Functions of Kanmer tokens to control documentation of metalwork processes in furnace, alloying, smithy-forge

June 13, 2019, 5:36 pm

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Three tokens were discovered in Kanmer with Indus Script inscriptions on both sides of the tokens. This monograph deciphers the inscriptionsand finds documentation of metalwork processes in furnace, alloying and smithy-forge. It is surmised that the three token set strung together may have resulted in the preparation on a seal of a bill of lading authenticating the products entrusted to the supercargo.

Location of Kanmer. Rann of Kuttch

Three identical Kanmer tokens

Inscription on obverse of Kanmer tokens:

Three seal impressions of Kanmer are used on a string to constitute a set. The seal impressions are composed of the inscription:

Pictorial motif: khoṇḍ, kõda 'young bull-calf' खोंड [ khōṇḍa ] m A young bull, a bullcalf. (Marathi) ‘Pannier’ glyph: खोंडी [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) Rebus: kõdā ‘to turn in a lathe’ (Bengali) kũdār ‘turner, brass-worker’. कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) The pictorial motif is read rebus as: - کار کنده kār-kunda 'adroit, clever, experienced, director, manager' (Pashto)

PLUS

These two hieroglyphs read from r. to l.: koḍa 'one' rebus: koḍ 'workshop' PLUS khareḍo 'a currycomb' rebus kharada खरडें daybook PLUS karṇaka कर्णक 'spread legs' rebus kanahār 'helmsman'. Thus, the message is: khareḍo koḍ karṇaka rebus: khareḍo 'daybook' (of) koḍ 'workshop' (of) kanahār 'helmsman'. Together, the inscription message is: daybook of workshop of helmsman.

Three such seal impressions on three tokens of Kanmer constitute the consolidated cargo to be compiled on a seal message.

khareḍo 'a currycomb' (G.) Rebus: kharādī ' turner' (Gujarati) Rebus: kharada
खरडें daybook

Sign 38 is a hypertext composed of kharada

खरडें daybook PLUS kanahār 'helmsman'. Thus, helmsman's daybook.

Variants of Sign 176

Sign 176 khareḍo 'a currycomb (Gujarati) Rebus: karaḍā खरडें 'daybook, wealth-accounting ledger'. Rebus: kharādī ' turner' (Gujarati).

कर्णक m. du. the two legs spread out AV. xx , 133 'spread legs'; (semantic determinant) Rebus: kanahār'helmsman', karNI 'scribe, account''supercargo'. कर्णक 'spread legs' rebus: 'helmsman', karNi 'supercargo'; meṛed 'iron' rebus: meḍh 'merchant' ayo 'fish' rebus: aya 'iron' ayas 'metal'; 2. कर्णक 'spread legs' rebus: 'helmsman', karṇi 'supercargo' Indicative that the merchant is seafaring metalsmith. karṇadhāra m. ʻ helmsman ʼ Suśr. [kárṇa -- , dhāra -- 1]Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman ʼ.(CDIAL 2836) Decipherment: कर्णक 'helmsman' PLUS mē̃d, mēd 'body' rebus: mē̃d, mēd 'iron', med 'copper' (Slavic). Thus the body hieroglyph signifies mē̃d कर्णक karṇi 'an iron helmsman seafaring, supercargo merchant.'

Kanmer seal with elephant pictorial motif PLUS

Sign 38 is a hypertext: khareḍo 'a currycomb' rebus kharada खरडें daybook PLUS karṇaka कर्णक 'spread legs' rebus kanahār 'helmsman'. Pictorial motif: karibha, ibha 'elephant' rebus: karba, ib 'iron'. Thus, daybook of irnoworker, turner helmsman

Source:Kharakwal, JS, YS Rawat and Toshiki Osada, Excavations at Kanmer: A Harappan site in Kachchh, Gujarat, Puratattva, Number 39, 2009

Obverse and reverse of Kanmer tokens. Reverse has three different inscriptions. Courtesy: Toshiki Osada

Token 1 of Kanmer

Token 1 of Kanmer reverse side has a sequence of 3 signs read rebus:

ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.)

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

Sign 1 karaṇa 'dance posture' rebus karaṇa 'scribe'. med 'body' rebus: med 'iron' (Mu.Ho.) It appears the orthography seeks to focus on the spread legs. कर्णक m. du. the two legs spread out AV. xx , 133 , 3 rebus: karNI 'helmsman, supercargo'.

Thus, this token has the message that the cargo alloy metal product has been endorsed by the supercargo at the fire trench account stage of processing.

Token 2 of Kanmer

Enlarged view of the reverse side of one of the three Kanmer tokens. The inscription on the reverse side of this token is comparable to the two-sign sequence seen on a tablet from Khirsara1a. The sign-sequence is read rebus as:

குத்தா kuttā, குத்துவா kuttuvā, n. A herring, golden, glossed with purple, Pellona brachysoma; கடல்மீன்வகை Rebus: kōḍa 'workshop' PLUS khara 'equus hemionus' rebus: khār 'blacksmith'. Thus, one of the three tokens signifies that the cargo has been endorsed by the blacksmith workshop.

Alternative reading:

Reverse side of a clay "token" from Kanmer, Kutch, with incised signs depicting (from right to left) 'wild ass' and 'ladder' (photo by Indus Project of RIHN).

khara 'equus hemionus' rebus:khār 'blacksmith

śrēṣṭrī 'ladder' Rebus: seṭh ʻ head of a guild, Members of the guild (working with a furnace). Thus, guild-master of the guild of blacksmiths.

Kanmer seal impression as a token has two signs on the obverse which are repeated as a two-sign sequence on Khirsara tablet.

Khirsara tablet two-sign sequence. The sequence is read rebus: khara 'equus hemionus' rebus:khār 'blacksmith'

PLUS kuttuvā 'herring bone' rebus: kōḍa 'workshop'. Thus, together, blacksmith workshop. The same reading may relate to the obverse of Kanmer seal impression 'token'. (Many dialectical variant phonetic forms of kuttuvā 'herring bone' include: kuṭṭa, kuṭṭai 'knotty log, handcuffs', khoḍ ʻ trunk or stump of a tree ʼ, ˚ḍā m. ʻ stocks for criminals ʼ. Hence, the rebus reading kōḍa'workshop, place of work of artisans' is realised.

Three identical seal impressions of Kanmer are used on a string to constitute a set.

Token 3 of Kanmer

The hypertext

sal 'splinter' rebus: sal 'workshop' ganda 'four' rebus: kanda 'equipment'

baṭa = a kind of iron (G .) baṭa = rimless pot (Kannada)

S. baṭhu m. ‘large pot in which grain is parched, large cooking fire’, baṭhī f. ‘distilling furnace’; L. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits)’. (CDIAL 9656)

Thus, one of the three tokens signifies with an inscription on the reverse of the token, that the cargo of equipment has been subjected to furnace processes..

It is surmised that the three tokens with three distinct inscriptions signify stages of metalwork processes: 1. furnace work; 2. alloying work; 2. blacksmith workshop (smithy, forge). The three tokens strung together would have been consolidated as cargo with an inscription on a seal handed over to the supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.

See: Herring bone (or, ladder?) Indus Script kuttu rebus kōḍa 'workshop' of khara 'equus hemionus' rebus: khār 'blacksmith'

https://tinyurl.com/y4bmewg6

3.. Conclusive proof from Kharaputta-Jātaka and Kanmer seal for khara as equus hemionus which draws a royal chariot; rebus khār 'blacksmith' https://tinyurl.com/y3xa9vmu

4. Design principles of pictographic Indus Script, gleaned from 'unicorn', 'rim-of-jar' https://tinyurl.com/yya6g9gf

Khirsara1a tablet

Decipherment:Hypertext of Sign 336 has hieroglyph components: muka 'ladle' (Tamil)(DEDR 4887) Rebus: mū̃h'ingot' (Santali).PLUSSign 328 baṭa 'rimless pot' rebus: baṭa 'iron' bhaṭa 'furnace'. The hypertext reads: mū̃h bhaṭa 'ingot furnace'

khara 'equus hemionus' rebus:khār 'blacksmith [Alternative: ranku ‘antelope’; rebus: ranku ‘tin’ (Santali)]

Sign 177 (Mahadevan ASI 1977 COncordance Signlist)

śrēṣṭrī 'ladder' Rebus: seṭh ʻ head of a guild, Members of the guild (working with a furnace). [Alternative: panǰā́r ‘ladder, stairs’ (Bshk.)(CDIAL 7760) Rebus: pasra ‘smithy’ (Santali)]

Thus, guild-master of the guild of blacksmiths.

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

kolmo ‘three’ (Mu.); rebus: kolimi ‘smithy’ (Te.)

khaṇḍ ‘division’; rebus: kaṇḍ ‘furnace’ (Santali) khaḍā ‘circumscribe’ (M.); Rebs: khaḍā ‘nodule (ore), stone’ (M.)

bharna = the name given to the woof by weavers; otor bharna = warp and weft (Santali.lex.) bharna = the woof, cross-thread in weaving (Santali); bharni_ (H.) (Santali.Boding.lex.) Rebus: bhoron = a mixture of brass and bell metal (Santali.lex.) bharan = to spread or bring out from a kiln (P.lex.) bha_ran. = to bring out from a kiln (G.) ba_ran.iyo = one whose profession it is to sift ashes or dust in a goldsmith’s workshop (G.lex.) bharant (lit. bearing) is used in the plural in Pan~cavim.s’a Bra_hman.a (18.10.8). Sa_yan.a interprets this as ‘the warrior caste’ (bharata_m – bharan.am kurvata_m ks.atriya_n.a_m). *Weber notes this as a reference to the Bharata-s. (Indische Studien, 10.28.n.2)

kuṭi = a slice, a bit, a small piece (Santali.lex.Bodding) Rebus: kuṭhi ‘iron smelter furnace’ (Santali)

Hieroglyph ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'

meḍhi 'plait' meḍ 'iron'; daürā 'rope' Rebus dhāvḍā 'smelter'

kṣōḍa m. ʻ post to which an elephant is fastened ʼ lex. [Poss. conn. with *khuṭṭa -- 1 with kh -- sanskritized as kṣ -- ]Pk. khōḍa -- m. ʻ boundary post ʼ, ˚ḍī -- f. ʻ big piece of wood, wooden bolt ʼ, taṁtukkhōḍī -- f. ʻ peg in a loom ʼ; N. khoriyo ʻ land on which trees have been cut and burnt and crops sown ʼ (< ʻ *having stumps ʼ?); H. khoṛ m. ʻ piece of wood ʼ, ˚ṛā m. ʻ stocks, handcuffs ʼ, khoṛkā m. ʻ stump of a tree ʼ; G. khoṛ n. ʻ large block of wood ʼ; M. khoḍ n. ʻ trunk or stump of a tree ʼ, ˚ḍā m. ʻ stocks for criminals ʼ.(CDIAL 3748) *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, ˚ṭā ʻ 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, khū̃ṭṛũ n. 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)

Ta. kuṭṭai, kuṭṭai-maram stocks; kaikkuṭṭai handcuffs. To. kuṭy, koy-kuṭy id.(DEDRF 1674) Ma. kuṭṭa a knotty log. Ko. guṭḷ stake to which animal is tied, any large wooden peg. To. kuṭy a stump. Ka. (Coorg) kuṭṭustem of a tree which remains after cutting it. Koḍ. kuṭṭe log. Tu. kuṭṭi stake, peg, stump. Go. (Mu.) kuṭṭa, guṭṭa, (G. Ma.) guṭṭa, (Ko.) guṭa stump of tree; (S.) kuṭṭa id., stubble; (FH.) kuta jowari stubble (Voc. 731). Pe. kuṭa stump of tree. Kui gūṭa, (K.) guṭa id. Kuwi (Su.) guṭṭu (pl. guṭka) id., stubble of paddy; (Isr.) kuḍuli log. / The items here, those in DBIA 104 (add: Go. [SR.] guṭṭam, [M.] guṭṭa, [L.] guṭā peg [Voc. 1112]), and those in Turner, CDIAL, no. 3893 *khuṭṭa-, *khuṇṭa- and no. 3748 kṣōḍa-, exhibit considerable convergence and present many problems of immediate relationship. (DEDR 1676) Ka. (Hav.) kutta straight up. Tu. (B-K.) kutta vertical, steep, straight.(DEDR 1716) குத்தா kuttā, n. A herring. See குத்துவா.குத்தாங்கல் kuttāṅ-kal, n. < குத்து- + ஆம் +. Stone or brick laid upright on edge; செங்குத்தாக வைக்குங் கல் அல்லது செங்கல்.குத்துக்கல் kuttu-k-kal, n. < id. +. 1. Stone standing on edge; செங்குத்தான கல். 2. Bricks placed on edge, as in arching, terracing; செங்குத்தாகவைத்துக்கட்டுஞ் செங்கல். 3. Stone marking the depth of water in a tank; ஏரிநீரின் ஆழத்தைக்காட்டும் அளவுகல்.குத்துவா kuttuvā, n. A herring, golden, glossed with purple, Pellona brachysoma; கடல்மீன்வகை. குத்துவாமீன் kuttuvā-mīṉ, n. < குத்துவா +. See குத்துவா.

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Onager on sculpture and on rein rings, copper rein-rings from southern Iraq 3rd m. BCE

June 13, 2019, 6:02 pm

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A legend from Karnataka is that a donkey brayed each time a son was born to Devaki in prison. Vasudeva prays at the feet of the donkey and expresses his gratitude to the donkey for not braying when Sri Krishna was born.

"This sculptural frieze narrative is in a Karnataka. Lord Vasudeva thanking the donkey. Kamsa did not believe his soldiers so he tied the donkey in front of cell because donkey knew the smell of new born baby, then donkey would start to bray. VASUDEVA requested the donkey not to make noise and indicate the birth of Krishna to Kamsa. So he thanks the donkey." -- Gopinath on Facebook

Annamayya folk song on Sri Krishna's birth:

సువ్వి సువ్వి సువ్వాలమ్మా
నవ్వుచు దేవకి నందను గనియె ||

శశి వొడచె అలసంబులు గదచె
దిశ దేవతల దిగుళ్ళు విడచె ||

కావిరి విరసె కంసుడు గినిసె
వావిరి పువ్వుల వానలు గురిసె ||

గతి సేసె అటు గాడిద గూసె
కుతిలకుడిచి జనకుడు నోరు మూసె ||

గగురు పొడిచె లోకము విధి విడిచె
మొగులు గురియగ యమునపై నదచె ||

కలిజారె వేంకటపతి మీరె
అలమేల్మంగ నాంచారమ్మకలుకలు తీరె ||

గతి సేసె అటు గాడిద గూసె
కుతిలకుడిచి జనకుడు నోరు మూసె॥
Word-Word:
గతిgati= motion; సేసెsese= doing; అటుaTu= there; గాడిదgaaDida= donkey; గూసెgoose= brayed;
కుతిలkuthila=pain; కుడిచిkuDichi=assembling; జనకుడుjanakuDu= father (of Krishna); నోరుnooru= mouth; మూసెmoose= closed;॥
Meaning:
Motion started there; a donkey brayed
assembling pain, Father mouth closed
Discussion:
Commotion started and a donkey started braying. As Vasudeva was escaping from prison, the donkey's braying caused a lot of noise and Vasudeva was scared that the noise would wake up a lot of guards that were sleeping. So Vasudeva, Krishna's father goes to the donkey and tries to calm it and cause it to stop bryaing. There is a reference to the donkey in a popular proverb in Telugu that a King like Vasudeva had to calm a donkey in bad times. http://annamayya-sankirthana.blogspot.com/2015/09/

Short Sword with Four Kulans’ Heads on the Handle

Northeast China, 10th-8th century BCE

Bronze, L. 9 5/8 in. (24.5 cm)

(The kulan is a species of onager or wild ass native to Central Asia).

Source: Met Museum

https://ancientpeoples.tumblr.com/post/171970967079/short-sword-with-four-kulans-heads-on-the

Copper model of a quadriga from Shara Temple at Tell Agrab, Iraq, c. 2600 BC. Oriental Institute of Chicago

Rein Ring with Electrum Onager on Top. British Museum, London

A Copper Rein-Ring from Southern Iraq

M. E. L. Mallowan

Iraq

Vol. 10, No. 1 (Spring, 1948), pp. 51-55 (7 pages)

Published by: British Institute for the Study of Iraq

DOI: 10.2307/4241674

https://www.jstor.org/stable/4241674

A Copper Rein-Ring from Southern Iraq

M. E. L. Mallowan
- DOI: https://doi.org/10.2307/4241674
- Published online: 07 August 2014

The copper rein-ring illustrated in this article is at present privately owned, and was shown to me in London in 1947: it is published here by kind permission of the owner. It is said to have been acquired in Nasiriyah in 1922, and to have come from the Samawa district. There is little doubt that this object must have been found at some Sumerian site such as Kish or Ur; it may be dated to the end of the second or the beginning of the third Early Dynastic period, c. 2500 B.C.E.

Electrum, silver and copper rein rings of this type, surmounted by a model animal, have been found at Kish and at Ur, and a variant form was discovered in a tomb at Til-Barsib, near Carchemish, on the upper Euphrates. This specimen is of particular interest because the animal appears to be an onager, or wild ass, which was evidently known to the Sumerians not later than the middle of the third millenium B.C.E.
https://www.cambridge.org/core/journals/iraq/article/copper-reinring-from-southern-iraq/DD73BE96B90A7754518444ABF81815A9

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Metaphors of R̥gveda and Indus Script hypertexts falcon, overflow pot, mirrored in Ancient Near East

June 14, 2019, 7:03 am

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≪ Previous: Onager on sculpture and on rein rings, copper rein-rings from southern Iraq 3rd m. BCE

https://tinyurl.com/yy9a6h3r

n śyena 'falcon' from frozen Himalaya rebus aśani 'thunderbolt'آهن ګر āhan gar, کار کنده kār-kunda 'blacksmith, turner, director' and lo overflowing kāṇḍa pot, rebus lokhãḍ, 'copper tools, pots and pans'

Two vivid ancient imageries are gleaned from R̥gveda śyena and Ancient Near east Anzu (cognate ancu'iron' (Tocharian) and amśu'soma', aśani 'thunderbolt' rebus آهن ګر āhan gar, 'thunderbolt maker smith' metaphors; and 2) from overflowing pot on Indus Script hypertext and Ancient Near East hieroglyphs on cylinder seals and artifacts such as Gudea statue holding an overflowing pot. Evidencs for these two sets of abiding metaphors are presented in this monograph and metaphors deciphered in the context of metalwork wealth-accounting ledgers of artisans and seafaring merchants.

Overflow pot on Jasper cylinder seal, ANE (MetMuseum); overflow pot on m1656 Mohenjodaro pectoral

-- R̥gveda śyena (suparṇātmā brahma) aśani'thunderbolt'; aśaniḥ अशनिः 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 aśman अश्मन् 1 A stone; नाराचक्षेपणी- याश्मनिष्पेषोत्पतितानलम् R.4.77. -2 A hard stone, rock. -3 Flint. ततो$श्मसहिता धाराः संवृण्वन्त्यः समन्ततः Mb.3.143.19. -4 A cloud. -5 A thunderbolt. -6A mountain.-हन्मन् n. 1 a weapon of iron; Rv.7.14.5. -2 a stroke of the thunderbolt. (Apte). śyēnḥ श्येनः [श्यै-इनन् Uṇ.2.45] A hawk, falcon. śyai श्यै 1 Ā. (श्यायते, श्यान, शीत or शीन) To be congealed or coagulated. (Apte) cl.1 P. श्यायति , to cause to congeal or freeze S3Br. ; (A1.) श्यायते (Gr. also pf. शश्ये ; aor. अश्यास्त ;

fut. श्याता , श्यास्यते) , to go , move Dha1tup. xxii , 67 : Pass. शीयते , to congeal , freeze , be cold TS. TBr. : Caus. श्यापयति Gr.: Desid. शिश्यासते ib. : Intens.

शाश्यायते , शाश्येति , शाश्याति ib.(Monier-Williams) Hence, śyena 'falcon' is from frozen Himalaya mountain.

-- Hieroglyph:lo'overflow', kāṇḍa'sacred water'.rebus: lokhãḍ, 'copper tools, pots and pans'

-- Hieroglyph: fish-fin; hypertext: shoulder (from which waves, water overflows are shown on ANE artifacts) *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)

Hittite, seal, hare and two eagles, Boğazköy,, 1800 BC, Museum of Anatolian Civilisations, Ankara.
Hittite, seal, hare and two eagles, Boğazköy,, 1800 BC, Museum of Anatolian Civilisations, Ankara kharā 'hare' rebus: khār 'blacksmith' asani, syena ‘falcon’ rebus: aśani 'thunderbolt' آهن ګر āhan gar, کار کنده kār-kunda 'blacksmith, turner’.
kambha'wing' rebus: kammaṭa 'mint'.dula ‘pair’ rebus: dul ‘metal casting’

-- کار کند kār-kund (corrup. of Pکار کن) adj. Adroit, clever, experienced. 2. A director, a manager; (Fem.) کار کنده kār-kundaʿh. کار کول kār kawul, verb trans. To work, to labor, to trade; P کارستان kār-istān, s.m. (2nd) A place of work, a manufactory, an arsenal. Pl. کارستانونه kār-istānūnah. (Pashto) khāra खार 'blacksmith,iron worker' (Kashmiri) kāṇḍḥ ṇḍam काण्डः ण्डम् Water. निवृत्ताः काण्डचित्राणि क्रियन्ते दाशबन्धुभिः Rām.2.89.18. (Apte)

-- सु--पर्ण mf(/ई)n. having beautiful wings RV.; m. any large bird of prey (as a vulture , eagle ; also applicable to the sun or moon as " having beautiful rays " , and to सोमand clouds ; du. " sun and moon ") ib.; m. any mythical or supernatural bird (often identified with गरुड , and sometimes personified as a ऋषि , a देव-गन्धर्व , and an असुर) RV. TS. Ka1t2h. MBh.; m. a ray Naigh.; m. N. of the mother of गरुड or of the प्राजापत्य आरुणि सुपर्णेय BhP. Na1rUp.; m. = गरुडी MBh.;

m. the mother of सु-पर्ण Suparn2.; m. N. of one of the seven tongues of fire Gr2ihya1s. (Monie-Williams) sauparṇam सौपर्णम् Emerald. a. Relating to सुपर्ण bird or Garuḍa; सौपर्णमस्त्रं प्रतिसंजहार R.16.8 (Apte). सुपर्णकेतुः, पुं, (सुपर्णः केतौ यस्य ।) विष्णुः ।इति हलायुधः

https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः

Eagle, श्येन sēṇa, کار کنده kār-kunda, آهن ګر āhan gar, 'blacksmith' are Indus Script metalwork wealth मेधा 'yajña, धन' hypertexts

See: https://tinyurl.com/y8qnj9gu

Eagle, श्येन sēṇa, کار کنده kār-kunda are Indus Script metalwork wealth मेधा 'yajña, धन' hypertexts, signify آهن ګر āhan gar, 'blacksmith', maker of asaṇi, vajrāśani thunderbolt weapon, manager of kiln

The sacred double-headed temple has a temple in Sirkap, Takṣaśila. The double-headed eagle is an Indus Script hypertext to signify kār-kunda, 'manager of kiln', āhan gar, 'blacksmith', maker of asaṇi, vajrāśani 'Indra's thunderbolt' signified by श्येन 'm. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man)' RV. &c. It is veneration of the thunderbolt maker, blacksmith, āhan gar -- an expression derived from श्येन 'hawk' 1) attested in R̥gveda. .श्येन is name of a ऋषि (having the patr. आग्नेय and author of RV. x , 188; and 2) double eagles celebrated in Rāmāyaṇa: सम्-पाति m. N. of a fabulous bird (the eldest son of अरुण or गरुड and brother of जटायु) MBh. R. &c and जटायु m. N. of the king of vultures (son of अरुण and श्येनी MBh. ; son of गरुड R. ; younger brother of सम्पाति ; promising his aid to राम , out of regard for his father दश-रथ , but defeated and mortally wounded by रावण on attempting to rescue सीता) MBh. i , 2634 ; iii , 16043ff. and 16242ff R. i , iii f. Image result for meister shrine of eagle taxila

Image result for meister shrine of eagle taxila

Shrine of the Double Headed Eagle, Buddhist ruins of Sirkap in Punjab Province, Pakistan Stock Photo

Shrine of Two Headed Eagle, 2nd cent.BCE

Double-Headed Eagle Stupa, Sirkap, Taxila (UNESCO World Heritage List, 1980), Punjab, Pakistan, 2nd century BC : Stock Photo

Double-Headed Eagle Stupa, Sirkap, Taxila (UNESCO World Heritage List, 1980), Punjab, Pakistan, 2nd century BCE

http://www.alamy.com/stock-photo/pakistan-punjab-taxila-sirkap-shrine.html.

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 (1892)

https://tinyurl.com/ycpf85x2

The devatā of r̥ca RV 4.26.4-7 is śyena (suparṇātmā brahma) and of r̥ca RV 4.27.1-5 is śyena. In some r̥ca-s of the two sukta-s, Indra and ātmā are the devatā.

Bloomfield tries to show that gāyatri, the eagle, is the sacerdotal name of Agni, the heavenly Agni (the lightning) who is the eagle. (See embedded: Contributions to the Interpretation of the Veda Maurice Bloomfield in: Journal of the American Oriental Society Vol. 16 (1896), pp. 1-42 Published by: American Oriental Society DOI: 10.2307/592485 Stable URL: http://www.jstor.org/stable/592485). This opinion of Bloomfield is consistent with the semantics: aśani‘thunderbolt’ cognate śyena‘falcon’, sena‘thunderbolt’. The semantics of aśani‘thunderbolt’ leads to the expression āhangar‘blacksmith’. (Pashto. Kashmiri)

Bloomfield also notes that divah śyena is a reference to Agni and that Agni is frequently spoken of as a bird (e.g., RV I.164.52). Thus, ‘the descent of the lightning is viewed as the cause of the descent of the ambrosial fluid, the Soma. VS VI.34: somo rājā ‘mr̥tam sutah‘king Soma when pressed becomes amr̥ta’. This means that the Soma (amsu) is guarded by the metallic iron castles. (A clear intimation of Soma as a reference to metal or mineral). The adjective somabhr̥t repeatedly used in Yajus-samhita and the Brahmana-s is a standing epithet of the eagle: ‘he who brings the soma’.

Griffith: RV VI.20.6: 6 As the Hawk rent for him the stalk that gladdens, he wrenched the head from Namuci the Dasa.

He guarded Nam, Sayyas' son, in slumber, and sated him with food, success, and riches.

Sayana/Wilson: RV 6.020.06 And the hawk bore to Indra the exhilarating Soma, when, bruising the head of the oppressor Namuci, and protecting the slumbering Nami, the son of Sapya, he provided, for the weeell-being (of the sage), riches and food.

Bloomfield translates this as: “churning for him the head of the demon Namuci, as did the eagle the intoxicating plant (from the cloud, or the heavens.)”

This r̥ca refers to śyena tearing away the amśu [a synonym of Soma-- the filament that gladdens --, a cognate of ancu 'iron' (Tocharian)]

The epithet सु-पर्ण applied to śyena evokes reference to m. any mythical or supernatural bird (often identified with गरुड , and sometimes personified as a ऋषि , a देव-गन्धर्व , and an असुर) RV. TS. Ka1t2h. MBh.;
m. N. of the mother of गरुड or of the प्राजापत्य आरुणि सुपर्णेय BhP. Na1rUp.; m. N. of one of the seven tongues of fire (गृह्यासंग्रह)(Monier-Williams)

Rsi of both sukta RV 4.26 and 4.27 is Vāmadeva Gautama. "Gautama is the son of Rāhugaṇa, belonging to the lineage of Angirasa. Gautama is the progenitor of the paternal Gautama gotra lineage. Gautama and Bharadvaja share a common ancestry, as they are both descended from Angirasa, and sometimes they are both bracketed together under the name Angirasa." A monograph has demonstrated that Videgha Māthava, and Gotama Rahugaṇa *(Śatapatha Brāhmaṇa) moved eastwards from Sarasvati River Basin towards করতোয়ানদী Karatoya river which is Sadānīra (Amara) and close to the tinbelt of the globe to unleash Tin-Bronze revolution (ca.4th m.BCE).

Amara Kośa asserts Sadānīra to be synonym of Karatoya River. See: सदानीरा स्त्री सदा नीरं पेयमस्याः । करतोयानद्याम् अमरः । “अथादौ कर्कटे देवी त्र्यहं गङ्गा रजस्वला । सर्वा रक्तवहा नद्यः करतोयाम्बुवाहिनी” स्मृत्युक्तेःतन्नदीजलस्य सदापेयत्वात् तस्यास्तथात्वम् । Source: https://sa.wikisource.org/wiki/वाचस्पत्यम्

I suggest that Vāmadeva Gautama who is the son of Gotama Rahugaṇa of Angirasa gotra is in the lineage of the purve, 'ancient' yajñika who moved to the Ganga basin to acquire wealth through metallurgical processing of the iron ore and othermineral resources of the Ganga-Brahmaputra (Karatoya or Sadānīra) river basins. The prayers offered in RV 4.26 and 4.27 to śyena (suparṇātmā brahma) is a celebration of the wealth acquired by processing the iron ore and other mineral resources of the Ganga river basin through bahusuvarṇaka soma samsthā yajña-

The ākhyāna, itihāsa narrative in RV 4.27 refers to a गन्धर्व, called 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 वाजसनेयि-संहिता v , 32; शाङ्खायन-श्रौत-सूत्र vi , 12 , 3)'; (hence) fire (Sus3r. Ragh. Kum. Bhartr2.). This narrative of कृशानु as a gandharva reinforces the functions performed by gandharva as 'guardians' of Soma. See: Gāndharvī गान्धर्वी is Meluhha speech, 'musician'गान्धार 'guradians of Soma' metaphor explained on Indus Script are kharada 'daybook' chroniclers of metalwork wealth

https://tinyurl.com/ybzdx2f8

Griffith translation RV 4.26:

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, ninety and nine—, 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.

Translation of Sayana/Wilson: RV 4.26

4.026.01 I have been Manu and Su_rya; I am the wise r.s.i: Kaks.i_vat; I have befriended Kutsa, the son of Arjuni; I am the far-seeing Us'ana_s; so behold me. [Attributed to Va_madeva: the sage uttered the verse and the following two verses, while yet in the womb, knowledge of truth being generated in him, and enabling him to identify himself with universal existence; through the eye of supreme truth I am everything, parama_rtha dr.s.t.ya_ kr.tsnam aham asmityarthah, we have, thus, the statement of the pantheistic basis for Veda_nta].
4.026.02 I gave the earth to the venerable (Manu); I have bestowed rain upon the mortal who presents (oblations); I have let forth the sounding waters; the gods obey my will. [To the venerable Manu: the text has only a_ryaya; Ma_nave is added].
4.026.03 Exhilarated (by the Soma beverage) I have destroyed the ninety and nine cities of S'ambara, the hundredth I gave to be occupied by Divoda_sa when I protected him, Atithigva, at his sacrifice.
4.026.04 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: acakraya_ vadhaya_ = 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 ga_yatri_, in the form of a hawk; by the hawk, we are to understand the supreme spirit, parabrahma].
4.026.05 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.
4.026.06 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.
4.026.07 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.

Griffith translation RV 4.27: 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.

Translation by Sayana/Wilson RV 4.27:

4.027.01 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 celeriy of a hawk from its nest; va_madeva s'yena ru_pam a_stha_ya garbha_d yogena nihsr.tah = Va_madeva, having assumed the form of a hawk, came forth from the womb by the power of Yoga (Ni_timan~jari)].

4.027.02 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 parama_tma_, or supreme spirit; beyond the winds: the vital airs, or life, the cause of worldly existence, which is pain].
4.027.03 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 Kr.s'a_nu, pursuing with the speed of thought, and stringing his bow, let fly an arrow against it.
4.027.04 The straight-flying hawk carried off the Soma from above the vast heaven, as (the As'vins 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 parn.am 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].
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.

Contributions to the Interpretation of the Veda Maurice Bloomfield in: Journal of the American Oriental Society Vol. 16 (1896), pp. 1-42 Published by: American Oriental Society DOI: 10.2307/592485 Stable URL: http://www.jstor.org/stable/592485

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.

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.

See: https://vivekitam.wordpress.com/2011/04/19/athirathram-a-perspective-2/

Battles of śyena, 'eagle' to obtain Soma, wherein ayojālāni 'nets of iron' are pierced through and won over by गरुडी सुपर्णी to recover ambrosia, amr̥tam (metaphor for Soma).

There are two rebus readings of śyena, 'eagle' rebus 1) śeṇvi 'general', 2) sena 'thunderbolt'.

These semantics of thunderbolt weapon and commanding an army, may explain the later-day association of gaṇḍa bheruṇḍa'double-eagle' hypertext to signify royalty and sovereignty.(as for e.g.on the Karnataka state emblem). gaṇḍa 'hero' PLUS भेरुण्ड mf(आ)n. (often v.l. भेरण्ड) terrible , formidable , awful MBh.; m. a species of bird MBh. Hcar.भेरुण्डा f. N. of a goddess (= काली) (Monier-Williams)

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

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

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

Image result for shaft-hole axe bharatkalyan97

On this artifact, eagle,

sēṇa, کار کنده kār-kunda are Indus Script hypertexts,signify āhan gar, b'lacksmith', maker of asaṇi,vajrāśani thunderbolt weapon, manager of kiln. The pair of eagle-heads signify dula'pair' rebus:dul'metal casting'. Thus,metal casting blacksmith. The winged tiger: kola'tiger' rebus: kol 'working in iron'kolhe'smelter' PLUS kambha'wing' rebus: kammata'mint'. baḍhia 'a castrated boar, a hog'(Santali) বরাহ barāha 'boar' Rebus: baḍhi 'worker in wood and iron' (Santali) bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) vāḍhī, 'one who helps a merchant. Thus, the hypertexts on the silver gold foil shaft-hole axe constitute metalwork catalogues.

Shaft-hole axhead with a double-headed eagle ligatured to a human body, boar,and winged tiger, late 3rd–early 2nd millennium BCE Central Asia (Bactria-Margiana) Silver, gold foil; 5 7/8 in. (15 cm) “Western Central Asia, now known as Turkmenistan, Uzbekistan, and northern Afghanistan, has yielded objects attesting to a highly developed civilization in the late third and early second millennium B.C. Artifacts from the region indicate that there were contacts with Iran to the southwest. Tools and weapons, especially axes, comprise a large portion of the metal objects from this region. This shaft-hole axhead is a masterpiece of three-dimensional and relief sculpture. Expertly cast in silver and gilded with gold foil, it depicts a bird-headed hero grappling with a wild boar and a winged dragon. The idea of the heroic bird-headed creature probably came from western Iran, where it is first documented on a cylinder seal impression. The hero's muscular body is human except for the bird talons that replace the hands and feet. He is represented twice, once on each side of the ax, and consequently appears to have two heads. On one side, he grasps the boar by the belly and on the other, by the tusks. The posture of the boar is contorted so that its bristly back forms the shape of the blade. With his other talon, the bird-headed hero grasps the winged dragon by the neck. The dragon, probably originating in Mesopotamia or Iran, is represented with folded wings, a feline body, and the talons of a bird of prey.”

baḍhia 'a castrated boar, a hog'(Santali) বরাহ barāha 'boar' Rebus: baḍhi 'worker in wood and iron' (Santali) bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) vāḍhī, 'one who helps a merchant (Hemacandra Desinamamamala).

bārakaśa 'seafaring vessel'.
The pronunciation variants in the semantics related to 'boar' are explained by:
ஓடாவி ōṭāvi, n. prob. ஓடம்¹ + ஆள்வி. 1. Shipwright, boat builder; மரக்கலஞ் செய்வோன். (W.) 2. Carpenter; தச்சன்.ōṭam, n. < ஓடு-. cf. hōḍa. [T. K. Tu. oḍa, M. ōḍam.] 1. Boat, ferry-boat; தோணி. (திவா.) 2. Raft, float, vessel of any kind; மிதவை. (W.) 3. The tenth nakṣatra; மகநாள். (இராசவைத்) 4. Weavers' shuttle; நெசவுநாடா. (யாழ். அக.) 5. A song in the boatman's tune; ஓடப்பாட்டு.ōṭa-p-pāṭṭu , n. < ஓடம்¹ +. Boat song; கப்பற்பாட்டு. Ta. ōṭam boat, raft, float, vessel; ōṭāvi shipwright, boatbuilder. Ma. ōṭam boat; ōṭāyi shipbuilders; ōṭi a large seaboat (long and narrow, chiefly from the Laccadives). Ka. ōḍa boat. Tu. ōḍa id. Te. ōḍa ship, vessel. Pa. ōḍa boat, trough. Go. (M.) ōḍa, (Ko. S.) ōṛa boat (Voc. 437); (Pat.) oda (i.e. ōḍa) donga. / Cf. Skt. hoḍa- boat, raft; Turner, CDIAL, no. 14174. The IA words are probably < Dr.; Parpola 1977-78, pp. 243 ff. (DEDR 1039) hōḍa m. ʻ raft, boat ʼ lex. [← Drav., Kan. ōḍa., &c. DED 876]H. hoṛī f., holā m. ʻ canoe, raft ʼ; G. hoṛī f. ʻ boat ʼ; M. hoḍī f. ʻ canoe made of hollowed log ʼ. -- See uḍupa -- .Addenda: hōḍa -- : Md. oḍi ʻ large kind of boat ʼ ← Drav.(CDIAL 14174) ōḍra1 m. ʻ a tribe of Śūdras ʼ Mn., ʻ name of a people ʼ MBh., uḍra -- , auḍ°. 2. auḍrika -- ʻ of that people ʼ. [S. Lévi JA 1923, 20 ff., EWA i 132]1. Pk. oḍḍa* -- , uḍ° m. ʻ the land of Utkala ʼ, uḍḍa -- m. ʻ a caste of well -- diggers ʼ; S. oḍru m. ʻ a caste that make mud walls, blockhead ʼ, L. oḍ̠ m.; P. oḍ m. ʻ a tribe that clear out watercourses or build houses ʼ; Ku. oṛ, woṛ ʻ mason ʼ, N. oṛ; Or. oṛa ʻ an aboriginal inhabitant of Orissa ʼ; G. oḍ m. ʻ a caste of Hindus who dig and carry earth and build mud houses ʼ.2. oḍḍia -- ʻ pertaining to Utkala ʼ; B. oṛiyā, uṛ° ʻ an inhabitant of Orissa ʼ, Or. oṛiā, Bhoj. oṛiyā; EH. (Chattisgarh) oṛiyā m. ʻ navvy ʼ.ōḍradēśa -- .Addenda: ōḍra -- 1 ʻ a tribe of Śūdras ʼ Mn.: WPak.kṭg. ōḍ m. ʻ carpenter, name of a caste ʼ; Garh. oḍ ʻ mason ʼ.(CDIAL 2549) ōḍradēśa ʻ land of the Oḍras ʼ MW. [ōḍra -- 1, dēśá --] Or. oṛisā ʻ Orissa ʼ, H. uṛīsā m.(CDIAL 2551) [Note: the seafaring Bharatam Janam of ōḍradēśa are the seafarers who celebrate Baliyatra every year on Karthik Purnima day in memory of their contributions to Hinduised states of the Far East (pace George Coedes' wok in French Les états hindouisés d'Extrême-Orient. These are the ancient dharma-dhamma savants who spread Bauddham in Sri Lanka and in the Ancient Far East.]

