scribe seal: khōṇḍa'leafless tree' (Marathi). Rebus: kõdār 'turner' (Bengali) Rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃daपयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri).A one-horned young bull frequently signified on Indus Script Corpora is signified below the feet of the horned person on Adda, scribe cylinder seal: the hypertext is:  kō̃da 'young bull' rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri). Thus, working with a smelter, The mountain-range is topped by a kuṭi 'tree' rebus: kuṭhi'smelter' worked by danga 'mountain range' rebus: dhangar 'blacksmith'. In another register on the Adda, scribe cylinder seal, an archer stands next to a roaring lion to signify a brass mint: arye 'lion' rebus: āra 'brass' PLUS kamaḍha 'archer' Rebus: kammaṭa 'mint, coiner, coinage'; The thunderbolt is made of ayaskāṇḍa, 'excellent iron': ayo 'fish' rebus: ayas 'metal alloy' aya 'iron' (Gujarati) PLUS kāṇḍā 'water', rebus:  'metalware, tools'. Thus, ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ). āhan is iron, ayas is iron, also alloy metal.


m0451A
m0451BText 3235


m0451A,B Text3235 h166A,B Harappa Seal; Vats 1940, II: Pl. XCI.255. http://www.metmuseum.org 
eṟaka ‘wing’ (Telugu) Rebus: erako ‘molten cast’ (Tulu) loa ‘ficus’; rebus: loh ‘copper’. pajhar ‘eagle’; rebus: pasra ‘smithy’. पाजिकः A falcon (Skt.)
ḍato = claws of crab (Santali) ḍato ‘claws or pincers (chelae) of crabs’; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhātu = mineral (Skt.) kamaṭha crab (Skt.) Rebus: kammaṭa = portable furnace (Te.) kampaṭṭam coiner, mint (Ta.)
Peg ‘khuṇṭa’; rebus: kūṭa ‘workshop’ khũṭi = pin (M.) kuṭi= smelter furnace (Santali) konḍu  मूलिकादिघर्षणवस्तु m. a washerman's dressing iron (El. kunḍh); a scraper or grater for grating radishes, or the like; usually ˚ -- , the second member being the article to be grated, as in the following: -- kȧnḍi-mujü घर्षिता मूलिका f. grated radish, but mujĕ-konḍu, a radish-grater (cf. mujü). (Kashmiri) *khuṭṭa1 ʻ peg, post ʼ. 2. *khuṇṭa -- 1. [Same as *khuṭṭa -- 2? -- See also kṣōḍa -- .]1. Ku. khuṭī ʻ peg ʼ; N. khuṭnu ʻ to stitch ʼ (der. *khuṭ ʻ pin ʼ as khilnu from khil s.v. khīˊla -- ); Mth. khuṭā ʻ peg, post ʼ; H. khūṭā m. ʻ peg, stump ʼ; Marw. khuṭī f. ʻ peg ʼ; M. khuṭā m. ʻ post ʼ.2. Pk. khuṁṭa -- , khoṁṭaya -- m. ʻ peg, post ʼ; Dm. kuṇḍa ʻ peg for fastening yoke to plough -- pole ʼ; L. khū̃ḍī f. ʻ drum -- stick ʼ; P. khuṇḍ, ḍā m. ʻ peg, stump ʼ; WPah. rudh. khuṇḍ ʻ tethering peg or post ʼ; A. khũṭā ʻ post ʼ, ṭi ʻ peg ʼ; B. khũṭā, ṭi ʻ wooden post, stake, pin, wedge ʼ; Or. khuṇṭa, ṭāʻ pillar, post ʼ; Bi. (with -- ḍa -- ) khũṭrā, rī ʻ posts about one foot high rising from body of cart ʼ; H. khū̃ṭā m. ʻ stump, log ʼ, ṭī f. ʻ small peg ʼ (→ P.khū̃ṭā m., ṭī f. ʻ stake, peg ʼ); G. khū̃ṭ f. ʻ landmark ʼ, khũṭɔ m., ṭī f. ʻ peg ʼ, ṭũ n. ʻ stump ʼ, ṭiyũ n. ʻ upright support in frame of wagon ʼ, khū̃ṭṛũn. ʻ half -- burnt piece of fuel ʼ; M. khũṭ m. ʻ stump of tree, pile in river, grume on teat ʼ (semant. cf. kīla -- 1 s.v. *khila -- 2), khũṭā m. ʻ stake ʼ, ṭī f. ʻ wooden pin ʼ, khũṭaḷṇẽ ʻ to dibble ʼ.Addenda: *khuṭṭa -- 1. 2. *khuṇṭa -- 1: WPah.kṭg. khv́ndɔ ʻ pole for fencing or piling grass round ʼ (Him.I 35 nd poss. wrong for ṇḍ); J. khuṇḍā m. ʻ peg to fasten cattle to ʼ. (CDIAL 3893) Vikalpa: pacar = a wedge driven ino a wooden pin, wedge etc. to tighten it (Santali.lex.) pasra = a smithy, place where a black-smith works, to work as a blacksmith; kamar pasra = a smithy; pasrao lagao akata se ban:? Has the blacksmith begun to work? pasraedae = the blacksmith is at his work (Santali.lex.)
khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.)

Alternative decipherment:

[alloy metal mint workshop]

Field symbol 1: पोळा [ ā ] 'zebu, bos indicus taurus' rebus: पोळा [ ā ] 'magnetite, ferrite ore: Fe3O4' 

Field symbol 2: sea 'falcon' rebus: sea, aśani 'thunderbolt', āhan gar 'blacksmith'  PLUS kambha 'wing' rebus: kammaa 'mint, coiner, coinage[Metwork catalogues: ferrite ore, blacksmith mint] Alternate titles: sēnāpati m. ʻ leader of an army ʼ AitBr. [sḗnā -- , páti -- ]Pa. sēnāpati -- , °ika -- m. ʻ general ʼ, Pk. āvaï -- m.; M. śevaī°vīśeai m. ʻ a class of Brahmans ʼ, Ko. śevi; Si. senevi ʻgeneralʼ.(CDIAL 13589) Vikalpa: eruvai ‘eagle’ rebus: eruvai ‘copper’ 

Text 3235

loa 'ficus glomerata' Rebus: loha 'copper, iron'. PLUS karī  ‘ears’ rebus: karī 'supercargo, scribe' [supercargo in charge of copper, iron ores]

kuila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuika— ‘bent’ MBh. Rebus: kuila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūa, 'brass'  Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl°lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥ कौटिलिकः 1 A hunter.-2 A blacksmith  PLUS dula ‘duplicated’ rebus: dul ‘metal casting’. Thus, bronze castings. [bronze castings]

khaṇḍa 'division'. rebus: kaṇḍa 'implements' PLUS dula 'two' rebus: dul 'metal casting' [metal implement castings]

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

ayo, aya 'fish' rebus: aya 'iron' ayas 'metal alloy' (Rigveda) PLUS khambhaā 'fish-fin rebus: kammaa 'mint, coiner, coinage'.PLUS sal ‘splinter’ rebus: sal ‘workshop’ [alloy metal mint workshop]

Thus, the Mohenjodaro tablet is a metalwork catalogue of: 1.ferrite ore; 2.blacksmith mint, army general.

Accounted sub-categories: 

[supercargo in charge of copper, iron ores]
[bronze castings]
[metal implement castings]
[ingots, implements]
[alloy metal mint workshop]

 

216).Harappa seal. Eagle in flight. 

Enmetena silver vase


Image result for Tripod silver vase of Enmetena, dedicated to the war god Ningirsu. The legs are made of copper. The vase features an image of Anzud, the lion-headed eagle, grasping two lions with his talons.

Tripod silver vase of Enmetena, dedicated to the war god Ningirsu. The legs are made of copper. The vase features an image of Anzud, the lion-headed eagle, grasping two lions with his talons.
Image result for Tripod silver vase of Enmetena, dedicated to the war god Ningirsu. The legs are made of copper. The vase features an image of Anzud, the lion-headed eagle, grasping two lions with his talons.

The image of Anzud shows up better in this old photograph. Anzud (also known as Imdugud) was the symbolic animal of Ningirsu. The image of Anzud with the two lions seems to be symbolic of the city of Lagash.
Image result for Tripod silver vase of Enmetena, dedicated to the war god Ningirsu. The legs are made of copper. The vase features an image of Anzud, the lion-headed eagle, grasping two lions with his talons.

