Indus Script tantra yukti for ‘wealth’ categories

August 6, 2019, 7:26 pm

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https://www.academia.edu/40025022/Indus_Script_tantra_yukti_for_wealth_categories

•Doctrine of Tantra Yukti is a scientific method for construction of texts.

•This method is seen in Indus Script Cipher and will be demonstrated in this presentation.

•

•Trans:Tantra is synonymously used with äyurveda, a branch of Veda, education, aphorism (CarakaSamhita 12.29-39)

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सदाशिव, Sadāśiva Rudra, Bhita, 2nd cent. with five mũh, 'faces' rebus mũha 'ingots' of five dhatu

August 6, 2019, 9:55 pm

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See: Textual evidence that Rudra-Siva is integral to Vedic pantheon. So is linga a hieroglyph denoting metalwork in a smithy, temple.

Mirror: https://www.academia.edu/10841276/Textual_evidence_that_Rudra-Siva_is_integral_to_Vedic_pantheon._So_is_linga_a_hieroglyph_denoting_metalwork_in_a_smithy_temple

Terracotta Panchamukha linga.Bhita, ca. 2nd cent. BCE - 2nd Cent. CE (After Fig. 6.2 Fig. 2.2, Fig. 5.1, Fig.3.1 and 3.2 in: Gayatri, Manola K., Interpreting symbolism of the Linga: Contrasting Freudian analysis with ideas of the Indian Linga Cult.

The first ever sculpture of Sadasiva as a lingam with five faces was found in Bhita, near Allahabad, and dates to the 2nd century CE (B.N. Sharma (1976). Iconography of Sadasiva. Abhinav Publications. pp. 1–3. )
"His five faces, Ishana, Tatpurusha, Vamadeva, Aghora and Satyojata are known as Panchabrahmas (The five creators), the emanations towards the four directions and upwards from the nishkala (Formless) Parashivam. Kamiga Agamam, the first Agamam of 28 Sivagamas depicts Sadasiva as having five faces and ten arms. His five right hands hold Trishula, Axe, Katvanga, Vajraand
Abhaya while his five left hands hold Snake, Matulunga fruit, Nilotpala, Damaru, Rudraksha rosary and Varadam.The consort of Sadasiva is goddess Gayatri, a form of Parvati often known as Manonmani in Agamic texts."https://en.wikipedia.org/wiki/Sadasiva

Sadasiva from West Bengal. 11th c. CE
Affiliation	Absolute Being, Shiva
Abode	Sadakya Tattva, Celestial Maha Kailasam

Sadashiva idol, Bangkok National Museum

Sadasiva standing midst Brahma and Vishnu. 10th c. CE sculpture at Vat Phou, Laos.

सदाशिव, Sadāśiva, Tamil: சதாசிவம் ), is the Supreme Being Lord Parashivam in the Mantra marga Siddhanta sect of Shaivism. Sadasiva is the omnipotent, subtle, luminous absolute. The highest manifestation of almighty who is blessing with Anugraha or grace, the fifth of Panchakritya - "Holy five acts" of Shiva. Sadasiva is usually depicted having five faces and ten hands, is also considered as one of the 25 Maheshwara murtams of Lord Shiva. Sivagamas conclude, Shiva Lingam, especially Mukhalingam, is another form of Sadasiva.

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

Mleccha vs. Arya is a false dichotomy posited by some scholars. Mleccha and Arya were Bharatam Janam.

Linga connoted मेंढा [ mēṇḍhā ] 'stake' rebus: meḍ 'iron, metal' (Ho. Munda). Face ligatured to a stake (linga) connoted mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali). Thus the artists represented Ekamukhalinga as ingot of iron. In a Ekamukhalinga of Mathura of 1st cent. CE, the ligatured stake (linga) is shown together with a tree which connotes:kuṭi 'tree' rebus: kuṭhi 'smelter'. Since kole.l 'smithy' connoted kole.l 'temple' (Kota),the sacredness or veneration associated with the sculptures in the temple were shown with symbols of stake + face + brick kiln which connoted the life-activity of metalworkers who created wealth-yielding iron or metal ingots using a smelter.

Manusmriti (II. 17-23) is wrongly interpreted as setting apart mleccha-s from Aryaavarta -- in terms of geography, culture and purity..(cf. Deshpande, MM and PF Hook (eds), Aryan and Non-Aryan in India, Michigan papers on south ad southeast Asia, No. 14 (Ann Arbor, 1979); Jim G Shaffer, 'The Indo-Aryan invasions: cultural myth and archaeological reality', Paper presented at the Ninth Annual Wisconsin Conference on South Asia, Nov. 1980). Manusmriti simply distinguished between two dialectical versions of language of the times.