Gold sheet and silver, Late 3rd/early 2nd millennium B.C.E.

L. 12.68 cm. Ceremonial Axe Baktria,Northern Afghanistan http://www.lessingimages.com/search.asp?a=L&lc=202020207EE6&ln=Collection+George+Ortiz%2C+Geneva%2C+Switzerland&p=1 "The whole cast by the lost wax process. The boar covered with a sheet of gold annealed and hammered on, some 3/10-6/10 mm in thickness, almost all the joins covered up with silver. At the base of the mane between the shoulders an oval motif with irregular indents. The lion and the boar hammered, elaborately chased and polished. A shaft opening - 22 holes around its edge laced with gold wire some 7/10-8/10 mm in diameter - centred under the lion's shoulder; between these a hole (diam: some 6.5 mm) front and back for insertion of a dowel to hold the shaft in place, both now missing.

Condition: a flattening blow to the boar's backside where the tail curled out and another to the hair between the front of his ears, his spine worn with traces of slight hatching still visible, a slight flattening and wear to his left tusk and lower left hind leg. A flattening and wear to the left side of the lion's face, ear, cheek, eye, nose and jaw and a flattening blow to the whole right forepaw and paw. Nicks to the lion's tail. The surface with traces of silver chloride under the lion's stomach and around the shaft opening." https://www.flickr.com/photos/antiquitiesproject/4616778973

This note suggests that the place names in India of Dharwad and Ib are related to nearby iron ore regions and lived in by iron workers. The names are derived from two etyma streams: 1 dhāū, dhāv m.f. ʻa partic. soft red stoneʼ.

This suggestion is premised on a Marathi gloss (Prakritam, Meluhha pronunciation) cognate withdhātu: dhāū, dhāv m.f. ʻa partic. soft red stoneʼ (Marathi) dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. 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. dā 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) whence dhā̆vaḍ m. ʻa caste of iron -- smeltersʼ, dhāvḍī ʻ composed of or relating to iron ʼ); dhātu n. ʻ substance ʼ RV., m. ʻ element ʼ 2. ib 'iron' kara +iba, karba 'iron'. For example, the place name Dharwad is relatable to dhāvaḍ 'iron-smelters'. Archaeological explorations near Dharwad and Ib may indicate evidences for iron smelting.

This etymon indicates the possible reading of the tall flagpost carried by kneeling persons with six locks of hair: baTa 'six' Rebus: bhaTa 'furnace'. Associated with nAga 'serpent' Rebus: nAga 'lead'

"

Emblem in Mysuru palace.

Roof sculpture, Rameśvara temple,

Decorative motif in the ceiling of Br̥hadīśvara temple

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 http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-indus-writing-lokhad.html 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.htmlSoma-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.

Enmetena silver vase

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.

Another view of the silver vase of Enmetena

Enlarge.

The dedicatory inscriptions wrap around the neck of the vase:

Enlarge.

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

It is the rock from which the eagle brought Soma (RV 4.26, 27). श्येन [p= 1095,2] 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 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'

Image result for eagle bull man tell-al-ubaid

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: Ḍhangar ‘blacksmith’ (H.) dang 'mountain range' rebus: dhangar 'blacksmith'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

http://www.worldartmuseum.cn/content/918/4095_1.shtml

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

http://sumerianshakespeare.com/106901.html

The archer who shot at the falcon is कृशानु [p= 306,1] 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 [कृश् आनुक्; Uṇ.4.2] Fire; गुरोः कृशानुप्रति- माद्बिभेषि R.2.49;7.24;1.74; Ku.1.51; Bh.2.17. -Comp. -यन्त्रम् (= अग्नियन्त्रम्) a cannon; अथ सपदि कृशा- नुयन्त्रगोलैः ......Śiva. B.28.85. -रेतस् m.an epithet of Śiva. (Apte)

A कृशानु is a conch-cutter who makes conch bangles.

Image result for conch bangle maker 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.

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.

नवं नु स्तोमं अग्नये दिवः श्येनाय जीजनं वस्वः क 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."

Griffith translation: RV 7.15:
1. OFFER oblations in his mouth, the bounteous Gods' whom we must serve.

His who is nearest kin to us:
2 Who for the Fivefold Peoples' take hath seated him in every home
Wise, Youthful, Master of the house.3 On all sides may that Agni guard our household folk and property;May he deliver us from woe.4 I have begotten this new hymn for Agni, Falcon of the sky:Will he not give us of his wealth?5 Whose lories when he glows in front of sacrite are fair to see,Like wealth of one with hero sons.6 May he enjoy this hallowed gift, Agni accept our songs, who bears
Oblations, best of worshippers.

7 Lord of the house, whom men must seek, we set thee down, O Worshipped One!
Bright, rich in heroes, Agni! God
8 Shine forth at night and morn: through thee with fires are we provided well.Thou, rich in heroes, art our Friend.9 The men come near thee for their gain, the singers with their songs of praise:
Speech, thousandfold, comes near to thee.

10 Bright, Purifier, meet for praise, Immortal with refulgent glow,
Agni drives Raksasas away.

11 As such, bring us abundant wealth, young Child of Strength, for this thou canst
May Bhaga give us what is choice.
12 Thou, Agni, givest hero fame: Bhaga and Savitar the God,And Did give us what is good.13 Agni, preserve us from distress: consume our enemies, O God,Eternal, with the hottest flames.14 And, irresistible, be thou a mighty iron fort to us,With hundred walls for mans' defence.15 Do thou preserve us, eve and morn, from sorrow, from the wicked men,Infallible! by day and night.

Translation: Sayana/Wilson:RV VII.15.14:7.015.14 Do you, who are irresistibel, be to us, for the protection of our posterity, like the vast spacious, metal-walled cities (of the ra_ks.asas).

I suggest that RV 7.15.14 is explained in Rāmāyaṇa araṇya kāṇḍa 3.35.35 in reference to ayojālāni, which are pierced through by

गरुड to obtain ambrosia (Soma) from palace of Indra.

sa tena tu praharSeNa dviguNii kR^ita vikramaH |
amr̥ta aanayanaartham vai cakaara matimaan matim || 3-35-34
When his valour has become twice as much with that happiness that heedful Garuḍa indeed resolved to bring ambrosia from heaven. [3-35-34]
ayo jaalaani nirmathya bhittvaa ratna gr̥ham varam |
mahendra bhavanaat guptam aajahaara amrtam tataH || 3-35-35
Smashing the guard of iron-grid completely and crashing the unbreakable diamond -like strongroom in which the ambrosia is safeguarded, then Garuḍa carried off ambrosia from the palace of Indra. [3-35-35] (Vālmīki Rāmāyaṇa, araṇya kāṇḍa)

http://www.valmikiramayan.net/aranya/sarga35/aranya_35_frame.htm

[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 & Tablet of Destinies : A. R. George (1986)

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

Senth 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.http://www.jtsa.edu/documents/pagedocs/janes/2009/wazana_janes31.pdf

Alternative: Ninurta with his thunderbolts pursues Anzû stealing the Tablet of Destinies from Enlil's sanctuary (Austen Henry Layard Monuments of Nineveh, 2nd Series, 1853). AN.ZU could mean "heavenly eagle" derived from गरुडी सुपर्णी which carries off ambrosia from the palace of Indra.(Rāmāyaṇa araṇya kāṇḍa 3.35.35).

“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.

इन्दु m. ( √ उन्द् Un2. i , 13 ; probably fr. इन्द् = √ उन्द् , " to drop " [see [p= 165,3] , and cf. /इन्द्र] ; perhaps connected with बिन्दु , which last is unknown in the ऋग्-वेद BRD. ), Ved. a drop (especially of सोम) , सोम RV. AV. VS.; the point on a die AV. vii , 109 , 6; a coin L. (In the ब्राह्मणs , इन्दु is used only for the moon ; but the connexion between the meanings " सोम juice " and " moon " in the word इन्दु has led to the same two ideas being transferred in classical Sanskrit to the word सोम , although the latter has properly only the sense " सोम juice.") (Monier-Williams). I suggest that this word 'indu' and semantics 'juice' for 'molten metal''drop''point on a die' is the root for the Sumerian IM.dugud. "The name of the mythological being usually called Anzû was actually written in the oldest Sumerian cuneiform texts as 𒀭𒉎𒈪𒄷 (AN.IM.MI^mušen; 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 AN.IM.DUGUD^mušen. 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 clay") 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." (Jacobsen, T. (1989). God or Worshipper. Pp. 125-130 in Holland, T.H. (ed.), Studies In Ancient Oriental Civilization no. 47. The Oriental Institute of the University of Chicago.).

गरुड m. ( √2. गॄ Un2. iv , 155 , " devourer " , because गरुड was perhaps originally identified with the all-consuming fire of the sun's rays) , N. of a mythical bird (chief of the feathered race , enemy of the serpent-race [cf. RTL. p.321] , vehicle of विष्णु [cf. RTL. pp. 65 ; 104 ; 288] , son of कश्यप and विनता ; shortly after his birth he frightened the gods by his brilliant lustre ; they supposed him to be अग्नि , and requested his protection ; when they discovered that he was गरुड , they praised him as the highest being , and called him fire and sun MBh. i , 1239 ff. ; अरुण , the charioteer of the sun or the personified dawn , is said to be the elder [or younger cf. RTL. p.104] brother of गरुड ; स्वाहा , the wife of अग्नि , takes the shape of a female गरुडी =सुपर्णी MBh. iii , 14307 and 14343) (सुवर्णप्रभास Taittirīya āraṇyaka x , 1 , 6 MBh. &c)

Mulavarman's yupa inscription of East Borneo notes: बहुसुवर्णक, bahusuvarṇaka 'yielding plenty of gold', Soma Samsthā yāga.

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.

http://sumerianshakespeare.com/106901.html

British Museum. Stone mace head Kingdom of Lagash, about 2400-2300 BCE Possibly from Tello (ancient Girsu), southern Iraq

Inscribed head of a mace with Imdugud (Anzu) and Enannatum, the British Museum, London.
Image result for anzu ancient near east

Sumer. Sculptural friezes.

Copper friezeImdugud (also Zu or Anzu), the lion-headed eagle, grasping a pair of deer; 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

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) http://www.britishmuseum.org/explore/highlights/highlight_objects/me/c/copper_frieze.aspx

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.

http://sumerianshakespeare.com/106901.html

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.

Zu or Anzu (from An 'heaven' and Zu 'to know' in Sumerian language), as a lion-headed eagle, ca. 2550–2500 BCE, Louvre. Votive 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.)

(Anzu bird's wings ligatured to a tiger's face, flanked by two strident lions).

http://en.wikipedia.org/wiki/File:Relief_Im-dugud_Louvre_AO2783.jpg .

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) PLUS kambha 'wing' rebus: kammata 'mint' PLUS kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' PLUS arye 'lion'āra 'brass'.

Sculptural frieze. stūpa of Sanchi, second half of 2nd century BCE (Kramrisch,1954, pic13)

m0451A

m0451B

Text 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.)

sēṇa 'eagle' Indus script hieroglyph, senmurv (Ancient Persian) are Ancient Near East intimations of (army) weapon-making, smelting ores.

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, °vī, śeṇai 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]
[alloy metal mint workshop]

Harappa seal. Eagle in flight.

m1390Bt Text 2868 Pict-74: Bird in flight.

The link of eagle and smelting of the early Bronze Age is evidenced by a Bogazkoy seal with Indus Script inscription.

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. sen, sẽ 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 ṇ), P. āhiṇ, f., āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, hiṇi f., N. asino, pl. °nā; Si. sena, heṇa 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)

eraka ‘wing’ Rebus: eraka ‘moltencast’ garuDa ‘eagle’ Rebus: karaDa ‘hard alloy’; garuDa ‘gold’ (Samskritam)
Hieroglyph: eruvai ‘eagle’; synonym: गरुड ‘eagle’ eraka ‘wing’. Rebus: eruvai ‘copper’ (Tamil. Malayalam)+ करडा [ karaḍā ] Hard from alloy–iron, silver &c. erako ‘moltencast’
Two seals from Gonur 1 in thee Murghab delta; dark brown stone ((Sarianidi 1981 b: 232-233, Fig. 7, 8) eagle engraved on one face. 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' PLUS seṇa'falcon' rebus: seṇa, aśani 'thunderbolt', āhan gar 'blacksmith' PLUS
मेढा [ mēḍhā ] meṇḍa A twist or tangle arising in thread or cord, a curl or snarl. (Marathi) (CDIAL 10312) rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meḍ 'iron' (Munda). Rebus: medhā 'yajna, dhanam'

Image result for homa amsu syena anzu bird

Persepolis stone homa birds, double protome column capital See: https://web.stanford.edu/dept/archaeology/cgi-bin/archaeolog/?p=225 "The preeminent discussion of Persepolis sculpture remains that of Michael Roaf’s entire 1983 issue of Iran XXI (4)...The brilliant 2005 London exhibition, Forgotten Empire: The World of Ancient Persia: at the British Museum, in part the vision of Dr. John Curtis, Keeper of the Middle Eastern Department and primary author of the companion exhibition volume, showcased some of the glories of Achaemenid art. There this Persepolis “griffin” (as John Curtis identifies it) protome capital is described as a “homa bird” and one of the “four different types of column capital at Persepolis…arranged back to back to carry the gigantic cedar beams that supported the roof“ as mentioned. Both Stronach and Curtis have suggested the intended location of this griffin capital as the Unfinished Gate at Persepolis...there is also the eagle-headed griffin image from Susa noted in Jantzen (Ulf Jantzen. Griechische Greifenkessel. Berlin: Gebr. Mann Verlag, 1955; Carol Mattusch. Greek Bronze Statuary: From the Beginnings Through the Fifth Century B.C.. Ithaca: Cornell University Press, 1989, 27) as catalog number no. 142, and the horned griffin glazed bricks at Susa (see E. Schmidt, Persepolis I, 1953, 32) but also the gold eagle-headed griffin from Kurdistan of the so-called “Ziwiye Treasure”, and the griffin-headed gold bracteate jewelry from the Achaemenid “Chicago Treasure” at the Oriental Institute among others. Some of the origins of Achaemenid pieces could also be Scythian. For griffin motifs at Persepolis, see Schmidt, Persepolis I (1953) 72, 85, 174, 189 and 257. That griffin motifs also appear at least as early as the Iron Age in Iran is evidenced by Luristan bronze finds at the Oriental Institute, Chicago, including griffin-decorated pin heads."

See: The Standard Babylonian Epic of Anzu Introduction, Cuneiform Text, Transliteration, Score, Glossary, Indices and Sign List

by Amar Annus State Archives of Assyria Cuneiform Texts - SAACT 3 Neo-Assyrian Text Corpus Project - NATCP, 2001

Elamite bird (eagle?) with spread wings on an axe-head from Tepe Yahya (Lamberg-Karlovsky, C.C. and D.T. Potts. 2001. Excavations at Tepe Yahya, Iran, 1967-1975: The Third Millennium. Cambridge: Peabody Museum of Archaeology and Ethnology, Harvard University, p.216)Ceremonial axe head made of chlorite, with eagle design from Tepe Yahya Per. IVB (Kohl 2001: 216, fig. 9.6). (Potts 2001: Figure 9.6).

A Steatite vessel, 16 cm. square, from Tepe Yahya
Harappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255

फडा (p. 313) phaḍā 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. sen, sẽ 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 ṇ), P. āhiṇ, f., āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, hiṇi f., N. asino, pl. °nā; Si. sena, heṇa 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)

Alternative:

वेदि [p= 1017,2] f. (later also वेदी ; for 1. 2. » col.2) an elevated (or according to some excavated) piece of ground serving for a sacrificial altar (generally strewed with कुश grass , and having receptacles for the sacrificial fire ; it is more or less raised and of various shapes , but usually narrow in the middle , on which account the female waist is often compared to it) RV. &cthe space between the supposed spokes of a wheel-shaped altar , S3ulbas.a stand , basis , pedestal , bench MBh. Ka1v. &c

Hieroglyph/Rebus: kaṇḍ ‘fire-altar’ (Santali) kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi)

वेदि f. knowledge , science (» अ-व्°)

नाग nāga [p= 532,3] m. (prob. neither fr. न-ग nor fr. नग्न) a snake , (esp.) Coluber Naga S3Br. MBh. &c

नाग nāga n. (m. L. ) tin , lead Bhpr. n. a kind of coitus L.

गरुड [p= 348,3] m. ( √2. गॄ Un2. iv , 155 , ” devourer ” , because गरुड was perhaps originally identified with the all-consuming fire of the sun’s rays) , N. of a mythical bird (chief of the feathered race , enemy of the serpent-race [cf. RTL. p.321] , vehicle ofविष्णु [cf. RTL. pp. 65 ; 104 ; 288] , son of कश्यप and विनता ; shortly after his birth he frightened the gods by his brilliant lustre ; they supposed him to be अग्नि , and requested his protection ; when they discovered that he was गरुड , they praised him as the highest being , and called him fire and sun MBh. i , 1239 ff. ; अरुण , the charioteer of the sun or the personified dawn , is said to be the elder [or younger cf. RTL. p.104] brother of गरुड ; स्वाहा , the wife of अग्नि , takes the shape of a female गरुडी = सुपर्णी MBh. iii , 14307 and 14343) Suparn2. TA1r. x , 1 , 6 MBh. &ca building shaped like गरुड R. VarBr2S.

gāruḍa गारुड a. (–डी f.) [गरुडस्येदं अण्] 1 Shaped like Ga- ruḍa. -2 Coming from or relating to Garuḍa. –डः, –डम् 1 An emerald; राशिर्मणीनामिव गारुडानां सपद्मरागः फलितो विभाति R.13.53. -2 A charm against (snake) poison; संगृहीतगारुडेन K.51 (where it has sense 1 also). -3 A missile presided over by Garuḍa. -4 A military array (व्यूह) of the shape of Garuḍa. -5 Gold.

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’.

Hieroglyph: वज्र[p= 913,1] mfn. shaped like a kind of cross (cf. above ) , forked , zigzag ib. [cf. Zd. vazra , ” a club. “]

Rebus: वज्र[p= 913,1] mn. n. a kind of hard iron or steel L. mfn. adamantine , hard , impenetrable W.” the hard or mighty one ” , a thunderbolt (esp. that of इन्द्र , said to have been formed out of the bones of the ऋषिदधीच 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. &ca diamond (thought to be as hard as the thunderbolt or of the same substance with it) , Shad2vBr. Mn. MBh. &cm. a form of military array , Mn. MBh. &c (cf. -व्यूह)a kind of hard mortar or cement (कल्क) VarBr2S. (cf. -लेप)

Sculptural frieze. stūpa of Sanchi, second half of 2nd century BCE (Kramrisch,1954, pic13)

Sanchi. Winged composite animal: tiger, eagle. The last two letters to the right of this inscription in Brahmi form the word "danam" (donation). This hypothesis permitted the decipherment of the Brahmi script by James Prinsep in 1837. The Indus Script hypertext of the composite animal:

Hierogoyph: hawk: 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. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala)Two possible rebus readings: 1. pajhaṛ ‘kite’. Rebus: pasra ‘smithy, forge’ (Santali)
2. śyēná m. ʻhawk, falcon, eagleʼ RV.Pa. sēna -- , °aka -- m. ʻhawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻkiteʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻfalcon, eagle, kiteʼ. (CDIAL 12674) Rebus: Senaka a carter ThA 271 (=sākaṭika of Th 2, 443) (Pali) sēnāpati m. ʻ leader of an army ʼ AitBr. [sḗnā -- , páti -- ] Pa. sēnāpati -- , °ika -- m. ʻgeneralʼ, Pk. sēṇāvaï -- m.; M. śeṇvaī, °vī, śeṇai m. ʻa class of Brahmansʼ, Ko. śeṇvi; Si. senevi ʻgeneralʼ (CDIAL 13589).

Two seals from Gonur 1 in thee Murghab delta; dark brown stone ((Sarianidi 1981 b: 232-233, Fig. 7, 8) eagle engraved on one face.

Image result for Hittite, seal, KÃ¼ltepe- KaniÅ 1800-1730 BCE

Hittite, seal, Kültepe- Kaniş 1800-1730 BCE

Hettiter, seal, Acem Höyük (Kurt Bittel) (Erdinç Bakla archive)
Image result for Hittite, seal, KÃ¼ltepe- KaniÅ 1800-1730 BCE

Hittite, two bird man, Kargamış, Museum of Anatolian Civilization, Ankara (Ekrem Akurgal) (Erdinç Bakla archive)

Late Hittite, bird man, Museum of Anatolian Civilisations, Ankara

Hittite, seal of two-headed eagle BoÄazkÃ¶y C.1800 BC, Museum of Anatolian civilizations, Ankara

Hittite, seal of two-headed eagle Boğazköy C.1800 BC, Museum of Anatolian civilizations, Ankara
Bogazkoy Seal impression: Two-headed eagle, a twisted cord below. From Bogazköy . 18th c. BCE (Museum Ankara).

See:

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

http://bharatkalyan97.blogspot.in/2013/06/tablet-of-destinies.html

खोंड khōṇḍa m A young bull, a bullcalf (Marathi) rebus: kō̃da'fire-altar' (Kashmiri)

Seen on the cylinder seal of Adda, scribe.

See:

Abiding ANE Indus Script hypertexts of eagle, goat-fish, overflowing pot. Adda, scribe Seal deciphered as metalwork and thunderbolt iron weapon https://tinyurl.com/yd58zadk

Water flowing from the shoulders of a person with a step on the mountain range also shows swimming fishes. The Meluhha words to signify the hypertexts are: aya'fish' PLUS काण्ड kāṇḍa 'water'; the rebus plain text is ayaskāṇḍa'excellent iron' Together with the young bull, the reading is: ayaskāṇḍa 'excellent iron' PLUS खोंड khōṇḍa m A young bull, a bullcalf (Marathi) rebus: kō̃da 'fire-altar' . The word for the shoulder is kambha'shoulder' rebus: kammaṭa'mint'. Thus, the message of this register on the seal is: mint with excellent iron, fire-altar. śyena in flight hovers above the flowing water. sena 'falcon' rebus: senvi 'general', sena 'thunderbolt', āhangar 'blacksmith'.This semantics of a synonym ḍhangar'blacksmith' is reinforced by the mountain-range: H. dã̄g f. ʻ hill, precipice ʼ, dã̄gī ʻ belonging to hill country ʼ.(CDIAL 5423) ḍāṅro 'blacksmith' (Nepali) dhã̄gaṛ, °ar m. ʻin the Vindhyas, digger of wells and tanksʼ (Hindi)(CDIAL 5524)

A variant narrative describes the plain text lokhaṇḍ 'ironware' with the use of hieroglyphs/hypertexts of a pot with overflowing water.

m1656 Mohenjo-daro pectoral. खोंड khōṇḍa m A young bull, a bullcalf (Marathi) rebus: kō̃da 'fire-altar' (Kashmiri) PLUS kunda 'lathe' rebus: kundar 'turner' PLUS kammaṭa 'portable furnace' rebus: kammaṭa 'mint'; the joined parts (lathe + portable furnace) is called sangaḍa 'jointed parts or components' rebus: sangar'trade'samgaha'catalogue,list'

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.

काण्ड kāṇḍa 'water'; an arrow MBh. xiii , 265 Hit.; a kind of square measure Pa1n2. 4-1 , 23 Vop. vii , 55; a stalk , stem , branch , switch MBh. R. Mn. i , 46 , 48 Kaus3. Sus3r.; mn. ([or काण्ड्/अ TS. vii]) (ifc. f(आ or ई).) ([cf. खण्ड , with which in some of its senses काण्ड is confounded]) a single joint of the stalk or stem of a plant , such as a bamboo or reed or cane (i.e. the portion from one knot to another cf. त्रि-क्°) , any part or portion , section , chapter , division of a work or book (cf. त्रि-क्°) , any distinct portion or division of an action or of a sacrificial rite (as that belonging to the gods or to the manes) AV. TS. VS.; a cluster , bundle; काण्डी f. a little stalk or stem Ra1jat. vii , 117. (Monier-Williams)

अयस्-काण्ड m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v.); अयस्--काम m. a blacksmith (Pāṇini 8-3 , 46 Sch.) अयस् n. iron , metal RV. &c;an iron weapon (as an axe , &c ) RV. vi , 3 ,5 and 47 , 10; gold; steel L. ; ([cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa ; Old Germ. e7r , iron ; Goth. eisarn ; Mod.Germ. Eisen.])(Monier-Williams) ayas अयस् 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.Fire. [cf. L. aes, aeris; Goth. ais, eisarn; Ger. eisin].अयस् -काण्डः 1 an iron-arrow. -2 excellent iron. -3 a large quantity of iron. -कान्तः (अयस्कान्तः) 1 'beloved of iron', a magnet, load-stone; शम्भोर्यतध्वमाक्रष्टुमयस्कान्तेन लोहवत् Ku.2.59; स चकर्ष परस्मा- त्तदयस्कान्त इवायसम् R.17.63; U.4.21. अयस्कान्तमयः संक्रामति M. Bh. on P.III.1.7. -2 a precious stone; ˚मणिः a loadstone; अयस्कान्तमणिशलाकेव लोहधातुमन्तः- करणमाकृष्टवती Māl.1. -कारः 1 an iron-smith, blacksmith. अयस्मय (अयोमय) a. (-यी f.) Ved. Made of iron or of any metal. -यी N. of one of the three habita- tions of Asuras. āyasa आयस a. (सी f.) [अयसो विकारः अण्] 1 Made of iron, iron, metallic; शतं मा पुर आयसीररक्षन् Ait. Up.4.5. आयसं दण्डमेव वा Ms.8.315; सखि मा जल्प तवायसी रसज्ञा Bv.2.59. -2 Armed with an iron weapon. -सी A coat of mail, an armour for the body. -सम् 1 Iron; मूढं वुद्धमिवात्मानं हैमीभूतमिवायसम् Ku.6.55; स चकर्ष परस्मात्त- दयस्कान्त इवायसम् R.17.63. -3 Anything made of iron. -3 A weapon. -4 A wind instrument. (Apte)

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 -- ); Ku. lokhaṛ ʻ iron tools ʼ; *lōhōpaskara ʻ iron tools ʼ. [lōhá -- , upaskara -- 1]N. lokhar ʻ bag in which a barber keeps his tools ʼ; H. lokhar m. ʻ iron tools, pots and pans ʼ; -- X lauhabhāṇḍa --.(CDIAL 11171) lōhá ʻ red, copper -- coloured ʼ ŚrS., ʻ made of copper ʼ ŚBr., m.n. ʻ copper ʼ VS., ʻ iron ʼ MBh. [*rudh -- ]Pa. lōha -- m. ʻ metal, esp. copper or bronze ʼ; Pk. lōha -- m. ʻ iron ʼ, Gy. pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻ steel ʼ; Kho. loh ʻ copper ʼ; S. lohu m. ʻ iron ʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃u n., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā, Ku. luwā, N. lohu, °hā, A. lo, B. lo, no, Or. lohā, luhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H. loh, lohā m., G. M. loh n.; Si. loho, lō ʻ metal, ore, iron ʼ; Md. ratu -- lō ʻ copper ʼ.Addenda: lōhá -- : WPah.kṭg. (kc.) lóɔ ʻ iron ʼ, J. lohā m., Garh. loho; Md. lō ʻ metal ʼ(CDIAL 11158) 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. lohār, luh° m., G. lavār m., M. lohār m.; Si. lōvaru ʻ coppersmith ʼ.
Addenda: lōhakāra -- : WPah.kṭg. (kc.) lhwāˋr m. ʻ blacksmith ʼ, lhwàri f. ʻ his wife ʼ, Garh. lwār m.(CDIAL 11159) *lōhaśālā ʻ smithy ʼ. [lōhá -- , śāˊlā -- ]Bi. lohsārī ʻ smithy ʼ.(CDIAL 11162) *lōhahaṭṭika ʻ ironmonger ʼ. [lōhá -- , haṭṭa -- ] P.ludh. lōhṭiyā m. ʻ ironmonger (CDIAL 11163) lōhī f. ʻ any object made of iron ʼ Kāv., ʻ pot ʼ Divyāv., lōhikā -- f. ʻ large shallow wooden bowl bound with iron ʼ, lauhā -- f. ʻ iron pot ʼ lex. [lōhá -- ]Pk. lōhī -- f. ʻ iron pot ʼ; P. loh f. ʻ large baking iron ʼ; A. luhiyā ʻ iron pan ʼ; Bi. lohiyā ʻ iron or brass shallow pan with handles ʼ; G. lohiyũ n. ʻ frying pan ʼ.(CDIAL 11170) 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.lauhabhāṇḍa -- , *lauhāṅga -- .lauhakāra -- see lōhakāra -- .Addenda: laúha -- [Dial. au ~ ō (in lōhá -- ) < IE. ou T. Burrow BSOAS xxxviii 74] (CDIAL 11172) lauhabhāṇḍa n. ʻ iron pot, iron mortar ʼ lex. [laúha -- , bhāṇḍa -- 1]Pa. lōhabhaṇḍa -- n. ʻ copper or brass ware ʼ; S. luhã̄ḍ̠iṛī f. ʻ iron pot ʼ, L.awāṇ. luhã̄ḍā; P. luhã̄ḍā, lohṇḍā, ludh. lō̃hḍā m. ʻ frying pan ʼ; N. luhũṛe ʻ iron cooking pot ʼ; A. lohorā ʻ iron pan ʼ; Bi. lohãṛā ʻ iron vessel for drawing water for irrigation ʼ; H. lohaṇḍā, luh° m. ʻ iron pot ʼ; G. loḍhũ n. ʻ iron, razor ʼ, pl. ʻ car<-> penter's tools ʼ, loḍhīf. ʻ iron pan ʼ. -- X *lōhōpaskara<-> q.v.(CDIAL 11173)*lauhāṅgika ʻ iron -- bodied ʼ. [láuha -- , áṅga -- 1]P. luhã̄gī f. ʻ staff set with iron rings ʼ, H. lohã̄gī f., M. lohã̄gī, lavh°, lohãgī f.; -- Bi. lohãgā, lahaũgā ʻ cobbler's iron pounder ʼ, Mth. lehõgā. (CDIAL 11174)

Variant, water flowing out from shoulders:

A person with a vase with overflowing water; sun (?), star sign. C. 18th cent. BCE. [E. Porada,1971, Remarks on seals found in the Gulf states, Artibus Asiae, 33, 31-7].

Santali glosses. Lexis.

meḍha 'polar star' (Marathi). meḍ 'iron' (Ho.Mu.) Thus, meḍ or mẽṛhet khaṇḍa 'iron metal implements'. (See the Santali gloss with semantics: iron implements).

lo ‘pot to overflow’ Rebus: loh ‘copper’. Hypertext: lokhãḍ, kāṇḍ ‘flowing water’ ‘overflowing pot’ Rebus: lokhãḍ, kāṇḍā ‘metalware, tools, pots and pans’(Gujarati)

The conclusive evidence that ayo was an early sememe in Indian sprachbund denoting 'metals, metal alloy of gold' occurs in Pali texts. Meluhha hieroglyph to denote ayo is 'fish'.

According to the Pali lexicon, the nom. ayo is found only in set of 5 metals forming an alloy of gold (jātarūpa), viz. ayo, loha (copper), tipu (tin), sīsa (lead), sajjha (silver) A iii.16 = S v.92; of obl. cases only the instr. ayasā occurs Dh 240 (= ayato DhA iii.344); Pv i.1013 (paṭikujjita, of Niraya). -- Iron is the material used in the outfit & construction of Purgatory or Niraya (see niraya & Avīci & cp. Vism 56 sq.). -- In compn. both ayo˚ & aya˚occur as bases.

2. खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: kāṇḍā 'metalware, tools'.

3. dang 'mountain' Rebus: dhangar 'blacksmith'.

4. Hypertext: water PLUS fish: 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)

A number of cylinder seals, artifacts with the hypertexts, 'overflowing pot', composite 'fish-goat'

2605 (#KJ Roach's thesis). Sealed tablet. Susa. Illituram, son of Il-mishar, servant of Pala-isshan

#KJ Roach M9 Mesopotamia

#Roach 2168 Cream limestone. Susa.

The seal of Gudea: Gudea, with shaven head, is accompanied by a minor female diety. He is led by his personal god, Ningishzida, into the presence of Enlil, the chief Sumerian god. Wind pours forth from of the jars held by Enlil, signifying that he is the god of the winds. The winged leopard (griffin) is a mythological creature associated with Ningishzida, The horned helmets, worn even by the griffins, indicates divine status (the more horns the higher the rank). The writing in the background translates as: "Gudea, Ensi [ruler], of Lagash". lōī f., lo m.2. Pr. ẓūwī ʻfoxʼ (Western Pahari)(CDIAL 11140-2). Rebus: loh ‘copper’ (Hindi). Te. eṟaka, ṟekka, rekka, neṟaka, neṟi id. (DEDR 2591). Rebus: eraka, eṟaka = any metal infusion (Ka.Tu.); urukku (Ta.); urukka melting; urukku what is melted; fused metal (Ma.); urukku (Ta.Ma.); eragu = to melt; molten state, fusion; erakaddu = any cast thng; erake hoyi = to pour meltted metal into a mould, to cast (Kannada)

The streams of water flowing the naked, bearded person are the signature tune of the times in Ancient Near East. This glyptic or overflowing pot held by Gudea, appears on hundreds of cylinder seals and friezes of many sites.

Overflowing water from a pot is a recurrent motif in Sumer-Elam-Mesopotamian contact areas – a motif demonstrated to be of semantic significance in the context of lapidary-metallurgy life activity of the artisans.

The seated person wears a crown of layered bulls' horns. Behind him, a lion. A goat-fish at his feet. He holds a pot with streaming waters and fish. Source of seal impression: Kramer, Samuel Noah & John Maier, Myths of Enki, the crafty god, New York, Oxford University Presws, 1989, p. 123 'The enthroned Enki'.


God Ea at far lef, wears horned headdress, with water coursing from his shoulders. Two fish-apkallu. The overflowing pot held by the divinity on the left is a hieroglyph: lokhanDa 'pot overflowing water'

Rebus: lokhaNDA 'metal pots and pans, metalware, weapons'. The overflowing pots are imageries on a cuneiform seals (unprovenanced).

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

Source: http://eden-saga.com/en/sumer-mythology-anunnaki-oannes-nommo-viracocha-serpent-people-enki.html

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

Overflowing pot. A cylinder seal of Enki (Ea) holding a pot with two streams of freshwater seated in his Abzu/Apsu shrine guarded by two naked men (Lakhmu?) holding stylized gate posts (?). Before him is his two-faced sukkal or vizier Izimud (cf. p. 98. "Ea." Piotr Bienkowski & Alan Millard. Dictionary of the Ancient Near East. Philadelphia. University of Pennsylvania Press. 2000).

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

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

Ur Nammu stela, principal over-flowing pot narrative

Fig. 33 Urnamma stela.
Borker-Klahn's reconstruction.

On the Urmamma Stela, she is hovering over the offering of flowing water to the ruler by the enthroned deity. In this scene the goddess underlines the gift bestowed on the ruler, and figures as a personification of it, while on the seal she may have implied and guaranteed that the petitioner who offers an antelope (?) is pleading for and will receive blessings of abundance in return. The basin of Gudea is dedicated to Ningirsu, and may be understood as a plea for prosperity as well as a boast of its successful outcome."(Claudia E. Suter, 2000, Gudea's Temple Building: the representation of an early Mesopotamian Ruler in text and image, BRILL., II.c.i.d, pp. 62-63).

Duplicated hieroglyph shown on the central register of Ur-Nammu stela.
The two hieroglyphs show an identical palm frond with two hanging twigs or fronds as the centerpiece of an altar in front of both the male and female divinities. The male divinity is a builder holding a staff and bob plumb bob as perceptively noted by Jenny Vorys Canby whose painstaking researches resulted in a reasonable reconstruction of missing fragments of the stela. A major missing part unearthed by Canby is another hieroglyph: overflowing pots pouring into the center-piece altars with the palm fronds.

The decipherment of the three hieroglyphs: 1. duplicated frond, 2. palm frond and 3. overflowing pot will provide a framework for unraveling the central message of the Ur-Nammu stela which is a monumental 10 feet high stela which surely shows builders at work in the bottom registe. The central message is the material resources with which the builders were working -- as conveyed by a rebus reading of the three hieroglyphs: metalcastings, metalware.

1. duplicated frond: dula 'pair' Rebus: dul 'metal casting, to cast metal in a mould (Santali)'

2. palm frond: ḍāla -- n. ʻ branch ʼtāla -- 2 m. ʻ Borassus flabelliformis ʼ, palm (CDIAL 5750)Rebus: ḍhālako = a large metal ingot (Gujarati) ḍhālakī = a metal ingot. Vikalpa: 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).

3. overflowing pot: lo 'overflowing' PLUS kand 'pot' Rebus: lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans' (Marathi) 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).

Both faces of a large fragment from the curved top edge of the stela. The upper body of the king appears on each side, with a female deity overhead pouring out streams of water.
Artist's rendition of the proposed restoration of the 'front' of the Ur-Nammu stela (Drawing by Kathleen Galligan). Source: Jeanny Vorys Canby, A monumental puzzle, reconstructing the Ur-Nammu stela in:Expedition, Vol. 29 No. 1 http://penn.museum/documents/publications/expedition/PDFs/29-1/Monumental1.pdf

Jeanny Vorys Canby has demonstrated the depiction of 'overflowing pots' hieroglyphs on the Ur-Nammu stela. This insight reinforces the purport of the stela: to record the Bronze Age metals and materials used in the building activity directed by Ur-Nammu.