Another view of the silver vase of Enmetena

The dedicatory inscriptions wrap around the neck of the vase: 

Translation of the inscriptions from the CDLI (P222539):


For Ningirsu, the hero of Enlil,
Enmetena, ruler of Lagash,
chosen by the heart of Nanshe,
chief ruler of Ningirsu,
son of Enannatum, ruler of Lagash,
for the king who loved him, Ningirsu,
(this) gurgur-vessel of refined silver,
from which Ningirsu will consume the monthly oil (offering),
he had fashioned for him.
For his life, before Ningirsu of the Eninnu (temple)
he had it set up.
At that time Dudu
was the temple administrator of Ningirsu. http://sumerianshakespeare.com/70701/74901.html

Terracotta plaque showing a bull-man holding a post


Old Babylonian, about 2000-1600 BCE From Mesopotamia Length: 12.800 cm Width: 7.000 cm ME 103225 Room 56: Mesopotamia
This plaque depicts a creature with the head and torso of a human but the horns, lower body and legs of a bull. Though similar figures are depicted earlier in Iran, they are first seen in Mesopotamian art around 2500 BC, most commonly on cylinder seals, and are associated with the sun-god Shamash. The bull-man was usually shown in profile, with a single visible horn projecting forward. However, here he is depicted in a less common form; his whole body above the waist, shown in frontal view, shows that he was intended to be double-horned. He may be supporting a divine emblem and thus acting as a protective deity.
Baked clay plaques like this were mass-produced using moulds in southern Mesopotamia from the second millennium BC. While many show informal scenes and reflect the private face of life, this example clearly has magical or religious significance.
British Museum, A guide to the Babylonian and, 3rd ed. (London, British Museum, 1922)
J. Black and A. Green, Gods, demons and symbols of -1(London, The British Museum Press, 1992)

Image result for Neo-Sumerian Statuette of an Androcephalous Bull, C. 2350-2000 BC Made of Chlorite with inlays (now mostly missing)Neo-Sumerian Statuette of an Androcephalous Bull, C. 2350-2000 BC Made of Chlorite with inlays (now mostly missing)
 
Base for a ritual offering, carved with animals Elamite period, mid-3rd millennium BCE

Tell of the Acropolis, Susa, Iran Bituminous rock H. 19 cm; Diam. 11 cm Jacques de Morgan excavations, 1908 Lions and gazelles passant; eagles protecting their young Sb 2725
This base for a ritual offering is made of bitumen. This material was plentiful throughout the Middle East, but only in Susa was it used in sculpture. The object is carved with big cats, gazelles, and eagles. The theme of the eagle spreading its wings to protect its young was found only in Iran and also features on painted ceramics of the same period. 
Bitumen: a plentiful material used in an unusual manner
This object in the form of a truncated cone is a base for a ritual offering. It is carved from bituminous rock, found throughout the region but used in sculpture only in Susa. It was used to make vases similar to this object (Louvre, Sb2726), and later, in the early years of the 2nd millennium BC, vases carved with bas-relief decorations and an animal's head in high relief (Louvre, Sb2740). The shape of this object - a truncated cone - is similar to other pieces made of chlorite and dating from the same period. The mortise at the top of the cone and the unfinished lip suggest that the object originally had a second part that fitted on top of the cone. However, the precise purpose of the object remains a mystery.
The animal carvings
The cone is carved with two registers separated by a narrow strip. The upper register is decorated with two gazelles calmly grazing on vegetation, represented by stalks between each animal. Alongside the two gazelles are two big cats, almost certainly lions, with their backs to each other. Their stylized manes are shown as vertical strips, reminiscent of those of the woolen Mesopotamian garments known as kaunakes. Their tails are raised horizontally over their backs, similar to depictions of lions on cylinders from Uruk or Susa. Their heads are depicted in geometrical form. All four animals are shown in profile. The artistic desire to create a scene and a landscape imbued with life is also evident in two cylinders from Uruk and Khafaje. 
The lower register shows two highly stylized eagles, upright, as if resting on their tail feathers. Their wings and talons are spread to protect the chicks beneath them. These eagles differ somewhat from the usual representation of eagles as the attribute of the Sumerian god Ningirsu, where the birds are depicted with a lion's head, holding two lion cubs, which are shown face on.
Mythological creatures or carvings of local wildlife?
Eagles were a major theme in Susian and Mesopotamian art. This depiction of an eagle resting on its tail feathers is also found in ceramics, glyptics, and perforated plaques dating from the 3rd millennium BC. However, unlike Mesopotamian eagles, Susian eagles never resembled composite animals. Likewise, Mesopotamian eagles had a mythological dimension, which was absent from Susian portrayals of the bird. In Susa, eagles were simply considered ordinary birds of prey.
Bibliography
Amiet Pierre, Élam, Auvers-sur-Oise, Archée, 1966, p. 166, fig. 119.
Les quatre grandes civilisations mondiales. La Mésopotamie entre le Tigre 
et l'Euphrate, cat. exp., Setagaya, musée d'Art, 5 août-3 décembre 2000, Fukuoka, musée d'Art asiatique, 16 décembre 2000-4 mars 2001, Tokyo, NHK, 2000, pp. 214-215.

http://www.louvre.fr/en/oeuvre-notices/base-ritual-offering-carved-animals
Sumer of Anzu, the eagle is compared with śyena-amśu (soma) of Rigveda. Similarities are striking indeed and should provide a pause to an understanding of the bronze-age recorded in the many metaphors and hieroglyphs (such as the overflowing vase of Gudea, discussed in 

Ancient near East Gudea statue hieroglyph (Indus writing): lokhãḍ, 'copper tools, pots and pans' Rebus: lo 'overflow', kāṇḍa 'sacred water'.
The parallels of metaphors/imageries are so vivid that a relationships between the people who narrated the exploits of heroes of Sumer and the exploits of Indra narrated in the Rigveda have to be deep indeed and cannot be explained away as mere coincidences.
Anzu stole the tablet of destinies. Śyena of Rigveda brought the amśu (soma) from the heavens. Anzu is derived from An "heaven" and Zu "to know", in Sumerian language.
See: http://bharatkalyan97.blogspot.in/2011/09/decipherment-of-soma-and-ancient-indo.html Soma-haoma, *sauma ? somnakay ! samanom ! *haeusom-
French scholar, Prof. Pinault identifies amśu of Rigveda with anzu of Tocharian. In Tocharian it means 'iron'. Tocharin language as an Indo-European language has revealed a word anzu in Tocharian which meant 'iron'. It is likely that this is the word used for soma in Rigveda. The imagery of an eagle stealing soma also occurs in ancient Indian texts. There is a hymn to śyena in Atharvaveda (7.41).

A synonym of soma is amśu. śyena, the hawk has brought the soma from the heaven.

श्येन आसां अदितिः कक्ष्यो मदों विज्वारस्य याजतस्य मायिनः
सं अन्यं अन्यं अर्थयन्थ्येतवे विदुर्विष्आणं परिपानं RV 5.44.11
5.044.11 Swift is the excessive and girth-distending inebriation of Viśvavārā, Yajata and Māyin; (by partaking) of these (juices) they urge one another to drink; they find the copious draught the prompt giver of intoxication. [Swift is...inebriation: śyena āsām aditih kakṣyo madah: śyena = śīghra, quick; aditi = atisamṛddhah; āsām = of these, Soma juices; mada = intoxication, is the devata_ of the verse].

उत स्मास्य द्रवतस्तुरण्यतः पर्णं न वेरनु वाति प्रगर्धिनः श्येनस्येव ध्रजतो अङ्कसम्परि दधिक्राव्णः सहोर्जा तरित्रतः RV 4.40.3

4.40.03 And after him who is quick-going, hastening, eager (to arrive at his gold, men) follow (as other birds pursue) the flight of a swift (bird) striving together to keep up by the side of Dadhikrāvaṇ the transporter (of others) as swift as a hawk. [Yajus. 9.15; after him who is: asya dravatas turaṇyatah parṇam nādādhāram urah pradeśam vā of Dadhikrāvaṇ, together with strength, or for the sake of strength together, enabling to cross; an:kasam pari = a horse's trappings, the cloth, tail, vastracamarādikam, over all his body, which fly open as the horse gallops, like the wings of a bird, the horse has the speed of a hawk].