Chandas was the grammatical poetic diction for the mantras bequeathed to us as ancient texts such as the Rigveda. There is no documentation available for the grammar of Chandas. Pingala's Chandas sastra was only a Samskritam treatise on prosody. Panini documented the grammar for Samskritam, the literary version to render morphology and syntax avoiding semantic ambiguities and with grammatical precision. Mleccha was the parole, lingua franca of the seafaring artisans and merchants engaged in maritime trade exchanges. All Bharatam Janam were metalcaster folk.

It is incorrect to assume that Rudra plays no role in Soma yajna. An entire sukta in Rigveda is addressed jointly to Soma-Rudra. Vajasneyi rescension of Sukla Yajurveda addresses Rudra: 'Thou art gracious (Siva) by name.' Taittiriya Samhita of Krishna Yajurveda mentions Siva several times while referring to Rudra. Siva as an epithet is also used for Indra, Mitra, Agni. In Rigveda, Rudra is 'asau devam' -- that divinity.

Tracing the semantics of linga as presented on sculptures and reliefs by ancient sculptors

Relief with Ekamukha linga. Mathura. 1st cent. CE (Fig. 6.2). This is the most emphatic representation of linga as a pillar of fire. The pillar is embedded within a brick-kiln with an angular roof and is ligatured to a tree. Hieroglyph: kuTi 'tree' rebus: kuThi 'smelter'. In this composition, the artists is depicting the smelter used for smelting to create mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) of mēḍha 'stake' rebus: meḍ 'iron, metal' (Ho. Munda). मेड (p. 662) [ mēḍa ] f (Usually मेढ q. v.) मेडका m A stake, esp. as bifurcated. मेढ (p. 662) [ mēḍha ] f A forked stake. Used as a post. Hence a short post generally whether forked or not. मेढा (p. 665) [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. मेढी (p. 665) [ mēḍhī ] f (Dim. of मेढ) A small bifurcated stake: also a small stake, with or without furcation, used as a post to support a cross piece. मेढ्या (p. 665) [ mēḍhyā ] a (मेढ Stake or post.) A term for a person considered as the pillar, prop, or support (of a household, army, or other body), the staff or stay. मेढेजोशी (p. 665) [ mēḍhējōśī ] m A stake-जोशी; a जोशी who keeps account of the तिथि &c., by driving stakes into the ground: also a class, or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers, almanack-makers &c. They are Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The hereditary or settled (quasi fixed as a stake) जोशी of a village.मेंधला (p. 665) [ mēndhalā ] m In architecture. A common term for the two upper arms of a double चौकठ (door-frame) connecting the two. Called also मेंढरी & घोडा. It answers to छिली the name of the two lower arms or connections. (Marathi)

मेंढा [ mēṇḍhā ] A crook or curved end rebus: meḍ 'iron, metal' (Ho. Munda)

See: http://bharatkalyan97.blogspot.in/2015/02/a-critique-of-general-theory-of-images.html for the sculpture of three stakes on Sit Shamshi bronze.

Anthropomorphic form ligatured to linga. Mathura. 2nd cent. CE (Fig. 2.2) mũh 'face' (Hindi) rebus: mũhe'ingot' (Santali)