Indus Script unravels announcement of metals caravensarai, evidence of 11 ft. tall copper plated flagpost from Girsu (Telloh), Ancient Near East http://tinyurl.com/oflxfcq

Girsu (Tlloh) archaeological find. 11 ft. tall copper plated flagpost. This may relate to a period when

Girsu (ca. 2900-2335 BCE) was the capital of Lagash at the time of Gudea.

Such a flagpost is seen on a Gudea cup, held by Mus-hussu (dragon):

It was constructed of a tubular wooden core with copper plate around that and bitumen acting as a sealant and adhesive, they seen to have laid the upper length alongside the lower to include all in frame, but also lain what looks like a metallic strip alongside which would seemingly have been related, there may also be copper cable emerging from the base.

So it was a fantastic discovery and i don't know where they've hidden it since, but anyway it sort of begs the question what was it for, like i mentioned i think it would have stood alongside the Abzu shrine because that's were i've seen examples.

The one who holds it i think is Lahmu the gatekeeper of the Abzu who being associated with that threshold was understood as the muddy one, the intermediate state between liquid and solid, it has then associations with water.

Because of it's association with passageway through the Abzu it might have been understood as in some way conducive to facilitating such transition, if any practical usage could have been made of it.

Other examples of it's usage can be intriguing such as here were the half serpent Deity Istaran touches the tip of his serpentine tail against the semi circular appendage, that suggests some form of magical power associated with it;

Here a very curious example of a shrine probably seen representing the Southerly gateway into the Heavens with the arc across the horizons perhaps representing the transit of Venus represented by the floret

So there we are they discovered the magical standard of the God Lahmu that facilitated entrance into the Abzu and then mislaid it somewhere or turned it in for scrap, weird... http://www.abovetopsecret.com/forum/thread1079637/pg1

On this cylinder seal, the flagposts with rings are shown together with hieroglyphs of: a person carrying an antelope (like the hioeroglyph shown on Shu-ilishu Meluhha translator cylinder seal), overflowing water, fishes, crucible, mountain range, sun (Source: http://enenuru.net/html/gal/urukprocexpl.htm)

The context of metalwork is seen from the 'scarf' hieroglyph: dhatu 'scarf' Rebus: dhatu 'mineral'.

The context of a smithy/forge is seen from the 'ring' hieroglyph: koṭiyum [koṭ, koṭī neck] a wooden circle put round the neck of an animal (Gujarati) Rebus: ācāri koṭṭya = forge, kammārasāle (Tulu)

Two types of flagposts are seen in some Ancient Near East artifacts in the context of metalwork: 1. reedpost with scarf; and 2. reedpost with ring.

Hieroglyph: Ta. eruvai European bamboo reed; a species of Cyperus; straight sedge tuber. Ma. eruva a kind of grass.(DEDR 819) Rebus: Ta. eruvai blood, (?) copper. Ka. ere a dark-red or dark-brown colour, a dark or dusky colour (DEDR 817)

The reedpost with scarf occurs in a pair: dula 'pair' Rebus: dul 'cast metal' and denotes the warehouse which receives ingots of cast metal.

The reedpost with ring occurs on a jasper cylinder seal with four holders of four reedposts. The holders have six locks of hair as semantic determinatives. Hieroglyph: पेंडें [ pēṇḍēṃ ] n (पेड) A loop or ring.Rebus: पेठ or पेंठ (p. 527) [ pēṭha or pēṇṭha ] f ( H) A manufacturing or trading town, an emporium, a mart: also a markettown. pēṭhpēṭaka 'caravanserai'. The hieroglyph multiplexed signify a caravensarai from a trading emporium or trading town of copper, metal implements and products from smithy/forge.

Hieroglyph: bata 'six' Rebus: bhata 'furnace'.

Hieroglyph: मेढा (p. 665) [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi. Molesworth)Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.). Thus the hieroglyph multiplex signifies iron furnace. मेधा =yajña, धन (नैघण्टुक , commented on by यास्क. ii , 10.)

On the jasper cylinder seal the four reedpost holders (with six hair curls) are signified by semantic determinatives of four hieroglyphs: 1. crucible PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot with overflowing water, 4. fish

A hooded snake is on the edge of the composition. (The dark red color of jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see four reedposts held.

1. Hieroglyph: OP. koṭhārī f. ʻ crucible ʼ(CDIAL 3546) Rebus: koṭhār 'treasury, warehouse'
2. Hieroglyph: arka 'sun' (Kannada) Rebus: arka, eraka 'copper'
3. Hieroglyph: overflowing pot: lokhaNDa 'overflowing pot' Rebus: lokhANDa 'metalware, pots and pans of metal, metal implements'
4. Hieroglyph: aya 'fish' Rebus: aya 'iron' ayas 'metal' (Rigveda)

Thus, the four holders of four reedposts with attached ring display metalwork of a smithy/forge announcing metal imlements, iron, copper and iron.

On many hierolyph multiplexes, water-buffalo (rã̄go) is associated with kANDa 'overflowing water'. The rebus renderings are: rāṅgā khaNDA 'zinc alloy implements'. The semantics of khaNDa 'implements' is attested in Santali: me~r.he~t khaNDa 'iron implements'.

Santali glosses

A lexicon suggests the semantics of Panini's compound अयस्--काण्ड [p= 85,1] m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v.)( Pa1n2. 8-3 , 48)(Monier-Williams).

From the example of a compound gloss in Santali, I suggest that the suffix -kANDa in Samskritam should have referred to 'implements'. Indus Script hieroglyphs as hypertext components to signify kANDa 'implements' are: kANTa, 'overflowing water' kANDa, 'arrow' gaNDa, 'four short circumscript strokes'.

See: http://bharatkalyan97.blogspot.in/2015/08/ancient-near-east-cylinder-seal.html A few Ancient Near East cylinder seals of Metropolitan Museum are presented in this note identifying Indus Script hieroglyphs used on the artefacts.

http://bharatkalyan97.blogspot.in/2015/08/ancient-near-east-jasper-cylinder-seal.html

Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) cylinder Seal with four hieroglyphs and four kneeling persons (with six curls on their hair) holding flagposts, c. 2220-2159 B.C.E., Akkadian (Metropolitan Museum of Art) Cylinder Seal (with modern impression). The four hieroglyphs are: from l. to r. 1. crucible PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot with overflowing water, 4. fish A hooded snake is on the edge of the composition. (The dark red color of jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see four reedposts held.

The four posts held on this jasper cylinder seal compares with similar posts shown on some other cylinder seals. They may signify: पेंढें ‘rings’ Rebus: पेढी ‘shop’.

The leftmost hieroglyph shows ingots in a conical-bottom storage jar (similar to the jar shown on Warka vase, delivering the ingots to the temple of Inanna). Third from left, the overflowing pot is similar to the hieroglyph shown on Gudea statues. Fourth from left, the fish hieroglyph is similar to the one shown on a Susa pot containing metal tools and weapons. (See Susa pot hieroglyphs of bird and fish: Louvre Museum) Hieroglyph: meṇḍā ʻlump, clotʼ (Oriya) med 'copper' (Slavic languages).

Images from Warka vase.

The leftmost hieroglyph shows ingots in a conical-bottom storage jar (similar to the jar shown on Warka vase (See Annex: Warka vase), delivering the ingots to the temple of Inanna). Third from left, the overflowing pot is similar to the hieroglyph shown. .

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Decipherment of Mohenjo-daro inscription m0627کار کند kār-kund Manager, scribe, lapidary, turner makes alloy implements

June 14, 2019, 8:00 pm

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https://tinyurl.com/y2mjf5km

m0627

1004 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.)

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

मेंढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ 'iron'

khaṇḍa 'division'. rebus: kaṇḍa 'implements'

kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman' PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). khaṇḍa'implements'

ayo, aya'fish' rebus: aya'iron'ayas 'metal alloy' (Rigveda) PLUS adaren ‘lid’ rebus: aduru ‘native metal’ (Kannada)

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

Pictorial motif

کار کنده kār-kunda ' 'manager, director, adroit, clever, experienced' (Pashto) kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ.(CDIAL 3236). kundār turner (A.)(CDIAL 3295). : kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295) Vikalpa: kūdī, kūṭī 'bunch of twigs' (Skt.) Rebus: kuṭhi ‘smelter furnace’ (Santali) kō̃da कोँद।कुलालादिकन्दुः f. a kiln; a potter's kiln; blacksmith and engraver-lapidary setting or infixing gems. (Kashmiri) kundana ‘fine gold’ (Kannada). कुन्द [p= 291,2] one of कुबेर's nine treasures (N. of a गुह्यक Gal. ) L. کار کند kār-kund (corrup. of P کار کن) adj. Adroit, clever, experienced. 2. A director, a manager; (Fem.) کار کنده kār-kundaʿh. (Pashto) P کار kār, s.m. (2nd) Business, action, affair, work, labor, profession, operation. Pl. کارونه kārūnah. (E.) کار آرموده .چار kār āzmūdah. adj. Experienced, practised, veteran. کار و بار kār-o-bār, s.m. (2nd) Business, affair. Pl. کار و بارونه kār-o-bārūnah. کار خانه kār- ḵẖānaʿh, s.f. (3rd) A manufactory, a dock- yard, an arsenal, a workshop. Pl. يْ ey. کاردیده kār-dīdah, adj. Experienced, tried, veteran. کار روائي kār-rawā-ī, s.f. (3rd) Carrying on a business, management, performance. Pl. ئِي aʿī. کار زار kār-zār, s.m. (2nd) Battle, conflict. Pl. کار زارونه kār-zārūnah. کار ساز kār-sāz, adj. Adroit, clever; (Fem.) کار سازه kār-sāzaʿh. کار ساري kār-sāzī, s.f. (3rd) Cleverness, adroitness. Pl. ئِي aʿī. کار کند kār-kund (corrup. of P کار کن) adj. Adroit, clever, experienced. 2. A director, a manager; (Fem.) کار کنده kār-kundaʿh. کار کول kār kawul, verb trans. To work, to labor, to trade. په کار راتلل pah kār rā-tʿlal or راغلل rāg̠ẖ-lal, verb intrans. To be fit, to come into use, to be of use, to be proper or useful. په کار راوړل pah kār rā-wʿṟṟal, verb trans. To bring to use, to make use of, to expend. په کار دي pah kār daey, It is useful. په کار نه دي pah kār nah daey, It is useless. P کارستان kār-istān, s.m. (2nd) A place of work, a manufactory, an arsenal. Pl. کارستانونه kār-istānūnah.(Pashto) Khar or Khor is the Persian word Khordad, which means "Given by Sun". The Skt. expressions ˚सूदनः the sun. -मणिः the sun. -मध्यम् the central point of the sky, the zenith are cognate with khar 'sun'. खर m. a quadrangular mound of earth for receiving the sacrificial vessels (शतपथ-ब्राह्मण v , 1 , 2 , 15); (?) m. xiv (आश्वलायन-श्रौत-सूत्र, कात्यायन-श्रौत-सूत्र)

कारकुन kārakuna m ( P A factor, agent, or business-man.) A clerk, scribe, writer. सवाहातलेखणीचाका0 A term of ironical commendation for a clerk.

The face of khara 'onager' is a semantic reinforcement of khār 'blacksmith'. The horn is crumpled mer̥ha deren rebus: meḍ 'iron'; medhā 'yajna, dhanam' kund is lathe (top part of the standard device); kammata 'portable furnace' (bottom part of the standard devicee) rebus: kammaṭa 'mint'. These pictorial motifs signifying metalwork,mintwork are seen on hundreds of inscriptions.

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Collapsing state of West Bengal -- Kanchan Gupta

June 15, 2019, 6:54 am

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Kanchan Gupta‏Verified account @KanchanGupta 1 hour ago
At this moment Congress, Rahul Gandhi, Priyanka Vadra and hot house politics of Lutyens's Delhi are irrelevant. Sorry to say but all these opeds about all that is irrelevant is to distract attention and divert conversation from the collapsing state of #WestBengal and protect TMC.

Bengal government’s open abetment to lynch mob mentality has destroyed doctor-patient relationship in state, says doctor

All that the doctors have kept demanding is safety and security at the workplace. But the NRS Hospital attack has brought Bengal’s doctors to a tipping point. They have finally come together, boycotting outpatient services, seeking adequate security at hospitals.

Mamata Banerjee govt has been apathetic to doctors' safety and problems, says Kolkata based doctor in ET article

West Bengal, already marred with rampant political violence and lack of law and order, is reeling now under an unprecedented crisis. The doctors are on strike. After a mob of over 200 men attacked the NRS Hospital in Kolkata, beating up resident doctors and wreaked havoc because of a 75-year-old Mohammad Syed’s death, the junior doctors had said enough is enough and had demanded protection from the government.

The state government’s apathy and lack of visible action against the mobilisers of the mob and CM Mamata Banerjee’s hostile attitude towards the doctors demanding safety and justice, has created a nation-wide movement. Doctors in West Bengal’s hospitals are resigning en masse to protest against the government.

Binayak Sinha, a well-known doctor in Kolkata, has penned an article today in the Economic Times, discussing the issue and the reasons behind the crisis. In the article titled “Intensive don’t care unit”, Dr Sinha mentions that the current crisis has not erupted suddenly, but has been brewing for quite some time until it reached a tipping point after the mob attack on NRS Hospital. The article in The Economic Times is curated as below:

Here’s a fact for this opinion page: West Bengal has had more than 175 episodes of violence against doctors and other healthcare professionals in the last two years alone.

Soft violence, verbal abuse and threats are things that doctors in both government and private hospitals face every day. These incidents are off the record and have been accepted as a part of their job. But this is something new, something else.

On June 11, a 75-year-old man died at the Nil Ratan Sircar (NRS) Medical College and Hospital in Kolkata. On hearing the news, family members of the deceased threatened junior doctors present, alleging negligence on their part.

The young doctors took it in their stride. Two hours later, two lorries with 200-odd people arrived at the hospital, unleashing violence on doctors and other caregivers in front of a largely mute Kolkata Police contingent.

The hooligans started throwing bricks, with one such missile thrown at Paribaha Mukherjee, an intern who was not even involved in the care of the index patient. The son of a village schoolmaster and Anganwadi worker, Paribaha had entered medical school as a top performer in the medical entrance exam.

He now lies at a specialised neurological centre after having had brain surgery for a depressed fracture of the frontal bone. Paribaha now seems to be out of danger.

But his frontal lobe may have been damaged, and only time will tell whether he will regain full cerebration — the working of the brain.

So, when did this spiral of violence start? It can be dated back to a Town Hall meeting in February 2017 that chief minister Mamata Banerjee held with representatives of corporate hospitals. There, she bludgeoned these representatives, highlighting the ills that affect the private healthcare system — and rightly so, since much is wrong, and there is a dire need for introspection and reforms here.

But is it the job of corporates to correct the wrongs of an ailing public health policy and system? However, what this meeting actually succeeded in doing was provide a free pass to Bengal’s lumpen elements to openly attack hospitals, caregivers and doctors.

No Doctored Solution
Various bodies of doctors have protested over these last two years. Marches, vigils, black badges, ‘pen-down’ protests, memoranda to the CM, letters to newspaper editors, hunger strikes et al have all been tried, repeatedly.

They have now shut down emergency care or boycotted taking care of hospitalised patients. Even in corporate hospitals, patients have been tended to in outpatient departments with no fees charged as a mark of protest.

But, yes, patients are suffering. Diamond Harbour MP Abhishek Banerjee, who happens to be the chief minister’s nephew, has asked who will now bear the responsibility for taking care of the sick and the ailing.

He seems quite happy to forget that providing for patients is inextricably linked to providing security for their caregivers and that this is actually the responsibility of the government.

Mamata Banerjee has stated that since the police are regularly beaten up and never protest, junior doctors should follow suit. One can surmise that it is this attitude of the political establishment that has resulted in hooliganism and violence today being treated as ‘normal’ in every sphere of activity in Bengal.

The sacrosanct doctor-patient relationship lies destroyed by this open abetment to a lynch mob mentality by the administration. The proactive and verbose media do not waste a moment to publish and air news every time there’s a ‘Pulwama attack’ or a ‘Gauri Lankesh’ is gunned down. They are right to do so.

But they have been strangely silent over the last two years to the fact that the plight of the healthcare-giver has worsened. However, with this incident in NRS Hospital, and another mob attack at Burdwan Medical College two days later, the media have suddenly woken up, but with many sections ignoring the plight of doctors. Instead, they ask whether the protests and boycott are humane.

Nursing Our Society
Humanitarianism is the end point for all healthcare-givers, particularly doctors who spend their lives caring for the sick and accepting death on a day-to-day basis.

Does this mean that doctors, by dint of their profession, have no right to protest? If that is so, then the onus of protecting doctors being attacked by lynch mobs should also fall on those who refuse or fail to see the symbiotic relationship between the condition of the patient and that of his healthcare-giver.

So, what next? Civil society, media, professionals including doctors need to come together and stop this spiral of violence that seems to have become second nature in Bengal’s society.

This must be done in spite of the political forces currently at play. If this is not undertaken and achieved, even darker days loom on the horizon, for doctors as well as for patients. And, most importantly, for every citizen of West Bengal.

https://www.opindia.com/2019/06/bengal-governments-open-abetment-to-lynch-mob-mentality-has-destroyed-doctor-patient-relationship-in-state-says-doctor/

OPINDIA STAFF

JUNE 15, 2019

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Itihāss, Kāśmīra in ancient texts contributes to the wealth of the nation -- A survey by Megh Kalyanasundaram

June 15, 2019, 5:09 pm

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https://www.academia.edu/39586870/K%C4%81%C5%9Bm%C4%ABra_in_the_A%E1%B9%A3%E1%B9%AD%C4%81da%C5%9Bavidy%C4%81_Itih%C4%81sa_Mah%C4%81bharat%C4%81_A_survey

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Deciphering Paśupati seal, in penance, master of animals, wealth-accounting ledgers

June 15, 2019, 7:34 pm

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https://tinyurl.com/y2h5bcga

-- Deciphering Paśupati seal m0304 strings of Indus Script hypertexts kamaḍha 'penance' rebus kammaṭa 'mint', kandhani 'belt' rebus kaṇḍhā'market town', kunda'a treasure of Kubera', wealth-accounting ledgers

m0304

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

Adorned, ornamented: maṇḍana n. ʻ adorning ʼ MBh., maṇḍaná -- adj. Pāṇ. [√maṇḍ] Pa. maṇḍana -- n., Pk. maṁḍaṇa -- n. and adj.; OMarw. māṁḍaṇa m. ʻ ornament ʼ; G. mã̄ḍaṇ n. ʻ decorating foreheads and cheeks of women on festive occasions ʼ. Rebus: maṇḍā ‘warehouse’. Bracelets on both hands: karã̄ n.pl.ʻwristlets, banglesʼ.(Gujarati)S. karāī f. ʻ wrist ʼ(CDIAL 2779) Rebus: khār खार् 'blacksmith' (Kashmiri). Thus, warehouse of blacksmith.

Wears a waist-belt: kandhani ‘belt’ rebus: kaṇḍhā, kã̄ṭh‘bank’ kaṭabandhana* ʻ belt ʼ. [Cf. kaṭibandha -- m. lex.: kaṭi -- , bándhana -- ]N. kardhani, kandh˚ ʻ belt supporting the loincloth ʼ(ND 72 b 23 wrongly < kaṭidharaṇa -- ); Bi. kardhan, ˚nī* ʻ chain hung round waist ʼ; Mth. karadhanī ʻ girdle ʼ; OH. kaũdhanī, kaudh˚ f. ʻbelt ʼ, H. kardhanī, kandh˚ f.(CDIAL 2634) Rebus:

H. kaṭṛā, kaṭrā m. ʻpiece of ground enclosed and inhabited, market town, market, suburbʼ; S.kcch. kaṇṭho m. ʻbank, coastʼRebus: kaṇṭa2 m. ʻ boundary of a village ʼlex. [Cf. kaṇṭhá -- (d)]Pk. kaṁṭī -- f. ʻspace near a village, ground near a mountain, neighbourhood ʼ; H. kaṭṛā, kaṭrā m. ʻpiece of ground enclosed and inhabited, market town, market, suburb ʼ.(CDIAL 2669) Pk. kaṁṭha -- m. ʻborder, edge ʼ; L. awāṇ. kaḍḍhā ʻ bank ʼ; P. kaṇḍhā m. ʻbank, shore ʼ, °ḍhī f. ʻland bordering on a mountain ʼ; WPah. cam. kaṇḍhā ʻ edge, border ʼ; N. kānlo, kã̄llo ʻ boundary line of stones dividing two fields ʼ, kã̄ṭh ʻ outskirts of a town ʼ← a Mth. or H. dial.; H. kã̄ṭhā ʻ near ʼ; OMarw. kāṭha m. (= kã̄°?) ʻbank of a river ʼ; G. kã̄ṭhɔ m. ʻ bank, coast, limit, margin of a well ʼ; M. kāṭh, kã̄ṭh,

°ṭhā m. ʻcoast, edge, border ʼ, kã̄ṭhẽ n. ʻarable land near the edge of a hill. ʼ -- L. P. kaṇḍh f. ʻwall ʼperh. infl. in meaning by kanthā -- 1.S.kcch. kaṇṭho m. ʻbank, coast ʼ(CDIAL 2680)

Crooked buffalo-horns: 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.

Jumping tiger: panja 'paws of feline' rebus: panja 'kiln, furnace' PLUS B. kũdā, kõdā 'to leap'; Or. kudibā ʻ to jump, dance ʼ; Mth. kūdab ʻ to jump ʼ, Aw. lakh. kūdab, H. kūdnā, OMarw. kūdaï, G. kūrda m. ʻ jump ʼ, gūrda -- m. ʻ jump ʼ Kāṭh. [√kūrd] S. kuḍ̠u m. ʻ leap ʼ, N. kud, Or. kuda, °dā, kudā -- kudi ʻ jumping about ʼ. kūˊrdati ʻ leaps, jumps ʼ MBh. [gūˊrdati, khūˊrdatē Dhātup.: prob. ← Drav. (Tam. kuti, Kan. gudi ʻ to spring ʼ) T. Burrow BSOAS xii 375]S. kuḍ̠aṇu ʻ to leap ʼ; L. kuḍ̠aṇ ʻ to leap, frisk, play ʼ; P. kuddṇā ʻ to leap ʼ, Ku. kudṇo, N. kudnu, (CDIAL 3411, 3412) Rebus: kūdī 'bunch of twigs' (Sanskrit) कूदी 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 furnace' (Santali) Rebus: kō̃da कोँद।कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln. -bal -बल्।कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). -- khasüñü -- कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 133, where the causal form of the verb is used. (Kashmiri)

What are the two haystacks, two antelopes of theplatform? 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 xii374]Pk. kuṁḍa -- n. ʻ heap of crushed sugarcane stalks ʼ; WPah. bhal. kunnū m. ʻ large heap of a mown crop ʼ; N. kunyũ ʻ large heap of grain or straw ʼ, baṛ -- kũṛo ʻ cluster of berries ʼ.*kuṇḍaka ʻ husks, bran ʼ.Pa. kuṇḍaka -- m. ʻred powder of rice husks ʼ; Pk. kuṁḍaga -- m. ʻ chaff ʼ; N. kũṛo ʻ boiledgrain given as fodder to buffaloes ʼ, kunāuro ʻ husk of lentils ʼ (for endingcf. kusāuro ʻ chaff of mustard ʼ); B. kũṛā ʻ rice dust ʼ; Or. kuṇḍā ʻ rice bran ʼ; M. kũḍā, kõ˚ m. ʻ bran ʼ(CDIAL 3266, 3267) Rebus: kunda 'a treasure of Kubera', kunda 'lathe, turner' dula 'pair' rebus: dul 'metal casting'. Thus, treasure of metal castings.

Two antelopes look back: krammara 'look back' rebus: kamar 'blacksmith'

ranku 'antelope' rebus: ranku 'tin ore' Thus, tin metal castings.mã̄ḍvī f. ʻ slightly raised platform before door of a house, customs house ʼ, (G.)(CDIAL 9740) The horns: मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock. मेढा [ mēḍhā ] m A stake, esp. as forked. Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Water-buffalo horns: rango 'water buffalo' Rebus: rango ‘pewter’. ranga, rang pewter is an alloy of tin, lead, and antimony (anjana) (Santali). Hieroglyhph: buffalo: Ku. N. rã̄go ʻ buffalo bull ʼ (or < raṅku -- ?).(CDIAL 10538, 10559) Rebus: raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1] Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562) B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.(CDIAL 10567) Clump on hair: करंडा [karaṇḍā] A clump, chump, or block of wood. 4 The stock or fixed portion of the staff of the large leaf-covered summerhead or umbrella. करांडा [ karāṇḍā ] m C A cylindrical piece as sawn or chopped off the trunk or a bough of a tree; a clump, chump, or block.Rebus: karaḍa ‘hard alloy’ (Marathi) Thus, the horns+ clump signify hard alloy of tin-bronze made with ranku, ranga 'tin'.

Face: mũh 'a face' rebus: mũhe 'ingot', mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes, 'smelters'. (Santali)

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

See: Donal B Buchanan's reconstruction of Mohenjo-daro broken Pasupati seal m0304 unambiguous hieroglyphs read rebus as mint metalwork catalog http://tinyurl.com/hoq2t3e

I deeply appreciate Donal B Buchanan sending me a reconstructed image of m0304 Mohenjo-daro seal. This is in continuation of the post at http://bharatkalyan97.blogspot.in/2016/07/six-unique-hypertexts-of-indus-script.html referring to Buchanan's insight on 'corner' pictorial narratives on Indus Script inscriptions.

The image of Mohenjo-daro seal impression on the Left is a splendid reconstruction done by Donal B. Buchanan (personal communication) and the seal (m0304) is from the Corpus of Indus Inscriptions, Vol. I.

Don couldn't complete 'healing' the missing back and tail of the tiger, but at least he is still recognizable. Thus, the pictorian narrative on Seal m0304 is unambiguous and clear. All hieroglyhs are readable as hypertext rebus of a metalwork catalog.

m0304 seal of Mohenjo-daro showing a seated person surrounded by animals has been deciphered.

The message of metalwork is from a brass-worker's mint and (अग्नि-)कुण्ड, (agni-)kuṇḍa, 'sacred fire-altar'.

This message is conveyed using Indus Script hieroglyphs.

The hieroglyph on Seal m0304 ligatured to the buffal-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 (கம்பரா. கார்கா. 91).உருக்குத்தட்டார் urukku-t-taṭṭār, n. < id. +. Goldsmiths; பொற்கொல்லர். (சிலப். 5, 31, உரை.)பணித்தட்டார் paṇi-t-taṭṭār, n. < id. +. Goldsmiths; பொற்கொல்லர். பணித்தட்டார் பணி பண்ணுமிடங்களில் (சிலப். 6, 135, உரை).தட்டார்பாட்டம் taṭṭār-pāṭṭam, n. < தட் டான்¹ +. Profession tax on goldsmiths; தட்டார் இறுக்கும் அரசிறைவகை. (S. I. I. ii, 117.)தட்டாரப்பாட்டம் taṭṭāra-p-pāṭṭam, n. < தட்டார் +. See தட்டார்பாட்டம். (S. I. I. iii, 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) Rebus: kunda 'a treasure of Kubera'Rebus: kunda1 m. ʻ a turner's lathe ʼ lex. [Cf. cunda -- 1] N. kũdnu* ʻ to shape smoothly, smoothe, carve, hew ʼ, kũduwā ʻ smoothly shaped ʼ; A. kund ʻ lathe ʼ, kundiba ʻ to turn and smooth in a lathe ʼ, kundowā ʻ smoothed and rounded ʼ; B. kũd ʻ lathe ʼ, kũdā, kõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibā, kū̃d° ʻ to turn ʼ (→ Drav. Kur. kū̃d ʻ lathe ʼ); Bi.kund ʻ brassfounder's lathe ʼ; H. kunnā ʻ to shape on a lathe ʼ, kuniyā m. ʻ turner ʼ, kunwā m. (CDIAL 3295). kundakara m. ʻ turner ʼ W. [Cf. cundakāra -- : kunda -- 1, kará -- 1] A. kundār, B. kũdār, °ri, Or. kundāru; H. kũderā* m. ʻ one who works a lathe, one who scrapes ʼ, °rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297). 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).

Pictorial hieroglyph-multiplex: kuThi 'twig' Rebus: kuThi '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). kundār turner (A.)(CDIAL 3295). kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ. [← Drav. (Tam. koṇṭai ʻ tuft of hair ʼ, Kan. goṇḍe ʻ cluster ʼ, &c.) T. Burrow BSOAS xii 374] Pk. kuṁḍa-- n. ʻ heap of crushed sugarcane stalks ʼ (CDIAL 3266) Ta. koṇtai tuft, dressing of hair in large coil on the head, crest of a bird, head (as of a nail), knob (as of a cane), round top. Ma. koṇṭa tuft of hair. Ko.goṇḍ knob on end of walking-stick, head of pin; koṇḍ knot of hair at back of head. To. kwïḍy Badaga woman's knot of hair at back of head (< Badaga koṇḍe). Ka. koṇḍe, goṇḍe tuft, tassel, cluster. Koḍ. koṇḍe tassels of sash, knob-like foot of cane-stem. Tu. goṇḍè topknot, tassel, cluster. Te. koṇḍe, (K. also) koṇḍi knot of hair on the crown of the head. Cf. 2049 Ta. koṭi. / Cf. Skt. kuṇḍa- clump (e.g. darbha-kuṇḍa-), Pkt. (DNM) goṇḍī- = mañjarī-; Turner, CDIAL, no. 3266; cf. also Mar. gōḍā cluster, tuft. (DEDR 2081) kuṇḍī = crooked buffalo horns (L.) rebus: kuṇḍī = chief of village. kuṇḍi-a = village headman; leader of a village (Pkt.lex.) I.e. śreṇi jet.t.ha chief of metal-worker guild. koḍ 'horns'; rebus: koḍ 'artisan's workshop' (G.) Thus the entire glyphic composition of hieroglyphs on m1181 seal is a message conveyed from a sodagor 'merchant, trader'. The bill of lading lists a variety of repertoire of the artisan guild's trade load from a mint -- the native metal and brass workshop of blacksmith (guild) with furnace: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra 'bell-metal and brass worker'; aya sal 'iron (metal) workshop'.

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.

maṇḍā ‘raised platform, stool’ Rebus: maṇḍā ‘warehouse’.

The person is seated in penance: kamaḍha 'penance' (Pkt.) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, 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 read: kammaṭa maṇḍā 'mint warehouse'.

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).

Atharva Veda व्रात्य Vrātya is Rudra;

see:http://bharatkalyan97.blogspot.in/2015/12/mohenjodaro-pasupati-indus-script-seal.html

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)

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

Face on m0304. Frontal PLUS Two faces in profile ligatured. I do not know if this signifies TvaSTR Tris'iras or tri-dhAtumũh '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-dhAtu. This could be a synonym for dhAvaD '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.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. dā 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.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

See: http://bharatkalyan97.blogspot.in/2016/04/indus-script-16-inscriptions-with.html

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)

2. kANDA 'rhinoceros' rebus: kaNDa '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)Hieroglyph: కోలు (p. 0329) [ kōlu ] kōlu. [Tel.] adj. Big, great, huge పెద్ద. కోలుపులి or కోల్పులి a royal tiger. kul 'tiger' (Santali) 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: kolhe 'smelter' kol 'working in iron' kolle 'blacksmith' kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pañcaloha’ (Ta.)

5.meD 'body' rebus: meD 'iron' med 'copper' (Slavic) karNaka 'spread legs' rebus: karNI 'supercargo, merchant's 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 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’: 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) karNI 'Supercargo'. Thus, cargo handed/accounted from workshop account to supercargo.

Part 2 with two hieroglyhs:

5. aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'metal' (Rigveda).PLUS khambhaṛā ʻfinʼ rebus:kammaTa 'mint, coiner, coinage'

6. PLUS kanka, karNaka 'rim of jar' rebus:karNI 'Supercargo' karNaka '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 documenting, using dharma saṁjñā 'responsibility markers or hieroglyphs, the tasks assigned to kuṇḍi-a = village headman' ; leader of a village (Pkt.lex.) i.e. śreṇi jet.t.ha chief of metal-worker guild.

This is an unambiguous, remarkable example proving that Indus Script is a knowledge system. There are over 7000 inscriptions on Indus Script Corpora detailing the technical specifications of the knowledge system which facilitated trade/exchange transactions by seafaring merchants of Meluhha.

Semantics of three faces on Mohenjo-daro seal m0304

https://tinyurl.com/y4klmdj6

muhã ʻ face, mouth, head, person ʼ Rebus: mũhã̄ 'the quantity of iron produced at one time in a native furnace' PLUS kolom 'three' rebus: kolimi 'smithy, forge'. Thus, the three faces signify iron of a smithy/forge. Thanks to RS Kshatriya for the exquisite drawing of the face on m0304 seal. The entire Indus Script Inscription on m0304 is a metalwork wealth-accounting ledger of Meluhha artisans including śrēṣṭhin 'guild-master' signified by a squirrel on other inscriptions. See decipherment in the context of the Indus Script Corpora examples at Decipherment of Indus Script Inscription on a Louvre Cylinder seal, made in Meluhha, of śrēṣṭhin 'guild-master'
https://tinyurl.com/y2f72xda Some decipherments like Sullivan's read the script as syllabic. Maybe, they have to relate deeply into the pictorial narratives which are 'meaningful'. The script is NOT syllabic, it is logosemantic in Meluhha, Indian sprachbund, 'language union'.

Bi. mũh ʻ opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing) ʼ(CDIAL 10158)

Thanks to RS Kshatriya for the exquisite drawing of the face on m0304 seal.

The three faces signify three ingots: mũh 'a face' rebus: mũhe 'ingot', mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes, 'smelters'. (Santali) PLUS kolom 'three' rebus: kolimi 'smithy,forge'. Thus, a smithy, forge to produce three ingots from three mineral ores: copper, tin, zinc; or, three ferrite ore minerls of magnetite, haematite, and laterite.

http://tinyurl.com/gu746pj

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

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

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

The underlying assumption in chronology of the Indus Script Corpora and Vedic texts is that the Vedic texts predate the Indus Script Corpora by ca. two or three millennia, given the language evidences argued forcefully for example see: http://bharatkalyan97.blogspot.in/2015/02/date-of-rigveda-ca-5th-millennium-bce.html

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

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

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

Head gear: Hieroglyph: taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker';
tatara 'smelter' (Japanese) < ṭhaṭṭhāra 'brass worker' (Prakritam) (< is indicated as a possibile transfer mode in language contacts for metalwork technical gloss.)

"The tatara (鑪^?) is the traditional Japanese furnace used for smelting iron and steel. The word later also came to mean the entire building housing the furnace...tatara is foreign to Japan, originating in India or Central Asia...Tokutaro Yasuda suggests that the word may be from the Sanskrit word taatara, meaning "heat," noting that the Sanskrit word for steel is sekeraa, which is very similar to the word used in Japan for the steel bloom which the tatara produces..."

The dissemination of iron-manufacturing technology to Japan

http://www.hitachi-metals.co.jp/e/tatara/nnp0101.htm

https://en.wikipedia.org/wiki/Tatara_(furnace)

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

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

*ṭhaṭṭha ʻ brass ʼ. [Onom. from noise of hammering brass? -- N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- 1. Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H. ṭhaṭherā m.(CDIAL 5491, 5493)

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

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

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

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

For e.g.,

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

khār खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b,l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta

khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु‍&below; । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;जि&below; or -güjü -ग&above;जू&below; । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), a blacksmith's smelting furnace; cf. hāl 5. -kūrü -कूरू‍&below; । लोहकारकन्या f. a blacksmith's daughter. -koṭu -क&above;टु&below; । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क&above;टू&below; । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above;च&dotbelow;ू&below; । लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु&below; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.(Kashmiri)

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

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

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

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

I suggest that three faces signify three ferrite ores: magnetite, haematite, laterite. All the three ferrite ores are signified on Indus Script Corpora: poLa 'zebu' rebus: poLa 'magnetite ore', bicha 'scorpion' rebus: bicha 'haematite ore',

Dotted ovarl hieroglyph: goTa 'round' rebus 1: goTa 'laterite ore';rebus 2: khoTa 'ingot'.

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Metals and metallurgy in Sarasvati-Sindhu Civilization -- Vibha Tripathi (2018)

June 15, 2019, 10:04 pm

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https://insa.nic.in/writereaddata/UpLoadedFiles/IJHS/Vol53_3_2018__Art04.pdf

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ṭhākur ʻblacksmithsʼ of Sarasvati-Sindhu civilization tradition in Sanauli and 4MSR (Anupgarh) sites

June 16, 2019, 2:19 am

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https://tinyurl.com/y5m6rbzg

-- Golden anthropomorph, 8 copper anthropomorphs, antenna swords, chariots of Sanauli, furnaces and zebu figurines of 4MSR (Anupgarh)

This is an addendum to:
1. Golden Anthropomorph of Sanauli is Indus Script karaṇa 'dance step, dance posture' rebus karaṇa 'scribe' validated by Baudhāyana Śrautasūtra, and genetic Sarasvati-Balto-Slavic & Indo-Iranian connection
https://tinyurl.com/ya3e5fvj2. Sanauli anthropomorphs are Indus Script hypertexts कर्णिक श्रेष्ठिन् helmsmen, guild-masters signify guilds of metalwork and seafaring merchants https://tinyurl.com/yau69bru

The golden anthropomorph discovered in Sanauli in 2006-7 excavations, compares with four types of bronze anthropomorphs found in many parts of Sarasvati Civilization, including Lothal. The gold anthropomorph dated to ca. 2000 BCE signifies a standing person with spread legs. He signifies a dance-posture.

This golden anthropomorph is an Indus Script hypertext:

karaṇa 'dance step, dance posture' rebus: karaṇa 'scribe'. meṭṭu 'step' meḍ iron, मेधा, धन, मेधः' yajna.

ṭhākur ʻblacksmithsʼ as 8 Sanauli anthropomorphs shown on wooden coffin lids

I suggest that the warriors with chariots of Sanauli are Rajputs of Rajasthan who are ṭhākur ʻblacksmithsʼ of the Sarasvati-Sindhu civilization tradition.

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. lohār, luh˚ 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). Loa 'ficus glomerata' rebus: loha 'copper, iron' is a semantic determinative of the horned bull-faced anthropomorph which signifies a ṭhākur ʻblacksmithʼ(Maithili)

A close-up may be seen in the photograph of the anthropomorphic figure on the coffin lid depicting headgear made of horn and a pipal leaf in the centre. However, another expert view is that the carving is of a bull head. Photo: Archaeological Survey of India. The 'ficus glomerata' leaf between the horns cannot be wished away as related to a bull head. It clearly is a metaphor, a rebus signifier in Meluhha language an Indus Script Hypertext.