Vāmadevagautama sings the following rca-s for śyena:
प्र सु श विभ्यो मरुतो विरस्तु प्र श्येनः श्येनेभ्य आशुपत्वा अचक्रया यात स्वधया सुपर्णो हव्यं भरन्मनवे देवजुष्टं (RV 4.26.4)
4.26.4 May this bird, Maruts, be pre-eminent over (other) hawks, since with a wheelless car the swift-winged bore the Soma, accepted by the gods, to Manu. [With a wheelless car: acakrayā vadhayā = cakrarahitena rathena, with a car without wheels; the text has havyam, this is a metonymy for the Soma, which is said to have been brought from heaven by the gāyatrī, in the form of a hawk; by the hawk, we are to understand the supreme spirit, parabrahma].
Alternative: Before you measure this falcon, O Maruts, supreme is this swift-winged Shyena, strongly self-possessed with no one to bear him, That One brought to Manu the wholesome offerings.Explanation: It is impossible to measure the comprehensive energy existing in That One, who as swift-moving falcon envelops and pervades far distant places. In earlier days Manu, who was effulgent with Bliss, the essence of That One, was provided with wholesome offerings. Seer seems to suggest that even as Manu earlier, with whom he has established companionship, he too now should be the beneficiary of the choice offerings.
भरद्यदि विरतो वेविजानः पथोरुणा मनोजवा असर्जि तूयं ययौ मधुना सोम्येनोत श्रवो विविदे श्येनो RV 4.26.5
4.26.5 When the bird, intimidating (its guardians), carried off from hence (the Soma) it was at large; (flying) swift as thought along the vast path (of the firmament), it went rapidly with the sweet Soma, and the hawks thence acquired the celebrity in this world.
Alternative: When the bird brought in rapid movements and sent the swift thoughts on widespread Path, the same were returned with sweetness of Bliss, the Falcon in that process attaining brilliance. Explanation: Bird is the energy that elevates the thought fastest moving in universe, with swiftness of a falcon, unless it is with difficulty restrained. The thoughts imbibe the bliss of That One, the falcon, in that process shining with resplendence.
ऋजीपी श्येनो ददमानो अम्शुम्परावतः शकुनो मन्द्रं मदं सोमं भरद्दादृहाणो देवावान्दिवो अमुश्मा दुद्दरादआदाय RV 4.26.6
4.26.6 The straight-flying hawk, conveying the Soma from afar; the bird, attended by the gods, brought, resolute of purpose, the adorable exhilarating Soma, having taken it from that lofty heaven.
Alternative: Climbing above holding the thought and the bird bringing the draught that gladdens, the Falcon spreads upward. Comrade of the luminous beings clutching Soma which the birds had brought it rises to the loftiest heavens.
Explanation: Noble thoughts elevate the soul upward and ignoble ones relegate it downward. As the thoughts become energetic with bliss brought by birds from the heavens, the falcon takes elevates them thus enriched with the Bliss of Beatitude, the loftiest of heavens.
आदाय श्येनो अभारत्सोमं सहस्रं सवा अयुतं च साकं अत्रा पुरन्धिरजहाद अरातीर मदे सोमस्य मूरा अमूरः RV 4.26.7
4.26.7 Having taken it, the hawk brought the Soma with him to a thousand and ten thousand sacrifices, and this being provided, the performer of many (great) deeds, the unbewildered (Indra) destroyed, in the exhilaration of the Soma, (his) bewildered foes.
Alternative: Providing Soma bearing thousand libations, yes, ten thousand libations Shyena the falcon bringing it from above offers it down here on earth. Therein, the courageous ones leave all the malignant ones behind, the wise with wild ecstasy, leaving the unwise far behind.Explanation: That One, the falcon brings luminous libations from above and offers them here down below to those who deserve. The enlightened bold ones leave the malignant ones far behind, wise becomes wild with abundance and the timid sinking in scarcity. [Source for the alternative renderings of 4.26.4 to 7: http://nageshsonde.com/Rigveda_A_Study_on_Forty_Hymns.pdf]
Vāmadevagautama continues the prayer to śyena in the next Sūkta:
गर्भे नु सन्नन्वेषां अवेदं अहं देवानां जनिमानि विश्वा शतं मा पूर आयासीराराक्षन्नध श्येनो जवसा निरदीयं RV 4.27.1
4.27.1 Being still in the germ, I have known all the births of these divinities in their order; a hundred bodies of metal confined me, but as a hawk I came forth with speed. [i.e., until the sage comprehended the differences between the body and soul, and learned that soul was unconfined, he was subject to repeated births; but in this stage he acquired divine knowledge, and burst through the bonds with the force and celerity of a hawk from its nest; Vāmadevaśyena rūpam āsthāya garbhād yogena nihsṛtah = Vāmadeva, having assumed the form of a hawk, came forth from the womb by the power of Yoga (Nītimañjari)].
न घा स मां अप जोषं जभाराभीं आस त्वक्षसा वीर्येण ईर्मा पुरंधिरआजहादरातीरुत वाता अतरच्छू शुवानः RV 4.27.2
4.27.2 That embryo did not beguile me into satisfaction, but by the keen energy (of divine wisdom), I triumphed over it; the impeller of all, the sustainer of many, abandoned the foes (of knowledge), and, expanding, passed beyond the winds (of worldly troubles). [The impeller of all: the paramātmā, or supreme spirit; beyond the winds: the vital airs, or life, the cause of worldly existence, which is pain].
अव यच्छ्येनो अस्वनीदध द्योर्वि यद् यदि वात ऊहुः पुरन्धिं सुजद्यदस्मा अव हा क्षिपज्ज्यां कुशानुरस्ता मनसा भरण्यन् RV 4.27.3
4.27.3 When the hawk screamed (with exultation) on his descent from heaven, and (the guardians of the Soma) perceived that the Soma was (carried away) by it then, the archer of Kṛśānu, pursuing with the speed of thought, and stringing his bow, let fly an arrow against it. [Note: śankha Kṛśānu is a conch-shell cutter.]
ऋजिप्य ईं इन्द्रावतो न भुज्युम श्येनो जभार बृहतो अधि ष्णोः अन्तः पतत्पतत्र्यस्य पर्णं अध यामनि प्रसितस्य तद्वेः RV 4.27.4
4.27.4 The straight-flying hawk carried off the Soma from above the vast heaven, as (the Aśvins carried off) Bhujyu from the region of Indra, and a falling feather from the middle of the bird dropped from him wounded in the conflict. [antah parṇam tan madhye sthitam; one nail of the left foot and the shaft was broken by the collision, the fragments of the nail became the quills of the fretful porcupine, those of the arrow, water-snakes, flying foxes, and worms].
अध श्वेतं कलशं गोभिरं आपिप्यानं मघवा शुक्रमन्धः अध्वर्युभिः प्रयातं मध्वो अग्रम इन्द्रो मदाय प्रत्पिबध्यै शूरो मदाय प्रति धत्पिबध्यै RV 4.27.5
4.027.05 Now may Maghavan accept the pure nutritious (sacrificial) food in a white pitcher, mixed with milk and curds, offered by the priests; the upper part of the sweet (beverage) to drink for his exhilaration; may the hero accept (it) to drink for (his) exhilaration.
आवर्त्या शुन आन्त्राणि पेचे न देवेषु विविदे मर्डितारं अपश्यं जायां अमहॆयमानां अधा मे श्येनो मध्वाजभरि RV 4.18.13
4.18.13 In extreme destitution I have cooked the entrails of a dog; I have not found a comforter among the gods; I have beheld my wife disrsepected; then the falcon, (Indra), has brought to me sweet water. [In extreme destitutuin: So Manu has, Vāmadeva, who well knew right and wrong, was by no means rendered impure, though desirous when oppressed with hunger, of eating the flesh of dogs for the preservation of his life; icchan attum, wishing to eat; the text has śuno āntrāṇi pece, I cooked the entrails of a dog; the falcon: i.e., as swift as a hawk, śyena vat śīghragāmīndrah]. [Sūkta 18: Ṛṣi vāmadeva, while yet in the womb, was reluctant to be born and chose to come into the world through his mother's side; aware of his purpose, the mother prayed to Aditi, who thereupon came, with her son Indra, to expostulate with the Ṛṣi; this is the subject of the Sūkta].
The Sūkta's of Ṛṣi vāmadeva are brilliant evocations of the deeds of Indra, the thunder-bolt wielder and repeatedly evoke the memories enshrined in the Sumerian relief sculptures.
नवं नु स्तोमं अग्नये दिवः श्येनाय जीजनं वस्वः  विद वनाति नः RV 7.15.4
7.15.4 May Agni, to whom as to a (swift) hawk in heaven, I address this new hymn, bestow upon us ample wealth. Alternative: 1 have begotten this new hymn for Agni, falcon of the Sky: will he not give us of his wealth? (Griffith trans.)(Note: "As mediator between the realms of men and of the gods, the characteristics of flight are often Agni's. As divine eagle or falcon (śyena) he is depicted in the Agnicayana (Yajur Veda), the ritual construction of a 10,800 brick fire-altar in the form of a flying bird. The iron fort with a hundred walls in stanza 14 below perhaps recalls the eagle's soma-theft in Rig Veda, IV, 26 and 27."