múkha n. ʻ mouth, face ʼ RV., ʻ entrance ʼ MBh.Pa. mukha -- m.; Aś.shah. man. gir. mukhato, kāl. dh. jau. °te ʻ by word of mouth ʼ; Pk. muha -- n. ʻ mouth, face ʼ, Gy. gr. hung. muy m., boh. muy, span. muí, wel. mūī f., arm. muc̦, pal. mu', mi', pers. mu; Tir. mū ʻ face ʼ; Woṭ. mū m. ʻ face, sight ʼ; Kho. mux ʻ face ʼ; Tor. mū ʻ mouth ʼ, Mai. mũ; K. in cmpds. mu -- ganḍ m. ʻ cheek, upper jaw ʼ, mū -- kāla ʻ having one's face blackened ʼ, rām. mūī˜, pog. mūī, ḍoḍ. mū̃h ʻ mouth ʼ; S. mũhũ m. ʻ face, mouth, opening ʼ; L. mũh m. ʻ face ʼ, awāṇ. mū̃ with descending tone, mult. mũhã m. ʻ head of a canal ʼ; P. mū̃h m. ʻ face, mouth ʼ, mū̃hã̄ m. ʻ head of a canal ʼ; WPah.śeu. mù; ʻ mouth, ʼ cur. mū̃h; A. muh ʻ face ʼ, in cmpds. -- muwā ʻ facing ʼ; B. mu ʻ face ʼ; Or. muhã ʻ face, mouth, head, person ʼ; Bi. mũh ʻ opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing) ʼ; Mth. Bhoj. mũh ʻ mouth, face ʼ, Aw.lakh. muh, H. muh, mũh m.; OG. muha, G. mɔ̃h n. ʻ mouth ʼ, Si. muya, muva. -- Ext. -- l<-> or -- ll -- : Pk. muhala -- ,muhulla -- n. ʻ mouth, face ʼ; S. muhuro m. ʻ face ʼ (or < mukhará -- ); Ku. do -- maulo ʻ confluence of two streams ʼ; Si. muhul, muhuna, mūṇa ʻ face ʼ H. Smith JA 1950, 179.; -- -- ḍ -- : S. muhaṛo m. ʻ front, van ʼ; Bi. (Shahabad) mohṛā ʻ feeding channel of handmill ʼ. -- Forms poss. with expressive -- kkh -- : see múkhya -- . -- X gōcchā -- s.v. *mucchā -- (CDIAL 10158).

Linga worship relief. Bhutesvara, Mathura. 1st cent. BCE (Fig. 5.1)

https://www.academia.edu/3389048/Interpreting_the_Symbolism_of_the_Linga_Between_Freud_and_early_Indian_Linga_Cults

Rudra is father of the Maruts and hence the divinity of storms (RV 2.33.1):

आ ते पितर मरुताम् सुम्नं एतु मा नह सूर्यस्य संदृशो युयोथाः
अभी नो वीरो अर्वति क्षमते प्र यजायेमहि रूद्र प्रजाभिः
2.033.01 Father of the Maruts [idam pitre maruta_m: RV 1.114.6], may the felicity extend to us; exclude us not from the sight of the sun; (grant that) our valiant (descendants) may overcome (these) foes, and that we may be multiplied, Rudra, by (our) progeny.

RV 6.49.10 calls Rudra 'bhuvanasya pitarah' (Father of the Universe)

भुवनस्य पितरं गीर्भिराभी रुद्रं दिवा वर्धया रुद्रमक्तौ |बृहन्तम् ऋष्वं अजरम् सुषुम् ऋधग़ घुवेम कविनोषितासः|| RV 6.49.10

6.049.10 Exalt Rudra, the father of the universe, with these hmns by day; (exalt) Rudra (with them) by night; animated by the far-seeing, we invoke him, mighty, of pleasing aspect, undecaying, endowed with felicity, (the source of) prosperity.

RV 2.33.9 calls Rudra as “īśānādasya bhuvanasya” (Lord or Sovereign of the Universe) :

स्थिरेभिर् अङ्गैः पुरुरूप उग्रो बभ्रुः शुक्रेभिः पि-पिपिशे हिरण्यैः

ईशानादस्य भुवनस्य भूरेर्न वा उ योषद रुद्रादसुर्यम ||

2.033.09 (Firm) with strong limbs, assuming many forms fierce, and tawny-coloured, he shines with brilliant golden ornaments; vigour is inseparable from Rudra, the supreme ruler and lord of this world. [Vigour: asuryam = bala, strength; or, it may connect Rudra with the asuras].

Rudra wields the vajra weapon (RV 2.33.3)

श्रेष्ठो जातस्य रूद्र श्रियासि तवस्तमस तवसाम् वज्रबाहो

पर्षि णः पारम् ऋलतहसः स्वस्ति विश्वा अभीती रपसो युयोधि

2.033.03 You, Rudra, are the chief of beings in glory; you, wielder of the thunderbolt, are the might of themighty; do you waft us in safety over (the ocean) of sin; repel all the assaults of iniquity.

Rudra is fierce:

सतुहि श्रुतम् गर्तसदं युवानं मर्गं न भीममुपहत्नुमुग्रम |

मृळा जारित्रे रूद्र स्तवानो अन्यम् ते अस्मन्नि वपन्तु सेनाः 2.33.11

2.033.11 Glorify the renowned Rudra, riding in his car, ever youthful, destructive, fierce like a formidable wild beast; Rudra, propitiated by praise, grant happiness to him who praises (you), and let your hosts destroy him who is our adversary.