Eight such copper anthropomorphs decorate the lid of the wooden coffin, signifying a guild.

The face is that of a bull with high horns like those of a zebu, bos indicus.

The decorative hieroglyph between the horns is a ficus leaf which is loa 'ficus glomerata' rebus: loh 'copper, metal'.

The bull's face is an Indus Script hypertext: dhangra 'bull' rebus: dhangar

'blacksmith'. ṭhakkura m. ʻ idol, deity (cf. ḍhakkārī -- ), ʼ lex., ʻ title ʼ Rājat. [Dis- cussion with lit. by W. Wüst RM 3, 13 ff. Prob. orig. a tribal name EWA i 459, which Wüst considers nonAryan borrowing of śākvará -- : very doubtful]Pk. ṭhakkura -- m. ʻ Rajput, chief man of a village ʼ; Kho. (Lor.) takur ʻ barber ʼ (= ṭ˚ ← Ind.?), Sh. ṭhăkŭr m.; K. ṭhôkur m. ʻ idol ʼ ( ← Ind.?); S. ṭhakuru m. ʻ fakir, term of address between fathers of a husband and wife ʼ; P. ṭhākar m. ʻ landholder ʼ, ludh. ṭhaukar m. ʻ lord ʼ; Ku. ṭhākur m. ʻ master, title of a Rajput ʼ; N. ṭhākur ʻ term of address from slave to master ʼ (f. ṭhakurāni), ṭhakuri ʻ a clan of Chetris ʼ (f. ṭhakurni); A. ṭhākur ʻ a Brahman ʼ, ṭhākurānī ʻ goddess ʼ; B. ṭhākurāni, ṭhākrān, ˚run ʻ honoured lady, goddess ʼ; Or. ṭhākura ʻ term of address to a Brahman, god, idol ʼ, ṭhākurāṇī ʻ goddess ʼ; Bi. ṭhākur ʻ barber ʼ; Mth. ṭhākur ʻ blacksmith ʼ; Bhoj. Aw.lakh. ṭhākur ʻ lord, master ʼ; H. ṭhākur m. ʻ master, landlord, god, idol ʼ, ṭhākurāin, ṭhā̆kurānī f. ʻ mistress, goddess ʼ; G. ṭhākor, ˚kar m. ʻ member of a clan of Rajputs ʼ, ṭhakrāṇī f. ʻ his wife ʼ, ṭhākor ʻ god, idol ʼ; M. ṭhākur m. ʻ jungle tribe in North Konkan, family priest, god, idol ʼ; Si. mald. "tacourou"ʻ title added to names of noblemen ʼ (HJ 915) prob. ← Ind.Addenda: ṭhakkura -- : Garh. ṭhākur ʻ master ʼ; A. ṭhākur also ʻ idol ʼ (CDIAL 5488).

Furnaces and zebu of 4MSR (Anupgarh)

Zebu figurines of 4MSR signify पोळ pōḷa, 'zebu, bos indicus' rebus: pōḷa 'magnetite, ferrous-ferric oxide Fe3O4' and associated furnaces of the site affirm the metalwork wealth created by the smiths and seafaring merchants.

A defining discovery of Binjor agnikunda सोमः-संस्था on Sarasvati River basin

A stunning discovery was reported in April 2015 from the excavations at Binjor (near Anupgarh, 4 MSR site) of a yajna kunda with an octagonal pillar.

This excavation was done by the students of Inst. of Archaeology, National Museum, New Delhi.

This is a humble tribute to these young students led by Dr. Sanjay Jha of ASI. who have redefined the roots of Bhāratiya Sabhyatā.

In my view, this is a defining discovery for Bharatiya Itihaas, affirming archaeologically the vedic heritage which emerged on the Vedic Sarasvati River basin.

I request for wide dissemination of a preliminary report on this momentous discovery and on the site.

Binjor agni kunda signifying a Soma yajña with octagonal, अष्टाश्रि yūpa.

Seal and yajna fire altar found at Binjor

Read in the context of the Vedic tradition of Vajapeya as a सोमः [सू-मन् Uṇ.1.139]-संस्था a form of the Soma-sacrifice, the Binjor agnikunda evidences the performance of a Vajapeya yajna or a बहुसुवर्णकम् सोमः [सू-मन् Uṇ.1.139]-संस्था

यष्ट्वाबहुसुवर्णकम् '(performance of yajna) to possess many gold pieces' is the expression used in one of the 19 yupa inscriptions -- (see yupa inscription B of Mulavarman at East Borneo) -- all 19 yupa are octagonal-shaped echoing the expression by Valmiki in the Ramayana.

It is significant that an Indus Script seal has also been found at the 4MSR site indicating metal-/mint-work providing a framework for approx. dating the soma yaga event at Binjor.

Bālakāṇḍa of Rāmāyaṇa has this citation: nityam pramuditāh sarve yatha kr̥tayuge tathā aśvamedha śatair iṣṭvā tathā bahusuvarṇakaih (Bālakāṇḍa I,95) The referene is to the aśvamedha sattra desirous of possessing many pieces of gold.

In reference to Meghanada's yajna, the reference reads:

agniṣṭomośvamedha ca yajno bahusuvarNakah

rājasūyas tathā yajno gomedho vaishṇavas tathā maheśvare

(Uttrakāṇḍa, XXV, 87-9)

A rajasūya yajna with prayers to maheśvara is also linked to many pieces of gold.

Shapes of Yupa: A. Commemorative stone yupa, Isapur – from Vogel, 1910-11, plate 23; drawing based on Vedic texts – from Madeleine Biardeau, 1988, 108, fig. 1; cf. 1989, fig. 2); C. Miniature wooden yupa and caSAla from Vaidika Samsodana Mandala Museum of Vedic sacrificial utensils – from Dharmadhikari 1989, 70) (After Fig. 5 in Alf Hiltebeitel, 1988, The Cult of Draupadi, Vol. 2, Univ. of Chicago Press, p.22)

The significance of अष्टाश्रिyūpa (octagonal brick as the one found in Binjor) is elaborted in the ancient texts: yūpa is described as being the emblem of the sacrifice in Rigveda: (RV III.8.8 yajñasya ketu; śat. Br. V.2.1.5 aṣṭāśrir yūpo bhavati;Taitt. Sam. I.3.6.1-3; cf. śat. Br. III.7.1.5-6). Details at http://bharatkalyan97.blogspot.in/2016/07/binjor-yupa-inscription-on-indus-script.html

It will be a privilege indeed to disseminate a preliminary archaeological report on 4MSR excavation for a wide audience to demonstrate the significance of this discovery which is as momentous as the discovery of the ancient channels of Vedic River Sarasvati dated to a period earlier than 3rd millennium BCE.

The presence of a seal in Binjor is also indicative that the date of the site is ca. 2500 to 1900 BCE (related to the mature phase of the civilization) and may open up further researches into the contributions made by Bhāratam janam (RV 3.53.12) to Bronze Age Revolution.

Antennae Sword,1500–500 B.C.E.

4 5/16 x 3 7/16 in. (36.3 x 8.7 cm) Accession No. 2001.433.53

India

These anthropomorphic figures, harpoons, ax blades (celts), and antennae swords were cast and hammered from unalloyed copper. They may be dated to 1500 to 1000 B.C.E. Given that pure copper is a relatively soft metal and most of the objects show little or no signs of wear, it seems likely that their function was largely dedicatory. Hoards of such objects have been found across north India, the greatest concentration being in Uttar Pradesh. The findspots suggest they were ritually deposited in rivers or marshes, though several related antennae swords were recorded in late Indus Valley civilization (ca. 1500 B.C.E.) burials at Sanauli.

https://www.metmuseum.org/art/collection/search/50573

Royal burial in Sanauli

T.S. SUBRAMANIAN

Print edition : September 28, 2018

A royal wooden coffin and alongside it two chariots adjacent to each other excavated by the ASI at Sanauli.

The chassis of the chariot was made of wood and covered with thick copper sheets.

The frame was made of copper pipes, including one for attaching an umbrella. Photo: ASI.

An aerial view of the excavated site at Sanauli showing some of the burials. Photo: ASI

A close-up of the anthropomorphic figure on the coffin lid depicting headgear made of horn and a pipal leaf

in the centre. However, another expert view is that the carving is of a bull head. Photo; ASI

The royal coffin burial being exposed bit by bit and studied by Sanjay Manjul (standing), Director of the excavation, and Arvin Manual (squatting) Superintending Archaeologist, ASI. Also seen is Ambilly CS (right), Assistan Archaeologist, ASI. The coffin stands on four legs and was made of wood. The entire coffin, including the legs, was sheathed with copper on all sides. The lidhas eight motifs carvedon it (close-up previous photo).

Later stages of the excavation revealed two full-sized chariots, helmets, a copper ladle, big pots and beds as funerary objects.

Photo: TS Subramanian.

One of the two full-sized chariots found near the royal wooden coffin. The chariots are themselves extraordinary finds. The wooden

chariots had wheels with copper triangles fastened on them with copper nails. The triangles emanated in three rows

radiating from the centre. Photo: ASI.

A copper antenna sword and a copper sword (foreground) with a wooden hilt wound with copper wire. Photo: ASI

A copper antenna sword and a copper torch with a long handle. These remarkable artefacts of the copper hoard culture

were found in two different burials. Photo: TS Subramanian

Three big pots with sealed mouths, kept as funerary objects in a coffin burial. Photo: ASI

An almost intact skeleton of a tall woman found in a coffin burial. The coffin does not have copper sheathing around it and

has only a thin antenna sword placed on the ground near the head. An armlet made of agate beads can be made out

around an elbow. The pit boasted a variety of pottery, including pots, red vases, bowls and basins.

Photo: TS Subramanian.

Fragmented bones found in one of the coffin burials. This signifies a secondary burial, in which the body is exposed

to the elements and the bones that remain are buried in a grave. Photo: ASI.

A cylindrical carnelian bead measuring 5 cm. Photo: ASI

Several necklaces made of cylindrical steatite beads found in one of the burials. Photo: TS Subramanian

Gold beads found in a grave. Photo: ASI

A small coffin burial that boasted a full-sized chariot, big pots, red vases with tall necks and flared rims, a copper sheld,

a copper ladle with a long stem, a torch, an antenna sword and hundreds of beads. A helmet made of copper was found

upturned on the ground at the base of the coffin. The artefacts sshow that a warrior tribe thrived here between 2000 BCE

and 1800 BCE. Photo: TS Subramanian

Grave goods such as the decorated comb with a peacock otif on top and a copper mirror are important in understanding

the life of the people of Sanauli in 2000 BCE. Photo: ASI

A heap of 2 cm long copper nails. Photo: ASI

The recent ASI excavation at Sanauli village in western Uttar Pradesh leads to the discovery of several burials, including that of a royal with chariots, swords and helmets, dating to 2000 BCE and belonging to the copper hoard culture.

SANAULI in Baghpat district in western Uttar Pradesh, about 80 km from New Delhi, has been making waves in archaeological circles across the country with spectacular discoveries of coffin burials and chariots with burial goods such as copper helmets, copper antenna swords and red vases with flaring rims. Seven burials have been excavated so far, and spectacular among them is a royal burial with a wooden coffin with a lid that has carvings in high relief with a series of anthropomorphic figures, all of which have headgear that has two horns and a peepal leaf in the centre. Besides the face, the figures have broad shoulders and a torso.

The sides of the coffins have running floral motifs and they are covered by copper plating that runs around the coffins. The wooden coffin, too, has a copper sheet of around 3 mm thickness. It stands on four wooden legs, which too are covered with copper sheathing with carvings, and looks virtually like a sarcophagus. The coffin itself is more than 8 feet (2.4 metres) long and has a height of about 40 cm. Inside the coffin lay the body of a man, probably a royal, oriented in the north-west and south-east direction, with the head facing the north-west. The pit that held the royal coffin also had two full-sized chariots, besides other artefacts.

“For the first time in the Indian subcontinent, chariots have been recovered from any excavation,” said Sanjay Kumar Manjul, Director, Institute of Archaeology, Archaeological Survey of India (ASI) and Director of the excavation. Arvin Manjul, Superintending Archaeologist, Excavation Branch-II, ASI, New Delhi, was co-director of the excavation. The teams that undertook the excavation were from the Institute of Archaeology, the academic wing of the ASI that conducts a two-year programme in archaeology for postgraduates in history and archaeology, and the Excavation Branch II.

One of the discoveries they made in the grave pits with wooden coffin burials was a couple of “antenna swords” that were 40 cm long. One of them had a wooden hilt with copper spiral wiring around it. “In the entire copper hoard culture, this is the first discovery of a sword with a wooden hilt wound around with a copper wire. These are typical objects of the copper hoard culture,” said Arvin Manjul. “They could have made sacrifices, using the sword with full force,” she added. But the most amazing discovery was of three full-sized chariots, two in the royal burial and the third in another burial with a wooden coffin. The chariots were made of wood, which has perished and commingled with mud. The wheels are decorated with three rows of copper triangles radiating from the centre. The whole composition looks like the sun’s emanating rays.

The chassis of the chariot was made of wood and was covered with thick copper sheets. The frame of the seat was made of copper pipes, including a pipe for the attachment of an umbrella (chhatravali), and the seat itself seemed to be semi-circular. Sanjay Manjul called the excavation of the coffin burials and the chariots “a unique discovery in the entire subcontinent”. They could be dated to “around 2000 BCE” and were “contemporary to Harappan culture”, he said.

He claimed that the discovery of chariots put India on a par with ancient civilisations in Mesopotamia and Greece, where chariots were used extensively. “We are now sure that around 2000 BCE, when the Mesopotamians were using chariots, swords and helmets in war, a warrior tribe here was using them as well.”

Sanjay Manjul was sure that it was a royal burial. “Otherwise, it is not possible to have so many intricate carvings on the coffin and other objects. They also show the sophistication and the high degree of craftsmanship of the artisan. Without copper plating around it, it would have been difficult to identify the wooden coffin because wood is 100 per cent decomposed and you cannot see the wood with the naked eye. We have found evidence of a textile impression on top of the coffin. All these show that they performed the rituals first and installed the coffin next.” Besides, the helmets, the triangles on the wheels and the antenna swords, all made of copper, had strikingly beautiful designs and patterns.

The previous excavation in the area, which went on for a year in 2005-2006 about 100 metres from the present site, yielded 116 burials but no coffins. D.V. Sharma of the ASI, who headed the excavation, had associated those findings with the Harappans and the extension of Harappan culture on the Ganga-Yamuna Doab. But Sanjay Manjul asserted that the coffin burials, which he excavated from March to May 2018, did not belong to Harappan culture. These burials, according to him, belonged to ochre-coloured pottery (OCP)/copper hoard culture which had developed in the Ganga-Yamuna Doab. Sanjay Manjul argued that some elements of Harappan culture could be traced in the excavations he had done now due to the site being a contemporary settlement. The process and the belief, he said, in the journey of the departed soul seemed to be the same as that of Harappan culture because the setting and burial process were very similar, but the manufacturing technique and the shapes of artefacts, including pottery, associated with the burials excavated now were different.

(The Harappan civilisation covered an area of about 1.8 million square kilometres in India and Pakistan. There are an estimated 2,000 Harappan sites, with about 500 in India, 1,500 in Pakistan and a few in Afghanistan. The Harappan civilisation can be divided into three periods: the Early Harappan, which lasted from circa 3000 BCE to 2600 BCE; the Mature Harappan, which was extant from circa 2600 BCE to about 1900 BCE; and the Late Harappan phase, which lasted from about 1900 BCE to 1500 BCE.)

One interesting burial pit revealed a small coffin, a chariot, a shield, a torch (mashal), an antenna sword, a digger, hundreds of beads and a variety of pots. A helmet was kept upside down at the base of the coffin, on the ground. There was a channel-like copper object below the coffin. The chariot is identical to the chariots found in the royal burial except for the pole and yoke, which have decorations with copper triangles. The shield is also decorated with geometrical patterns in copper. There were burials for a nobleman, a common man, a woman, a dog and a bird too. Arvin Manjul said, “All the seven have their own qualities. All have their own unique features.”

Sanauli is a typical village situated in a fertile zone of fields abloom with wheat and millets and brick kilns all around, their tall stacks belching smoke. This reporter visited the site on May 18 and 19, when the excavation had reached its peak. That was also when Arvin Manjul delicately brought out three necklaces made of cylindrical steatite beads, and Vinay Roy, assistant archaeologist in Excavation Branch-II, revealed the copper triangles on the wheels of the chariot in the royal burial.

The ASI team applied various scientific methods such as X-rays, computed tomography scan (CT scan), X-ray diffraction (XRD) and X-ray fluorescence (XRF) to study the remains. “This is the first time that such analyses are being done on the site for an excavation,” Sanjay Manjul said. A mud lump upon being scanned under an X-ray revealed a star-like pattern on a copper sheet rivetted with copper nails on a wooden object.

Arvin Manjul said: “In all the seven burials the head was found to be on the northern side. The ritual pottery was placed on the north beyond the head and on the south after the feet. The copper objects were kept below the sarcophagi. Since copper was not available in the surrounding areas, they had used the copper sparingly. We have got a lot of beads.”

The ASI team could unearth the skeleton of a woman, too, and it was almost intact. The woman is wearing an armlet made of banded agate beads around an elbow. Behind her head are 10 red vases with flared rims; four bowls; and two basins, small and big. Two of the vases have lids. This was also a coffin burial but the coffin does not have copper plating around it. A thin antenna sword was placed in the north-western corner of the grave. “It is a symbolic sword. Maybe, she did not have enough wealth. So they kept a symbolic sword [and there was no copper coating around the coffin either],” Arvin Manjul said.

If these are primary burials, there are secondary burials too. Indeed, in this excavation, three types of burials were found: primary, secondary and symbolic. In the primary burial, the full body of the dead man was buried. In the secondary, the body was exposed to the elements and the bones that remained were given a burial in a grave. When the body of a dead person was not available, that is, he had lost his life in a battle or a wild animal had killed him and carried away his body, he was given a symbolic burial. A grave was dug for him and it featured funerary pottery and objects he was fond of. In a secondary burial at Sanauli, the bones of a dead man had been placed haphazardly and three garlands, made of cylindrical steatite beads, were found placed on the western side of the grave. A series of terracotta pots were found on the north-western side. The royal burial and the woman’s burial are examples of primary burials.

Interestingly, the ASI archaeologists located a dog’s burial and a bird’s burial, too, at the site. It must have been a pet dog because it had been buried with care and affection. On the eastern side, they found big-sized pots covered with lids.

The burials could possibly be dated to circa 2000 BCE, said Sanjay Manjul. “After we do a scientific dating, we will be able to tell you the actual date. But there are no iron implements. So it is certainly a pre-Iron Age culture,” he argued.

K. Rajan, Professor of History, Pondicherry University, assessed that the site belonged to the Late Harappan period. “In western Uttar Pradesh, we get ochre-coloured pottery, which is contemporary to the Late Harappan period.” It should be first decided whether the custom of burying the dead belonged to the non-Vedic period or the Vedic period, he said. Normally, burials were not available during the Vedic period.

Rajan said: “In the Indus Valley civilisation, we have come across several graves that belong to the Late Harappan period. We have hardly found graves that belonged to the proper Indus Valley period, that is, the Mature Harappan period, because we concentrated more on excavating the settlements.”

Sanjay Manjul said: “This type of pottery with elongated legs and flaring rims, found along with the coffin burials at Sanauli, are not available in the Harappan context. Copper objects such as the antennna swords and the ladle were not found in Harappan sites. An interesting feature of this culture is the elaborate burial process with coffins. Coffins have been reported from Harappan culture, but there is no plating around Harappan coffins. These coffins are different from the Harappan coffins. This is actually advanced, expert craftsmanship at Sanauli. This is sophisticated craftsmanship.... This excavation has thrown new light on Indian archaeology.” He asserted that the rituals relating to the Sanauli burials showed close affinity with Vedic rituals.

According to Sanjay Manjul, while he “appreciated and acknowledged the excavation conducted by Dr Sharma” in 2005-06, his (Manjul’s) observation was that the remains found at Sanauli during the 2018 excavation “belong to the OCP/copper hoard culture and not to the Late Harappan phase” as believed earlier. A trial dig was done in Sanauli village, about 800 metres from the site of the coffin burials, to locate the habitation site. The earliest levels in the trial excavation yielded pottery and habitational deposits such as chulas, or hearths. But these were yet to be dated.

Sanjay Manjul said: “It is yet to be confirmed whether the habitation site is contemporary to the burial site of the coffins.”

https://frontline.thehindu.com/arts-and-culture/heritage/article24923229.ece

From the Bara culture: R.S. Bisht

T.S. SUBRAMANIAN

Print edition : September 28, 2018

Ravindra Singh Bisht (right), former Addl. DG, ASI, studying a burial during one of his visits to the excavation site between March and May. Along with him are Sanjay Manjul and Disha Ahluwalia, research scholar in the ASI. Photo: ASI

THE discovery of wooden coffin burials “with ideologically driven motifs” at Sanauli in Uttar Pradesh was a “strong indication” of the then people’s faith “in a belief system”, and so it was a “significant discovery”, said Ravindra Singh Bisht (74), former Additional Director General of the Archaeological Survey of India (ASI).

“The eight beautifully crafted motifs, which are stylistic bull heads, form a new chapter in the history of art in India,” he said. If the string of motifs provided an insight into the then people’s “belief system”, the discovery of three full-sized chariots, copper helmets, copper antenna swords, big terracotta pots and red vases with flaring rims threw light on the burial customs prevalent then. Bisht, who visited the Sanauli excavation three times between March and May this year, praised the “scientific temperament”, the “artistic skill” and the “patience” of Sanjay Manjul and Arvin Manjul, both of the ASI, in uncovering the wooden coffin burials. He congratulated the Manjuls and their team for their discoveries.

Wooden coffins were first discovered at Harappa, now in Pakistan, by Mortimer Wheeler, then ASI Director General, when he was directing an excavation there in 1944. Later, the American archaeologists Richard H. Meadow and Mark J. Kenoyer also found wooden coffins at Harappa.

At Dholavira, a Harappan site in Kutch district in Gujarat, where Bisht led the ASI excavation for 13 field seasons from 1990 to 2005, he found imitiations of the coffins there. They were found inside a cist in the Harappan cemetery at Dholavira. They were symbolic/memorial burials because there were no skeletons inside the imitation-coffins. “Thus the discovery of the wooden coffin burials at Sanuali is not new,” he said.

However, Bisht argued: “The importance of the wooden coffin burials at Sanauli is that the burials have been done in a very elaborate manner and the coffins are crafted with ideologically directed motifs on wood and then covered with copper sheets. The wood has disintegrated and the copper remains. Near the head of the skeleton was a different motif which cannot be figured out properly because of the disturbed condition of the burial now. All the motifs are strong indicators of their belief system.”

The discovery of three chariots in two of the coffin burials was important because it would help in providing a date to the burials, he said. The chariots formed part of the entire burial. He was confident that a lot of organic material, including charcoal, which had been found during the excavation, would help in dating the burials.

In Bisht’s assessment: “Culturally, the coffin burials excavated at Sanauli do not belong to the Harappan civilisation. They belong to the Bara culture, which was prevalent in Haryana, Punjab and the Ganga-Yamuna Doab.” The Bara culture was basically contemporaneous with the Harappan culture of the late phase. Since the Bara culture lasted for a longer time, it was after the Late Harappan phase. “The phase you see in Sanauli is post-Harappan. Whatever you see at Sanauli is posterior to Harappa,” Bisht said.

https://frontline.thehindu.com/arts-and-culture/heritage/article24923977.ece

Telltale furnaces

T.S. SUBRAMANIAN

Print edition : June 23, 2017

An oval furnace with a hub in the middle for keeping the crucible where artisans kept the copper ingots before fashioning them into artefacts. The furnace has holes for aeration and for inserting tuyeres to work up the flames. Photo: VV Krishnan

The star discovery of the year at 4MSR, the ASI’s site in Rajasthan, was this oval-shaped furnace lined with mud bricks

.It was in furnaces such as these that the laborious process of making copper artefacts began.The furnace was used

to smelt copper from the copper ore. It had a hole for inserting the tuyere for fanning the flame and holes on its sides

for aeration. Beside the furnace is an anvil where the sheeted ore was hamered into ingots. Photo: TS Subramanian

Sanjay Kumar Manjul, ASI’s director of excavation, studying storage jars adjacent to furnaces built on brick platforms.

Photo: VV Krishnan

In 4MSR, trench after trench threw up furnaces and hearths in different shapes, clearly indicating that it was a thriving industrial centre. The picture shows a long, oval-shaped furnace and a circular furnace built on a mud-brick platform. Photo: VV Krishnan

A circular hearth with charcoal pieces and ash. Harappans made beads out of steatite, agate, carnelian, lapis lazuli and

so on here. Photo: TS Subramanian

A yoni-shaped furnace found at 4MSR. Photo: TS Subramanian

This terracotta vessel with a pronounced knob at the centre has engaged the attention of archaeologists as a ‘unique find’ and is probably used in rituals or ceremonies. Similar vessels have been depicted on Harappan seals and copper plates. Photo: ASI

The copper plate with the engraving of the knbbed ceremonial vessel similar to the one found in the 2017 round of excavations.

Photo: Vasant Shinde

At the ASI’s 43GB site, Sanjay Kumar Manjul (Right) and K. Rajan, professor of history, Pondicherry University.

Photo: VV Krishnan

An inverted pot, probably of the Mature Harappan period, found in situ in a trench at 4MSR. Photo: VV Krishnan

A portion of the enclosure wall that has been excavated in different areas around the mound. The wall, made of mud bricks, is thoughto run around the settlement, and this one is in the south-east coner. Photo: ASI

A painted terracotta pot. Photo: ASI

A view of the sunset from the mound at 4MSR surrounded by wheat fields. Photo: TS Subramanian

Harappan beakers for measuring liquids. Photo: VV Krishnan

Boards announcing the names of 4MSR village near Bijnor. 4MSR is, as the crow flies, 7 km from the border with Pakistan.

After Partition, Rajasthan irrigation department officials gave names such as 4MSR, 43GB to newly created

settlements for refugees from across the border. Photo: TS Subramanian

The ASI’s Arvin Manjul (third from left), co-director of the excavation at 4MSR, 43GB and 68/2GB, and other archaeologists

examine a human skeleton found in the trench at 68/2GB. Photo: ASI

On the mound at 43GB around 50 km from 4MSR, Unlike 4MSR, the mound is heavily built up with houses and other structures, making excavation a challenge. People of the Mature Harappan period settled on a big sand dune at 43GB, which became a mound after they abandoned it. Photo: TS Subramanian

The trial trench at 68/2GB near 4MSR. It yielded Early Harappan ceramics, beads made of semi-precious stones, terracotta bangles and pestles. Photo: ASI

Gold rings, pieces and foils found in the 2017 excavations testified to the fact that the 4MSR

Harappans made gold products too. They sourced gold from the present-day Karnataka. Photo: ASI

The seal with a perfectly carved figure of a unicorn. It has been scooped out with precision on a thin

slate of white steatite- belongs to the Mature Harapppan period.. The ceremonial vessel in front of the

unicorn is a puzzle. The seal has one Harappan sign on top and other signs that seem to have been

scraped off. It has a perfectly made kob with a hole on the reverse and is a good example of seals of

the Mature Harappan period. Photo: ASI.

Seven different seals were found at 4MSR in the 2017 round of excavations and they provide insights

into the gradual development in the production of seals. The seal with triangular designs and a crudely

made knob, with a hole through which to string a thread, belongs to the transitional phase between the

Early Harappan and Mature Harappan phases. Photo: ASI

Arrowheads, spearheads, celts and fish hooks, all made of copper, were found in the trenches at

4MSR, affirming to the industrial nature of the site. Archaeologists found copper bangles, rings,

beads, and so on. Photo: ASI

Hundreds of oblong (popular among archaeologists as idli-shaped), triangular terracotta cakes have

been found at 4MSR and the Harappan site of Rakhigarhi in Haryana, 340 km away. While the oblong

cakes were used to retain heat in domestic hearths and chulas for keeping milk and water warm, the

painted triangular cakes were embedded as decorative pieces on walls and floors of houses.

Photo: ASI

Humped bulls, made of terracotta, found in the trenches at 4MSR. Photo: ASI

The shell of a tortoise in one of the trenches. Two such shells were found in different trenches along

with charred bones, indicating that the Harappans consumed tortoise meat. Photo: ASI

The latest round of the Archaeological Survey of India’s excavations at 4MSR in Rajasthan gives valuable insights into how the Harappans made the transition from an agricultural society into an industrial one.

A CIRCULAR flat-bottomed terracotta vessel with a pronounced knob at the centre is among the artefacts that are engaging the attention of archaeologists at 4MSR, a Harappan site about 10 kilometres from Anupgarh town in Rajasthan. They found not one but two such vessels, but in the second one the knob had broken off. “This is a unique find,” says Sanjay Kumar Manjul, director of the excavation for the 2017 field season, the third so far, at 4MSR. (No one seems to know what 4MSR stands for.) “It is probably a ritualistic vessel. Similar type of pot depictions have been found on seals from Harappan sites in India and Pakistan,” he added. The vessel has been depicted on Harappan seals, placed in front of a unicorn, and on copper plates along with a seated “yogi” with a horned headdress. Manjul, who is also Director of the Institute of Archaeology, the academic wing of the Archaeological Survey of India (ASI), New Delhi, and other scholars make intelligent guesses that it may be a ritual/ceremonial vessel, an incense burner, or a massive dish that is placed on a stand.

The bowl takes pride of place in the huge tent pitched on the dry bed of the Ghaggar river near 4MSR that houses all artefacts excavated at the site. Another exciting find was two tortoise shells amid charred bones of the tortoises. This suggested that tortoises formed an important part of the food of the Harappans who lived at 4MSR about 5,000 years ago.

Among the artefacts discovered were seals; fragments of gold foils and gold beads; miniature beakers probably used for measuring liquids; painted pottery; perforated jars; goblets and storage pots; beads made of steatite, agate, jasper, carnelian, lapis lazuli, and other semi-precious stones; earrings; fish hooks; spear-heads and arrowheads made of copper; bangles made of conch shells; and terracotta figurines. The trenches also yielded hundreds of terracotta cakes in shapes that ranged from oblong (popular among archaeologists as idli-shaped) to triangle and similar to a clenched fist (mushtika). They also yielded 10 pieces of weights made of banded chert stones.

But the most important discovery this year was a massive wall built of mud bricks stacked to a width of 8 metres, in the south-eastern corner of the excavation mound. The wall showed clear evidence of having been built during two successive phases of the Harappan civilisation, and it turns right at one point perhaps indicating that it could have run around the settlement, thus demolishing the assumption that 4MSR did not have a fortification or enclosure wall. In fact, the remains of the wall have been found on the western and northern sides of the mound.

K. Rajan, professor of history, Pondicherry University, who gave a series of lectures to students of the Institute of Archaeology at the site, confirmed that it was an enclosure wall, a feature found in many Harappan sites. The paleo-channels of the Ghaggar river were just 500 metres away from the site, to the north and the south. The wall could have been built to prevent flooding of the site. While fortification/enclosure walls at Harappan sites in Gujarat were made of stones, as one travelled towards Mohenjo-daro or Harappa (both in Pakistan now) they began to be made of burnt bricks. In Rajasthan, the walls, be they at 4MSR or Kalibangan, were built of mud bricks that were made with fine clay, which gave the bricks a fine texture, that is, they had been well levigated, as Disha Ahluwalia, a superviser at 4MSR, explained.

Besides the wall, the lower levels of this Harappan industrial complex showed evidence of streets having been there, belying the assumption that the settlement had no organised streets.

Industrial secrets

The trenches excavated in 2015, 2016 and 2017 revealed the industrial secrets of 4MSR, which lasted from circa 4000 BCE to circa 2000 BCE through what is called the Early Harappan (3000-2600 BCE) and the Mature Harappan (2600-2000 BCE) phases. Possibly the Late Harappan phase settlements may also be visible. At the time Frontline visited the mound in March, more than 15 trenches, each 10 metre x 10 metre, had been dug jointly by students of the Institute of Archaeology and archaeologists of the Excavation Branch-II of the ASI. Arvin Manjul, Superintending Archaeologist, Excavation Branch-II was the co-director of the excavation.

The mound itself offered a spectacular sight, with trench upon trench bristling with furnaces, hearths and kilns that confirmed the industrial nature of the site. The furnaces, hearths and kilns were situated on mud-brick platforms at various levels and presented insights into the activity during the various periods. Close to the furnaces and hearths were big storage pots, twin pots and broken perforated jars. Beads lay scattered on a few furnace floors. In the kilns, there were terracotta beads and broken terracotta bangles. This year’s excavation threw up furnaces and hearths of different shapes: oval, circular, yoni-shaped and even a squarish one.

One of the trenches had a big, oval-shaped furnace lined with mud bricks. It had a short mud-brick wall, with the inner side of the bricks blackened from the searing heat of the furnace and the furnace floor rammed with mud. The furnace had a hole for blowing air into it with tuyeres to fan the flames. There was a central hub too for placing crucibles in which to smelt copper from the copper ore. “This furnace was for extracting copper from the copper ore. It was periodically plastered. That meant it was used for a long time,” Manjul said.

In a furnace in a nearby trench, copper ingots recovered from the copper ore in the previous furnace had been converted into workable pieces. This furnace had a passage for blowing air with bellows and charcoal pieces were found strewn on the furnace floor. An anvil was found nearby, which was obviously the place where the copper ingots were beaten into workable pieces. There was also a channel for bringing fresh water that the smiths used for strengthening the workable pieces.

In the third furnace, the Harappan artisans converted the copper ingots into tools and artefacts Manjul summed up the process: “The first furnace was probably for smelting copper from the ore. Here, high temperature was required. In the second, normal temperature was required because the smiths had already made copper. In the third, the artisans made a variety of copper artefacts such as bangles, beads, rings, fish hooks, arrowheads, spear heads, and so on.”

In one trench was a big, circular kiln, with potsherds lying on its floor. There were white patches on the floor, which had apparently resulted from the intense heat worked up in the kiln. Explaining the difference between a furnace and a kiln, Rajan said: “If you are working a metal like copper, it is called a furnace. If you are firing/baking ceramic products, it is called a kiln.” It is in these kilns that the Harappans fired a variety of pottery, including storage pots, big jars, perforated jars, goblets, beakers, dish-on-stands and terracotta figurines.

With such a variety of furnaces, hearths and kilns, it was not surprising that Manjul called 4MSR “an important industrial settlement” that is “at present the only example in the Harappan context which shows a major industrial activity”. The series of furnaces in trench after trench and at different levels indicated that multiple artisans had worked simultaneously and that the site had been occupied continuously and industrial activity was also continuous, he said. There were many sites of a similar nature in the vicinity. Manjul added: “The region was a major industrial hub. There is no doubt about it. These varieties of artefacts cannot be consumed here itself. This was one of the industrial centres that catered to urban settlements such as Kalibangan, Rakhigari and Ganweriwala.”

Indeed, the three seasons of excavation have provided a tremendous insight into how 4MSR evolved from an agricultural settlement into a major industrial centre that manufactured copper artefacts, beads from semi-precious stones and a wide variety of terracotta products and exported them to Harappan sites nearby and far away.

Manjul said: “In the lower levels [of trenches], there is evidence of agriculture because there are domestic hearths within residential complexes. In the transitional phase from Early Harappan to Mature Harappan, there are furnaces within house complexes. Later, during the Mature Harappan phase, there was a complete transformation into an industrial site. Thus, there was a gradual transformation from agriculture to industry.”

The third season of excavation at 4MSR had a clear objective: to understand the nature of the industrial activity that had been observed during the second field season in 2016. Manjul said: “In this season, we have some clear evidence of copper smelting, melting and craftsmen working on the metal. Along with that, we have excavated anvils, storage jars, dish-on-stand, etc. We have found copper slag, terracotta crucibles and terracotta moulds and finished copper artefacts such as fish-hooks, spearheads, arrowheads, beads, copper strings, copper rings and bangles. It was observed that the entire process of copper working, from smelting to making finished products, was done here. This site revealed manufacturing of artefacts from steatite. In the smaller hearths, along with steatite we noticed charcoal and ash.

“The industrial activity started during the transitional stage from the Early Harappan phase to the Mature Harappan stage. Full-fledged industrial activity took place during the Mature Harappan stage and the late Mature Harappan phase.” Shubha Majumdar, Deputy Superintending Archaeologist, ASI, said that at least four major structural phases were noticed during the Mature Harappan phase.

There were signs of agricultural activity in the lower levels of the trenches because the weather at that point of time was conducive to farming. When the weather changed for the worse, the region became semi-arid. “So people switched over from agriculture to industrial activity to sustain themselves,” Manjul said.

What facilitated the change to industrial activity in a big way was the availability of copper ore, possibly from the Khetri belt situated about 150 km away, in Rajasthan. Similarly, gypsum, which was used in the flooring of homes, was available in the nearby area, while steatite, which was used for making beads, was available in plenty within a 200 sq km area. On the other had, lapis lazuli, gold, shell and semi-precious stones were not available nearby, and artefacts made from them showed clear evidence of 4MSR’s linkage with distant shores and contemporary settlements, Manjul said.

The Harappans at 4MSR exploited a variety of stones available in the Aravalli hill range for making pestles, mortars and anvils. Chert stones were available in the Rohri hills in Pakistan. The artisans made both small and big chert blades. The chert blades were used for manifold purposes, including skinning of animals and making sickles. The Harappans also fashioned modular chert blades for making different tools, besides tools of copper, bones, antlers and stone. Stone-hammers were made with a wooden handle. In the early stages of development, the Harappans made tools by driving the stone inside the wood. In subsequent stages, they drove the wood inside metal for they had learnt the art of metal working.

The settlement pattern 10 to 20 km around 4MSR showed that there were separate Early Harappan sites, Mature Harappan sites and sites with the late phase of the Mature Harappan civilisation. “After that, in this same region, we had painted grey ware (PGW) settlements, and they continued up to post-Gupta period followed by the Rang Mahal culture. This is the complete cultural sequence of this area,” Manjul said.