[quote]Zu, also known as Anzu and Imdugud, in Sumerian, (from An "heaven" and Zu "to know", in the Sumerian language) is a lesser divinity of Akkadian mythology, and the son of the bird goddess Siris. He was conceived by the pure waters of the Apsu and the wide Earth.[1] Both Zu and Siris are seen as massive birds who can breathe fire and water, although Zu is alternately seen as a lion-headed eagle (cf: The Griffin). Zu as a lion-headed eagle, ca. 2550–2500 BC, Louvre Anzu was a servant of the chief sky god Enlil, guard of the throne in Enlil's sanctuary, (possibly previously a symbol of Anu), from whom Anzu stole the Tablet of Destinies, so hoping to determine the fate of all things. In one version of the legend, the gods sent Lugalbanda to retrieve the tablets, who in turn, killed Anzu. In another, Ea and Belet-Ili conceived Ninurta for the purpose of retrieving the tablets. In a third legend, found in The Hymn of Ashurbanipal, Marduk is said to have killed Anzu. [unquote] https://en.wikipedia.org/wiki/Zu_(mythology) See: http://www.sacred-texts.com/ane/blc/blc08.htm

[quote] In Mesopotamian mythology, the Tablet of Destinies - Dup Shimati in Sumerian - (not, as frequently misquoted in general works, the 'Tablets of Destinies') was envisaged as a clay tablet inscribed with cuneiform writing, also impressed with cylinder seals, which, as a permanent legal document, conferred upon the god Enlil his supreme authority as ruler of the universe. In the Sumerian poem 'Ninurta and the Turtle' it is the god Enki, rather than Enlil, who holds the tablet. Both this poem and the Akkadian Anzû poem share concern of the theft of the tablet by the bird Imdugud (Sumerian) or Anzû (Akkadian). Supposedly, whoever possessed the tablet ruled the universe.In the Babylonian Enuma Elish, Tiamat bestows this tablet on Qingu (in some instances spelled "Kingu") and gives him command of her army. Marduk, the chosen champion of the gods, then fights and destroys Tiamat and her army. Marduk reclaims the Tablet of Destinies for himself, thereby strengthening his rule among the gods.The tablet can be compared with the concept of the Me, divine decrees.
[unquote] https://en.wikipedia.org/wiki/Tablet_of_Destiny
Sennacherib and the Tablet of Destinies
Author(s): A. R. George
Source: Iraq, Vol. 48 (1986), pp. 133-146
Published by: British Institute for the Study of Iraq
Stable URL: http://www.jstor.org/stable/4200258 .
http://www.scribd.com/doc/149113821/Senna-Cherib-Tablet-of-Destinies-A-R-George-1986
Senna Cherib &amp; Tablet of Destinies : A. R. George (1986)     

m1169, m1177, m1175, m300 etc. are examples of composite groups of animals inscribed to signify that they are dhanam, 'wealth' categories created and shared by the members of artisan/seafaring merchant guilds with the community at large, thus generating wealth of a nation.
Image may contain: food

Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script symbols.  In the centre is a horned crocodile (gharial) surrounded by other animals including a monkey.

https://www.harappa.com/indus/32.html

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

 


https://tinyurl.com/yb3s2pyl

I suggest that the three tigers with interlocked bodies connote cāli 'interlocked bodies'.

Rebus-metonymy layered cipher yields the plain text Meluhha message : kola 'tiger'> kolom 'three' PLUS cāli 'interlocked bodies': kammasālā 'workshop' (Prakritam) < kolimi 'forge' PLUS śālā, i.e. smithy workshop; 
salāyisu = joining of metal (Kannada).

m2015, m0295 The three interlocked tigers show their feline claws prominently. panja 'feline paw' rebus:panja 'kiln, furnace' PLUS kola 'tiger' rebus: kol 'working in iron'; kolhe 'smelter'.


m0295 Pict-61: Composite motif of three tigers (Mahadevan concodance)Location: Mohenjo Daro, Larkana Dt., Sind, Pakistan Site: Mohenjo Daro Monument/Object: carved sealCurrent Location: National Museum, New Delhi, India Subject: interlinked tigers Period: Harappa/Indus Civilization (Pakistan) (3300-1700 BCE) Date: ca. 2100 - 1750 BCE Material: stone Scan Number: 27412 Copyright: Huntington, John C. and Susan L. Image Source: Huntington Archive 

Here is a rendering of this Mohenjo-daro seal with three entwined tigers, in colour by a Historian, Walter Plitt Qintin:
kola ‘tiger’ rebus: kol ‘furnace, forge’ cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali)Hieroglyph of joined, interlocked bodies: cāli (IL 3872); rebus: śālika (IL) village of artisans. cf. salāyisu = joining of metal (Ka.)

Orthography of Harappa Script Corpora presents two variants of 'interlocked' bodies of kola, 'tigers' (rebus: kol 'blacksmith'): e.g., (a) m0295 (PLUS Text message hieroglyphs), (b) m1395 with upto six bodies of tigers intertwined" (bhaa 'six' rebus: bhaa 'furnace').



cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali) Allograph: sal ‘splinter’
m0295 Text1386 Note how the hieroglyph components of the text are displayed in the space available on the seal after the pictorial motif hieroglyphs have been put together as part of the hypertext. The broken corner of the seal may have included other 'text hieroglyphs called signs'.
The text messageis: bronze workshop, scribe/account iron supercargo, helmsman, smithy/forge/temple. 
Details of Text: 
kōna corner (Nk.); tu. u angle, corner (Tu.); rebus: kõdā ‘to turn in a lathe’ (Bengali) Alternative reading; kanac 'corner' rebus: kañcu 'bronze'

sal 'splinter' Rebus: sal 'workshop'

कर्णकः karṇakḥ कर्णकः Ved. 1 A prominence; handle' rebus: karṇī 'supercargo, scribe. 

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



kole.l smithy, temple in Kota village (Ko.) rebus: kole.l 'smithy, forge'; kolimi 'smithy, forge' 





kola 'tiger' Rebus: kol 'working in iron'; kolle 'blacksmith'; kolimi 'smithy, forge'; kole.l 'smithy, temple' 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)

Hieroglyph of ‘looking back’ is read rebus kamar 'artisan': క్రమ్మరు [krammaru] krammaru. [Tel.] v. n. To turn, return, go  back. మరలు.  క్రమ్మరించు or  క్రమ్మరుచు  krammarinsu. V. a. To turn, send back, recall. To revoke, annul,rescind.క్రమ్మరజేయుక్రమ్మర krammara Adv. Again. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు. krəm backʼ(Kho.)(CDIAL 3145) Kho. Krəm ʻ back ʼ NTS ii 262 with (?) (CDIAL 3145)[Cf. Ir. *kamaka  or *kamraka -- ʻ back ʼ in Shgh. Čůmčʻbackʼ,Sar. Čomǰ EVSh 26] (CDIAL 2776) cf. Sang. kamak ʻ back ʼ, Shgh. Čomǰ (< *kamak G.M.) ʻ back of an animal ʼ, Yghn. Kama ʻ neck ʼ (CDIAL 14356). Kár, kãr  ‘neck’ (Kashmiri) Kal. Gřä ʻ neck ʼ; Kho. Go ʻ front of neck, throat ʼ. Gala m. ʻ throat, neck ʼ MBh. (CDIAL 4070)  Rebus: karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali)

kolmo 'three' Rebus: kolimi 'smithy, forge'

Thus, the message on the seal reads: me ‘iron’; kāḍ  ‘stone’;  karṇaka karṇika ‘helmsman, supercargo, furnace scribe'; kolimi 'smithy, forge' kole.l 'smithy, temple'; sal ‘workshop’ PLUS kõdā sal 'turner workshop' (Alternative: kañcu sal 'bronze workshop')

The entire hypertexts of pictorial and text hieroglyph components can thus be read using rebus-metonymy-layered-meluhha cipher as: 'iron stone furnace scribe smithy-forge, temple, bronze turner's workshop'.


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) 

కరుకోల (p. 252) karukōla karu-kōla. [Tel.] n. A firing iron, for cautery. கொல்லுலை kol-l-ulai 


  , n. < id. +. Black-smith's forge; கொல்லனுலை. கொல்லுலைக் கூடத் தினால் (குமர. பிர. நீதிநெறி. 14).கொல்² kol Working in iron; கொற்றொழில். Blacksmith; கொல்லன். 5. Lock; பூட்டு. (பிங்.)  Brass or iron bar nailed across a door or gate; கதவு முதலியவற்றில் தைக்கும் இரும்பு முதலிய வற்றாலாகிய பட்டை. Loc.