Rudra is invoked to be gracious and to bring bliss to the worshipper (RV 1.114.2):

मर्ळा नो रुद्रोत नो मयस कृधि क्षयद्वीराय नामसँ विधेम ते

यच् छम् च योश च मनुर आयेजे पिता तद अश्याम तव रूद्र प्रणीतिषु

Translation: Be gracious to us, Rudra; grant us happiness, for we worship the destroyer of heroes with oblations; and, by your directions, Rudra, may we obtain that freedom from disease and exemption from dangers which our progenitor, Manu, bestowed upon us, (having obtained them from the divinities).

Who is so brilliant as S'amyu, who gratifies like gold, the best of divinities, the provider of habitations. (RV 1.43.5)

Refrring to Rudra as the mighty divinity with braided hair, RV 1.114:

इमा रुद्राय तवसे कपर्दिने कषयद्वीराय पर भरामहे मतीः |

यशा शं असद द्विपदे चतुष्पदे विश्वम् पुष्टं ग्रामे अस्मिन्न् अनातूरम् ||

Translation of RV 1.114.1: We offer these praises to the mighty Rudra, with the braided hair, the destroyer of heroes, in order that health may be enjoyed by bipeds and quadrupeds, and that all being sin this villag may be (well) nourished and exempt from disease. [Rudra; he cause sall to weep (rodayati) at the end of the world; or rut, signifying pain, pain of living, which Rudra drives away (dravayati); or, rut, may mean 'word or text or the upanis.ads of the vedas' by which he is approached or propitiated (druyate); or, rut, may mean 'holyor divine speech or wisdom' which he confers (ra_ti) upon his worshippers; or, rut, may mean 'darkness' that which invests of obstructs (runaddhi) all things and which Rudra dissipates (vr.na_ti); or, while the gods were engaged in battle with the asuras, Rudra, identified with Agni, came and stole their treasure; after conquering the enemy, the gods searched for the stolen wealth, and recovered it from the thief, who wept (arudat), and Agni was thence called Rudra (Taittiri_ya Sam.hita_ 1.5.1.1). With braided hair: kapardine, fr. kaparda, jat.a_ of S'iva; hence, = jat.ilaya. S'iva is recognized as Rudra; Destroyer of heroes: ks'yad vi_ra_ya, in whom heroes (vi_ra) perish (vinas'yanti); or,of whom the imperial (ks.ayantah pra_ptais'varyah) heroed (that is, the Maruts) are the sons].

Doris Srinivasan presents key attributes of Rudra from ancient texts (Srinivasan, Doris M., 1983,Vedic Rudra-Siva, JAOS103.3, p.544. The full text of Doris Srinivasan's article is embedded for ready reference.):https://www.scribd.com/doc/255920234/Vedic-Rudra-Siva-by-Doris-M-Srinivasan-1983

Rudra is not anthropomorphic. In AV 11.2.2.7, he is thousand-eyed (just as a thousand eyes are ascribed to Varuna in Rigveda: RV 7.34.10 (this is just a metaphor for all-comprehensive sight). His belly is blue, back is red (AV 15.1.7.8). His neck is blue (VS 16.7). The colour of his tuft is blue (AV 2.27.6).

He is of copper colour, red and brown (VS 16.6; TS 4.5.1i). His hair is braided, knotted like a cowrie shell (RV 1.114.1.5; TS 4.5.5d; 5.9c).

He protects assailers, robbers, burglars and pilferers (TS 4.5.3a,c,d,f).

Sataridriya of Yajurveda (TS 4.5; VS 16) present Rudra in larger than life form, visvarupa. TS 5.4.2 and 4 praise Rudra as lord of cattle, food, fields, forests, chariots. He is fused with Agni in Atharva veda.