Seals

Another important feature of the latest round of excavation is the discovery of seven seals, which confirmed that 4MSR belonged to the Early Harappan, then transitional and the Mature Harappan phases.The seal that belonged to the transitional phase has a geometric design on the one side and a little knob on the other side. Since it has a knob on the obverse side, it could have been used to stamp the geometric pattern on a piece of clay tied to a bag to signal that duty had been paid on the goods kept in the bag. Of the two seals that belong to the Mature Harappan phase, one had the engraving of a unicorn with a ceremonial vessel in front of it. There is a Harappan sign above the unicorn. There were more Harappan characters, but they had been scraped off. This seal showed superb workmanship because the artisan had not merely carved the unicorn on the tiny steatite slab but had unerringly scooped out the outline of the entire animal within the narrow confines of the seal.

This seal has a knob on the obverse with a hole in it for a string to pass through. Perhaps, the owner of the seal wore it around his neck. Another seal portrays a unicorn, but the seal’s top portion is broken off. It was found embedded in the mud and the impression of the unicorn can still be seen on the mud.

Animal treasures

What excited the archaeologists was the discovery of two tortoise shells amid charred remains of tortoises. Vijay Sathe, a professor in the Deccan College Post-graduate and Research Institute, Pune, who studied the tortoise shells, antlers and other animal remains, said: “This site has a good representation of skeletal evidence of animals. They include cattle, sheep, goat, antelope and similar small-sized mammalian fauna. The inhabitants of 4MSR used a good blend of wild and domesticated animals for food and farming. An interesting thing noticed here was the inhabitants’ preference for animals such as tortoise and fish. The presence of a couple of varieties of tortoises was noticed in the form of their carapace and their charred bones, which are potential indicators of the food habits of the inhabitants. That is, they roasted and consumed the tortoise. Besides tortoises, the remains of a variety of freshwater fish have been found in charred condition.”

If one were to look at the composition of both wild and domesticated animals that the Harappans of 4MSR ate, it appears that a variety of animals, especially small-sized animals, such as chinkara, antelope and barking deer, besides cattle, goat and sheep, did have their share in their food economy, Sathe said. The science of archaeo-zoology had important role in archaeology, he added. Once a detailed analysis was completed, it would be possible to talk about the animal population found around 4MSR, the contribution of the cattle to agricultural and other practices and the attitude of the Harappans towards these animals as a whole.

https://frontline.thehindu.com/arts-and-culture/heritage/telltale-furnaces/article9721082.ece

Contrasting mounds

Print edition : June 23, 2017

An innovative chula with a vessel inside for heating water in the compound of a house at 43GB, about 50 km from 4MSR. This kind of chula has been extant from the Harappan times. Photo: TS Subramanian

THE Harappan sites of 4MSR and 43GB situated 50 km apart in Rajasthan present contrasting pictures as far as their mounds go. While the mound in 4MSR is more or less intact and without habitation, thus facilitating excavation in 2015, 2016 and 2017, the one at 43GB has numerous houses making it impossible for the Archaeological Survey of India (ASI) to undertake a systematic excavation. However, in March the ASI excavated two trial trenches in the mound in an attempt to understand the cultural linkage between 4MSR and 43GB.

A two-hour drive on a broad, unpaved road over much of the 50 km distance takes one from 4MSR to 43GB. The village has a primary school, and tractors were parked in front of several houses. Bulls were roaming around on the unpaved streets. The mound itself was surrounded by wheat fields, as at 4MSR. The Ghaggar river, now dry, flowed about 500 metres away on the southern side of the mound.

Sanjay Kumar Manjul, director of the excavation at both sites, said Rakesh Tewari, Director General, ASI, inspired him “to do a detailed investigation of the sites surrounding 4MSR in order to understand the complete picture of the region”. After extensive exploration, 43GB was taken up for trial excavation. The site belongs to the Mature Harappan and late Mature Harappan phases.

V.P. Yathees Kumar and M. Prasanna, Assistant Archaeologists, ASI, were supervising the excavation. The trial trenches revealed mud-brick structures and potsherds that belonged to the later phase of the Mature Harappan civilisation. Bangles made of terracotta, beads fashioned out of semi-precious stones such as carnelian and steatite, and painted pottery were found. A steatite seal showing a unicorn and Harappan signs was found on the surface of the mound. “We began the excavation at 43GB to understand the cultural sequence of the site and its relationship with 4MSR and other sites nearby,” said Manjul. “We are trying to understand the paleoclimate of this region with the evidence provided by the archaeological finds and the settlement pattern of Harappan sites in this region,” he added.

Manjul and his team from the Institute of Archaeology visited several Harappan sites in the region, which had been earlier explored by scholars such as Aurel Stein, A. Ghosh and K.N. Dikshit. But unlike 4MSR, 43GB had no Early Harappan phase at all, Manjul said. When the Harappans settled down at 43GB, a dry climate seemed to have prevailed during the transitional phase from the Early Harappan to the Mature Harappan stage.

Manjul said the Mature Harappan people dispersed to many places because of the climatic conditions and the availability of more resources in those places. “That is how the settlement came up here at 43GB. Tarkhanewaladera, a site that is about 7 km from 4MSR, witnessed dispersal during the Mature phase. The ASI had excavated it earlier,” he said.

On why the Harappans abandoned these sites, he said the setting in of a dry climate and aridity could have driven them towards the upper reaches of the Ghaggar river. This held good for almost all Harappan sites in the region, including Baror and 68/2.

Even as this discussion was under way, Yathees Kumar and Prasanna unearthed a small hearth with ash and charcoal pieces in one of the two trenches. Nearby was a triangular stone. Rajan was sure that it was a domestic hearth for cooking and the triangular stone was meant for grinding.

During the exploration at68/2,which is around 13 km from Anupgarh on the way to Suratgarh, some Early Harappan ceramics were found. The villagers had cut the ancient mound, but some portion was left intact which was investigated by the ASI team in 2017. During the excavation, it was observed that the pottery and other artefacts were similar to those of the Early Harappan phase of 4MSR, Kalibangan, Sothi and Kunal. A disturbed human burial was exposed along with pottery. Manjul said: “We have collected samples down to the natural soil for scientific dates and other analysis to understand more about the contemporary settlements in this region as well their connection with other settlements on the ancient Sarasvati basin.”

T.S. Subramanian

https://frontline.thehindu.com/arts-and-culture/heritage/contrasting-mounds/article9721282.ece

A complete sequence

Print edition : June 23, 2017

THE Harappan site of 4MSR witnessed a continuous cultural sequence from the Early Harappan to the late phase of the Mature Harappan civilisation. Evidence of this can be found in the gradual development in the seals of these periods.

The excavation in the lower levels of the trenches yielded small seals with concentric circles on both sides or animal motifs on both sides. During the transitional phase from Early to Mature Harappan, the seals were a little bigger and had geometric patterns and each had a knob on the reverse.

Seals of the Mature phase had engravings of animals and the Harappan script, and the knob on the reverse was a well-developed one, according to Sanjay Manjul, director of the excavation at 4MSR. Seals of the late phase of the Mature Harappan had only the Harappan script and a protruding knob.

The excavations at 4MSR unveiled data on climate changes that occurred from circa 4500 BCE to circa 2000 BCE, which was cross-checked at 43GB.

Radiocarbon dating done at the Birbal Sahni Institute of Palaeosciences, Lucknow, on rice, barley, charcoal and sediments excavated at 4MSR revealed dates varying from 2200 BCE to 2488 BCE to 4249 BCE.

“At the moment, we can safely say that the site was extant from circa 4000 BCE to 2000 BCE. We are awaiting more dates. Then we can say whether we can go beyond these dates,” Manjul said.

T.S. Subramanian

https://frontline.thehindu.com/arts-and-culture/heritage/a-complete-sequence/article9721279.ece

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Nāga people are metalworkers who create the wealth of a nation, evidence from Indus Script inscriptions

June 16, 2019, 6:22 pm

≫ Next: Six protomes arranged in a whorl m417, signify metalwork specialists of śrēṣṭhin 'guild-master'

≪ Previous: ṭhākur ʻblacksmithsʼ of Sarasvati-Sindhu civilization tradition in Sanauli and 4MSR (Anupgarh) sites

https://tinyurl.com/yxv4pa3w

Cult has come to usually refer to a social group defined by its unusual religious, spiritual, or philosophical beliefs, or its common interest in a particular personality, object or goal. -- Wikipedia. Nāga is NOT a cult; the word is a signifier of artisans who created the wealth of a nation.

Daimabad रथी chariot-rider is rathī 'guide, leader'a guild-master of a metals manufactory with a kiln and smithy/forge

https://tinyurl.com/y4ru6zso

Four-hooded cobra arches over membrum virile of Daimabad charioteer of bronze chariot with Indus Script hypertexts of metalwork wealth accounting https://tinyurl.com/ybzbb2mc

1. chariot-rider रथी

2. Raised membrum virile protected four cobra hoods bhaṛkanu PLUS lo 'penis, rebus:loh 'metal' PLUS gaṇḍa 'four' kaṇḍa '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'.

Nāga people emerging out of (dh)makara is a metaphor which signifies that Nāga people are metalworkers who create the wealth of a nation.

Sonkh. A young naga [half-human, half-serpent being] emerges from the mouth of Makara. This is conclusive evidence for Nāga people as a continuum of Sarasvati_Sindhu civilization people. The makara is (dh)makara, which signifies a bellows blower: धमक m. " a blower " , blacksmith (as blowing the forge) Un2. ii , 35 Sch. From ध्मा or धम् cl.1 P. ध् अमति (A1. °ते Up. MBh. ; p.

ध्मान्तस् = धमन्तस् BhP. x , 12 , 7 ; perf. दध्मौ , 3. pl. A1. °मिरे MBh. ; aor. अध्मासीत् Ka1v. ;

Prec. ध्मायात् or ध्मेयात् Gr. ; fut. धमिष्यति MBh. ; ध्मास्यति,ध्माता Gr. ; ind.p. -ध्म्/आय Br. ) to blow (either intrans. as wind [applied also to the bubbling सोम RV. ix , 73] or trans. as, to blow a conch-shell or any wind instrument) RV. &c ; to blow into (loc.) MBh. l , 813 ; to breathe out , exhale RV. ii , 34 , 1 MBh. xiv , 1732 ; to kindle a fire by blowing RV. ii , 24 , 7 MBh. ii , 2483 ; to melt or manufacture (metal) by blowing RV. &c ; to blow or cast away MBh. v , 7209 : Pass. धम्यते , ep. also °ति , ध्माय्/अते , °ति ( S3Br. MBh. ) to be blown &c : Caus. ध्मापयति MBh. (aor. अदिध्मपत्

Gr.; Pass. ध्माप्यते MBh. ) to cause to blow or melt ; to consume by fire , reduce to cinder MBh. Sus3r. : Desid. दिध्नासति Gr.: Intens. देध्मीयते Pa1n2. 7-4 , 31 ; दाध्मायते , p. °यमान being violently blown (conch-shell) BhP. i , 11 , 2. [cf. Slav. dumo " smoke "] (Monier-Williams)

Patanjali as Śeṣa

Naga king in Anjali mudra in Deogarh temple, Madhya Pradesh

Naga supporting waterspout of Yoni-Lingam, YogyakartaJava, c. 9th century

Mathura, possibly from the very ancient Naga temple discovered at Sonkh. Crica 1st-2nd centuries CE.

Red sandstone, 30 × 80cm.

Found in: Sonkh, Mathura, Uttar Pradesh.

Mathura, Government Museum. AKG236230

Source: Sonkh is a PGW site mapped by Uesugi at https://www.academia.edu/38059410/A_Study_on_the_Painted_Grey_Ware As a PGW site, the site of Sonkh which celebrates Nāga people is a continuum of Sarasvati-Sindhu Civilization.

Hindu, Bauddham and Jaina traditions, the Nāga are people signified in anthropomorphic forms. Nāga (IAST: nāga; Devanāgarī: नाग) or Nāgi (f. of nāga; IAST: nāgī; Devanāgarī: नागी) are divine, semi-divine deities, or half-human half-serpent beings that reside in the netherworld (Pātāḷa underground realm filled with gems, gold and other earthly treasures called Nāga-loka) and can occasionally take human form. Vasuki, a nāgarāja who abides on Shiva's neck, becomes the churning rope for churning of kṣīrasāgara, the Ocean of Milk. A Meluhha phonetic form, khirsara, is the name of an archaeological site of Sarasvati-Sindhu civilization in the Rann of Kutch.

It is possible that Nāga people were metalsmiths as seen from the reading of a Khirsara tablet. नाग n. (m. L. ) tin , lead Bhpr. The cobrahood is an emphatic hieroglyph on many Indus Script inscriptions. The hieroglyph is read rebus:

A tablet with Indus Script inscription ahd the famous two-sign sequence was found at this site. Khirsara is a shortened form of kṣīrasāgara in śvetadwīpa (BhP. Viii,5,11)

ID 3732 Mason, ingot kiln, tin smithy, blacksmith smithy, iron smelter furnace, nodule/ore stone furnace, brass-bellmetal kiln, native-metal-iron smelter

ḍabu ‘an iron spoon’ (Santali) Rebus: ḍab, ḍhimba, ḍhompo ‘lump (ingot?)’, baṭa = wide-mouthed pot; Rebus: baṭa = kiln (Te.)

ranku ‘antelope’; rebus: ranku ‘tin’ (Santali) Alternative:

khara 'equus hemionus' rebus:khār 'blacksmith

Alternative 1. śrēṣṭrī 'ladder' Rebus: seṭh ʻ head of a guild, Members of the guild (working with a furnace). Thus, guild-master of the guild of blacksmiths.

Alternative 2. panǰā́r ‘ladder, stairs’ (Bshk.)(CDIAL 7760) Rebus: pasra ‘smithy’ (Santali) Alternative 3.Reading of Sign 177: Herringbone: Image result for herringbone fish

Herringbone pattern.

This could be seen as an extension of fish-fins which are read rebus: khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage' .

Sign 177

On Kanmer seal impressions and on Khirsara tablet, this Sign 177 has been read as 'ladder'. Maybe, this has an alternative reading: குத்தா kuttā, குத்துவா

kuttuvā, n. A herring, golden, glossed with purple, Pellona brachysoma; கடல்மீன்வகை Rebus: kōḍa'workshop'.

kolmo ‘three’ (Mu.); rebus: kolimi ‘smithy’ (Te.)

khaṇḍ ‘division’; rebus: kaṇḍ ‘furnace’ (Santali) khaḍā ‘circumscribe’ (M.); Rebs: khaḍā ‘nodule (ore), stone’ (M.)

kuṭi = a slice, a bit, a small piece (Santali.lex.Bodding) Rebus: kuṭhi ‘iron smelter furnace’ (Santali)

Hieroglyph ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'

meḍhi 'plait' meḍ 'iron'; daürā 'rope' Rebus dhāvḍā 'smelter'

In Sanskrit, a nāgá (नाग) is a cobra, the Indian cobra (Naja naja). A synonym for nāgá is phaṇin (फणिन्). There are several words for "snake" in general, and one of the very commonly used ones is sarpá (सर्प). Sometimes the word nāgá is also used generically to mean "snake". The word is cognate with English 'snake', Germanic: *snēk-a-, Proto-IE: *(s)nēg-o- (with s-mobile).(Proto-IE: *(s)nēg-o-, Meaning: snake, Old Indian: nāgá- m. 'snake', Germanic: *snēk-a- m., *snak-an- m., *snak-ō f.; *snak-a- vb.: "Indo-European etymology".)
6th century coiled Nagaraja in ceiling (cave 1), Badami Hindu cave temple Karnataka.jpg

6th century Nāga at Badami cave temples

Indus Script hypertexts: mē ḍi, 'plait' dāwanī f. ʻropeʼ dhāī 'twisted rope' paḍa m.’cloth' (Prakrtam) pāṭ, °ṭā ʻboard, bench, stool, throneʼ (Bengali)

Rebus: मृदु mṛdu, mẽṛhẽt, meḍ 'metal'(Samskrtam.Santali.Mu.Ho) dhā̆vaḍ m.ʻiron-smeltersʼ फड, phaḍa 'metalwork artisan guild', 'Bhāratīya arsenal of metal workers guild'.

See: m Eḍi plaits of hair in ancient sculptural ornamentations of Altyn Tepe, Gundestrup, Chandraketugarh rebus medhā 'yajna, nidhi' meḍ 'iron' http://tinyurl.com/juqd2gh

The following sculptural frieze of Amaravati is a narrative of a metals manufactory. The pun on the word dhāī 'twisted rope' signifies two meanings: dhā̆vaḍ m.ʻiron-smeltersʼ and dhamma 'Bauddha dharma'. The interpretation of the four sculptural friezes of Amaravati is also explained as a narrative of Māyā's dream related to the birth of the Buddha as a white elephant. karabha, ibha 'elephant' rebus; karba, ib'iron', Māyā is a kole, in the lineage of kolhe 'smelters'. The tree in the background is a semantic determinant: kuṭi 'tree' rebus: kuṭhi 'smelter'. The birth of the Buddha is also narrated as the production of iron from a smelter by the nāga signified by फड, phaḍa 'cobra hood' rebus: फड, phaḍa 'metalwork manufactory artisan guild'.

.
Amaravati drum slab
dāwanī f. ʻropeʼ dhāī 'twisted rope' dhā̆vaḍ m.ʻiron-smelters’
pāṭ, °ṭā ʻboard, bench, stool, throneʼ (Bengali) Rebus: फड, phaḍa 'metalwork artisan guild', 'Bhāratīya arsenal of metal workers guild'.
kola 'woman' rebus: kolhe 'smelters', kolle 'blacksmith' kol 'working in iron' kole.l 'smithy, forge'
kuṭi 'tree' rebus: kuṭhi 'smelter'

A divinity emerges out of the tree trunk on the following frieze signifying the worship of the smelter:kole.l 'smithy, forge' rebus: kole.l 'temple'.

See:

Bharata Hindu, Jaina, Bauddham traditions. Tree metaphors and orthographic narratives kuṭhi 'sacred, divine, tree' rebus, kuṭhi ‘a furnace for smelting iron ore' Harappa, kuṭi 'temple'

http://tinyurl.com/hle84de

An artisan emerges out of a tree trunk venerating the cosmic dance phenomenon of mere earth and stone getting transformed in a smelter into wealth-yielding iron and metal. The Meluhha words signified as hierglyphs include the tree out of which the worshipping artisan emerges and the strings/strands of rope carried by a woman approaching the vedika of the sacredd tree. These are quintessential Indus Script hieroglyphs related to metalwork.

Image result for artisan emerges out of tree trunk amaravati

Amaravati. Sculptural frieze. A face (of an artisan) emrges ou of tree trunk within vedika, sacred railing. A worshipper carries three strands (of a rope): tAmarasa 'lotus' rebus: tAmra 'copper'dhAu 'strand'. Rebus: 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)(CDIAL 6773).dhAtu 'strand' rebus: dhAtu 'mineral ore' (Rigveda) tri-dhAtu 'three strands' rebus: tri-dhAtu 'three mineral ores': e.g. haematite, magnetite, laterite three ferrite red coloured ores. A face emergs out of the tree trunk: mũhe ‘face’ rebus 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; kolhe tehen me~ṛhe~t mūhā akata = the Kolhes have to-day produced pig iron(Santali) Rebus: mūhā 'ingot'; compound formation: mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) Another worshipper holds an ingot as an offering in front of the tree-in-railing (vedika).

Hieroglyph: kuṭa2, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98.(CDIAL 3228) कुटि a [p= 288,2] m. a tree L., the body कुठि [p= 289,1]mfn. " leafless , bare " or " crooked , wry " (Comm. ; said of a tree) Shad2vBr.m. a tree L., a mountain (Monier-Williams)

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

Amaravati drum slab (Birth scenes) (1880.7-9.44; Knox 61)

A drum slab carved in limestone with the four events related to the Buddha’s birth: Mayadevi’s Dream (top right); the Interpretation of the Dream attended by the dikpala-s (top left); the Birth of the Buddha attended again by the dikpala-s (bottom right); the Presentation of the Buddha to the caitya of the Sakyas (bottom left). This frieze is a divinity emerging out of the throne and presenting a twisted rope to the woman worshipper. I suggest that this is a smelter's narrative of a फड, phaḍa, metals manufactory.

The following sculptural frieze in mathura Museum of Shunga period signifies ḍhāllā paṭṭī 'ingot town' signified by Indus Script hypertexts.

Sculptural frieze. Mathura Museum. पट्टी paṭṭī 'plait' rebus: पट्टी f. a city , town (cf. -निवसन). The ox-hide ingot is the centre-piece on the doorway of the temple. ढाल [p= 431,1]n. " a shield " » °लिन्.ढालिन् [p= 431,1] mfn. armed with a shield (Monier-Williams) ḍhālako a large metal ingot (Gujarati) ḍhāla n. ʻ shield ʼ lex. 2. *ḍhāllā -- .1. Tir. (Leech) "dàl"ʻ shield ʼ, Bshk. ḍāl, Ku. ḍhāl, gng. ḍhāw, N. A. B. ḍhāl, Or. ḍhāḷa, Mth. H. ḍhāl m.2. Sh. ḍal (pl. °le̯) f., K. ḍāl f., S. ḍhāla, L. ḍhāl (pl. °lã) f., P. ḍhāl f., G. M. ḍhāl f.Addenda: ḍhāla -- . 2. *ḍhāllā -- : WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f.(CDIAL 5583)

WPah.kṭg. ḍhàḷnõ ʻ to throw, pour down, chop (wood) ʼ; J. ḍhāḷṇu ʻ to cause to melt ʼ.(CDIAL 5581)

mEḍi plait (Kannada) *mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ]S. mī˜ḍhī f., °ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ° m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.(CDIAL 10312) Ta. miṭai (-v-, -nt-) to weave as a mat, etc. Ma. miṭayuka to plait, braid, twist, wattle; miṭaccal plaiting, etc.; miṭappu tuft of hair; miṭalascreen or wicket, ōlas plaited together. Ka. meḍaṟu to plait as screens, etc. (Hav.) maḍe to knit, weave (as a basket); (Gowda) mEḍi plait. Ga.(S.3) miṭṭe a female hair-style. Go. (Mu.) mihc- to plait (hair) (Voc. 2850).(DEDR 4853) Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.) meḍhā 'stake, yupa' rebus: medha 'yajña, nidhi'.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. ċīw, ċōw, ċū ʻ single hair ʼ ; Ash. dro ʻ woman's hair ʼ, Kt. drū, Wg.drū, drū̃; Pr. ḍui ʻ a hair ʼ; Kho. dro(h) ʻ hair ʼ, (Lor.) ʻ hair (of animal), body hair (human) ʼ: → Orm. dra, drī 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. 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)(CDIAL 6773)

Centre-piece frieze on the entrance to a temple. kolel 'temple' rebus: kole.l 'smithy, forge'

The same shapee ox-hide ingot is shown as cargo on a boat of a Mohenjo-daro tablet

Tin and copper ox-hide ingots.

Ox-hide ingot

Nāgaraja, Erapattra worshipping at the smelter and tree. kuṭi 'tree' rebus: kuṭhi 'smelter'. Bharhut, 100 BCE. The hypertext is mounted on a pedestal, paṭa 'throne, tablet, a thatch or roof (= पटल) L.' , फड, phaḍa 'cobra hood' rebus: फड, phaḍa 'arsenal, metalwork artisan guild in charge of manufactory'.

फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c.

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). 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 खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nachhouse, गाण्याचा or ख्यालीखुशालीचा फड A singingshop 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 ऊस, वांग्या, मिरच्या, खरबुजे &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 चाल, पड, घाल, मांड. 6 A company, a troop, a band or set (as of actors, showmen, dancers &c.) फडनीस (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. 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 फड्या (p. 314) phaḍyā m ( H) One who sells (grain &c.) in small quantities, a retail-dealer.

Nāga scene of middle lintel. Southern gate, Sonkh temple, c. 100 CE. The dāman, 'rope' is rebus: dhamma 'dharma'. rebus: dhā̆vaḍ 'iron-smelters'

Three-headed Nāga on block.Southern gate, Sonkh temple, c. 100 CE

Nāga emerging out of makara. Southern gate, Sonkh temple, c. 100 CE makara 'composite crocodile PLUS ele[phant' rebus; dhmakara, dhamaka ''forge-blower, blacksmith'

Naga Deities, Kushana period, horizontal beam (Government Museum, Mathura). Nagas are among the earliest deities to be depicted. They are seen in the art of all religious faiths.

Oxhide ingot as decoration motif. mukha as Indus Script cipher. 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.'.

Woman's Shringhar, Kushana period, scene on a pillar railing (Government Museum, Mathura). The focus is on the ox-hide ingot which adorns the gateway on the top register.

Jain Tablet Homage Set-up by Vasu the daughter of Courtesan Lavana Sobhika - Circa 1st Century CE - Kankali Mound (ACCN 00-Q-7 - Government Museum, Mathura). Veneration of Srivatsa Indus Script hypertext.

Yaksha from stupa, Bharhut, Madhya Pradesh, India. After John Huntington

Detail, relief carved panel, Bharhut. Devotion at Bodhi Tree - Bharhut © Dr. David Efurd

I suggest that the worship is of the 'tree' linked to Skambha of Atharva Veda Skambha sukta, as a fiery pillar of light which topped with caṣāla, godhuma fumes, infuses carbon to harden metal in the fire-altar, furnace, smelter. See:

Functions of Atharva Veda Skambha and significance of Lingodbhava -- Harappa Script data mining

Mirror: http://tinyurl.com/hd87yyc

Image result for bharatkalyan97 flaming pillar

Śrīvatsa khambhaṛā, paṭṭaḍi, phaḍā 'smithy, forge, mint, metals manufactory for wealth'.

Worshippers of a fiery pillar, Amaravati stupa.

श्री--वत्स [p= 1100,1] m. " favourite of श्री " N. of विष्णु L.a partic. mark or curl of hair on the breast of विष्णु or कृष्ण (and of other divine beings ; said to be white and represented in pictures by a symbol resembling a cruciform flower) MBh. Ka1v. &c; the emblem of the tenth जिन (or विष्णु's mark so used) L.

श्री śrī :-वत्सः 1 an epithet of Viṣṇu.-2 a mark or curl of hair on the breast of Viṣṇu; प्रभानुलिप्त- श्रीवत्सं लक्ष्मीविभ्रमदर्पणम् R.1.1.-

Atharva Veda (X.8.2) declares that Heaven and Earth stand fast being pillared apart by the pillar. Like the pillar, twilight of the dawn and dusk split apart the originally fused Heaven and Earth.

Light of dawn ‘divorces the coterminous regions – Sky and Earth – and makes manifest the several worlds. (RV VII.80; cf. VI.32.2, SBr. IV 6.7.9).

‘Sun is spac, for it is only when it rises that the world is seen’ (Jaiminiya Upanishad Brahmana I.25.1-2). When the sun sets, space returns into the void (JUB III.1.1-2).

Indra supports heavn and earth by ‘opening the shadows with the dawn and the sun’. (RV I.62.5). He ‘extends heaven by the sun; and the sun is the prp whereby he struts it.’ (RV X.111.5).

‘He who knows the Brahman in man knows the Supreme Being and he who knows the Supreme Brahman knows the Stambha’. (AV X. 7.17).

Linga-Purana (I.17.5-52; 19.8 ff.) provides a narrative. Siva appeared before Brahma and Vishnu as a fiery linga with thousands of flames. As a Goose, Brahma attempted to fly to the apex of the column; Vishnu as a Boar plunged through the earth to find the foot of the blazing column. Even after a thousand years, they couldn’t reach the destination, bow in homage to the Pillar of the Universe as the Paramaatman.

He is the ‘Pillar supporting the kindreds, that is, gods and men’. (RV I.59.1-2). He is the standard (ketu) of the yajna (equivalent of the dawn), the standard which supports heaven in the East at daybreak. (RV I.113.19; III.8.8).

The same spectra of meanings abound in Bauddham, as a symbolic continuum. So it is, the Buddha is a fiery pillar, comprising adorants at the feet marked with the Wheel of Dharma and the apex marked by a Śrīvatsa (pair of fishes tied together by a thread, read as hieroglyph composition: ayira (metath. ariya) dhama, mandating norms of social, interpersonal conduct). Just as Agni awakens at dawn, the Buddha is the awakened.

Male devotees around a throne with a turban(note feet below the throne). paṭa 'throne, turban' PLUS aḍi 'feet' rebus: paṭṭaḍi 'mint workshop'.

Drawing of two medallions (perhaps the inner and outer face of the same piece). [WD1061, folio 45]
Copyright © The British Library Board

Inscribed:3ft. by 3ft.2in. Outer circle 2nd. H.H. March 8th 1817.

Location of Sculpture: Unknown.

The hypertexts are: kambha 'pillar' PLUS khambhaṛā 'fish-fin' pair atop rebus: aya 'fish' rebus: aya 'iron' PLUS kammaṭa 'mint,l coiner, coinage' PLUS feet PLUS throne, turban: ayo kammaṭa 'metal mint' PLUS paṭa aḍi 'throne, turban, slab' PLUS 'anvil' = hypertext, paṭṭaḍi 'metal anvil workshop'.

ayo kammaṭa dvāra 'entrance to metal mint' is an expression used in Mahāvamsa. XXV, 28,

The expression has been wrongly translated as iron-studded gate. It is indeed a reference to the entrance to metal mjint workshop, as signified by the 'Śrīvatsa' ayo kammaṭa hypertext adorning the torana of the gateways of Bharhut and Sanchi.

Image result for amaravati pillar huntington

khambhā, thãbharā, khambhaṛā 'pillar, fish-fin' rebus tã̄bṛā, tambira 'copper' rebus kammaṭa 'mint' kambāra 'blacksmith'. These are Bronze Age Indus Script hypertexts.

Four streams of Indus Script cipher on hieroglyphs/hypertexts are seen in the following rebus readings; the streams are:

tã̄bṛā, tambira 'copper'

kambāra 'blacksmith'

kammaṭa 'mint'

Itihāsa of Bhārata bronze-age, ayo kammaṭa dvāra, 'metals mint workshop entrance' (Mahāvamsa. XXV, 28); paṭṭaḍi 'metal anvil workshop' based on Amaravati, Bharhut, Begram, Sanchi, Bodh Gaya ancient sculptural friezes (ca. 3rd cent. BCE), Indus Script (4th millennium BCE) & Atharva Veda Skambha Sukta(AV X.7)(undated, Bronze_Age).

The monograph demonstrates the signifiers of two Indus Script hypertexts on iconographs of Amaravati, Bharhut, Sanchi sculptural friezes.

The hypertexts are:

ayo kammaṭa dvāra, 'entrance mint workshop'

paṭṭaḍi 'metal anvil workshop'.

See:

Indus Script hypertexts ayo kammaṭa dvāra, 'entrance mint workshop' (Mahāvamsa); paṭṭaḍi 'metal anvil workshop' https://tinyurl.com/y94jt7ah

paṭṭaḍi cognate phaḍā 'smithy, metals manufactory' is cognate phaḍā 'metals manufactory'

Hieroglyph: फडा (p. 313) phaḍā 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 फड- निशी & फडनीस. फडनीस (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 खेळण्या- चा 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 ऊस, वांग्या, मिरच्या, खरबुजे &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 चाल, पड, घाल, मांड. 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 मारणें- राखणें-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.

பட்டரை¹ paṭṭarai , n. See பட்டறை¹. (C. G. 95.) பட்டறை¹ paṭṭaṟai , n. < பட்டடை¹. 1. See பட்டடை, 1, 3, 5, 7, 8, 12, 14. 2. Machine; யந்திரம். 3. Rice-hulling machine; நெல்லுக் குத்தும் யந்திரம். Mod. 4. Factory; தொழிற்சாலை. Mod. 5. Beam of a house; வீட்டின் உத்திரம். 6. Wall of the required height from the flooring of a house; வீட்டின் தளத்திலிருந்து எழுப்ப வேண்டும் அளவில் எழுப்பிய சுவர். வீடுகளுக்குப் பட்டறை மட்டம் ஒன்பதடி உயரத்துக்குக் குறை யாமல் (சர்வா. சிற். 48). பட்டறை² paṭṭaṟai , n. < K. paṭṭale. 1. Community; சனக்கூட்டம். 2. Guild, as of workmen; தொழிலாளர் சமுதாயம். (Tamil)

Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236)

A pair of fish-fin ligatured to the face of a dwarf, kharva, gaṇa

skabha 13638 skabha ʻ post, peg ʼ. [√skambh]Kal. Kho. iskow* ʻ peg ʼ BelvalkarVol 86 with (?).
SKAMBH ʻ make firm ʼ: skabdha -- , skambhá -- 1, skámbhana -- ; -- √chambh.

skambhá 13639 skambhá1 m. ʻ prop, pillar ʼ RV. 2. ʻ pit ʼ (semant. cf. kūˊpa -- 1). [√skambh]1. Pa. khambha* -- m. ʻ prop ʼ; Pk. khaṁbha -- m. ʻ post, pillar ʼ; Pr. iškyöp, üšköb ʻ bridge ʼ NTS xv 251; L. (Ju.) khabbā m., mult. khambbā m. ʻ stake forming fulcrum for oar ʼ; P. khambh, khambhā, khammhā m. ʻ wooden prop, post ʼ; WPah.bhal. kham m. ʻ a part of the yoke of a plough ʼ, (Joshi)khāmbā m. ʻ beam, pier ʼ; Ku. khāmo ʻ a support ʼ, gng. khām ʻ pillar (of wood or bricks) ʼ; N. khã̄bo ʻ pillar, post ʼ, B. khām, khāmbā; Or. khamba ʻ post, stake ʼ; Bi. khāmā ʻ post of brick -- crushing machine ʼ, khāmhī ʻ support of betel -- cage roof ʼ, khamhiyā ʻ wooden pillar supporting roof ʼ; Mth. khāmh,khāmhī ʻ pillar, post ʼ, khamhā ʻ rudder -- post ʼ; Bhoj. khambhā ʻ pillar ʼ, khambhiyā ʻ prop ʼ; OAw. khāṁbhe m. pl. ʻ pillars ʼ, lakh. khambhā; H. khāmm. ʻ post, pillar, mast ʼ, khambh f. ʻ pillar, pole ʼ; G. khām m. ʻ pillar ʼ, khã̄bhi, °bi f. ʻ post ʼ, M. khã̄b m., Ko. khāmbho, °bo, Si. kap (< **kab); -- Xgambhīra -- , sthāṇú -- , sthūˊṇā -- qq.v.2. K. khambürü* f. ʻ hollow left in a heap of grain when some is removed ʼ; Or. khamā ʻ long pit, hole in the earth ʼ, khamiā ʻ small hole ʼ; Marw. khã̄baṛoʻ hole ʼ; G. khã̄bhũ n. ʻ pit for sweepings and manure ʼ. Garh. khambu ʻ pillar ʼ.

skambha 13640 *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.

skambhaghara 13641 skambhaghara ʻ house of posts ʼ. [skambhá -- 1, ghara -- ]B. khāmār* ʻ barn ʼ; Or. khamāra ʻ barn, granary ʼ: or < skambhākara -- ?13641a †skámbhatē Dhātup. ʻ props ʼ, skambháthuḥ* RV. [√skambh]
Pa. khambhēti ʻ props, obstructs ʼ; -- Md. ken̆bum ʻ punting ʼ, kan̆banī ʻ punts ʼ?
skambhadaṇḍa 13642 skambhadaṇḍa ʻ pillar pole ʼ. [skambhá -- 1, daṇḍá -- ]
Bi. kamhãṛ, kamhaṛ, kamhaṇḍā* ʻ wooden frame suspended from roof which drives home the thread in a loom ʼ.

skambhākara 13643 skambhākara ʻ heap of sheaves ʼ. [skambhá -- 1, ākara -- ]Mth. khamhār* ʻ pile of sheaves ʼ; -- altern. < skambhaghara -- : B. khāmār* ʻ barn ʼ; Or. khamāra ʻ barn, granary ʼ.Addenda: skámbhana -- : S.kcch. khāmṇo m. ʻ bed for plants ʼ.skámbhana 13644 skámbhana n. ʻ prop, pillar ʼ RV., skambhanīˊ -- f. VS. [√skambh]M. khã̄bṇī f. ʻ small post ʼ; -- G. khāmṇiyũ n. ʻ one of the ropes with which bucket is let down a well ʼ (i.e. from the post?); -- Or. khamaṇa ʻ pit, hole, waterchannel, lowland at foot of mountain ʼ; G. khāmṇũ n. ʻ small depression to stand round -- bottomed vessel in, basin at root of a tree for water ʼ: semant. cf. kūˊpa -- 1 and skambhá --
kūpakastambha ʻ stem of a mast ʼ. [kūpa -- 2, stambha -- ] G. kuvātham* m. ʻ mast of a ship ʼ.(CDIAL 3403) ṭhōmba -- . 1. G. ṭhobrũ* ʻ ugly, clumsy ʼ.2. M. ṭhõb m. ʻ bare trunk, boor, childless man ʼ, thõbā m. ʻ boor, short stout stick ʼ (LM 340 < stambha -- ).(CDIAL 5514)
ut -- stambha ʻ support ʼ. [Cf. údastambhīt* RV., Pk. uṭṭhaṁbhaï ʻ supports ʼ: √stambh]
OG. uṭhaṁbha m.(CDIAL 1897) upastambha m. ʻ support ʼ Car., ʻ stay, prop ʼ Hit. 2. upaṣṭambha -- . [√stambh] 1. Pa. upatthambha -- m. ʻ prop ʼ, °aka -- ʻ supporting ʼ; Paš. ustūˊm, obl. ustumbāˊ ʻ tree, mulberry tree ʼ (IIFL iii 3, 18 < stambha -- ); M. othãbā m. ʻ stake planted as a support ʼ; Si. uvatam̆ba ʻ aid, support ʼ. 2. Pk. uvaṭṭhaṁbha -- m. ʻ prop ʼ; Dm. uṣṭúm ʻ yoke ʼ, Kal. urt. hūṣṭhum, Phal. uṣṭúm f.; OG. oṭhaṁbha m. ʻ support ʼ. upastambhayati ʻ supports, stiffens ʼ Suśr. [úpa- stabhnāti ŚBr., upastámbhana -- n. ʻ prop ʼ TS.: √stambh] Pa. upatthambhēti ʻ supports ʼ, °bhana -- n.; M. othãbṇẽ ʻ to lean upon or from, climb upon, press down ʼ.(CDIAL 2266, kastambha ʻ small stem ʼ. [kastambhīˊ* -- f. ʻ prop for supporting carriage -- pole ʼ ŚBr.: ka -- 3, stambha -- ] M. kāthãbā m. ʻ plantain offshoot, sucker, stole ʼ.(CDIAL 2983)
stambha m. ʻ pillar, post ʼ Kāṭh., °aka -- m. Mahāvy. [√stambh]Pa. thambha -- m. ʻ pillar ʼ, Aś.rum. thabhe loc., top. thaṁbhe, ru. ṭha(ṁ)bhasi, Pk. thaṁbha -- , °aya -- , taṁbha -- , ṭhaṁbha -- m.; Wg. štɔ̈̄ma ʻ stem, tree ʼ, Kt. štom, Pr. üštyobu; Bshk. "ṭam"ʻ tree ʼ NTS xviii 124, Tor. thām; K. tham m. ʻ pillar, post ʼ, S. thambhu m.; L. thamm, thammā m. ʻ prop ʼ, (Ju.)tham, °mā, awāṇ. tham, khet. thambā; P. thamb(h), thamm(h) ʻ pillar, post ʼ, Ku. N. B. thām, Or. thamba; Bi. mar -- thamh ʻ upright post of oil -- mill ʼ; H. thã̄bh, thām, thambā ʻ prop, pillar, stem of plantain tree ʼ; OMarw. thāma m. ʻ pillar ʼ, Si. ṭäm̆ba; Md. tambu, tabu ʻ pillar, post ʼ; -- ext. -- ḍ -- : S.thambhiṛī f. ʻ inside peg of yoke ʼ; N. thāṅro ʻ prop ʼ; Aw.lakh. thãbharā ʻ post ʼ; H. thamṛā ʻ thick, corpulent ʼ; -- -- ll -- ; G. thã̄bhlɔ, thã̄blɔ m. ʻ post, pillar ʼ. -- X sthūˊṇā -- q.v. S.kcch.
thambhlo m. ʻ pillar ʼ, A. thām, Md. tan̆bu.