Obverse of m1395 and m0441 had the following images of a multi-headed, six tigers.

m1395B, m0441B


Obverse of the tablets (e.g. m1395) signify functions of the manager of the guild 

of artisans/merchants: 



1. bica ‘scorpion’ rebus ‘haematite, ferrite ore  
2. krammara ‘look back’ rebus: kamar ‘smith’ PLUS kola 'tiger' rebus: kol, kolle 'blacksmith'
3. karabha ‘trunk of elephant’ ibha ‘elephant’  rebus: karba ‘iron’ ib ‘iron’ ibbo ‘merchant’ 
4. kaṇḍa ‘rhinoceros’ rebus; kaṇḍa ‘implements’ 
5. kuṭhAru ‘monkey’ rebus: kuṭhAru ‘armourer’ 
6. dula ‘two’ rebus: dul ‘metal casting’ dhangar ‘bull’ rebus; dhangar ‘blacksmith’. barada, balad 'ox' rebus: bharata,baran 'factitious alloy of copper, pewter, tin'. 

The message is: haematite (ferrite ore), blacksmith artisan, iron implements merchant, armourer, hard alloy metalcasting.

--Data mining of Harappa Script Corpora, karaa aquatic bird, kola, 'tiger',  poa, 'zebu' tied to a rope, stake -- signifiers of working in karaa, 'hard alloys', poa, 'magnetite (ferrite ore)', kol, 'working in iron'.
cāli 'interlocked' rebus śālikā 'village of artisans, shop' kola 'tiger' sāṅgaḍa 'joined' rebus, kol 'blacksmith, working in iron', saṁgaha, 'manager arranger'.

Thus, blacksmith manager of the artisans' village/shop.


m1395 [PLUS hieroglyphs on obverse of tablet: haematite (ferrite ore), blacksmith artisan, iron implements merchant, armourer, hard alloy metalcasting]. 




There are at least six multiples of (m1395) tablets with this frame of 'interlocked' bodies of tigers on one side and other hieroglyphs/hypertexts on the reverse side. 

The hypertexts on the reverse side are detailed metalwork catalogues.

सांगड (p. 495) sāgaa f A body formed of two or more (fruits, animals, men) linked or joined together. Rebus: sagaha 'catalogue' (Pkt.) सं-ग्रह [p=1129,2] a guardian , ruler , manager , arranger R. BhP. keeping , guarding , protection Mn. MBh.complete enumeration or collection , sum , amount , totality (एण , " completely " , " entirely ")Ya1jn5. MBh. &c (Monier-Williams) Pa. sagaha -- m. ʻ collection ʼ, Pk. sagaha -- m.; Bi. ̄gah ʻ building materials ʼ; Mth. ̄gah ʻ the plough and all its appurtenances ʼ, Bhoj. har -- sã̄ga; H. sãgahā ʻ collection of materials (e.g. for building) ʼ; <-> Si. san̆gaha ʻ compilation ʼ  Pa.(CDIAL 12852) Rebus: सांगड (p. 495) sāgaa m f (संघट्ट S) A float composed of two canoes or boats bound together: also a link of two pompions &c. to swim or float by.  That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.
Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script. Hieroglyphs. Centrepiece is a scorpion, surrounded by a pair of oxen (bulls), rhinoceros, monkey, elephant, a tiger looking back, a standing person with spread legs. This hieroglyph cluster is duplicated on six tablets.



















Hieroglyphs. Centrepiece is a scorpion, surrounded by a pair of oxen (bulls), rhinoceros, monkey, elephant, a tiger looking back, a standing person with spread legs. This hieroglyph cluster is duplicated on a six tablets.
m02015 A,B, m2016, m1393, m1394, m1395, m0295, m0439, m440, m0441 A,B On some tablets, such a glyphic composition (hypertext) is also accompanied (on obverse side, for example, cf. m2015A and m0295) with a glyphic of two or more joined tiger heads to a single body. In one inscription (m0295), the text inscriptions are also read. bica ‘scorpion’ rebus: bica ‘haematite, ferrite orekola ‘tiger’ rebus: kol ‘furnace, forge’ kol ‘metal’ PLUSkrammara ‘look back’ rebus: kamar ‘smith’ karabha ‘trunk of elephant’ ibha ‘elephant’ rebus: karba ‘ironib ‘iron’ ibbo ‘merchant’ kaṇḍa ‘rhinoceros’ rebus; kaṇḍa ‘implements’ kuhāru ‘monkey’ rebus: kuhāru‘armourer’ dula ‘two’ rebus: dul ‘metal casting’ dhangar ‘bull’ rebus; dhangar ‘blacksmith’. barada, balad 'ox' rebus: bharata,baran 'factitious alloy of copper, pewter, tin'.

Smithy with an armourer



Obverse of m1395 and m0441 had the following images of a multi-headed tiger.



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

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

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

Hieroglyph: Joined animals (tigers): sangaḍi = joined animals (M.) Rebus: sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ (Lahnda)(CDIAL 12845) sang संग् m. a stone  (Kashmiri) sanghāḍo (G.) = cutting stone, gilding; sangatarāśū = stone cutter; sangatarāśi = stone-cutting; sangsāru karan.u = to stone (S.), cankatam = to scrape (Ta.), sankaḍa (Tu.), sankaṭam = to scrape (Skt.) kol 'tiger' Rebus: kol 'working in iron'. Thus, the multi-headed tiger is read rebus: kol sangaḍi 'fortified place for metal (& ore stone) workers'.

See:  http://tinyurl.com/jr43e8g



It is also possible that the legend of ANZU celebrated in Sumeria may be recalled memory of amśu 'Soma' (Vedic) cognate ancu 'iron' (Tocharian). The ANZU as a fierce bird is comparable to the śyena 'falcon' of Vedic narratives which is rendered rebus as aśani ‘thunderbolt’ cognate śyena ‘falcon’, sena ‘thunderbolt’. The semantics of aśani ‘thunderbolt’ leads to the expression āhangar ‘blacksmith’. (Pashto. Kashmiri). See: 
R̥gveda ākhyāna of śyena by Gautama, son of Rāhugaṇa who migrated to Karatoya, Ganga-Brahmaputra basin. Soma and the Eagle (Agni as śyena 'thunderbolt' ) -- Maurice Bloomfield

Soma is yajñasya ātmā, Within soma, amśu which is a component, is ātmā yajñasya  (RV 9.2.10, 9.6.8); आत्मन् 'essential nature, principle of life, of sensation'. 
-- A synonym of Soma is amśu, cognate ancu 'iron' (Tocharian); metaphor of Anzu 'winged lion' (Sumerian) in vajra 'thunderbolt' battle with Enlil
-- Soma is āprī divinity, deified objects of yajña in 12 āprī sūkta-s; Vālakhilya in R̥gveda (RV 8.49 to 8.59) is a brick.
-- śyena, 'falcon' is the thunderbolt which brings Soma from distant mountain, the heaven.
Image result for kankacitiBogazkhoy seal impression; 
Harappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255
phaḍā 'cobrahood' rebus:फडा phaḍā 'metals manufactory' sēṇa 'eagle' rebus sena 'thunderbolt'. dhanga 'mountain range' rebus:thakur 'blacksmith' kāṇḍa 'water' kanda 'fire-altar' rebus: khaṇḍa 'metalware'. dula 'two' rebus dul 'metal casting' meha 'twist' rebus medhā 'yajña, dhanam'.
Related image
Double-headed eagle,falcon. Sirkap Stupa.
Image result for axe head bmacAxe with eagle headed anthropomorph, boar, winged-tiger, 3rd - early 2nd millennium BCE
-- śyena 'falcon, thunderbolt, hailstone' [derived from श्यै cl.1 P. श्यायति , to cause to congeal or freeze;;hence from the Himalayas, Mūjavant], is cognate  mərəγô saênô (Avestan), Saêna (Persian)Sênmurw (Pahlavi), Sîna-Mrû (Pâzand) 
Related image
RV 9.2.10 Winner of kine, Indu, art thou, winner of heroes, steeds, and strength Primeval ātmā of yajña. आत्मन् 'essential nature, principle of life, of sensation'
RV 9.6.8 ātmā of yajña, the 'molten fluid' effused flows quickly on: he keeps His ancient wisdom of a Sage. 

Soma is processed in a citi. Citi is derived from the root ci (to arrange or protect) and means a mound constructed of baked bricks in five layers. 

There are three types of citi to attain the objective of reaching haven. The three such citi or Soma altars which are bird-shaped are which are caturaśra (square) framework ifor the body of the bird: śyenaciti(for one who desires heaven), kankaciti (for one who desires to be high in the world,like head), alajaciti(for one who desires higher reputation). All three are bird-shaped caturaśra, 'quadrangular' altars.






