He is worshipped by Vraatya (AV 15.1.5)

Rigveda Sukta 7.46: Translation: Note. The reference to blazing weapon is consistent with Atharvaveda Skambha Sukta venerating Rudra as a blazing pillar of light, pillar of fire. This is consistent with Satapatha Brahmana of Yajurveda (VI.1.3.10) which says emphatically:अग्निर्वै रुद्रः 'Agni is Rudra'. Atharvaveda skambha sukta elaborates on the blazing pillar of light as a manifestation of Rudra. Satapatha Brahmana (VI.1.3.17) notes that the highest form of Rudra is the same as Aditya, the Sun, hence the pillar of light appellation

Svetasvatara Upaishad makes Rudra the supreme divinity:

yo devānāṃ prabhavaś codbhavaś ca viśvādhiko rudro maharṣiḥ /
hiraṇyagarbhaṃ paśyata jāyamānaṃ sa no buddhyā śubhayā saṃyunaktu // (Sv. Up.4.12)

Translation: He, the creator of the divinities and the bestower of their powers, the Support of the universe, Rudra the omniscient, who at the beginning gave birth to Hiranyagarbha−may He endow us with clear intellect.

इमा रुद्राय स्थिरधन्वने गिरः क्षिप्रेषवे देवाय स्वधात्ने
अषाळ्हाय सहमानाय वेधसे तिग्मायुधाय भरता श्रुणोतु नः|
स हि क्षयेण क्षम्यस्य जन्मनः साम्राज्येन दिव्यस्य चेतति
अवन्न अवन्तॆर् उप नो दुरश् चरानमीवो रुद्र जासु नो भव |
या ते दिद्युद् अवसृष्टा दिवस् परि क्ष्मया चरति परि सा वृणु नः
सहस्रं ते स्वपिवात भेषजा मा नस तोकेषु तनयेषु रीरिषः| (RV 7.46)

7.046.01 Offer these praises to the divine Rudra, armed with the strong bow and fast-flying arrows, the bestower of food, the invincible, the conqueror, the creator, the wielder of sharp weapons; may he hear our (praises).
7.046.02 He is known by his rule over those of terrestrial birth, by his sovereignty over those of celestial (origin); protecting our progeny, Rudra, propitiating you (by praise), come to our dwellings, and be to them a guardian against disease.
7.046.03 May your blazing (weapon), which, discharged from heaven, traverses the earth, avoid us; thine, appeaser of the wind, are a thousand medicaments; inflict not evil upon our sons and grandsons.
7.046.04 Harm us not, Rudra; abandon us not; let us not fall under the bondage of you when displeased; make us partakers of the life-promotion sacrifice; and do you, (gods), ever cherish us with blessings.

"...the most prevalent and important early saivite icon is the linga. The provenance of these linga icons indicate that worship of the membrum virile is entirely indigenous and that it is most pervasive in those geographic regions that are the most closely associated with Aryan culture. Brahmanical literature also sustains a cogent, non-erotic meaning for linga, which is applied in passages related to Rudra-Siva and his capacity to make himself immanent in phenomenality. In consequence, the linga icon may disavow Siva's non-Vedic affinities, and indicate instead his Vedic background." (ibid., p.555) Thus Doris Srinivasan leads upto Hinduistic Siva and NOT an 'outsider' as presumed by referring to Rudra-Siva's non=Aryan roots. This, in simple terms, means that mleccha were as much Aryan as the Aryans themselves. Since Manusmriti distinguishes mleccha and arya only in linguistic terms, the mleccha speech was the parole, while the Aryan diction or chandas was considered literary, fit for texts and performance of Yajna-s chanting the mantras without any mis-pronunciations. A consequence of this 'insider' view of Rudra-Siva is that mleccha an arya together were dasyu, the daha, people called Bharatam Janam.

That Rudra was an integral part of the Vedic pantheon is emphatic in RV 7.40.5 which lists Rudra together with Varuna, Mitra, Aryaman, Aditi, Vishnu, Asvins:

अस्य देवस्य मीळ्हुषो वया विष्णोरेषस्य परभ्र्थे हविर्भिः |विदे हि रुद्रो रुद्रियं महित्वं यासिष्टं वर्तिरश्विनाविरावत || RV 7.40.5

7.040.05 I propitiate with oblations the ramifications of that divine attainable Vis.n.u, the showerer of benefits; Rudra, bestow upon us the magnificence of his nature; the As'vins have come to our dwelling abound with (sacrificial) food. [Ramifications: vaya_h, branches; all other deities, as it were, branches of Vis.n.u: anye deva_h s'a_kha_ iva bhavanti; citing a text: vis.n.u is all divinities, vis.n.uh sara_ devata_ iti s'ruteh: vis.nuh sarva_ devata_h (Aitareya Bra_hman.a1.1)].