Asian civilisations Museum, Singapore. Sculptural fragment, showing the adoration of a fiery pillar. India, 3rd century, limestone. On loan from the Archaeological Survey of India, New Delhi https://www.buddhistdoor.net/features/the-new-ancient-religions-gallery-at-the-asian-civilisations-museum-singapore Early Bauddham art was a continuum of non-sectarian ancient Bharatiya tradition venerating cosmic dimensions of phenomena, and NOT veneration of an aniconic Bodhi tree.

Just below the garlanded Bodhi tree is a pillar of fire. The ear studs worn by the worshippers have the safflower motifs. The pillar of fire emerges out of the roof of the smelter. This smelter-roof is comparable to the smelter shown on Bhuteshwar sculptural friezes.

The safflower motifs are Indus Script hieroglyphs: करडी [ karaḍī ] f (See करडई) Safflower: also its seed. (Marathi) 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.M. karḍel n. ʻ oil from the seed of safflower ʼ(CDIAL 2788, 2789) Rebus: करडा [karaḍā] 'Hard from alloy--iron, silver &c.' (Marathi) kharādī ' turner '

The pillar is identified by a spathe of date palm: sippī ʻspathe of date palmʼ Rebus: sippi 'artificer, craftsman'.

Gana dwarfs, kharva, venerating Sivalinga atop the smelter. Behind the lings is a tree.

Bhuteshwar sculptural fragments showing a pillar (ekamukha linga) atop roof of smelter Behind the pillar (linga) is a tree. The tree is venerated: kuṭi 'tree' rebus: kuṭhi 'smelter.

Source: .(Dennys Frenez & Massimo Vidale, 2012, South Asian Studies, Vol. 28, No. 2, September 2012, p.115.

The 'cobra hood' as tail of composite animal hypertext means:

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

Cobra hood atop a platform. Tree in the background. Two 'signs'.

Mohenjo-daro pottery sealing (loc.cit. Hertel).

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

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

Hieroglyph: kolsa = to kick the foot forward, the foot to come into contact with anything when walking or running; kolsa pasirkedan = I kicked it over (Santali.lex.)mēṛsa = v.a. toss, kick with the foot, hit with the tail (Santali)

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

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

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

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)

ãs = scales of fish (Santali); rebus: aya ‘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 ʼŚBr. [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)

Santali glosses.

Sa. mE~R~hE~'d `iron'. ! mE~RhE~d(M).

Ma. mErhE'd `iron'.

Mu. mERE'd `iron'.

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

Ho meD `iron'.

Bj. merhd(Hunter) `iron'.

KW mENhEd

@(V168,M080)

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

— Slavic glosses for 'copper'

Мед [Med]Bulgarian

Bakar Bosnian

Медзь [medz']Belarusian

Měď Czech

Bakar Croatian

KòperKashubian

Бакар [Bakar]Macedonian

Miedź Polish

Медь [Med']Russian

Meď Slovak

BakerSlovenian

Бакар [Bakar]Serbian

Мідь [mid'] Ukrainian[unquote]

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

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

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

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

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

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

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.Worshippers. Person seated in penance on stool.

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'.

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

Cylindeer seals Mohenjo-daro baTa 'quail' rebus: bhaTa 'furnace' kuTi 'tree' rebus: kuThi 'smelter' barad, balad 'ox' rebus: bharat 'alloy of copper, pewter, tin' kulA 'hood of snake' rebus: kolhe 'smelter' kol 'working in iron'.

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

Image result for indus script hooded snake

Text on obverse of the tablet m453A: Text 1629. m453B 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 tablet (Drawing). Hooded snakes.

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.

Image result for samudra ellora painting bharatkalyan97

Samudra Manthanam. Khmer sculpture.

Kailasa temple walls. Ellora caves. Samudra Manthanam.

http://bharatkalyan97.blogspot.in/2013/12/assur-daiva-samudra-manthan-meluhha.html

Samudra Manthan

The upper panel of the sculpture depicts Samudramathana. Circa 10th century, Alampur sculpture Image result for ellora painting samudra manthan bharatkalyan97

Samudra manthan or 'Churning of Ocean of Milk' Deva and Da_nava churn the ocean, using Va_suki, the serpent as the rope and Mandara, the mountain as the churning rod. Ganesh Lena, Ellora, ca. 11th cent. CE.

Image result for suvarnabhumi churning of the ocean

Suvarnabhumi Airport in Bangkok, Thailand, shows Vishnu in the centre, his turtle avatar Kurma below, asuras and devas to left and right.

Image source: en.wikipedia.org

Samudra manthanam. Bangkok Suvannaphom Airport.

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Six protomes arranged in a whorl m417, signify metalwork specialists of śrēṣṭhin 'guild-master'

June 17, 2019, 5:05 am

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https://tinyurl.com/y3hhr73v

-- Six protomes arranged in a whorl m417 Mohenjo-daro seal are artisan specialists who worki in a guild with śrēṣṭhin 'guild-master' in smelting, alloying, casting, smithy/forge, turner/lapidary metalwork

I submit that six protomes on Mohenjo-daro seal m417 signify six metalwork specialists associated with a śrēṣṭhin'guild-master', signified by Sign 17, hieroglyph of baṭa 'warrior' rebus: bhaṭa 'furnace'.

One-horned unicorn statuette from Chanhu-daro, now in Museum of Fine Arts, Boston (after Kenoyer 1998: 220 no 132). It is clear from this animal figurine in the round that one-horn is the ligature which signifies a 'unicorn' on Indus Script Corpora. This also conforms that 'one-horn' is a ligature which is signified by the expression: mer̥ha deren'crumpled horn' used to signify meḍ 'iron' (Mu.Ho.) med 'copper' and medhā 'yajna,dhanam' realisedby the expertise of کار کنده kār-kundaʿh. (Pashto). A crumpled, twisted horn is mer̥ha deren rebus: meḍ 'iron' (Mu.Ho.) med 'copper' (Slavic) PLuS kunda 'turner, lapidary' who acquires for the guild, kunda'treasure'.

Examples of 'unicorn' with two horns:

m1077 (after CISI 2:107)

m232 (after CISI 1:57)

‘Unicorn’ with two horns on tablet H-697B (after CISI2:316)

This is an addendum to:

This is an addendum to: Indus script seals (5) with 5 hypertext narratives signify metal Guild-master, helmsman, supercargo's in charge of products out of smelter/furnace//smithy/forge http://tinyurl.com/hrud9v4
Hypertext narrative of a seal with six protomes: Seal of a Metal guild-master. Hieroglyph: śrēṣṭrī 'ladder' Rebus: śrēṣṭhin, seṭh 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.

A protome (Greek προτομή) is a type of adornment that takes the form of the head and upper torso of either a human or an animal. Six such protomes are put together in a whorl on m417 with the 'stairs' as a connecting hieroglyph in the centre, connecting the six protomes. Unfortunately, the seal is broken. Three protomes are clearly visible: 1. 'Unicorn' with one curved horn; 2. 'Unicorn' with two zebu-like horns; 3. short-horned bull. 4. Horned tiger A fifth protome is also that of a 'unicorn' but the shape of horn(s) on this protome can only be guessed since this part of the seal is broken. Heads of the fifth and sixth protomes are also broken and can only be guessed.

One sign as a text message appears on this seal of six protomes.The sign (Sign 17) signifies a warrior with a staff on his left shoulder. The shoulders of the person are fused into a 'ficus glomerata'. One possible reading of this Sign 17 is: loa 'ficus glomerata' rebus: loh 'copper,metal' PLUS कर्णक karṇaka m. du. the two legs spread out AV. xx , 133 'spread legs'; (semantic ... कर्णक 'spread legs' rebus: कर्णक  karṇaka 'helmsman', karṇi 'supercargo' lohakāra,  lohakarṇaka
'metalsmith', metals helmsman or  loha karṇi 'metals supercargo '. 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. lohār, luh˚ 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) These Meluhha pronunciation variants and semantics signify that  lōhakāra is ʻcoppersmith, ironsmithʼ (Phonetic form attested in Pali).

This rebus reading indicates that the six protomes of the Mohenjo-daro seal whorl m417 relate to the work of a metalsmith. Based on this inference, the clearly identifiable protomes can be read rebus:

1. 'Unicorn' with one horn: kār-kunda 'adroit, clever, experienced, director,manager'. کار کند kār-kund (corrup. of P کار کن) adj. Adroit, clever, experienced. 2. A director, a manager;  کار کنده kār-kundaʿh. (Pashto). A crumpled, twisted horn is mer̥ha deren rebus: meḍ 'iron' (Mu.Ho.) med 'copper' (Slavic) PLuS kunda 'turner, lapidary'. Thus, a metalwork manager is signified.

2. 'Unicorn' with two horns: khōṇḍa m A young bull, a bullcalf. rebus: kunda, 'one of कुबेर's nine treasures', kundār 'lathe, lathe-worker' PLUS koḍ 'horns' rebus: koḍ 'workshop'.  kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 1]A. kundār, B. kũdār, ˚ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, ˚rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297) Thus, the workshop of a lapidary is signified.

3. Short-horned bull: barad, balad, 'ox' rebus: bharata 'metal alloy' (5 copper, 4 zinc and 1 tin). Thus, an alloysmith is signified.

4. Tiger without horns: kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'Thus, an iron smelter is signified.

5 and 6 protomes: Broken. One guess is that they may signify elephant and zebu. If so, the readings are: karibha, ibha 'elephant' rebus: karba, ib 'iron'; pola 'zebu' rebus: pola 'magnetite,ferrite ore'. Thus protomes 5 and 6 may signify iron smithy and magnetite metalwork. The basis for guessing the missing protomes as elephant and zebu is based on a composite animal of Mohenjo-daro seal m1175 which signifies the horns of a zebu and the trunk of an elephant ligatured to a human face:

m1175

Thus, all the six protomes on m417, together with only one sign, Sign 17 signifying a warrior, may convey the message of lōhakāra 'coppersmith, ironsmith'with distinct categories of artisans with distinct professional specialisations in working with: 1. lathe; 2. smithy/forge; 3. alloymmetal equipment workshop; 4. smelter or metalcasting workshop; 5. iron smithy; 6. magnetite metalwork.

Many variants of this 'warrior' hieroglyph have been identified in Indus Script Corpora. The rebus reading is: baṭa'warrior' rebus: bhaṭa'furnace'. his single sign hieroglyph signifies that 'furnacework' is common to all the six artisan specialists signified by the six protomes.

Sign variants of Sign 17 of ASI 1977 Mahadevan Sign List

Source: Character mapping of Indus Font at http://mohenjodaroonline.net/index.php/indus-script

The ladder which unites the six protomes is: *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. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M.śeṭh, °ṭhī, śeṭ, °ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭu, hi° 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.

Circular seal of Bahrain found at Lothal. miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) gaNDa 'four' rebus: khaNDa 'implements' dhAtu 'strand' rebus: dhAtu 'mineral' tri-dhAtu 'three strands' rebus: tri-dhAtu 'three minerals' ALSO, dhAvaD 'strands' rebus: dhAvad 'smelter'. Thus, the seal signifies implements out of smelter for iron minerals. See: http://www.penn.museum/sites/expedition/shipping-and-maritime-trade-of-the-indus-people/Kuwait gold disc with Indus Script hieroglyphs

See: http://bharatkalyan97.blogspot.in/2016/06/antithetical-antelopes-indus-script.html The hieroglyphs on the Kuwait Museum gold disc.

See: Itihāsa.Dilmun armourers, آهن ګران āhan-garān 'thunderbolt makers' of Sarasvati Civiliztion, Indus Script Meluhha hypertexts, Part 2/3

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Decipherment of Mehrgarh Pasupati seal as sodagor 'merchant'

June 17, 2019, 8:44 pm

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NOTE: This is an unprovenanced seal posted on a website citing an exhibition held in 2017. I have called it Mehrgarh Pasupati seal

-- and silver-capped twisted, crumpled ancient 'unicorn' horn as medhā koḍ 'iron workshop'

Silver-capped twisted, crumpled ancient 'unicorn' horn is read as mer̥ha deren'crumpled horn'.

tešk loop, curve of horn.(Toda), tere 'a wave' (Kannada):Ta. tiraṅku (tiraṅki-) to be wrinkled, crumpled, dry up as dead leaves, be folded in as the fingers of a closed hand, be curled up as the hair; tirakku (tirakki-) to be crumpled, shrivel, wrinkle; tiraṅkal being strivelled, wrinkled, crumpled; tirai (-v-, -nt-) to become wrinkled as the skin by age, be wrinkled, creased as a cloth, roll as waves; (-pp-, -tt-) to roll as waves; gather up, contract, close as the mouth of a sack, plait the ends of a cloth as in dressing, tuck up as one's cloth; n. wrinkle as in the skin through age, curtain as rolled up, wave, billow, ripple; tiraiyal wrinkling; tiraivu wrinkling as by age, rolling as of waves. Ma. tira wave, billow, curtain; tiraccal wrinkles; tirekkuka to roll as waves; tirappu rolling. To. terf- (tert-) to make a loop (of cane); tešk loop, curve of horn. Ka. tere a wave, billow, curtain, cloth for concealing oneself used by huntsmen. Koḍ. (Shanmugam) tere wave, dress, screen. Tu. śerè, serè a wave, billow; serasarè, serasrè curtain, screen. Te. tera screen, curtain, wave. Br.trikking to wither up, change colour, fade. / Cf. Sgh. tiraya curtain, veil (delete from Turner, CDIAL, no. 5825); (Burrow 1967, p. 41).(DEDR 3244) Rebus reading of mer̥ha 'crumpled' is: meḍ 'iron' (Ho.Mu.); medhā 'yajna, dhanam'. meḍhi 'twist' Rupaka, 'metaphor' or rebus reading: meḍ 'iron' (Mu.Ho.) med 'copper' (Slavic languages)The horn hieroglyph: koḍ 'horn' rebus: koḍ 'workshop'. Thus, the crumpled, curved, twisted horn of the unicorn is read as medhā koḍ 'iron workshop which produces dhanam, wealth of metals'.

Mehrgarh Pasupati seal

Below the platform:a pair of haystacks: mēṭa 'stack of hay' rebus: medhā 'yajna, dhanam' PLUS dula 'pair' rebus; dul 'metal casting'.Thus, wealth of metal castings

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)

Face:muhã ʻ face, mouth, head, person ʼRebus:mũhã̄ 'the quantity of iron produced at one time in a native furnace' Bi. mũh ʻ opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing) ʼ(CDIAL 10158)

Seated person in penance: kamaḍha 'penance' Rebus:kammaṭa 'mint, coiner'

Bangles on arms: karã̄ n. pl.wristlets, bangles' Rebus: khãr 'blacksmith'

Buffalo horns: rango 'water buffalo' Rebus: rango ‘pewter’. ranga, rang pewter is an alloy of tin, lead, and antimony (anjana) (Santali). Hieroglyhph: buffalo: Ku. N. rã̄go ʻ buffalo bull ʼ (or < raṅku -- ?).(CDIAL 10538, 10559) Rebus: raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1] Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562) B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.(CDIAL 10567)

Stars on horns: meḍha 'polar star' (Marathi). meḍ 'iron' (Ho.Mu.); medhā 'yajna, dhanam'

Twigs on hair-dress: kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali)

Two adoring, offering adorants with vases in their hands: पूतभृत् pūtábhr̥ta 'soldier offering purified soma in a smelter'--पूतभृत् pūtábhr̥ta 'Soma purified, carried in a vessel) by a worshpper,

The Indus Script inscription the Mehrgarh Pasupati seal (i on the photo, top line) is:

\ Slanted line PLUS " Sign 99 'splinter'

Reading of Sign 267 PLUS Sign 99: kancu ʼmũh sal 'bell-metal ingot workshop'. 

Reading of Sign 307: kamaḍha 'archer' Rebus:kammaṭa 'mint, coiner' 

Reading of Slanted line:  ḍhāḷ = a slope; the inclination of a plane (G.) Rebus: : ḍhāḷako = a large metal ingot 

Reading of Sign 342: Sign 342  'rim-of-jar'कर्णक m. (ifc. f(आ).) a prominence or handle or projection on the side or sides (of a vessel &c ) , a tendril S3Br. Ka1tyS3r. Rebus: कर्णिक having a helm; a steersman; m. pl. N. of a people VP. (Monier-Williams) rebus:karṇī 'supercargo', 'engraver' (Marathi) 

Thus, together, the text message of the Mehrgarh Pasupati seal is: steersman's, supercargo's mint with bell-metal ingot workshop, largemetal ingots.

Variants of Sign 307 (Bow and arrow)  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. ʻ archer ʼ. 6. A. kabāri ʻ flat piece of bamboo used in smoothing an earthen image ʼ. 7. M. kã̄bīṭ, °baṭ, °bṭī, kāmīṭ, °maṭ, °mṭī, kāmṭhī, kāmāṭhī f. ʻ split piece of bamboo &c., lath ʼ.(CDIAL 2760) Rebus: kammaṭa 'mint, coiner' 
 kaṇḍa 'arrow' Rebus: 'stone (ore)metal'; kaṇḍa 'fire-altar'. ayaskāṇḍa is explained in Panini as 'excellent quantity of iron'.
variants of Sign 307

 
variants of sign 305

Sign 28 ciphertext is composed of Sign 1 and Sign  307. kāˊṇḍīra ʻ armed with arrows ʼ Pāṇ., m. ʻ archer ʼ lex. [ kāˊṇḍa -- ]H. kanīrā m. ʻ a caste (usu. of arrow -- makers) ʼ.(CDIAL 3026). Hypertext reads: kamaḍha 'archer' Rebus:kammaṭa 'mint, coiner' 

Sign 267 is oval=shape variant, rhombus-shape of a bun ingot. Like Sign 373, this sign also signifies mũhã̄ 'bun ingot' PLUS kanac 'corner' rebus: kancu 'bell-metal'.kaṁsá1 m. ʻ metal cup ʼAV., m.n. ʻ bell -- metal ʼ Pat. as in S., but would in Pa. Pk. and most NIA. lggs. collide with kāˊṁsya -- to which L. P. testify and under which the remaining forms for the metal are listed. 2. *kaṁsikā -- .1. Pa. kaṁsa -- m. ʻ bronze dish ʼ; S. kañjho m. ʻ bellmetal ʼ; A. kã̄h ʻgong ʼ; Or. kãsā ʻ big pot of bell -- metal ʼ; OMarw. kāso (= kã̄ -- ?) m. ʻ bell -- metal tray for food, food ʼ; G. kã̄sā m. pl. ʻ cymbals ʼ; -- perh. Woṭ. kasṓṭ m. ʻ metal pot ʼ Buddruss Woṭ 109.2. Pk. kaṁsiā -- f. ʻ a kind of musical instrument ʼ;  A. kã̄hi ʻ bell -- metal dish ʼ; G. kã̄śī f. ʻ bell -- metal cymbal ʼ, kã̄śiyɔ m. ʻ open bellmetal pan ʼ. (CDIAL 2756)
Sign 272 cyphertext is a composite of Sign 267 and smoke, flame signifying a portable furnace. Lozenge, corner, signifier of portable furnace smoke/fire. Lozenge or oval shapes are mũhã̄ 'bun-ingot' shapes.  kammaṭa 'portable furnace to melt metals', rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner (DEDR 1236). Thus, kancu ʼmũh kammaṭa bronze, bell-metal ingot mint.

Sign 276 Variant Sign 278.  The hypertext is composed of Sign 267 and a hieroglyph,'splinter': sal 'splinter' rebus: sal 'workshop'.  Thus Sign 276 reads, kancu ʼmũh sal 'bell-metal ingot workshop'. 

Sign 278 has a circumscript: four short strokes: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'. kã̄dur m. ʻ oven ʼ (Kashmiri).: kándu f. ʻ iron pot ʼ Suśr., °uka -- m. ʻ saucepan ʼ.Pk. kaṁdu -- , kaṁḍu -- m.f. ʻ cooking pot ʼ; K. kō̃da f. ʻ potter's kiln, lime or brick kiln ʼ; -- ext. with -- ḍa -- : K. kã̄dur m. ʻ oven ʼ. -- Deriv. Pk. kaṁḍua -- ʻ sweetseller ʼ (< *kānduka -- ?); H. kã̄dū m. ʻ a caste that makes sweetmeats ʼ. (CDIAL 2726)*kandukara ʻ worker with pans ʼ. [kándu -- , kará -- 1]K. kã̄dar, kã̄duru dat. °daris m. ʻ baker ʼ. (CDIAL 2728) 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)

Thus, Sign 278 reads: kancu ʼmũh kaṇḍa sal 'bell-metal ingot implements workshop'. 

Sign 277 Sign 277 The hypertext is composed of Sign 267 and a hieroglyph,'notch': खांडा  khāṇḍā .A jag, notch, or indentation (as upon the edge of a tool or weapon). A rough furrow, ravine, gully. (Marathi) rebus: khāṇḍa 'tools, pots and pans and metal-ware' (Marathi). Thus Sign 277 reads,  kancu ʼmũh khāṇḍa 'bell-metal ingot, metalware' Sign 279 Sign 279 signifies two corners and is a variant of Sign 277. Thus, Sign 27o reads dul kañcu ʼmũh khāṇḍa 'castings bell-metal ingot, metalware'.
PLUS खांडा  khāṇḍā .A jag, notch, or indentation (as upon the edge of a tool or weapon). A rough furrow, ravine,gully. (Marathi) rebus:khāṇḍa tools, pots and pans and metal-ware' (Marathi). Vikalpa to 'notch' is 'splinter' of two notches: sal 'splinter' rebus: sal 'workshop'.
Sign 280 The hypertext of Sign 280 is composed of Sign 267, notch and lid of pot. Sign 280 The hypertext of Sign 280 is composed of Sign 267, notch and lid of pot. The reading is: kancu ʼmũh dhakka khāṇḍa 'bell-metal ingot, bright,blazing metal tools, pots and pans and metalware'. 
Circumscript: four short strokes: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'. Sign 281 The hypertext is Sig 280 PLUS circumscript 'four short vertical strokes'. The reading is: kaṇḍa kancu ʼmũh dhakka khāṇḍa 'fire-altar (for) bell-metal ingot, bright,blazing metal tools, pots and pans and metalware'.Sign 284Variants of Sign 284 
Circumscript: four short strokes: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'. Sign 285 is a composite of hieroglyphs: Sign 267  four corners, four short linear strokes as circumscript.  kaṇḍa kancu mũh khāṇḍā 'bell-metal ingot, implements (from) fire-altar'. 
The rebus reading of hieroglyph spoked-wheel is: arā 'spoke' rebus: āra 'brass' PLUS eraka 'nave of wheel' rebus: eraka 'moltencast,copper'. 
Sign 286Variants of Sign 286 Sign 286 is a composite of Sign 284 with infixed spoked wheel. The reaiding of hypertext of Sign 286 is: 
kaṇḍa āra eraka kancu mũh khāṇḍā  'fire-altar (for) brass, moltencast copper, bell-metal ingot, implements.' 

The Silver-Capped Twisted Section of an Ancient Unicorn’s Horn, Northern Europe, AD 1526-1698. Size: 42 cm long. © Oliver Hoare Ltd "It is probable that at one time this section of a horn was preserved as a precious relic in an ecclesiastical treasury. Apart from representing the Annunciation, such horns were believed to act as an antidote to disease, the Evil Eye and other such inconveniences. Belief in these therapeutic qualities are still recorded throughout the 17th century, and probably later, long after the Council of Trent had banned them from churches, on the basis that by then nobody believed in the existence of unicorns. Its dynamic torque is most unusual. Provenance: Jean-Claude Ciancimino, London "

A Metal Unicorn Head, Indus Valley, second half 3rd millenium BC. Size: 45 cm. © Oliver Hoare Ltd. "The model for this unicorn is a type familiar from seals and terracotta figurines found at Harappa and other Indus Valley sites. European unicorns invariably have bodies like horses, while those further east have the bodies of bulls with the horn pointing upwards, rather than projecting forwards. Among the seals of Mohenjo-daro, 60 per cent show unicorns, and those from Harappa, 46 per cent. The area was teeming with unicorns.

According to scientists, the Siberian Unicorn, Elasmotherium sibiricum, was already extinct 350,000 years ago. However, a skull found recently in Kazakhstan proves they were still around a mere 29,000 years ago. Such a margin of error is a reminder to be wary of scientific opinion when dealing with something as delicate as the unicorn. Iron-smelting can be traced back to c. 2600 bce in the Indus Valley, which was probably where the technology was first developed. "

Three Indus Valley Seals with Unicorns, Indus Valley, 3rd millennium BC. Size: 3 × 3 cm; 4.5 × 4.7 cm; 3.6 × 3.8 cm. Steatite and terracotta. © Oliver Hoare Ltd

Chinese Silver Unicor, (Kylin), Probably Song dynasty, 11th–12th century AD. Size: 7 × 6.5 cm. © Oliver Hoare Ltd. "While European unicorns had horses’ bodies and Middle and South-East Asian unicorns were built like bulls, their Chinese relations were altogether more fanciful, a bit rhino-like, and clearly capable of some surprising tricks."

Jean Duvet (1485–1570), The Unicorn Purifies the Water with his Horn. Plate: 22.6 × 40.2 cm. Sheet: 23.5 × 40.9 cm. © Oliver Hoare Ltd. "A very rare engraving, printed in grey-black, c. 1545–60, from ‘The Unicorn Series’, a very good silvery impression of the second (final) state, printing with clarity, on paper with a Grapes watermark (Eisler, Bessier 68). Duvet signed his prints emblematically, with the bird plucking its down (‘duvet ’, lower right).

This lyrico-mystical engraving is fascinating on many different levels. Firstly, for the personality of its creator, Jean Duvet, a name virtually unknown today in spite of his great accomplishments. He is the earliest known French engraver, having been trained as a goldsmith by his father in Dijon. For his exceptional skills in both these areas he received the royal patronage of kings François I and Henri II. He was in charge of the complicated pageantry celebrating the triumphal entry into Langres of François I in 1533. Fortress design was another of his specialities, and his mark remains in the striking ramparts of Langres and Geneva. Among his other skills were die-making and metal-casting. His fame as an engraver rested on two series of prints: the twenty-three plates of The Apocalypse, for which he was granted the Privilege by Henri II in 1556; and the six large engravings of ‘The Unicorn Series’. Already, in 1666, Michel de Marolles, the first cataloguer of Duvet’s oeuvre, referred to him as ‘The Master of the Unicorn’.

Secondly, for the environment in which it was produced, and for which it is a giant rebus, referencing the complexity of the humanistic culture of Renaissance Europe. The new ideas that f lowed from Marcilio Ficino’s Platonic Academy in Florence, from Pico della Mirandola’s Nine Hundred Theses, from Trithemius of Sponheim, Johann Reuchlin, Paracelsus, and Cornelius Agrippa – among many others – introduced Greek philosophy, alchemy, Hermeticism, Neo-Platonism, Sufi mysticism and Cabbala into the mainstream of European thought, establishing for the first time an intellectual forum outside the Church. Most of those involved in this enterprise were part of the Church, participating in the debate about the Reformation instituted by Martin Luther, and, until the Counter-Reformation unleashed by the Council of Trent in the mid-16th century, were largely tolerated within the Catholic Church. The public burning of Giordano Bruno in Rome in 1600 signalled a brutal end to tolerance. Ficino had inspired Botticelli, Michelangelo, Raphael, Titian and Dürer, and this inspiration, along with the inf luence of those who had built upon it, provided the intellectual fabric of Renaissance France, within which artists such as Ronsard, Rabelais and Duvet f lourished. This was no New-Age-type phenomenon but a deep enquiry into the purpose of human life and its meaning. They did not reject religion, but tried with new tools to expand their understanding beyond the sterile doctrines of the Church.

Jean Duvet was a deeply religious man, Catholic in his upbringing but drawn to Luther, as were most artists of his generation. His solution was to remain a member of the Catholic Church, while keeping his connection with the communities of the Reformation. When the situation became too complicated he retired to Geneva, 80 miles from Dijon, where he had work designing fortifications and coinage. His stance is interesting and subtle, suggesting that he was able to avoid the common habit of accepting or rejecting one doctrine or another, precisely because another possibility had opened up in the humanistic environment in which he lived and worked.

Jean Adhemar wrote in his preface to Colin Eisler’s The Master of the Unicorn (New York, 1979): ‘We are amazed that Duvet was not rediscovered by the Symbolists in the nineteenth century. Probably, this is due to the extreme scarcity of his works. A Huysmans or a Robert de Montesquiou would have pronounced him “l’inextricable graveur” as they have characterized Rodolphe Bresdin for a similar amalgam of malaise and enchantment.’ Earlier in the 19th century, William Blake and Samuel Palmer must have been aware of Jean Duvet’s magical creations."

http://www.alaintruong.com/archives/2017/05/04/35246334.html

Remarkable Inscribed Chalcedony Ear-Lobe Weight, Mergargh, Indus Valley, c. 3000 BC, Size: 42 cm high, 5.9 cm diameter. © Oliver Hoare Ltd

Along the upper rim of this beguiling object are five characters of the Indus Valley alphabet, the tantalizing glyphs of an undeciphered language. The choice of stone, polished to reveal a milky ‘eye’ and undulating ribbons, as well as its seductive concave surfaces, add to its visual and tactile appeal. It has weight, too, which makes its purpose as an ear appendage surprising at first, until one remembers the tradition of such adornments in the pierced and stretched lobes of the statues of goddesses throughout the Indian subcontinent since early times.

Comment posted:

Remarkable Inscribed Chalcedony Ear-Lobe Weight, Mergargh, Indus Valley, c. 3000 BC, Size: 42 cm high, 5.9 cm diameter. © Oliver Hoare Ltd This 'weight' is said to have an inscription with five Indus Script alphabets. I shall be grateful for an image of the incription and the alphabets used. Thanks and regards. S.Kalyanaraman Sarasvati Research Centre

http://www.alaintruong.com/archives/2017/05/04/35246334.html

(Attached image) includes image of a seal showing a shaman and an inscription. Parallels the famous Pasupati seal m0304. The website states that this is 3 cm square, said to be from Indus Valley seals, Mehrgarh area c. 3500 BCE.. The website says: 

Alain.R.Truong > Cabinet de curiosités > Exhibition dedicated to rare and curious objects from over 5,000 years of civilisation opens in London

04 mai 2017

Exhibition dedicated to rare and curious objects from over 5,000 years of civilisation opens in London

Indus Valley Seals, Mehrgarh area, circa 3500 BC, Size: 6 cm long. © Oliver Hoare Ltd

It is assumed that the seals were used for trade, particularly long-distance trade, that the different animals are badges of clans, and that the script spells out the name or title of the owner. The theory has several awkward corners, however. There are about ten animals which are most commonly shown, while at Mohenjo-daro 60 per cent of the animal seals show unicorns. At Harappa it is 46 per cent. There are other animals that are very rare, such as the tiger and markhor goat, and occasionally a horned and naked man seated in a yogic pose with an erection turns up. The same inscription appears with different animals, and sometimes several animals appear on one seal, or a single animal with three different heads. Nevertheless, at their best they are objects of great refinement and beauty, and all the more tantalizing for their undecipherable script. Most are made from steatite that has been hardened by heating after engraving, with a pierced knob at the back. (See also no. 6 for the seals with unicorns.) 

a. A bearded bull and inscription. Size: 3.4 cm square

b. A fine zebu and inscription. Size: 3.3 cm square

c. A zebu and inscription. Size: 2.9 cm square

d. A rhinoceros and inscription. Size: 3.6 × 3.4 cm

e. A horned shaman and inscription. Size: 3 cm square

f. An elephant and inscription. Size: 2.6 cm square

g. A bull and inscription. Size: 3 cm square

h. A markhor goat and inscription. Size: 2.6 cm square

i. A unicorn, incense burner and inscription. Size: 3 cm square

j. A horned buffalo and inscription. Size: 2.7 cm square

http://www.alaintruong.com/archives/2017/05/04/35246334.html

Kneeling adorant with a pot in hand in front of a tree on Indus Script inscriptions is पूतभृत् pūtábhr̥ta 'soldier carries purified soma'

https://tinyurl.com/y39d9cut

--Kneeling adorant carrying a pot on Indus Script inscriptions is पूतभृत् pūtábhr̥ta 'soldier offering purified soma in a smelter'

--पूतभृत् pūtábhr̥ta 'Soma purified, carried in a vessel) by a worshpper, soldier signifed on Indus Script

पूतभृत् m. a kind of vessel which receives the सोम juice after it has been strained (तैत्तिरीय-संहिता, वाजसनेयि-संहिता, ब्राह्मण)(Monier-Williams) pūtá1 ʻ cleaned ʼ RV. [√pū]Pk. pūa -- ʻ purified ʼ; Si. pū karaṇavā ʻ to winnow ʼ.(CDIAL 8320) पू pū पू a. (At the end of comp.) Purifying, cleansing, refining; as in खलपू &c. पूत pūta पूत p. p. [पू-क्त] 1 Purified, cleansed, washed (fig. also); दृष्टिपूतं न्यसेत् पादं वस्त्रपूतं जलं पिबेत् । सत्यपूतां वदेद् वाचं मनःपूतं समाचरेत् ॥ Ms.6.46; त्रैविद्या मां सोमपाः पूतपापा यज्ञै- रिष्ट्वा स्वर्गतिं प्रार्थयन्ते Bg.9.2. -2 Threshed, winnowed. -3Expiated. -4 Contrived, invented. -5 Stinking, putrid, fetid, foul-smelling. -तः 1 A conch-shell. -2 White Kuśa grass. -तम्Truth. -ता An epithet of Durgā. -Comp. -आत्मन् a. pureminded. (-m.) 1 an epithet of Viṣṇu. -2 a purified man, saint, sage. -क्रतायी Śachī the wife of Indra; पूतक्रतायीमभ्येति सत्रपः किं न गोत्रभित् Bk.5.28. -क्रतुः N. of Indra; घोषस्यान्ववदिष्टेव लङ्का पूतक्रतोः पुरः Bk.8.29. -तृणम् white Kuśa grass. -द्रुः the tree called पलाश. -धान्यम् sesa- mum. -पत्री holy basil (तुलसी). -पाप, -पाप्मन् a. freed from sin. -फलः the bread fruit tree (पनस).(Apte) भृत mfn. borne , carried &c (Monier-Williams) bhaṭa 'soldier': bhr̥ta ʻ carried, brought ʼ MBh. 2. ʻ hired, paid ʼ Mn., m. ʻ hireling, mercenary ʼ Yājñ.com., bhr̥taka -- m. ʻ hired servant ʼ Mn.: > MIA. bhaṭa -- m. ʻ hired soldier, servant ʼ MBh. [√bhr̥]1. Ash. 3 sg. pret. bəṛə, f. ˚ṛī ʻ brought ʼ, Kt. bŕå; Gaw. (LSI) bṛoet ʻ they begin ʼ.2. Pa. bhata -- ʻ supported, fed ʼ, bhataka -- m. ʻ hired servant ʼ, bhaṭa -- m. ʻ hireling, servant, soldier ʼ; Aś.shah. man. kāl. bhaṭa -- ʻ hired servant ʼ, kāl. bhaṭaka -- , gir. bhata -- , bhataka -- ; Pk. bhayaga -- m. ʻ servant ʼ, bhaḍa -- m. ʻ soldier ʼ, bhaḍaa -- m. ʻ member of a non -- Aryan tribe ʼ; Paš. buṛīˊ ʻ servant maid ʼ IIFL iii 3, 38; S. bhaṛu ʻ clever, proficient ʼ, m. ʻ an adept ʼ; Ku. bhaṛ m. ʻ hero, brave man ʼ, gng. adj. ʻ mighty ʼ; B. bhaṛ ʻ soldier, servant, nom. prop. ʼ, bhaṛil ʻ servant, hero ʼ; Bhoj. bhar ʻ name of a partic. low caste ʼ; G. bhaṛ m. ʻ warrior, hero, opulent person ʼ, adj. ʻ strong, opulent ʼ, ubhaṛ m. ʻ landless worker ʼ (G. cmpd. with u -- , ʻ without ʼ, i.e. ʻ one without servants ʼ?); Si. beḷē ʻ soldier ʼ < **baḷaya, st. baḷa* -- ; -- Pk. bhuaga -- m. ʻ worshipper in a temple ʼ, G. bhuvɔ m. (rather than < bhūdēva -- ).bhārta -- ; abhr̥ta -- ; subhaṭa -- .Addenda: bhr̥ta -- : S.kcch. bhaṛ* ʻ brave ʼ; Garh. (Śrīnagrī dial.) bhɔṛ, (Salānī dial.) bheṛ ʻ warrior ʼ. 9589 bhr̥takarman ʻ soldier -- work ʼ. [bhr̥ta -- , kárman -- 1]Si. baḷām* ʻ warfare ʼ. 9590 bhr̥tagātu ʻ hero song ʼ. [bhr̥ta -- , gātú -- 2]Ku. bhaṛau* ʻ song about the prowess of ancient heroes ʼ.(CDIAL 9588, 9589, 9590)

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). Sign 46 shows a person wearig a scarf-type pigtail. I suggest that this iconography signifies a soldier. Bot Signs 45 and 46 show a kneeling adorant carrying a pot.