Image result for śyenacitiImage result for kankaciti
There are seven soma samsthā yajña: f. the basis or initial form of a सोम sacrifice (महाभारतm  गौतम-धर्म-शास्त्र, मार्कण्डेय-पुराण); सं- √ स्था A1. -तिष्ठते ( Pa1n2. 1-3 , 22 ; ep. and mc. also P. -तिष्ठति ; Ved. inf. -स्थातोस् A1pS3r. ) , to stand together , hold together (pf. p. du. -तस्थान्/ए, said of heaven and earth) RV. ; to heap , store up (goods)(वराह-मिहिर 's बृहत्-संहिता); occupation , business , profession (Monier-Williams)  sōmḥ सोमः -संस्था a form of the Soma-sacrifice; (these are seven:अग्निष्टोम, अत्यग्निष्टोम, उक्थ, षोढशी, अतिरात्र, आप्तोर्याम and वाजपेय).(Apte)

1. Agniṣṭoma,
2. atyagniṣṭoma,
3. uktha,
4. ṣoḍhaśī,
5. atirātra,
6. āptoryāma and
7. vājapeya

Effect of Soma

The effect of Soma is excitation, inspiration: 
RV 9.22.3 These Soma juices, blended with curds, purified, skilled in sacred hymns,
Have gained by song their hearts’ desire'.  
विपश्--चित् inspired, wise, learned, versed in or acquainted with; thus, vipa, ‘inspiration’ signifies vipaścitah ‘excitation’.


How is Soma realized?

वृत्र a thunder-cloud RV. iv , 10 , 5 (cf. Naigh. i , 10); n. (mostly in pl.) "coverer , investor , restrainer", an enemy, foe, hostile host. Vr̥tra is Asura, the powerful being, the enveloping cloud of unpurified Soma. Purification of Soma is the process of killing Vr̥tra with Indra’s thunderbolt, to release the purified waters and make Soma Pavamāna flow. Varuṇa is also with Vrtra and is persuaded to join Indra in the revolt against Vr̥tra (RV 10.124.7). Soma says: ‘I have spent many years within him.Now I choose Indra and desert the father…the power of kingship has turned around’ (RV 10.124.4)
Griffith translation: 
RV 10.124.4  I tarried many a year within this altar: I leave the Father, for my choice is Indra. Away pass Agni, Varuṇa and Soma. Rule ever changes: this I come to favour.


RV 10.l24.7  The Sage hath fixed his form by wisdom in the heavens: Varuṇa with no violence let the waters flow. Like womenfolk-, the floods that bring prosperity have eau lit his hue and colour as they gleamed and shone.

Benefits of Soma

What benefits accrue from Soma? Soma protects the body, removes illness, lifts from depression, illumines scaring away darkness, averts hostility, exhilarates, inflames and illumines, stirs good thoughts, puts one on top of the world, leads to immortality. (RV 8.48)

Griffith translation RV 8.48

1. WISELY have I enjoyed the savoury viand, religiousthoughted-, best to find out treasure,
The food to which all Deities and mortals, calling it meath, gather themselves together.
2 Thou shalt be Aditi as thou hast entered within, appeaser of celestial anger.
Indu, enjoying Indras' friendship, bring us, as a swift steed the car, forward to riches.
3 We have drunk Soma and become immortal; we have attained the light, the Gods discovered.
Now what may foemans' malice do to harm us? What, O Immortal, mortal mans' deception?
4 Absorbed into the heart, be sweet, O Indu, as a kind father to his son, O Soma,
As a wise Friend to friend: do thou, wideruler-, O Soma, lengthen out our days for living.
5 These glorious drops that give me freedom have I drunk. Closely they knit my joints as straps secure a car.
Let them protect my foot from slipping on the way: yea, let the drops I drink preserve me from disease.
6 Make me shine bright like fire produced by friction: give us a clearer sight and make us better.
For in carouse I think of thee, O Soma, Shall I, as a rich man, attain to comfort?
7 May we enjoy with an enlivened spirit the juice thou givest, like ancestral riches.
SomaKing, prolong thou our existence as Surya makes the shining days grow longer.
King Soma, favour us and make us prosper: we are thy devotees; of this be mindful.
Spirit and power are fresh in us, O Indu give us not up unto our foemans' pleasure.
9 For thou hast settled in each joint, O Soma, aim of mens' eyes and guardian of our bodies.
When we offend against thine holy statutes, as a kind Friend, God, best of all, be gracious.
10 May I be with the Friend whose heart is tender, who, Lord of Bays! when quaffed will never harm me-
This Soma now deposited within me. For this, I pray for longer life to Indra.
11 Our maladies have lost their strength and vanished: they feared, and passed away into the darkness.
Soma hath risen in us, exceeding mighty, and we are come where men prolong existence.
12, Fathers, that Indu which our hearts have drunken, Immortal in himself, hath entered mortals.
So let us serve this Soma with oblation, and rest securely in his grace and favour.
13 Associate with the Fathers thou, O Soma, hast spread thyself abroad through earth and heaven.
So with oblation let us serve thee, Indu, and so let us become the lords of riches,
14 Give us your blessing, O ye Gods preservers. Never may sleep or idle talk control us.
But evermore may we, as friends of Soma, speak to the synod with brave sons around us.
15 On all sides,. Soma, thou art our lifegiver-: aim of all eyes, lightfinder-, come within us.
Indu, of one accord with thy protections both from behind and from before preserve us.
One argument is that R̥gveda venerates a brick altar and a brick is Vālakhilya. A synonym for Agni is Apāṃ Napāt, i.e. one which does not allow water to fall down; thus, Agni as Energy may mean latent heat of vapourisation of water - a form of Agni. Together with Agni as Apāṃ Napāt, 
Soma as amśu [cognate ancu, 'iron' (Tocharian)], the veneration of Agni and 
Soma is a veneration of Energy forms thus, both Agni and Soma are āprī divinities, 
i.e. deified objects or cosmic phenomena. .

Dīrghatamas offers a new vision of Agni (RV 1.143.1): I bring forward a strong and new vision (praise) to Agni, a hymn of Vāc to the son of strength; [he is] Apāṃ Napāt, the beloved hotā, who together with the Vasus has sat down on the Earth observing the appointed time.
Laszlo Forizs traslates RV 1.143.8 indicating brick-altar: 
"O Agni (Sun), attentive with your attentive, kind and powerful guardians 
(i.e., the stars), preserve us; O Iṣṭi (Altar/Apāṃ Napāt),with your unimpaired,uninflamed,unwinking [guardians], 
protect our children!."

Sayana/Wilson translation: RV 1.143

1.143.01 I offer devoutly to Agni, the son of strength, an invigorating and most new sacrifice, with words of adoration; (that Agni), the grandson of the waters, who, (present) in due season, the friend and ministering priest (of the sacrificer), sits upon the altar with (many) good things. [The grandson of the waters: apa_m napa_t; vegetable substances are the progeny of rain, and fire is the progeny of vegetable substances, timber, or fuel; upon the altar: pr.thivya_m = lit. on the earth, on the mount of earth constituting the altar].
1.143.02 As soon as born, what that (Agni) manifested to Mataris'van in the highest atmosphere, and his radiance, kindled by vigorous effort, spread through heaven and earth.  [ma_taris'van: to the wind, to be fanned into flame; in another text: tvam agne prathamo ma_taris'vane a_virbhava, by first manifest, Agni, to the wind; or ma_taris'van = yajama_na, or sacrificer].
1.143.03 His radiance is undecaying; the rays of him who is of pleasing aspect, are everywhere visible and bright; the intensely shining, all-pervading, unceasing, undecaying (rays) of Agni, desist not (from their functions). [Desist not: na rejante, do not tremble; they do not move, or are moved in burning, maturing; da_hapa_ka_dis.u na calanti na ca_lyante va_ anyaih, or na may imply comparison, when bha_tvaks.asasor na sindhavah = like the rays of the sun].
1.143.04 Bring to his own abode with hymns that Agni, the possessor of all riches, whom the descendants of Bhr.gu placed by the strength of all beings upon the navel of the earth; for, like Varun.a, he reigns sole (monarch) over (all) treasure.
1.143.05 Agni, who, like the roaring of the winds, like a victorious host, like the thunderbolt in heaven, is not to be arrested, devours and destroys (our foes) with sharpened teeth (bharva him.sa_ya_m; bharvatirattikarma_: Nirukta 9.23), and, as a warrior (annihilates his enemies), he, (Agni), lays waste the woods.
1.143.06 May Agni be ever desirous of our praise; may the giver of wealth satisfy our utmost expectation with riches; may the inspirer (of our devotion) hasten our rites to fruition. I glorify him, the radiant-limbed (Agni), with this laudation.
1.143.07 The kindler (of the sacrificial fire) propitiates Agni, of glistening form; the upholder of your ceremony, like a friend; well kindled and well supplied (with fuel); blazing brightly at holy rites, he illumines our pure and pious observances. [Well kindled: akrah = fr. kram, to go= akranta or anukra_nta, surpassed or exceeded by; jva_la_ samida_dibhih, flame, fuel and the like].
1.143.08 Agni, never heedless (of us), guard us with never heedless, auspicious, and joy-bestowing cares; do you, who are desired (by all), protect us, and those born of us, with unobstructed unovercome, and never slumbering (vigilance).