Obverse of the tablets m0478, 0479, 0480 show this narrative. Pict-111: From R.: A woman with outstretched arms flanked by two men holding uprooted trees in their hands; a person seated on a tree with a tiger below with its head turned backwards; a tall jar with a lid.

Reverse side of a two-sided tablets m0478, 0479, 0480. in bas relief. Kneeling adorant carrying a U-shaped rimless pot in front a tree. NOTE: The kneeling motif also occurs on Sit Shamshi bronze.

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

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

meď 'copper' (Slovak)

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

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.)

On seal m1186A a kneeling adorant makes offerings. bārṇe, bāraṇe = an offering of food to a demon; a meal after fasting, a breakfast (Tu.) barada, barda, birada 'a vow' (Gujarati) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin)(P.B.)   A similar kneeling adorant now holds a wide-mouthed, rimless pot and makes an offering to the tree. baṭhu m. ‘large pot in which grain is parched (Sindhi) Rebus: bhaṭṭhā m. ‘kiln’ (P.) baṭa = a kind of iron (G.) bhaṭa ‘furnace’ (Gujarati) baṭa = kiln (Santali); bhaṭṭha -- m.n. ʻ gridiron (pkt.) baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; l. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; p. bhaṭṭh m., ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; s. bhaṭṭhī keṇī ‘distil (spirits)’. (CDIAL 9656) Thus, the reading of the composite glyph: kneeling adorant + pot is read rebus: meḍ pattar + bhaṭa 'iron urnace (of) merchant guild'.

Paṭṭar-ai community; guild as of workmen (Ta.); pattar merchants; perh. Vartaka (Skt.)వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. బత్తుడు battuḍu. n. A worshipper. భక్తుడు. The caste title of all the five castes of artificers as వడ్లబత్తుడు a carpenter. కడుపుబత్తుడు one who makes a god of his belly. L. xvi. 230.(Telugu)

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

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

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

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

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

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

Thus, the inscriptions on tablets m478 to m480 complete the documentation of wealth-creating metalwork खरडा kharaḍā daybook.
Hieroglyph (alternative): aḍaren, ḍaren lid, cover (Santali)
m1186 Offering and adorant glyphs of Indus script

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

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

Rebus: kol ‘pancaloha’ (Tamil)

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

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

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

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

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Additions to the Corpus of Indus Inscriptions, chalcedony weight with inscription, 'surface' finds from Oliver Hoare Exhibition in London

June 18, 2019, 6:36 pm

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https://tinyurl.com/y6bbamkp

This is an addendum to:

Decipherment of Mehrgarh Pasupati seal as sodagor 'merchant'

https://tinyurl.com/yy656agt

The info presented herein is based on a report by Barbara Harding on Oliver Hoare Exhibition held in London in 2017. The photographs are taken from the gallery in Oliverhoardltd website.Photographs courtesy of Oliver Hoare Ltd.

The ten seals presented here certainly add to the Corpus of Indus Inscriptions as more information has to be gathered on the provenance of these Indus Seals. Proceeding on the assumption that these are NOT fakes and are resourced from an art collector, I have ventured to decipher the Mehrgarh Pasupati seal (fifth from left on the top row of the image presented below).

Of interest is an earlobe weight made of chalcedony (image embedded) said to contain a five-sign Indus Inscription. I have requested for an ecopy of the inscription. I hope someone from oliverhoareltd.com will respond.

Source: http://www.everyobjecttellsastory.com/wp-content/uploads/2018/08/ArtsofAsia-Jul18LR.pdf

The site also claims that a five-sign message in Indus Script is seen on a Remarkable Inscribed Chalcedony Ear-Lobe Weight, Mergargh, Indus Valley, c. 3000 BC, Size: 42 cm high, 5.9 cm diameter. © Oliver Hoare Ltd It will be nice to get a copy of the inscription. Please write to the owner of the site Alain R. Truong http://www.alaintruong.com/archives/2017/05/04/35246334.html

Remarkable Inscribed Chalcedony Ear-Lobe Weight, Mergargh, Indus Valley, c. 3000 BC, Size: 42 cm high, 5.9 cm diameter. © Oliver Hoare Ltd

Comment posted:

Remarkable Inscribed Chalcedony Ear-Lobe Weight, Mergargh, Indus Valley, c. 3000 BC, Size: 42 cm high, 5.9 cm diameter. © Oliver Hoare Ltd This 'weight' is said to have an inscription with five Indus Script alphabets. I shall be grateful for an image of the incription and the alphabets used. Thanks and regards. S.Kalyanaraman Sarasvati Research Centre

http://www.alaintruong.com/archives/2017/05/04/35246334.html

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Arvind Subramanian's working paper is unfit for publishing -- Rathin Roy, Amey Sapre

June 19, 2019, 1:35 am

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https://www.hks.harvard.edu/centers/cid/publications/faculty-working-papers/india-gdp-overestimate This is the link to Arvind Subramanian's paper India's GDP Mis-estimation: Likelihood, Magnitudes, Mechanisms, and Implications CID Faculty Working Paper No. 354 Arvind Subramanian June 2019

Hunting the Heffalump

RATHIN ROY AMEY SAPRE

No trivial matterA critique of official GDP estimates must specifically critique coverage or methodologyiStockphotobakhtiar_zein

The analytics used by Arvind Subramanian to argue over-estimation of GDP is flawed on a number of counts

Arvind Subramanian has written a working paper (‘India’s GDP Mis-estimation: Likelihood, Magnitudes, Mechanisms, and Implications’) in which he argues that “actual GDP growth” may have been 4.5 per cent between 2011-12 and 2016-17, instead of the 7 per cent official estimate. One would not normally comment on an un-refereed working paper, but his former government position as Chief Economic Adviser, and the fact that he has chosen to publish his claim in national media, motivates our response.

Subramanian argues that i) 17 “real indicators” are strongly correlated with GDP growth measured using the old 2004-05 series methodology but not with the new (2011-12) methodology, ii) growth rates for these indicators are “substantially lower in the post-2011 period than before” and iii) in a cross-country regression that relates GDP growth of 70+ countries with just four indicators — credit, electricity, exports and imports — there is an econometric convergence between these and the official GDP estimates before 2011, but not after.

He argues that these, collectively, are evidence that GDP levels (and therefore growth) are over-estimated since 2011.

Criticising official estimates is a serious business. A critique of official GDP estimates must specifically critique coverage or methodology. Subramanian does neither.

GDP estimates are generated using a publicly available methodology that is well documented, and is based on a comprehensive estimate of all economic activities. GDP estimates use indicators to generate advance estimates, but not final numbers. Certainly, no cross-country regressions are used in generating GDP estimates.

The analytics used by Subramanian to argue over-estimation is flawed. First, GDP estimates are always reported at current prices. Price deflators are then applied to calculate real GDP. But since Subramanian only compares real GDP growth estimates, there is no foundational basis to speak of “over-estimation,” since he has produced no alternative estimate of current price GDP.

Second, the national income accounting framework estimates value addition of different economic activities, and not merely changes in indicators of these activities. It is, therefore, conceptually incorrect to relate levels of GDP to levels of indicators. High frequency indicators can, at best, signal changes in different sectors. They are not estimates of value addition by these sectors.

Third, almost all the indicators used in the study are for the organised and commodity-producing sectors. Thus, the indicators inadequately cover the GDP base, significantly, services.

Fourth, when assessing mis-measurement in national income, researchers examine data-related problems in moving from an establishment to an enterprise approach, changes in sampling frames, changes in definition, sampling and non-sampling errors, and other coverage issues in available data sets. Subramanian does nothing of the sort.

Correlation issue

For these reasons, the paper has no analytical basis to opine on anything as fundamental (or grandiose) as over-estimation of India’s GDP growth.

But the paper is problematic even in its more modest arguments. Subramanian argues that for his 17 indicators, the correlation with GDP growth reduces post 2011-12. However, such a change in correlation does not automatically imply an over-estimation of GDP. Part of the reason why the indicators show a low correlation with GVA estimates in the new series is because the composition of GVA (in terms of coverage and sectoral reclassification) has changed substantially. Subramanian does not control for this — he cannot, because composition plays no role in his argument. His case is, therefore, unproven.

Subramanian’s cross-country regression exercise involves underlying assumptions which are not acknowledged. First he assumes (except in India) that there are no significant differences in how GDP is estimated in the countries chosen, such that the dependent variable can be regarded as reasonably homogeneous.

Second, the fact that India is an outlier cannot automatically lead to the inference that India’s growth has been over-estimated, simply because the drivers of India’s growth may have changed in the second period. The change in GDP estimation procedure was not done for the fun of it (the implicit assumption) but because there were compositional changes that had to be taken into account.

These changes include wider coverage of activities (particularly in the manufacturing sector), reclassification of many sub-sectors, and use of new databases. They have, to some extent, altered the relation between value addition across sectors and volume based (physical) indicators. These should be examined critically and, in the case of the MCA database, this has been done by other scholars.

Not backed by theory

But these things make no appearance in Subramanian’s argument. He does speculate on the causes of deviation (in his misplaced quest to establish over-estimation) but his speculations refer primarily to the use of deflators in organised manufacturing and in the services sector. These deflator issues are to do with moving from nominal to real GDP, and Subramanian leaves these issues for future research. An exercise of this nature could add value if grounded in a theory of growth for countries like India, to test whether India conforms to the posited theory pre and post 2011. But there is no theory backing this, purely data driven, exercise.

Referees’ reports would likely raise these issues, inter alia, and an improved paper would no doubt emerge in due course. But in the working paper and press article, there is no analytical justification for the grand claim that GDP is over-estimated. For the rest, technical flaws notwithstanding, it confirms what we already know, that GDP growth has slowed in recent years. That’s about it.

The writers are Director and Assistant Professor, respectively, at National Institute of Public Finance and Policy

Published on June 19, 2019

https://www.thehindubusinessline.com/todays-paper/tp-opinion/article28068782.ece

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India’s GDP estimation methodology -- Full text in 12 pages of note by Economic Advisory Council, PM

June 19, 2019, 5:58 am

≫ Next: Pragmatic renderings of Meluhha hypertexts on Indus script inscriptions, e.g. loh-karaṇīya, څرخ ṯs̱arḵẖ, maid

≪ Previous: Arvind Subramanian's working paper is unfit for publishing -- Rathin Roy, Amey Sapre

Press Information Bureau

Government of India

NITI Aayog

19-June-2019 15:09 IST

EAC-PM releases a detailed analysis on robustness of India’s GDP estimation methodology

The Economic Advisory Council to the Prime Minister today released a detailed note titled ‘GDP estimation in India- Perspectives and Facts’. The note can be accessed at http://eacpm.gov.in/reports-papers/eac-reports-papers/.

The note provides a clear rationale for India’s switch to an improved GDP estimation methodology in January 2015. The new methodology that uses 2011-12 as the base year includes two major improvements, a) Incorporation of MCA21 database, and b) Incorporation of the Recommendations of System of National Accounts (SNA), 2008. This change was in line with other countries that have changed their methodologies in line with SNA 2008 and revised their respective GDP figures. On an average, real GDP estimates saw an increase of 0.7% among OECD countries.

As mentioned in EAC-PM’s press release dated 12 June 2019, the note also provides a point-to-point rebuttal to a recently published paper titled ‘India’s GDP Mis-estimation: Likelihood, Magnitudes, Mechanisms, and Implications’ by Dr.Arvind Subramanian. The primary contributors to the note, namely BibekDebroy, Rathin Roy, Surjit Bhalla, Charan Singh and Arvind Virmani reject Dr. Subramanian’smethodology, arguments and conclusions on the basis of academic merit and grasp of Indian realities. The note provides detailed evidence that indicates that Dr. Subramanian has cherry-picked a few indicators and performed a rather unconvincing regression analysis to prove his hypothesis that India’s GDP was over-estimated post 2011-12. For instance, the note highlights the absurdity in Dr. Subramanian’s paper that selectively ignores tax data based on the argument that the period post 2011-12 witnessed “major changes in direct and indirect taxes”. Interestingly, Mr. Subramanian’s analysis ends on 31^st March 2017, while the only major tax change (GST) was introduced on 1^st July 2017. In totality, the note highlights eight clear points with supportive facts and arguments that debunk Dr. Subramanian’s paper in entirety.

The note concludes with the point that India’s GDP estimation methodology is by no means a perfect exercise and the Ministry of Statistics and Program Implementation is working on multiple aspects to improve the accuracy of economic data. However, the direction and pace of improvement is commendable and as of today India’s GDP estimation methodology is at par with its global standing as a responsible, transparent and well-managed economy. If anything, the weakness of Dr.Subramaniam’s attempt to suggest that the growth numbers are over-estimated confirms that the estimation process is robust to spurious criticism. Going forward, Indian National Income Accounting is bound to change for good and an important step in accomplishing that will involve criticism from experts and academics.But the country’s interests are not served by imparting sensationalism through negativity that questions the credibility of the system.

http://pib.nic.in/newsite/PrintRelease.aspx?relid=190522

http://eacpm.gov.in/wp-content/uploads/2019/06/EAC-Paper_GDP-estimation_19-June-2019.pdf

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Pragmatic renderings of Meluhha hypertexts on Indus script inscriptions, e.g. loh-karaṇīya, څرخ ṯs̱arḵẖ, maid

June 19, 2019, 7:05 pm

≫ Next: Tigers, with and without horns, in front of trough, standard device are smelter's Indus Script daybooks, wealth-accounting ledgers

≪ Previous: India’s GDP estimation methodology -- Full text in 12 pages of note by Economic Advisory Council, PM

https://tinyurl.com/y4yzxjr4

-- loh-karaṇīya'copper metal business'
-- څرخ ṯs̱arḵẖ'potter's wheel' (Pashto) rebus: arka'copper, gold'
-- maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ'iron'

Appended are 26 slides courtesy: JM Kenoyer's presentation on the material foundations of the civilization together some examples of Indus Script inscriptions. These are intended to provide a background on the pragmatics which explain the inscriptions. Pragmatics is the branch of linguistics dealing with language in use and the contexts in which it is used, including such matters as deixis, the taking of turns in conversation, text organization, presupposition, and implicature.

As of now, almost all the 8000+ inscriptions are deciphered to be metalwork wealth-accounting ledgers.

Other material bases of wealth such as indigo, cotton, silk textiles, agricultural or forest products have not so far been identified in the Corpora of Indus Inscriptions accumulated so far.

A hypertext framework for reading and realizing the semantics of these inscriptions is discussed in this monograph.

Indus Script writing is called hypertext because there is extensive cross-referencing between related sections of text and associated graphic material.

Indus Script Cipher is logo-semantic and NOT syllabic. This means that hieroglyph components of a hypertext are read rebus in underlying Meluhha language.Meanings of plain text inscriptions are realised by rebus readings.

For example, Daimabad seal shows the 'rim-of-jar' hieroglyph component. This is read as two words signified by the two logographs or hieroglyph components: kanḍa 'pot' PLUS kankha 'rim of a vessel'. Rebus reading is of two similar sounding words with different meanings: kanda, 'fire altar', kaṇḍa, 'equipment', karaṇa, karṇaka, 'scribe, helmsman', karaṇī 'supercargo'. Thus, the seal hypertext signifies that the seal belongs to a scribe, supercargo, helmsman who works with metal equipment (produced from) fire-altar.

kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; Wg. kaṇə ʻ ear -- ring ʼ NTS xvii 266; S. kano m. ʻ rim, border ʼ; P. kannā m. ʻ obtuse angle of a kite ʼ (→ H. kannām. ʻ edge, rim, handle ʼ); N. kānu ʻ end of a rope for supporting a burden ʼ; B. kāṇā ʻ brim of a cup ʼ, G. kānɔ m.; M. kānā m. ʻ touch -- hole of a gun ʼ.(CDIAL 2831)

kándu f. ʻ iron pot ʼ Suśr., ˚uka -- m. ʻ saucepan ʼ.Pk. kaṁdu -- , kaṁḍu -- m.f. ʻ cooking pot ʼ; K. kō̃da f. ʻ potter's kiln, lime or brick kiln ʼ; -- ext. with -- ḍa -- : K. kã̄dur m. ʻ oven ʼ. -- Deriv. Pk. kaṁḍua -- ʻ sweetseller ʼ (< *kānduka -- ?); H. kã̄dū m. ʻ a caste that makes sweetmeats ʼ. (CDIAL 2726)*kandukara ʻ worker with pans ʼ. [kándu -- , kará -- 1]K. kã̄dar, kã̄duru dat. ˚daris m. ʻ baker ʼ.(CDIAL 2728)

Courtesy: ASI Hieroglyph components on this seal are: 1. circle with spokes; 2. harrow; 3. face of onager ligatured to a crumpled, twisted horn and body of a bovine; 4. ficus religiosa.

Circle with spokes: Hieroglyph: څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel (particularly a potter's, or of a water-mill or well). 2. A grindstone. Rebus: P زرګر zar-gar, s.m. (5th) A goldsmith, a worker in gold. Pl. زرګران zargarān. P زر zar, s.m. (6th) Gold, riches, wealth, money. Sing. and Pl. سپین زر spīn zar, Silver (lit. white gold). سره زر sarah zar, Gold. زرافشان zar afs̱ẖān, adj. Strewing gold. زر خرید zar ḵẖarīd, adj. Purchased (as a slave).(Pashto), L. P. sar m. (P. sarī f. ʻ bar of iron, lash of whip ʼ); Ku. saro m., sarī f. ʻ stick, thin iron bar, penis ʼ; N. sar ʻ shaft (e.g. of a spear) ʼ; B. sar ʻ reed ʼ; Or. sara ʻ reed, handle of oar ʼ; H. sar m. ʻ S. sara ʼ, sarā m. ʻ long straight bamboo ʼ, sarī f. ʻ reed, shaft of arrow ʼ, sariyā f. ʻ piece of reed or bamboo, gold or silver wire ʼ; G. sariyɔ m. ʻ bar, rod'(CDIAL 12324) अर्क 'the sun, copper, m. ( √ अर्च्) , Ved. a ray , flash of lightning RV. &c; fire RV. ix , 50 , 4 S3Br. Br2A1rUp. (Monier-Williams) 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) *arkavarta ʻ a sort of ornament ʼ. [Cf. arkapuṭikā -- f. ʻ a silver ornament consisting of a round disk like the sun ʼ lex.: arká -- 1, *varta -- 3]G. akɔṭī f. ʻ earring ʼ.(CDIAL 628) (Note:the Pashto word ṯs̱arḵẖmay explain the various semantic expressions listed in Annex. Cakra and examples of semantic expansions).

āre potter's wheel (Gondi) ārū आ॑रू॒ 'circle' (Kashmiri) ār̤i 'circle' (Tamil.Kannada) eraka 'knave of wheel' rebus: arka, aka 'gold, copper'; eraka 'metal infusion' arka, aka, aga ‘copper, gold’ as in akasāla ‘goldsmith’s shop’(Kannada); అగసాలి or అగసాలెవాడు agasāli. [Tel.] n. A goldsmith. కంసాలివాడు (Telugu); arukkam அருக்கம்¹ arukkam, n. < arka. (நாநார்த்த.) 1. Copper; செம்பு (Tamil); eraka 'metal infusion': Ta. eṟṟu (eṟṟi-) to throw out (as water from a vessel); iṟai (-v-, -nt-) to scatter (intr.), disperse; (-pp-, -tt-) to splash (tr.), spatter, scatter, strew, draw and pour out water, irrigate, bale out, squander; iṟaivai receptacle for drawing water for irrigation; iṟaṭṭu (iṟaṭṭi-) to sprinkle, splash. Ma. iṟekka to bale out; iṟayuka id., scatter, disperse; iṟava basket for drawing water; eṟiccil rainwater blown in by the wind. To. eṟ- (eṟQ-) to scoop up (water with vessel). Ka. eṟe to pour any liquids, cast (as metal); n. pouring; eṟacu, ercu to scoop, sprinkle, scatter, strew, sow; eṟaka, eraka any metal infusion; molten state, fusion. Tu. eraka molten, cast (as metal); eraguni to melt. Kur. ecchnā to dash a liquid out or over (by scooping, splashing, besprinkling). Cf. 840 Kur. elkhnā (Pfeiffer). (DEDR 866)

2.maĩd m. ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.) 'med 'copper' (Slavic): matyà n. ʻ club with iron points ʼ AV., ʻ a kind of harrow ʼ TS. 2. *matíya -- . 3. *madya -- 2. [Cf. matīkarōti ʻ harrows ʼ AitBr., Pa. su -- mati -- kata -- ʻ well harrowed ʼ; -- explanation of madi -- , madikā -- f. ʻ a kind of harrow or roller ʼ Kr̥ṣis., madī -- f. ʻ any agricultural implement (e.g. a plough) ʼ lex. as MIA. forms (EWA ii 566) does not account for *madya -- in NIA.]1. WPah.bhal. maċċ n. ʻ implement for levelling a rice -- field ʼ (whence maċċṇū ʻ to level ploughed ground ʼ).2. Pk. maïya -- n. ʻ harrow ʼ; L.awāṇ. may ʻ implement for levelling ʼ; WPah. (Joshi) moī f. ʻ implement for smoothing land after sowing ʼ; Ku. mayo ʻ harrow con<-> sisting of a plank for breaking up clods after ploughing ʼ, gng. me ʻ harrow ʼ; A. mai ʻ harrow ʼ (whence mayāiba ʻ to harrow ʼ), maiṭā ʻ single bamboo with its knot on used as a ladder ʼ; B. maï, moi ʻ harrow, ladder, ladder used as harrow ʼ; Or. maï ʻ ladderlike harrow ʼ; H. maī f. ʻ harrow ʼ; M. maĩd m. ʻ rude harrow or clod breaker ʼ (+ ?).3. K. maj (gender and spelling? for *maz?) ʻ harrow consisting of a log ʼ; P.ḍog. mãj̈ f. ʻ ladder ʼ.*vaṁśamatiya -- .Addenda: matyà -- . 2. *matíya -- : WPah.kṭg. mε̄͂ f. (obl. -- i) ʻ a kind of harrow ʼ; J. moī f. ʻ a kind of plough to smoothe land after sowing ʼ.(CDIAL 9755)

3. See hypertext of 'unicorn' discussed in relation to another seal presented below

4. loa 'ficus religiosa' rebus: loh 'copper, iron,metal'.

Kalibangan026 8071

Hieroglyph components on this seal are: 1. rim-of-jar; 2. face of onager ligatured to a crumpled, twisted horn and body of a bovine; 3. ficus religiosa.

karṇaka, kanka'rim of jar' rebus: karṇI'Supercargo' karṇika 'scribe, account'

Single serrated, mēḍhā 'twisted', mer̥ha 'crumpled' horn of the young bull is rebus medhā मेधा = धन, treasure https://tinyurl.com/y2zjbmwy

There are many unique iconographic features on a 'one-horned young bull' hieroglyph of Indus Script Corpora. Each feature is explained in Meluhha rebus readings of Indus Script Cipher.

An intriguing feature relates to the 'unique' feature of the 'one-horn' ligatured to the young bull. The horn is not of a curved style like parethetical marks: () but is a zig-zag 'S' or twisted-shape pattern and sometimes serrated. I suggested that this crumpled, zig-zag or twisted pattern of the horn has to be expressed by a Meluhha word. The word has been found. The word is mer̥ha, 'crumpled'. Cognate: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi)..The rebus rendering of this word is of great significance in the metalwork wealth-accounting ledgers of Indus Script Corpora.The rebus readings of the word are:meḍ,med 'iron, copper'(Mu.Ho.Slavic languages); medhā मेधा = धन (नैघण्टुक , commented on by यास्क. ii , 10); मेध medha 'yajna, oblation, oblation, the juice of meat , broth , nourishing or strengthening drink RV. शतपथ-ब्राह्मण. कात्यायन-श्रौत-सूत्र.) Thus, clearly, the twisted one-horn signifies metalwork of the artisan signified by the young bull. khōṇḍa m A young bull, a bullcalf. rebus:kunda, 'one of कुबेर's nine treasures'. Thus, the young bull PLUS serrated, crumpled horn together signify a tresure of metalwork wealth.

Thus, I submit that mer̥ha 'crumpled horn' is a semantic determinative, read rebus as medhā मेधा = धन,treasure.

khara 'onager (face)' rebus: khār 'blacksmith' PLUS खोंड khōṇḍa 'young bull' rebus: kō̃da कोँद 'furnace for smelting'. Thus,together the expression is کار کنده kār-kunda ' 'manager, director, adroit, clever, experienced' (Pashto)

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

PLUS kōḍu'horn' rebus koḍ 'workplace' PLUS koḍiyum 'ring on neck' rebus:  koḍ 'workplace' PLUS  khōṇḍī खोंडी 'pannier sack' rebus: कोंद kōnda 'engraver, turner, fine gold'. Thus, the hypertext composition signifies workshop of a goldsmith, lapidary (turner, engraver). A remarkable cognate etymon signifying a young bull is seen in Telugu (Indian sprahbund, 'speech union'): 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. Rebus: kõdār 'turner' (Bengali). konda 'furnace, fire-altar'  kō̃da कोँद 'furnace for smelting':  payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (a potter's, a lime-kiln, and brick-kiln, or the like); a furnace (for smelting). -thöji - or -thöjü -; । परिपाक-(द्रावण-)मूषाf. a crucible, a melting-pot. -ʦañĕ -। परिपाकोपयोगिशान्ताङ्गारसमूहः f.pl. a special kind of charcoal (made from deodar and similar wood) used in smelting furnaces. -wôlu -वोलु&below; । धात्वादिद्रावण-इष्टिकादिपरिपाकशिल्पी m. a metal-smelter; a brick-baker. -wān -वान् । द्रावणचुल्ली m. a smelting furnace.

loa 'ficus religiosa' rebus: loh 'copper, iron,metal'.

Uniquely ligatured ficus hieroglyph signifies lohakāra 'coppersmith, ironsmith' (Pali) lohakaraṇika 'metal engraver' https://tinyurl.com/y3sdsz7g

Sign 327

V326 (Orthographic variants of Sign 326)

V327 (Orthographic variants of Sign 327)loa = a species of fig tree, ficus glomerata, the fruit of ficus glomerata

(Santali) Vikalpa: kamaṛkom ‘ficus’ (Santali); rebus: kampaṭṭam ‘mint’ (Ta.) patra ‘leaf’ (Skt.); rebus: paṭṭarai ‘workshop’ (Ta.) Rebus: lo ‘iron’ (Assamese, Bengali); loa ‘iron’ (Gypsy) lauha = made of copper or iron (Gr.S'r.); metal, iron (Skt.); lohakāra = coppersmith, ironsmith (Pali); lohāra = blacksmith (Pt.); lohal.a (Or.); loha = metal, esp. copper or bronze (Pali); copper (VS.); loho, lo_ = metal, ore, iron (Si.) loha luṭi = iron utensils and implements (Santali)

Two unique modifiers occur as superscripts on two composite signs: Sign 51 and Sign327. The modifiers to the basic signs of 'scorpion'; and 'ficus leaf' respectively, may be called attachments which are like ears as superscripts. Read as -karaṇīya 'duty, business' related to bica 'scorpion' rebus: bica 'haematite, ferrite ore'. and loa 'ficus glomerata' rebus: loh 'copper'. Thus, the two signs are read as hypertexts:bica -karaṇīya and loh-karaṇīya meaning: 'haematite ore business and copper ore business'.

lo 'iron', khār 'blacksmith', 'lohakāra 'coppersmith, ironsmith' (Pali)

Sign 51

Sign 52

bica 'karaṇīya 'haematite, ferrite ore duty, business' PLUS koḍa 'one' rebus: kod 'workshop'.

See:

Proving the Indus Script Cipher to be logo-semantic https://tinyurl.com/yypxsmfm

http://sites.iitgn.ac.in/ifdls/files/Scientific-and-Technological-Contrib-Indus.pdf

↧

Tigers, with and without horns, in front of trough, standard device are smelter's Indus Script daybooks, wealth-accounting ledgers

June 20, 2019, 5:43 am

≫ Next: Iron smelting work signified on Kot Diji geometrical designs and two tablets of Dholavira and Mohenjo-daro with a dhokra woman

≪ Previous: Pragmatic renderings of Meluhha hypertexts on Indus script inscriptions, e.g. loh-karaṇīya, څرخ ṯs̱arḵẖ, maid

https://tinyurl.com/yy2tubyv

A seal from Gandi Umar Khan shows a tiger in front of a standard device. The narrative is comparale to a Banawali seal 17 presented in this monograph.

After Plate 12 Gandi Umar Khan, typical Harappan nperiod steatite seal

Source:

Zakirullah Jan, Ihsan Ali, MA Durrani and M. Naeem Qazi, The mature Harappan Occupation at Gandi Omar Khan in the Gomal Plain, in Ancient Pakistan, Vol. XXII, pp.1-16http://journals.uop.edu.pk/papers/AP_v22_1to16.pdf?fbclid=IwAR1i_p7kh7NY37UotzzYpQvjIDhflp3YCYKtLiv_Yp3vW75QiCeAmFdYy-M

Examples of Indus seals with tiger pictorial motif

Banawari. Seal 17. Text 9201 Found in a gold-silversmith's residence.. Horned tiger PLUS lathe + portable furnace. Banawali 17, Text 9201 Find spot: “The plan of ‘palatial building’ rectangular in shape (52 X 46 m) with eleven units of rooms…The discovery of a tiger seal from the sitting room and a few others from the house and its vicinity, weights ofchert, and lapis lazuli beads and deluxe Harappan pottery indicate that the house belonged to a prominent merchant.” (loc.cit. VK Agnihotri, 2005, Indian History, Delhi, Allied Publishers, p. A-60)

Message on metalwork: kol ‘tiger’ (Santali); kollan ‘blacksmith’ (Ta.) kod. ‘horn’; kod. ‘artisan’s workshop’ PLUS śagaḍī = lathe (Gujarati) san:gaḍa, ‘lathe, portable furnace’; rebus: sangath संगथ् । संयोगः f. (sg. dat. sangüʦü association, living together, partnership (e.g. of beggars, rakes, members of a caravan, and so on); (of a man or woman) copulation, sexual union.sangāṭh संगाठ् । सामग्री m. (sg. dat. sangāṭas संगाटस्), a collection (of implements, tools, materials, for any object), apparatus, furniture, a collection of the things wanted on a journey, luggage, and so on. --karun -- करुन् । सामग्रीसंग्रहः m.inf. to collect the ab. (L.V. 17).(Kashmiri)

Hieroglyph multiplex: gaNDa 'four' Rebus: khaNDa 'metal implements' aya 'fish' Rebus: aya 'iron' ayas 'metal' aDaren 'lid' Rebus: aduru 'native metal'

Hieroglyph: sal 'splinter' Rebus: sal 'workshop'

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.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. dā 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).

Alternative: Hieroglyhph: Ko. gōṭu ʻ silver or gold braid ʼ Rebus: M. goṭ metal wristlet ʼ P. goṭṭā ʻ gold or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ, S. goṭo m. ʻ gold or silver lace ʼ); P. goṭ f. ʻ spool on which gold or silver wire is wound, piece on a chequer board ʼ; (CDIAL 4271)

Hieroglyph-multiplex: body PLUS platform: meD 'body' Rebus: meD 'iron' PLUS Hieroglyhph: pī˜ṛī ʻplatform of lingamʼ Rebus: Mth. pĩṛ, pĩṛā ʻlumpʼ Thus, the message of the hieroglyph-multiplex is: lump of iron. कर्णक kárṇaka, kannā 'legs spread', Rebus: karNika 'Supercargo'' merchant in charge of cargo of a shipment, helmsman, scribe. Rebus kañi-āra 'helmsman' karaṇī 'scribe'.

panja 'feline paw' rebus: panja 'kiln'
Image result for tiger trough indus seal

m290 tiger in front of a feeding trough
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) PLUS pattar 'trough' rebus: pattar 'goldsmith guild'

2. Text message:

Hieroglyphs: खर khar rebus: khār खार् 'blacksmith' (Kashmiri)+ ṭāṅka ʻleg, thighʼ (Oriya)rebus: ṭaṅka टङ्क [p= 429,2] mn.

( L. ) a spade , hoe , hatchet , stone-cutter's chisel Hariv. 5009ff. R. ii , 80 , 7 Mr2icch. &c ; stamped coin

PLUS khar 'ass, onager' (Kashmiri) PLUS kharedo = a currycomb (Gujarati)

deciphered as: ṭaṅka 'mint' PLUS khār खार् 'blacksmith' PLUS kharādī ‘ turner’ (Gujarati) खरडा kharaḍā m (खरडणें) Scrapings (as from a culinary utensil). 2 Bruised or coarsely broken peppercorns &c.: a mass of bruised मेथ्या &c. 3 also खरडें n A scrawl; a memorandum-scrap; a foul, blotted, interlined piece of writing. 4 also खरडें n A rude sketch; a rough draught; a foul copy; a waste-book; a day-book; a note-book.

m1168 2360 Seal showing a horned tiger. Mohenjodaro. (After Scala/Art Resource).Tiger with long (zebu’s) horns? 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)

aḍaren,'lid' Rebus: aduru 'native unsmelted metal'

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

h94 Tiger in front of a feeding trough.

Field symbol: kol 'tiger' Rebus: kolhe 'smelter',kol 'working in iron/' PLUS pattar 'trough' rebus: pattar 'goldsmiths' guild'

mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' PLUS dula 'two' rebus: dul 'metal casting'. Thus metalcast ingots PLUS meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic). Thus, copper, iron metal castings smelter.

↧

Iron smelting work signified on Kot Diji geometrical designs and two tablets of Dholavira and Mohenjo-daro with a dhokra woman

June 20, 2019, 7:45 am

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https://tinyurl.com/y55ru4gz
In an interesting article titled, 'Beginnings of Indian Astronomy with Reference to a Parallel Development in China', Asko Parpola (2016, pdf full text link embedded) sees astronomical indicators in some geometrical designs of Kot Diji artifacts presented by Akinori Uesugi.
I submit that some of the designs, for e.g, dotted circles, star mentioned by Asko Parpola are Indus Script hypertexts. meḍha 'polar star' (Marathi). meḍ'iron' (Ho.Mu.)

Meluhha artisans, Indus script writers draw circles with small radii to signify dhātu, dhāv 'mineral' hypertexts

Dotted circle as Indus Script hypertext धावड dhāvaḍa 'red ferrite ore smelter'

dhāva 'strand' rebus: dhāva 'ferrite mineral ore' PLUS vaṭṭa 'circle'; together, the expression dhāvaḍa signifies smelter.

kolom 'three' rebus: kolimi 'smithy, forge'. Thus, three dotted circles (trefoil) signify

dhāvaḍa kolimi 'smelter smithy, forge'.

वृत्त [p= 1009,2] mfn. turned , set in motion (as a wheel) RV.; a circle; 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. waṭṭəwīˊk, waḍḍawik ʻ kidney ʼ ( -- wĭ̄k vr̥kká -- ) IIFL iii 3, 192?(CDIAL 12069) வட்டம்போர் vaṭṭam-pōr, n. < வட்டு +. Dice-play; சூதுபோர். (தொல். எழுத். 418, இளம்பூ.)வட்டச்சொச்ச

வியாபாரம் vaṭṭa-c-cocca-viyāpāram, n. < id. + சொச்சம் +. Money-changer's trade; நாணயமாற்று முதலிய தொழில். Pond. வட்டமணியம் vaṭṭa-maṇiyam, n. < வட் டம் +. The office of revenue collection in a division; வட்டத்து ஊர்களில் வரிவசூலிக்கும் வேலை. (R. T.) వట్ట (p. 1123) vaṭṭa vaṭṭa. [Tel.] n. The bar that turns the centre post of a sugar mill. చెరుకుగానుగ రోటినడిమిరోకలికివేయు అడ్డమాను. వట్టకాయలు or వట్టలు vaṭṭa-kāyalu. n. plu. The testicles. వృషణములు, బీజములు. వట్టలుకొట్టు to castrate. lit: to strike the (bullock's) stones, (which are crushed with a mallet, not cut out.) వట్ర (p. 1123) vaṭra or వట్రన vaṭra. [from Skt. వర్తులము.] n. Roundness. నర్తులము, గుండ్రన. వట్ర. వట్రని or వట్రముగానుండే adj. Round. గుండ్రని.

धाव (p. 250) dhāva m f A certain soft, red stone. Baboons are said to draw it from the bottom of brooks, and to besmear their faces with it. धवड (p. 249) dhavaḍa m (Or धावड) A class or an individual of it. They are smelters of iron. धावड (p. 250) dhāvaḍa m A class or an individual of it. They are smelters of iron. धावडी (p. 250) dhāvaḍī a Relating to the class धावड. Hence 2 Composed of or relating to iron.

Asko Parpola cites a Dholavira tablet suggesting some 'sacrifice' ritual:

I submit that this line drawing based on Dholavira tablet (photo presented below) is an Indus Script inscription, read rebus and is comparable to a narrative shown on a Mohenjo-daro tablet of a decrepit woman with hanging breasts.

Indus writing will continue to receive attention from scholars because the coded messages are important to unravel the roots of Hindu civilization and the people who contributed tin as an additive to alloy with copper creating bronze artifacts and with expertise in cire perdue (lost-wax casting), dhokra-kamar competence.

Two pieces of writing which describe the dhokra: seals from Mohenjo-daro and Dholavira are presented.

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

http://bharatkalyan97.blogspot.in/2014/04/philosophy-of-symbolic-forms-in-meluhha.html In this work, discovery of two seals/tablets is reported: one seal from Mohenjo-daro and a tablet from Dholavira. Both report on the profession of the smelter-metallurgist involved in the technology.The professional is dhokra rendered rebus in Meluhha hieroglyphs -- perhaps by the ancestors of assur of present-day India, since they continue the smelting and casting traditions venerated by Tukulti-Ninurta I at an altar to the fire-god, karandi. The safflower which adorns Ashur artifacts is karadi.

Start with the decrepit, hunched up old woman depicted and use rebus readings in Meluhha cipher:

Hieroglyph: Ku. ḍokro, ḍokhro ʻ old man ʼ; B. ḍokrā ʻ old, decrepit ʼ, Or. ḍokarā; H. ḍokrā ʻ decrepit ʼ; G.ḍokɔ m. ʻ penis ʼ, ḍokrɔ m. ʻ old man ʼ, M. ḍokrā m. -- Kho. (Lor.) duk ʻ hunched up, hump of camel ʼ; K.ḍọ̆ku ʻ humpbacked ʼ perh. < *ḍōkka -- 2. Or. dhokaṛa ʻ decrepit, hanging down (of breasts) ʼ.(CDIAL 5567) Rebus: dhokra ‘cire perdue’ casting metalsmith. Glyph: Br. kōnḍō on all fours, bent double. (DEDR 204a) Rebus: kunda ‘turner’ kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner’s lathe (Skt.)(CDIAL 3295) Tiger has head turned backwards. క్రమ్మర krammara. adv. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు (Telugu). Rebus: krəm backʼ(Kho.)(CDIAL 3145) karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali) The hieroglyph of an old female with breasts hanging down and ligatured to the buttock of a bovine is also deployed on a Mohenjo-daro seal.