Griffith: Agni. 143

1. To Agni I present a newer mightier hymn, I bring my words and song unto the Son of Strength,
Who, Offspring of the Waters, bearing precious things sits on the earth, in season, dear Invoking
Priest.
2 Soon as he sprang to birth that Agni was shown forth to Matarisvan in the highest firmament.
When he was kindled, through his power and majesty his fiery splendour made the heavens and earthto shine.
3 His flames that wax not old, beams fair to look upon of him whose face is lovely, shine withbeauteous sheen.
The rays of Agni, him whose active force is light, through the nights glimmer sleepless, ageless,like the floods.
4 Send thou with hymns that Agni to his own abode, who rules, one Sovran Lord of wealth, likeVaruna,
Him, Allpossessor-, whom the Bhrgus with their might brought to earths' central point, the centreof the world.
5 He whom no force can stay, even as the Maruts' roar, like to a dart sent forth, even as the boltfrom heaven,
Agni with sharpened jaws chews up and eats the trees, and conquers them as when the warrior smiteshis foes.
6 And will not Agni find enjoyment in our praise, will not the Vasu grant our wish with gifts ofwealth?
Will not the Inspirer speed our prayers to gain their end? Him with the radiant glance I laud withthis my song.
7 The kindler of the flame wins Agni as a Friend, promoter of the Law, whose face is bright withoil.
Inflamed and keen, refulgent in our gatherings, he lifts our hymn on high clad in his radiant hues.
8 Keep us incessantly with guards that cease not, Agni, with guards auspicious, very mighty.
With guards that never slumber, never heedless, never beguiled. O Helper, keep our children.

Phala or objective of Soma:

अपम [p= 50,2] mfn. (fr. /अप) , the most distant , the last RV. x , 39 , 3 AV. x , 4 , 1

अपाम सोमम् अमृता अभ्म ऋगन्म ज्योतिर अविदाम देवान् 
किम् नूनम् अस्मान् कृणवद अरातीः किम् उधूर्तिर अमृत मर्त्यस्य 

8.048.03 We drink the Soma, may we become immortal; we have attained the light of (heaven), we have known the gods; what now could the enemy do to us, or what, O immortal, should the aggriever do to the mortal? [Taittiri_ya Sam.hita_ 3.2.5: the past tense is used in the sense of wish, as'am.sadyotana_ya bhu_ta_rthanir des'ah].

We have drunk soma and attained immortality; we have ourselves seen that light which was discovered by the Gods. Now then what harm can the evil intentions of our enemies do to us? Of what avail is the deception of mortals, O immortal one!

Soma confers wealth, treasures:

O Indra, O Soma, send us now great opulence from every side, pour on us treasures a thousand fold (RV 9.90.3)

Since you are purified, give us the strength of a hero and riches to those who worship you. (RV 9.40.5)

Soma possessor of weapons. Pour on us streams of riches doubly great; and make us better than what we are. (RV 9.4.7)

Allegorical rreferences to Soma to many forms of life and things: Soma is a strong bull (RV 9.2.1; 9.5.7), splendid specimen of cattle (RV 9.2.2), a war horse (RV 3.3; RV 9.28.1); a bird upon the wings (RV 9.3.1); a tree whose praise never fails to yield heavenly milk amidst our hymns (RV 9.12.7)

Soma is the food of the Gods, flows to the banquet of the gods; feast and service for the Gods (RV 9.1.4; RV 9.6.6); Soma goes to Indra, Vayu and Aśvins gives them joy (RV 9.7.7).

László Fórizs, 2007, Apāṃ Napāt, Dīrghatamas and the Construction of the Brick Altar Analysis of RV 1.143  http://www.forizslaszlo.com/tudomany/forizs_dirghatamas.pdf
Binjor. ca. 2500 BCE. yajña kuṇḍa
Image result for sanchi fire altarImage result for sanchi fire altarSanchi.Sculptural friezes. Smiths at work. yajña kuṇḍa
Related image
Angkorwat. Sculptural frieze.yajña kuṇḍa
Site Name: Bharhut
Monument: Bharhut stupa
Subject of Photo: section of coping from vedika
Locator Info. of Photo: 3rd section from the left
Photo Orientation: overview


Dynasty/Period: Sunga
Date: ca. 100-80 BCE, 100 BCE - 80 BCE

Material: brown sandstone
Architecture: structural


Current Location: Indian Museum, Calcutta, West Bengal, India
Copyright Holder: Huntington, John C. and Susan L.Photo Year: 1970 
Scan Number: 0004827

Image result for tell asmar seal

Eshnunna, Iraq.  Cylinder seal modern impression [elephant, rhinoceros and gharial (alligator) on the upper register] bibliography and image source: Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 642. Museum Number: IM14674 3.4 cm. high. Glazed steatite. ca. 2250 - 2200 BCE. 

Late Uruk and Jemdet Nasr seal; ca. 3200-3000 BC; serpentine; cat.1; boar and bull in procession; terminal plant; heavily pitted surface beyond plant  
The animal is a quadruped: pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Te.)Rebus: pasra ‘smithy’ (Santali) Allograph: panǰā́r ‘ladder, stairs’(Bshk.)(CDIAL 7760) Thus the composite animal connotes a smithy. Details of the smithy are described orthographically by the glyphic elements of the composition.

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

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

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

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

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

moṇḍ the tail of a serpent (Santali) Rebus: Md. moḍenī ʻ massages, mixes ʼ. Kal.rumb. moṇḍ -- ʻ to thresh ʼ, urt. maṇḍ -- ʻ to soften ʼ (CDIAL 9890) Thus, the ligature of the serpent as a tail of the composite animal glyph is decoded as: polished metal (artifact). Vikalpa: xolā = tail (Kur.); qoli id. (Malt.)(DEDr 2135). Rebus: kol ‘pañcalōha’ (Ta.)கொல் kol, n. 1. Iron; இரும்பு. மின் வெள்ளி பொன் கொல்லெனச் சொல்லும் (தக்கயாகப். 550). 2. Metal; உலோகம். (நாமதீப. 318.) கொல்லன் kollaṉ, n. < T. golla. Custodian of treasure; கஜானாக்காரன். (P. T. L.) கொல்லிச்சி kollicci, n. Fem. of கொல்லன். Woman of the blacksmith caste; கொல்லச் சாதிப் பெண். (யாழ். அக.) The gloss kollicci is notable. It clearly evidences that kol was a blacksmith. kola ‘blacksmith’ (Ka.); Koḍ. kollë blacksmith (DEDR 2133). Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith; (Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge (DEDR 2133) கொல்² kol Working in iron; கொற்றொழில். Blacksmith; கொல்லன். (Tamil) mũhe ‘face’ (Santali); Rebus: mũh '(copper) ingot' (Santali);mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) கோடு kōṭu : •நடுநிலை நீங்குகை. கோடிறீக் கூற் றம் (நாலடி, 5). 3. [K. kōḍu.] Tusk; யானை பன்றிகளின் தந்தம். மத்த யானையின் கோடும் (தேவா. 39, 1). 4. Horn; விலங்கின் கொம்பு. கோட்டிடை யாடினை கூத்து (திவ். இயற். திருவிருத். 21). Ko. kṛ (obl. kṭ-) horns (one horn is kob), half of hair on each side of parting, side in game, log, section of bamboo used as fuel, line marked out. To. kwṛ (obl. kwṭ-) horn, branch, path across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn (DEDR 2200)Rebus: koḍ = the place where artisans work (G.) kul 'tiger' (Santali); kōlu id. (Te.) kōlupuli = Bengal tiger (Te.)Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H.kolhā, °lā m. ʻ jackal ʼ, adj. ʻ crafty ʼ; G. kohlũ, °lũ n. ʻ jackal ʼ, M. kolhā, °lā m. krōṣṭŕ̊ ʻ crying ʼ BhP., m. ʻ jackal ʼ RV. = krṓṣṭu -- m. Pāṇ. [√kruś] Pa. koṭṭhu -- , °uka -- and kotthu -- , °uka -- m. ʻ jackal ʼ, Pk. koṭṭhu -- m.; Si. koṭa ʻ jackal ʼ, koṭiya ʻ leopard ʼ GS 42 (CDIAL 3615). कोल्हा [ kōlhā ] कोल्हें [ kōlhēṃ ] A jackal (Marathi) Rebus: kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pañcaloha’ (Ta.) Allograph: kōla = woman (Nahali) [The ligature of a woman to a tiger is a phonetic determinant; the scribe clearly conveys that the gloss represented is kōla] karba 'iron' (Ka.)(DEDR 1278) as in ajirda karba 'iron' (Ka.) kari, karu 'black' (Ma.)(DEDR 1278) karbura 'gold' (Ka.) karbon 'black gold, iron' (Ka.) kabbiṇa 'iron' (Ka.) karum pon 'iron' (Ta.); kabin 'iron' (Ko.)(DEDR 1278) Ib 'iron' (Santali) [cf. Toda gloss below: ib ‘needle’.] Ta. Irumpu iron, instrument, weapon. a. irumpu,irimpu iron. Ko. ibid. To. Ib needle. Koḍ. Irïmbï iron. Te. Inumu id. Kol. (Kin.) inum (pl. inmul)iron, sword. Kui (Friend-Pereira) rumba vaḍi ironstone (for vaḍi, see 5285). (DEDR 486) Allograph: karibha -- m. ʻ Ficus religiosa (?) [Semantics of ficus religiosa may be relatable to homonyms used to denote both the sacred tree and rebus gloss: loa, ficus (Santali); loh ‘metal’ (Skt.)]

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

rebus: dhanam 'wealth'. Alternative: pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Telugu) Thus, the depiction of animals in epigraphs is related to, rebus: pasra = smithy (Santali)
kāruvu ‘crocodile’ Rebus:  ‘artisan, blacksmith’. 
pisera_ a small deer brown above and black below (H.)(CDIAL 8365).
ān:gra = wooden trough or manger sufficient to feed one animal (Mundari). iṭan:kārri = a capacity measure (Ma.) Rebus: ḍhan:gar ‘blacksmith’ (Bi.)
pattar ‘goldsmiths’ (Ta.) patra ‘leaf’ (Skt.) 
r-an:ku, ran:ku = fornication, adultery (Telugu); rebus: ranku ‘tin’ (Santali)
Rebus readings of Meluhha hieroglyphs:
Hieroglhyphs: elephant (ibha), boar/rhinoceros[kāṇḍā mṛga 'rhinoceros' (Tamil)], tiger (kol), tiger face turned (krammara), young bull calf (khōṇḍa) [खोंड m A young bull, a bullcalf. (Marathi)], antelope, ḍangur ʻbullockʼ, melh ‘goat’ (Brahui) 
Rebus mleccha glosses: Ib 'iron' ibbo 'merchant'; kāṇḍā, 'tools, pots and pans, metalware'; kol 'worker in iron, smithy'; krammara, kamar 'smith, artisan', kõdā 'lathe-turner' [B. kõdā ‘to turn in a lathe’; Or. kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. kū̃d ‘lathe’) (CDIAL 3295)], khũ ‘guild, community’, ḍāṅro ’blacksmith’ (Nepalese) milakkhu ‘copper’ (Pali) [Meluhha!] poL 'zebu' Rebus: poLa 'magnetite'.

Phoneme karba has two hieroglyph components which are semantic determinatives: kari 'elephant' ibha'elephant'

Hieroglyph: karabha 'trunk of elephant' (Pali) 2803 karin m. ʻ elephant ʼ. [See karabhá -- ]Pa. karin -- m., Pk. kari -- , °iṇa -- m., °iṇī -- , °iṇiyā -- f.; <-> Si. kiriyā ← Pa.(CDIAL 2803)

Hieroglyph: hand: kará1 ʻ doing, causing ʼ AV., m. ʻ hand ʼ RV. [√kr̥1]

Pa. Pk. kara -- m. ʻ hand ʼ; S. karu m. ʻ arm ʼ; Mth. kar m. ʻ hand ʼ (prob. ← Sk.); Si. kara ʻ hand, shoulder ʼ, inscr. karā ʻ to ʼ < karāya. -- Deriv. S. karāī f. ʻ wrist ʼ; G. karã̄ n. pl. ʻ wristlets, bangles ʼ.(CDIAL 2779)


Rebus: karba 'very hard iron' (Tulu) Tu. kari soot, charcoal; kariya black;  karṅka state of being burnt or singed; karṅkāḍuni to burn (tr.); karñcuni to be burned to cinders; karñcāvuni to cause to burn to cinders; kardů black;  karba iron; karvāvuni to burn the down of a fowl by holding it over the fire; karṇṭuni to be scorched; karguḍe a very black man; fem. karguḍi, kargi. Kor. (T.) kardi black. kabbiṇa iron (Kannada) kabïn iron (Toda) karum poṉ iron (Tamil)(DEDR 1278)

Allograph: pot with narrow neck: Koḍ. karava clay pot with narrow neck. Go. (Ma.) karvi narrow-mouthed earthen vessel for oil or liquor (DEDR 1273A)

Hieroglyph: ibha 'elephant' Rebus: ib 'iron' (Santali). kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’.  karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri) Note: Ib is the name of a station between Howrah and Nagpur. The Railway station is in the iron ore belt.

kāru a wild crocodile or alligator (Te.) కారు 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.)



Meluhha (sprachbund) rebus readings of Indus Script hypertexts

kāru ‘artisan -- kāru 'crocodile' (Telugu) Rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi) He was also ibbo 'merchant' (Hieroglyph: ibha 'elephant' Rebus: ib 'iron') and maker of metal artifacts: kāṇḍā ‘metalware, tools, pots and pans’ (kāṇḍā mṛga 'rhinoceros' (Tamil).karabha, ibha‘elephant’ Rebus: karba 'iron', ibbo ‘merchant’, ib ‘iron’காண்டாமிருகம் kāṇṭā-mirukam , n. [M. kāṇṭāmṛgam.] Rhinoceros; கல்யானை. Rebus: kāṇḍā ‘metalware, tools, pots and pans’.kāru ‘crocodile’ Rebus:   kāru  ‘artisan’. Alternative: araṇe ‘lizard’ Rebus: airaṇ ‘anvil’.

Śyena Citi (R̥gveda), Gonur archaeology, Adda cylinder seal c. 2300 BCE, composite animal narratives of Indus Script wealth-accounting (Part 2)

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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’.



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


m0489a,b,c Mohenjo-daro prism tablet

A standing human couple mating (a tergo); one side of a prism tablet from Mohenjo-daro (m489b). Other motifs on the inscribed object are: two goats eating leaves on a platform; a cock or hen (?) and a three-headed animal (perhaps antelope, one-horned bull and a short-horned bull).  The leaf pictorial connotes on the goat composition connotes loa; hence, the reading is of this pictorial component is: lohar kamar = a blacksmith, worker in iron, superior to the ordinary kamar (Santali.)] 
kāruvu ‘crocodile’ Rebus:  ‘artisan, blacksmith’.  pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Telugu) Thus, the depiction of animals in epigraphs is related to, rebus: pasra = smithy (Santali)
pisera_ a small deer brown above and black below (H.)(CDIAL 8365).

ān:gra = wooden trough or manger sufficient to feed one animal (Mundari). iṭan:kārri = a capacity measure (Ma.) Rebus: ḍhan:gar ‘blacksmith’ (Bi.)
pattar ‘goldsmiths’ (Ta.) patra ‘leaf’ (Skt.) 
r-an:ku, ran:ku = fornication, adultery (Telugu); rebus: ranku ‘tin’ (Santali)
Rebus readings of Meluhha hieroglyphs:
Hieroglhyphs: elephant (ibha), boar/rhinoceros[kāṇḍā mṛga 'rhinoceros' (Tamil)], tiger (kol), tiger face turned (krammara), young bull calf (khōṇḍa) [खोंड m A young bull, a bullcalf. (Marathi)], antelope, ḍangur ʻbullockʼ, melh ‘goat’ (Brahui) 

Rebus mleccha glosses: Ib 'iron' ibbo 'merchant'; kāṇḍā, 'tools, pots and pans, metalware'; kol 'worker in iron, smithy'; krammara, kamar 'smith, artisan', kõdā 'lathe-turner' [B. kõdā ‘to turn in a lathe’; Or. kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. kū̃d ‘lathe’) (CDIAL 3295)], khũ ‘guild, community’, ḍāṅro ’blacksmith’ (Nepalese) milakkhu ‘copper’ (Pali) [Meluhha!]

Iron (ib), carpenter (badhi), smithy (kol ‘pancaloha’), alloy-smith (kol kamar)
tam(b)ra copper, milakkhu copper, bali (iron sand ore), native metal (aduru), ḍhangar ‘smith’.Other examples of groups of animals on Indus Script inscriptions
The following glyphics of m1431 prism tablet show the association between the tiger + person on tree glyphic set and crocile + 3 animal glyphic set.



m1431A, B, C, E and Text 2805 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?]

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)
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