Hypertexts, person with bovine ligatures on Dholavira tablet, Mohenjo-daro seal are

Indus Script signifiers of wealth accounting metalwork ledgers

https://tinyurl.com/ya5o6uuz

The Mohenjo-daro seal shows the combined text of dhokra woman PLUS zebu; same imagery as on Dholavira tablet. Zebu signifies rebus: poḷa 'ferrite, magnetite ore'.

Image result for bharatkalyan97 tablet standing person

The person on m1224e with upraised arm and bovine legs and tail is a blacksmith: eraka 'upraised arm' rebus: 'moltencast' + dhangar 'bull' rebus: dhangar 'blacksmith'. Some details at

http://bharatkalyan97.blogspot.com/2018/04/orthographic-hypertext-devices-eg-tiger.html

The tree behind the Fig. 103, composite image (zebu+decrepit woman+horns) is the wealth accounting ledger classifier. I think it signifies a smelter.

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

Hieroglyph: Tiger looking back: krammara 'look back' (Telugu) kamar 'smith, artisan' (Santali)

Reading of Text 1357 on Mohenjo-daro seal: gō̃ṭu an ornamental appendage to the border of a cloth, fringe' rebus: goṭa 'laterite, ferrite ore' khoṭa 'ingot, wedge'. ḍato 'claws or pincers (chelae) of crabs'; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; rebus: dhatu 'mineral (ore)' xoli 'fish-tail' rebus: kolhe 'smelter', kol 'working in iron' dula 'two' rebus: dul 'metal casting'.

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

See: http://bharatkalyan97.blogspot.com/2015/04/excavations-at-dholavifra-1989-2005-rs.html Please scroll down to Fig. 8.31, 8.32: Details on the flat & curved surfaces of the terracotta tablet. Acc. No. 8099 of

Excavations at Dholavira 1989-2005 (RS Bisht, 2015) Full text including scores of Indus inscriptions announced for the first time

Fig. 8.31, 8.32: Details on the flat & curved surfaces of the terracotta tablet. Acc. No. 8099
See: http://bharatkalyan97.blogspot.com/2017/02/dholavira-terracotta-tablet-with-indus.html

Dholavira terracotta tablet with Indus Script deciphered, countering Parpola's wrong 'reading' of child sacrifice

Mirror: http://tinyurl.com/jhm6mt4

This is an addendum to http://tinyurl.com/hkaa8qs

Indus Script signifier hieroglyphs for tŏrka, dhokra,tvaṣṭr̥ cire perdue artificers of Sarasvati civilization. The objective of this addendum to counter a wrong 'reading' provided by Asko Parpola on the hieroglyphs on a Dholavira terracotta molded tablet which signifies a dhokra 'cire perdue artificer'.
Dholavira molded terracotta tablet with Meluhha hieroglyphs written on two sides.

I read the image on Side A as follows: a seated person raises up two 'children' on his two arms.

Some Meluhha rebus readings of the hieroglyphs on the tablet:

Hieroglyphs to children held aloft on a seated person's hands: dula 'pair' Rebus: dul 'cast metal' kuṛī 'girl, child' Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛi f. ‘granary (WPah.); kuṛī, kuṛohouse, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu)

Text on Side A: The entire text message reads: Supercargo (merchant) with smithy/forge, bronze workshop, cast metal implements

kole.l 'temple' rebus: kole.l 'smithy, forge'
kuṭilika 'bent, curved' rebus: कुटिल kuṭila, katthīl = bronze (8 parts copper and 2 parts tin); " sal 'splinter' rebus: sal'workshop'. Thus, together, 'bronze workshop'

kaṇḍa 'arrow' rebus: khaṇḍa 'implements' PLUS dula 'pair' rebus: dul 'metalcasting'. Thus the pair of 'arrows' signify, cast metal implements.

karṇika 'rim of jar' rebus: karṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale'; कर्णिक having a helm; a steersman (Monier-Williams)

Side B of the tablet:

Hieroglyph: dhokra ‘decrepit woman with breasts hanging down’. Rebus: dhokra kamar 'artisan metalcaster using lost-wax technique'. Ku. ḍokro, ḍokhro ʻ old man ʼ; B. ḍokrā ʻ old, decrepit ʼ, Or. ḍokarā; H. ḍokrā ʻ decrepit ʼ; G. ḍokɔ m. ʻ penis ʼ, ḍokrɔ m. ʻ old man ʼ, M. ḍokrā m. -- Kho. (Lor.) duk ʻ hunched up, hump of camel ʼ; K. ḍọ̆ku ʻ humpbacked ʼ perh. < ḍōkka -- 2. Or. dhokaṛa ʻ decrepit, hanging down (of breasts) ʼ.(CDIAL 5567). M. ḍhẽg* n. ʻ groin ʼ, ḍhẽgā m. ʻ buttock ʼ. M. dhõgā m. ʻ buttock ʼ. (CDIAL 5585). (The decrepit woman is ligatured to the hindpart of a bovine).

kāruvu ‘crocodile’ Rebus: khār ‘blacksmith’ (Kashmiri) PLUS dula 'pair' rebus; dul 'metal casting'. Thus, the pair of crocodiles signify metalcaster smith.

Heroglyph: Person with upraised arms: eraka 'upraised arm' rebus: eraka 'moltencast, copper'. Ka. eṟe to pour any liquids, cast (as metal); n. pouring; eṟacu, ercu to scoop, sprinkle, scatter, strew, sow; eṟaka, eraka any metal infusion; molten state, fusion. Tu. eraka molten, cast (as metal); eraguni to melt. Kur. ecchnā to dash a liquid out or over (by scooping, splashing, besprinkling). (DEDR 866).

The Skies of Kot Diji.

On this Kot Diji phase steatite button seal from Harappa (H2000-4495 / 9597-01), traces of blue-green glaze can be seen (upper center and left center). Similar seals have been found at other Kot Diji period sites and even in distant Central Asia.

Uesugi, Akinori. 2011. “Development of the Inter-Regional Interaction System in the Indus Valley and Beyond: A Hypothetical View Towards the Formation of the Urban Society.” In Cultural Relations Between the Indus and the Iranian Plateau During the Third Millennium BCE, ed. Toshiki Osada & Michael Witzel. Harvard Oriental Series, Opera Minora 7. Pp.359-380. Cambridge, MA: Department of Sanskrit and Indian Studies, Harvard University.

Asko Parpola writes: Feb. 22, 2016 "Akinori Uesugi has shown that the spread of the Kot Diji culture all over the Indus Valley is connected with the spread of a new type of stamp seal, which continues to exist in the following Harappan period. The basic figure in these Kot Diji seals consists of “concentric circles,” usually four of them placed into the four corners of a square or cross-shaped seal. A common variant has in addition a fifth figure of concentric circles in the centre of the seal. This seal type appears to be first attested at Mehrgarh in the piedmont area at the mouth of the Bolan Pass, which connects the highlands of Balochistan with the plains of the Indus Valley.

This new type of seal – an important instrument of administration – that Uesugi has recognized to accompany the spread of the Kot Diji culture in my opinion reflects the importance that the four cardinal directions and the centre have started to play in the cosmology and political ideology of the Early Harappans. At Rahman Dheri, we have a seal where concentric circles are surrounded by “rays” [e.g. Kot Diji seal above], on the basis of which the concentric circles have astral or (rather) solar symbolism. Painted bowls from Mehrgarh VI-VII (about 3200–2600 BCE), in particular one where the field is divided into four squares occupied by sun-like circular images surrounded by “rays”, even more clearly suggest a cosmology based on the yearly course of the sun, divided into four quadrants by the equinoctial and solstitial points, which also define the four cardinal directions. Such a cosmology is undoubtedly shared by many other seals with geometric motifs, particularly those depicting the cross and svastika, but while such seals are found also in contemporary Iranian seals and can be just copies of western models, those with four or five sets of concentric circles are likely to be a creation of the Early Harappan culture and with great probability reflect its dominant ideology."

More in Asko Parpola's article Beginnings of Indian Astronomy with Reference to a Parallel Development in China from which this excerpt is extracted (pp. 40-41).

https://www.harappa.com/category/blog-subject/seals?page=1

Beginnings of Indian Astronomy with Reference to a Parallel Development in China

Abstract
Hypotheses of a Mesopotamian origin for the Vedic and Chinese star calendars are unfounded. The Yangshao culture burials discovered at Puyang in 1987 suggest that the beginnings of Chinese astronomy go back to the late fourth millennium. The instructive similarities between the Chinese and Indian luni-solar calendrical astronomy and cosmology therefore with great likelihood result from convergent parallel development and not from diffusion.

Introduction
In what follows, I propose that the first Indian stellar calendar, perhaps restricted to the quadrant stars, was created by Early Harappans around 3000 BCE, and that the heliacal rise of Aldebaran at vernal equinox marked the new year. The grid-pattern town of Rahman Dheri was oriented to the cardinal directions, defined by observing the place of the sunrise at the horizon throughout the year, and by geometrical means, as evidenced by the motif of intersecting circles. Early Harappan seals and painted pottery suggest that the sun and the centre of the four directions symbolized royal power.

Note: The early steatite seal above plays an illustrative role in the author's thesis.

https://www.harappa.com/sites/default/files/pdf/indian-astronomy-beginnings.pdf

Indus Script hypertext, dot + circles = dāya 'one in dice' + vaṭṭa 'circle' rebus dhā̆vaḍ 'smelter'

https://tinyurl.com/y8h49x4t

‏ @blog_supplement

A Harappan button. Note how they had an instrument to precisely mark small circles of various radii

Button tablet. Harappa. Dotted circles.

File:Musée GR de Saint-Romain-en-Gal 27 07 2011 13 Des et jetons.jpg

Dices and chips in bone, Roman time. Gallo-Roman Museum of Saint-Romain-en-Gal-Vienne.

https://commons.wikimedia.org/wiki/File:Mus%C3%A9e_GR_de_Saint-Romain-en-Gal_27_07_2011_13_Des_et_jetons.jpg

Indus Script hypertext/hieroglyph: Dotted circle: दाय 1 [p= 474,2] dāya n. game ,play Pan5cad.; mfn. ( Pa1n2. 3-1 , 139 ; 141) giving , presenting (cf. शत- , गो-); m. handing over , delivery Mn. viii , 165 (Monier-Williams)

தாயம் tāyam :Number one in the game of dice; கவறுருட்ட விழும் ஒன்று என்னும் எண். Colloq. (Tamil)

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. 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. dā ʻrelic 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) धाव (p. 250) dhāva m f A certain soft, red stone. Baboons are said to draw it from the bottom of brooks, and to besmear their faces with it. धावड (p. 250) dhāvaḍa m A class or an individual of it. They are smelters of iron. In these parts they are Muhammadans. धावडी (p. 250) dhāvaḍī a Relating to the class धावड. Hence 2 Composed of or relating to iron. (Marathi).

PLUS

Hieroglyph: vaṭṭa 'circle'.

Thus, together, the hypertext reads rebus dhā̆vaḍ 'smelter'

The dotted circle hypertexts link with 1. iron workers called धावड (p. 250) dhāvaḍa and 2. miners of Mosonszentjános, Hungary; 3. Gonur Tepe metalworkers, metal traders and 4. the tradition of अक्ष-- पटल [p= 3,2] n. court of law; depository of legal document Ra1jat. Thus, अक्ष on Indus Script Corpora signify documents, wealth accounting ledgers of metal work with three red ores. Akkha2 [Vedic akṣa, prob. to akṣi & Lat. oculus, "that which has eyes" i. e. a die; cp. also Lat. ālea game at dice (fr.* asclea?)] a die D i.6 (but expld at DA i.86 as ball -- game: guḷakīḷa); S i.149 = A v.171 = Sn 659 (appamatto ayaŋ kali yo akkhesu dhanaparājayo); J i.379 (kūṭ˚ a false player, sharper, cheat) anakkha one who is not a gambler J v.116 (C.: ajūtakara). Cp. also accha3. -- dassa (cp. Sk. akṣadarśaka) one who looks at (i. e. examines) the dice, an umpire, a judge Vin iii.47; Miln 114, 327, 343 (dhamma -- nagare). -- dhutta one who has the vice of gambling D ii.348; iii.183; M iii.170; Sn 106 (+ itthidhutta & surādhutta). -- vāṭa fence round an arena for wrestling J iv.81. (? read akka -- ).

దాయము (p. 588) dāyamu dāyamu. [Skt.] n. Heritage. పంచుకొనదగినతంత్రిసొమ్ము. Kinship, heirsh జ్ఞాతిత్వము. A gift, ఈవి. దాయము, దాయలు or దాయాలు dāyamu. [Tel.] n. A certain game among girls. గవ్వలాట; గవ్వలు పాచికలు మొదలగువాని సంఖ్య. (Telugu)
ஏர்த்தாயம் ēr-t-tāyam , n. < id. +. Ploughing in season; பருவகாலத்துழவு. (W.)காணித்தாயவழக்கு kāṇi-t-tāya-vaḻakku, n. < id. +. Dispute between coparceners about hereditary land; பங்காளிகளின் நிலவழக்கு. (J.)தர்மதாயம் tarma-tāyam , n. < id. + dāya. Charitable inams; தருமத்துக்கு விடப்பட்ட மானியம். (G. Sm. D. I, ii, 55.)தாயம் tāyam

, n. < 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 எண். Colloq. 7. Gift, donation; கொடை. (யாழ். அக.) 8. Good opportunity; சமயவாய்ப்பு. (யாழ். அக.) 9. Affliction, distress; துன்பம். (யாழ். அக.) 10. Delay, stop; தாக்காட்டு. (W.) 11. A child's game played with seeds or shells on the ground; குழந்தை விளையாட்டுவகை. 12. Excellence, superiority; மேன்மை. தாயமாம் பதுமினிக்கு (கொக்கோ. 1, 28).தாயப்பதி tāya-p-pati

n. < id. +. City or town got by inheritance; தனக்கு உரிமையாகக் கிடைத்துள்ள வாழிடம்

அல்லது

ஊர். தாயப்பதிகள் தலைச்சிறந் தெங்கெங்கும் (திவ். திருவாய். 8, 6, 9).தாயபாகம் tāya-pākam

, n. < dāyabhāga. 1. Division of an estate among heirs; ஞாதிகள் தம்முள் பிரித்துக்கொள்ளும் உரிமைப்பங்கு. 2. A treatise on the Hindu law of inheritance by Jīmūtavākaṉa; பாகப்பிரிவினையைப்

பற்றி ஜீமூத வாகனர் இயற்றிய நூல். 3. Chapter on the law of inheritance in the Mitākṣara of Vijñāṉēšvara, 12th c. (R. F.); பன்னிரண்டாம் நூற்றாண்டில்

விஞ் ஞானேசுரர் இயற்றிய மிதாக்ஷரத்தில் தாயவுரிமை யைப்பற்றிக் கூறும் பகுதி.தாயம் tāyam, n. < 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 எண். Colloq. 7. Gift, donation; கொடை. (யாழ். அக.) 8. Good opportunity; சமயவாய்ப்பு. (யாழ். அக.) 9. Affliction, distress; துன்பம். (யாழ். அக.) 10. Delay, stop; தாக்காட்டு. (W.) 11. A child's game played with seeds or shells on the ground; குழந்தை விளையாட்டுவகை. 12. Excellence, superiority; மேன்மை. தாயமாம் பதுமினிக்கு (கொக்கோ. 1, 28).

See the dotted circle hieroglyph on the bottom of the sacred device, sangaḍa

Kot Diji type seals with concentric circles from (a,b) Taraqai Qila (Trq-2 &3, after CISI 2: 414), (c,d) Harappa(H-638 after CISI 2: 304, H-1535 after CISI 3.1:211), and (e) Mohenjo-daro (M-1259, aftr CISI 2: 158). (From Fig. 7 Parpola, 2013).

Distribution of geometrical seals in Greater Indus Valley during the early and *Mature Harappan periods (c. 3000 - 2000 BCE). After Uesugi 2011, Development of the Inter-regional interaction system in the Indus valley and beyond: a hypothetical view towards the formation of the urban society' in: Cultural relagions betwen the Indus and the Iranian plateau during the 3rd millennium BCE, ed. Toshiki Osada & Michael Witzel. Harvard Oriental Series, Opera Minora 7. Pp. 359-380. Cambridge, MA: Dept of Sanskrit and Indian Studies, Harvard University: fig.7

Dotted circles and three lines on the obverse of many Failaka/Dilmun seals are read rebus as hieroglyphs:

Hieroglyph: ḍāv m. ʻdice-throwʼ rebus: dhāu 'ore'; dã̄u ʻtyingʼ, ḍāv m. ʻdice-throwʼ read rebus: dhāu 'ore' in the context of glosses: dhā̆vaḍ m. ʻa caste of iron -smelters', dhāvḍī ʻcomposed of or relating to ironʼ. Thus, three dotted circles signify: tri-dhāu, tri-dhātu 'three ores' (copper, tin, iron).

A (गोटा) gōṭā Spherical or spheroidal, pebble-form. (Marathi) Rebus: khoṭā ʻalloyedʼ(metal) (Marathi) खोट [khōṭa] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge (Marathi). P. khoṭ m. ʻalloyʼ (CDIAL 3931) goTa 'laterite ferrite ore'.

m0352 cdef The + glyph of Sibri evidence is comparable to the large-sized 'dot', dotted circles and + glyph shown on this Mohenjo-daro seal m0352 with dotted circles repeated on 5 sides A to F. Mohenjo-daro Seal m0352 shows dotted circles in the four corners of a fire-altar and at the centre of the altar together with four raised 'bun' ingot-type rounded features. Rebus readings of m0352 hieroglyphs:

dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'

1. Round dot like a blob -- . Glyph: raised large-sized dot -- (gōṭī ‘round pebble);goTa 'laterite (ferrite ore)

2. Dotted circle khaṇḍa ‘A piece, bit, fragment, portion’; kandi ‘bead’;

3. A + shaped structure where the glyphs 1 and 2 are infixed. The + shaped structure is kaṇḍ ‘a fire-altar’ (which is associated with glyphs 1 and 2)..

Rebus readings are: 1. khoṭ m. ʻalloyʼgoTa 'laterite (ferrite ore); 2. khaṇḍā ‘tools, pots and pans and metal-ware’; 3. kaṇḍ ‘furnace, fire-altar, consecrated fire’.

Four ‘round spot’; glyphs around the ‘dotted circle’ in the center of the composition: gōṭī ‘round pebble; Rebus 1: goTa 'laterite (ferrite ore); Rebus 2:L. khoṭf ʻalloy, impurityʼ, °ṭā ʻalloyedʼ, awāṇ. khoṭā ʻforgedʼ; P. khoṭ m. ʻbase, alloyʼ M.khoṭā ʻalloyedʼ (CDIAL 3931) Rebus 3: kōṭhī ] f (कोष्ट S) A granary, garner, storehouse, warehouse, treasury, factory, bank. khoṭā ʻalloyedʼ metal is produced from kaṇḍ ‘furnace, fire-altar’ yielding khaṇḍā ‘tools, pots and pans and metal-ware’. This word khaṇḍā is denoted by the dotted circles.

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

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

See:

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

http://tinyurl.com/z3x7zev

These powerful narratives are also validated -- archaeologically attested -- by the discovery of Mohenjo-daro priest wearing (on his forehead and on the right shoulder) fillets of a dotted circle tied to a string and with a uttarīyam decorated with one, two, three dotted circles. The fillet is an Indus Script hypertext which reads: dhã̄i 'strand' PLUS vaṭa 'string' rebus: dhāvaḍ 'smelter'. The same dotted circles enseemble is also shown as a sacred hieroglyph on the bases of Śivalingas found in Mohenjo-dar. The dotted circles are painted with red pigment, the same way as Mosonszentjanos dice are painted with red iron oxide pigment.

वट [p= 914,3] m. (perhaps Prakrit for वृत , " surrounded , covered " ; cf. न्यग्-रोध) the Banyan or Indian fig. tree (Ficus Indica) MBh.Ka1v. &c RTL. 337 (also said to be n.); a pawn (in chess) L. (Monier-Williams) Ta. vaṭam cable, large rope, cord, bowstring, strands of a garland, chains of a necklace; vaṭi rope; vaṭṭi (-pp-, -tt-) to tie. Ma. vaṭam rope, a rope of cowhide (in plough), dancing rope, thick rope for dragging timber. Ka. vaṭa, vaṭara, vaṭi string, rope, tie. Te. vaṭi rope, cord. Go. (Mu.) vaṭiya strong rope made of paddy straw (Voc. 3150). Cf. 3184 Ta. tār̤vaṭam. / Cf. Skt. vaṭa- string, rope, tie; vaṭāraka-, vaṭākara-, varāṭaka- cord,string; Turner, CDIAL, no. 11212. (CDIAL 5220)vaṭa2 ʻ string ʼ lex. [Prob. ← Drav. Tam. vaṭam, Kan. vaṭi, vaṭara, &c. DED 4268] N. bariyo ʻ cord, rope ʼ; Bi. barah ʻ rope working irrigation lever ʼ, barhā ʻ thick well -- rope ʼ, Mth. barahā ʻ rope ʼ. (CDIAL 11212).

See: https://tinyurl.com/y85goask Wealth of a nation...

Trefoil decorated bull; traces of red pigment remain inside the trefoils. Steatite statue fragment. Mohenjo-daro (Sd 767). After Ardeleanu-Jansen, 1989: 196, fig. 1; cf. Parpola, 1994, p. 213. Trefoils painted on steatite beads. Harappa (After Vats. Pl. CXXXIII, Fig. 2) Trefoil on the shawl of the priest. Mohenjodaro. The discovery of the King Priest acclaimed by Sir John Marshall as “the finest piece of statuary that has been found at Moenjodaro….draped in an elaborate shawl with corded or rolled over edge, worn over the left shoulder and under the right arm. This shawl is decorated all over with a design of trefoils in relief interspersed occasionally with small circles, the interiors of which are filled with a red pigment “. Gold fillet with ‘standard device’ hieroglyph. Glyph ‘hole’: pottar, பொத்தல் pottal, n. < id. [Ka.poṭṭare, Ma. pottu, Tu.potre.] trika, a group of three (Skt.) The occurrence of a three-fold depiction on a trefoil may thus be a phonetic determinant, a suffix to potṛ as in potṛka.

Rebus reading of the hieroglyph: potti ‘temple-priest’ (Ma.) potR `" Purifier "'N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman), यज्ञस्य शोधयिट्रि (Vedic) Rebus reading is: potri ‘priest’; poTri ‘worship, venerate’. Language is Meluhha (Mleccha) an integral component of Indian sprachbund (linguistic area or language union). The trefoil is decoded and read as: potr(i).

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Indian Astronomy and the Yavanajātaka Date Fabrication -- Subhash Kak

June 20, 2019, 4:34 pm

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Indian Astronomy and the Yavanajātaka Date Fabrication

Subhash Kak

Jun 21, 2019

Most students of history have probably not heard of the question of the dating of the Yavanajātaka even though it is a significant milestone in the history of Indian science, and it has lessons both for the scholar and the layperson. The Yavanajātaka has long been believed to be the earliest Sanskrit treatise on Greek astrology in the framework of Indian models, and its date has implications for the understanding of the history of Indian astronomy.

According to scholarly analysis it is as late as early seventh century CE because it is around that time it is first mentioned in another text. If one could date it to, say, the second century CE, then one could claim that it had within it the foundations of Indian astronomy that were borrowed from the Greeks.

David Pingree, who was an influential academic in the history of science community, edited the text of the Yavanajātaka based on a single Nepalese manuscript which he described as extremely faulty. He changed the text quite liberally, in line with some preconceived notions about Indian science.

Based on his emendations, Pingree claimed that the Yavanajātaka was an astrological/astronomical work composed in 269/270 CE. by Sphujidhvaja, an “Indianized Greek” who lived in the Western Kṣatrapas, adding that the work was a versification of a prose original in Greek composed by Yavaneśvara in Alexandria in 149/150 CE. The dates were not in the manuscript; he had made them up. Furthermore, he had used to the two names of a single individual of the tradition, to create two personas.

Pingree published the new date in his book The Yavanajātaka of Sphujidhvaja (1978) [1]. This was sensational and the history of astronomy community around the world took note. Pingree’s claims were based on his readings of the last section of the Yavanajātaka, where mathematical astronomy is described.

The response

The Sanskritist and historian of science, Kripa Shankar Shukla, showed in 1989 that Pingree’s translation “was marred by faulting editing, the incorrect readings being adopted and the correct ones given in the apparatus criticus.” [2] In other words, the manuscript was not flawed and Pingree had discarded the correct material and substituted incorrect text in place. Pingree had failed to understand the basic, underlying mathematical bases of the text, and his conclusions were simply wrong.

The historian of astronomy Bill Mak adds in a recent paper: “The so-called Hipparchusʼ value for the length of the solar year as well as the “earliest zero” are all Pingreeʼs own emendations not attested in any extant manuscripts. This is certainly not good news, as it sounds like as if one of the most respected scholars in Indian history of science fabricated his findings.” [italics added] [3].

The backstory

Here’s the background to the story. After the end of the Second World War, Otto Neugebauer, the Austrian-American historian of science, in his study of Babylonian clay tablets showed that the Babylonians knew much more mathematics and astronomy than previously believed. This was widely welcomed for this meant the origins of science were not be seen as a uniquely Greek phenomenon as was commonly supposed by many European scholars. Neugebauer encouraged his doctoral student, David Pingree, to take these ideas further.

Sadly, Western historiography of the Indian sciences and the arts has been mired in colonialist and racist assumptions. They are so well entrenched that often the careless scholar is not aware of the bias and error. The bias is driven by the idea that Indian culture is deficient and incapable of science, and since India and Europe share the so-called Indo-European languages, anything of scientific value in India must have come from Europe or intermediaries. As a part of this idea, it is also assumed that India had no tradition of observational astronomy. David Pingree decided to find proof of this theory. His Ph. D. thesis was titled ‘Materials for the Study of the Transmission of Greek Astrology to India’ (1960).

We must note that this thesis runs counter to the understanding of Indian astronomy in the medieval world. For example, Sa’id al-Andalusi, who wrote Ṭabaqāt al-ʼUmam (Categories of Nations) in Muslim Spain in 1068, which is a fascinating text that assesses the sciences of different nations, says that the sciences, particularly mathematics and astronomy, are most advanced in India (calling it the first nation in science).

Pingree got started on his research when he was struck by the similarity between some Greek and Sanskrit terms. He says: “[In the Vatican Library,] in the margins of one such manuscript, Vaticanus graecus 1056, I noticed references to Indian astrological ideas. In the library I found a printed edition of Varahamihira’s Brhajjataka, and found therein Nagari transliterations of Greek technical terms. Since the material in Vaticanus Graecus 1056 was clearly translated from Arabic, it was clear that Greek astrology had travelled to India, from there to Islam, and thence to Byzantium.”

The origins of many of these Greek terms are contested. For example the word hora of Sanskrit is seen as a contraction of ahorātra (day-and-night) by some Sanskritists and not as a borrowing of Greek ὥρα. Furthermore, the reasons why a certain word is borrowed may have nothing to do with the absence of that name in the borrowing culture. For example, the Delhi Metro authority is using English colors names in Hindi. There is evidence of western movement of Indic tribes and we find the Mitanni Empire of West Asia in the second millennium BCE where the kings had Indo-Aryan names, and some commonality between Sanskrit and Greek terms could be traced to this earlier interaction. I mention this just to make the point that commonality of two or three terms could not, in itself, be sufficient proof for borrowing in one direction or another.

Pingree now devoted many years of his career to establish that there was literally no originality in Indian mathematical astronomy and it was derived either from Greek and Babylonian sources. What if there were no remotely similar materials in Babylonia or Greece? No problem, he said. If there was nothing in Greece and Babylonian science, then what was in India was from these lands and these sciences came to India after the Achaemenid period, before the Mauryas. Even the Vedāṅga Jyotiṣa of the Vedas that has an internal date of 1400 BCE was to be seen as being derived from the Babylonians.

In a paper titled ‘The Mesopotamian origin of early Indian mathematical astronomy’, Journal of the History of Astronomy (JHA), 1973, he says: “the origins of mathematical astronomy in India as just one element in a general transmission of Mesopotamian-Iranian cultural forms to northern India during the two centuries that antedated Alexander’s conquest of the Achaemenid empire.” [italics added] He was arguing for not only astronomy but other cultural forms — such as architecture, dance, music, and writing — to have come from the West.

In another paper, ‘The recovery of early Greek astronomy from India’, JHA, 1976, he proposed that if some science is not to be found in Greece, but it is in Indian texts, that it must be taken as lost Greek science.

This was an audacious idea from the perspective of the logical method, and he must have felt it was irrefutable. In theory, one could now show that science of any Nation A was borrowed from Nation B, because one did not need any linking evidence.

Pingree should have been more careful because his thesis that even mathematical tables in the siddhāntas were brought into India from Greece was shown to be wrong by the French historian of astronomy Roger Billard years earlier in 1971. In his book, L’Astronomie indienne [4], Billard studied the mean longitudes provided by the Indian astronomical siddhāntas. These are sidereal longitudes, deviating therefore from the corresponding modern values by the rate of precession.

Considering these deviations, he found that they agree at only one time, which must be the time when the parameters were obtained based on actual observations, and this must be the date of composition. Using this logic, Billard showed that Āryabhaṭa’s siddhānta had the perfectly reasonable internal date of 510 CE, and so were the dates of the other siddhāntas, and the observations had been made at the stated locations. Clearly, Indians were creating siddhāntas in response to observational data that they were obtaining on their own.

Error or fabrication

A much better manuscript has been found now that invalidates Pingree’s reconstructions [5], and this makes the mistakes in the translation pointed out earlier by Shukla look even more devastating. This should not have been a big deal in itself because all scholars make errors, however once they find their mistake, especially related to something huge like the date of the Yavanajātaka, they own up and make a correction.

I believe Mak calls the Pingree reconstruction a fabrication, which means the same as hoax, rather than a case of an incorrect reading, because Pingree did not publish a corrigendum.

One can only suppose that he believed so strongly in the broader theory, which might be called the Science and Culture Migration Theory, he was certain that his errors were not a big thing to dwell on as they were only a small element in a bigger picture.[6]

References

[1] Pingree, D.. 1978. The Yavanajātaka of Sphujidhvaja. Harvard Oriental Series. Cambridge: Harvard University Press.

[2] Shukla, K.S. 1989. The yuga of the Yavanajataka, David Pingree s text and translation reviewed. Indian Journal of History of Science 24:211–223.

[3] Mak, B.M. 2019. Greco-Babylonian astral science in Asia — Patterns of dissemination and transformation (East-West Encounter in the Science of Heaven and Earth 天と地の科学 — 東と西の出会い, edited by Tokimasa Takeda and Bill M. Mak) (PDF)

[4] Billard, R. 1971. L’Astronomie indienne (Paris: École Françaised’Extrême Orient)

[5] Mak, B. 2013. The Date and Nature of Sphujidhvaja’s Yavanajātakareconsidered in the light of some newly discovered materials, History of Science in South Asia 1: 1–20. (PDF)

[6] Danino, M. 2019. Fabricating Evidence in Support of the Aryan Invasion / Migration Theory.
https://medium.com/@subhashkak1/indian-astronomy-and-the-yavanaj%C4%81taka-date-fabrication-49dd83393e

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Reverse side of a clay "token" from Kanmer, Kutch, with incised signs depicting (from right to left) 'wild ass' and 'ladder' (photo by Indus Project of RIHN).

khara 'equus hemionus' rebus:khār 'blacksmith

śrēṣṭrī 'ladder' Rebus: seṭh ʻ head of a guild, Members of the guild (working with a furnace). Thus, guild-master of the guild of blacksmiths.

Token 3 of Kanmer

See: Herring bone (or, ladder?) Indus Script kuttu rebus kōḍa 'workshop' of khara 'equus hemionus' rebus: khār 'blacksmith'

4. Design principles of pictographic Indus Script, gleaned from 'unicorn', 'rim-of-jar' https://tinyurl.com/yya6g9gf

Khirsara1a tablet

Decipherment:Hypertext of Sign 336 has hieroglyph components: muka 'ladle' (Tamil)(DEDR 4887) Rebus: mū̃h'ingot' (Santali).PLUSSign 328 baṭa 'rimless pot' rebus: baṭa 'iron' bhaṭa 'furnace'. The hypertext reads: mū̃h bhaṭa 'ingot furnace'

A Copper Rein-Ring from Southern Iraq

A Copper Rein-Ring from Southern Iraq

Shrine of Two Headed Eagle, 2nd cent.BCE

Translation by Sayana/Wilson RV 4.27:

Contributions to the Interpretation of the Veda Maurice Bloomfield in: Journal of the American Oriental Society Vol. 16 (1896), pp. 1-42 Published by: American Oriental Society DOI: 10.2307/592485 Stable URL: http://www.jstor.org/stable/592485

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.

Battles of śyena, 'eagle' to obtain Soma, wherein ayojālāni 'nets of iron' are pierced through and won over by गरुडी सुपर्णी to recover ambrosia, amr̥tam (metaphor for Soma).

There are two rebus readings of śyena, 'eagle' rebus 1) śeṇvi 'general', 2) sena 'thunderbolt'.

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

Gold sheet and silver, Late 3rd/early 2nd millennium B.C.E.

"

गरुड to obtain ambrosia (Soma) from palace of Indra.

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) PLUS kambha 'wing' rebus: kammata 'mint' PLUS kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' PLUS arye 'lion'āra 'brass'.

sēṇa 'eagle' Indus script hieroglyph, senmurv (Ancient Persian) are Ancient Near East intimations of (army) weapon-making, smelting ores.

The link of eagle and smelting of the early Bronze Age is evidenced by a Bogazkoy seal with Indus Script inscription.

A Steatite vessel, 16 cm. square, from Tepe YahyaHarappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255

Sculptural frieze. stūpa of Sanchi, second half of 2nd century BCE (Kramrisch,1954, pic13)

Sanchi. Winged composite animal: tiger, eagle. The last two letters to the right of this inscription in Brahmi form the word "danam" (donation). This hypothesis permitted the decipherment of the Brahmi script by James Prinsep in 1837. The Indus Script hypertext of the composite animal:

Two seals from Gonur 1 in thee Murghab delta; dark brown stone ((Sarianidi 1981 b: 232-233, Fig. 7, 8) eagle engraved on one face.

Jeanny Vorys Canby has demonstrated the depiction of 'overflowing pots' hieroglyphs on the Ur-Nammu stela. This insight reinforces the purport of the stela: to record the Bronze Age metals and materials used in the building activity directed by Ur-Nammu.

कारकुन kārakuna m ( P A factor, agent, or business-man.) A clerk, scribe, writer. सवाहातलेखणीचाका0 A term of ironical commendation for a clerk.

Bengal government’s open abetment to lynch mob mentality has destroyed doctor-patient relationship in state, says doctor

-- Deciphering Paśupati seal m0304 strings of Indus Script hypertexts kamaḍha 'penance' rebus kammaṭa 'mint', kandhani 'belt' rebus kaṇḍhā'market town', kunda'a treasure of Kubera', wealth-accounting ledgers

m0304

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

°ṭhā m. ʻcoast, edge, border ʼ, kã̄ṭhẽ n. ʻarable land near the edge of a hill. ʼ -- L. P. kaṇḍh f. ʻwall ʼperh. infl. in meaning by kanthā -- 1.S.kcch. kaṇṭho m. ʻbank, coast ʼ(CDIAL 2680)

Crooked buffalo-horns: 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.

Two antelopes look back: krammara 'look back' rebus: kamar 'blacksmith'

Face: mũh 'a face' rebus: mũhe 'ingot', mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes, 'smelters'. (Santali)

See: Donal B Buchanan's reconstruction of Mohenjo-daro broken Pasupati seal m0304 unambiguous hieroglyphs read rebus as mint metalwork catalog http://tinyurl.com/hoq2t3e

m0304 seal of Mohenjo-daro showing a seated person surrounded by animals has been deciphered.

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.

(Three-faced hieroglyph-multiplex)

karaṇa 'dance step, dance posture' rebus: karaṇa 'scribe'. meṭṭu 'step' meḍ iron, मेधा, धन, मेधः' yajna.

Eight such copper anthropomorphs decorate the lid of the wooden coffin, signifying a guild.

The face is that of a bull with high horns like those of a zebu, bos indicus.

The decorative hieroglyph between the horns is a ficus leaf which is loa 'ficus glomerata' rebus: loh 'copper, metal'.

The bull's face is an Indus Script hypertext: dhangra 'bull' rebus: dhangar

Furnaces and zebu of 4MSR (Anupgarh) Zebu figurines of 4MSR signify पोळ pōḷa, 'zebu, bos indicus' rebus: pōḷa 'magnetite, ferrous-ferric oxide Fe3O4' and associated furnaces of the site affirm the metalwork wealth created by the smiths and seafaring merchants.

A defining discovery of Binjor agnikunda सोमः-संस्था on Sarasvati River basin

A stunning discovery was reported in April 2015 from the excavations at Binjor (near Anupgarh, 4 MSR site) of a yajna kunda with an octagonal pillar.

This excavation was done by the students of Inst. of Archaeology, National Museum, New Delhi.

This is a humble tribute to these young students led by Dr. Sanjay Jha of ASI. who have redefined the roots of Bhāratiya Sabhyatā.

In my view, this is a defining discovery for Bharatiya Itihaas, affirming archaeologically the vedic heritage which emerged on the Vedic Sarasvati River basin.

I request for wide dissemination of a preliminary report on this momentous discovery and on the site.

Binjor agni kunda signifying a Soma yajña with octagonal, अष्टाश्रि yūpa.

A Steatite vessel, 16 cm. square, from Tepe Yahya
Harappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255

Furnaces and zebu of 4MSR (Anupgarh)

Zebu figurines of 4MSR signify पोळ pōḷa, 'zebu, bos indicus' rebus: pōḷa 'magnetite, ferrous-ferric oxide Fe3O4' and associated furnaces of the site affirm the metalwork wealth created by the smiths and seafaring merchants.