The divinity associated with RV 7.060.12, the Mahamrutyunjaya mantra is Rudra as the liberator from death, while the other ricas invoke the marudgaNa (the Rishi is Vasishtha Maitravaruni):

त्र्यम्बकं यजामहे सुगंधिम पुष्टिवर्धनं

उर्वारुकम् ईव बन्धनान् मृत्योर मुक्षीय मामृतात् || (RV 7.060.12)

7.059.12 We worship Tryambaka, whose fame is fragrant, the augmenter of increase; may I be liberated from death, and, like the urva_ruka from its stalk, but not to immortality. [Tryambaka: the father, ambuka of the three deities, Brahma, Vis.n.u and Rudra; also identified with mahatva (R.gvidha_na); whose fame is fragrant: sugandhim = prasa_ritapun.ya ki_rtim, whose fame of virtue is spread; in like manner as the fragrance of a tree full in flower sheds sweetness, so spreads the fragrance of holy actions; the augmenter of increase: pus.t.i vardhanam, the augmenter of nutrition, jagad-vi_jam, the seed of the world; or, the multiplier of good things subservient to objects of bodily enjoyment, wealh, s'ari_radhana_divis.aya_n vardhayati yah; may I be liberated: mr.tyor maks.iya = may I be liberated from the world, or the revolutions of life and death; may I attain moks.a; urva_ruka = karkat.i, a species of cucumber; or, karkandhu, which, when ripe falls of itself from its stalk; but not to immortality: ma_mr.ta_t ma_ a_ amr.ta, not to or until the immortal or immortality; either the long life of the gods or svarga paradise; tryambaka = na_tratrayopeta_m rudram, the triocular rudra; sugandhim = divya gandhopetam, of celestial fragrance (yatha_ vr.ks.asya sampus.pitasya du_ra_dgandho va_tyevam pun.yasya kr.rman.o du_ra_dgandho va_ti: Taittiri_ya A_ran.yaka)].

"In the various recensions of the Yajur Veda is included a litany of stanzas praising Rudra: (Maitrāyanī-Samhitā 2.9.2, Kāthaka-Samhitā 17.11, Taittirīya-Samhitā 4.5.1, and Vājasaneyi-Samhitā 16.1–14). This litany is subsequently referred to variously as the ŚhataRudriyam or simply Rudram. It consists of two parts, the first part as Namakam (because many of the verses commence with the word “namah” ), and the second part, as Chamakam because of the repeated use of the words “Chame”. Rudram is divided into 11 sections called Anuvakas. In the first Anuvaka, Rudra is asked to turn away his Ghora rupa (fierce appearance) and to please keep his weapons at bay. Having been pacified, Rudra is requested to destroy the sins of those for whom it is being chanted. It is extolled as the death defying hymn to the diety Rudra . This litany used to be recited during the agnicayana ritual (“the piling of Agni”), and it later became a standard element in Rudra liturgy." https://bidindia.wordpress.com/2013/01/15/rudra-in-ved/

त्रि --अम्बकः (also त्रियम्बक in the same sense though rarely used in classical literature) 'having three eyes', N. of Śiva.; त्रियम्बकं संयमिनं ददर्श Ku.3.44; जडीकृतस्त्र्यम्बकवीक्षणेन R.2. 42;3.49. ˚सखः an epithet of Kubera; कुबेरस्त्र्यम्बकसखः Akअम्बका an epithet of Pārvatī (Apte Samskritam lex.)

Rebus: अम्बक [p= 83,2] [L=14392] copper L. (अम्बक ambaka, 'Eye' read rebus, the dotted circle may thus denote 'copper'). *அம்பகம்¹ ampakam

, n. < ambaka. 1. Eye; கண்.

(பிங்.)

2. Copper; செம்பு. (மூ.அ.)
అంబ [ amba ] amba [Skt.] n. Mother; a name of Durga. తల్లి, పార్వతి. అంబాత్రయము = జ్ఞానాంబ, భ్రమరాంబ, మాకాంబ.
అంబకము [ ambakamu ] ambakamu. [Skt.] n. An eye. An arrow. కన్ను, బాణము. Swa 3. 5. R. 5. 60. (Telugu)

बारा ज्योतिलिंगें [ bārā jyōtiliṅgēṃ ] n pl The twelve lingams of Shiva. These are सोमनाथ found at सोरठ, महाकाल.. उज्जनी, केदार.. बदरी, विश्वेश्वर.. काशी, ओंकारेश्वर ..महेचर, त्र्यंबकेश्वर.. त्र्यंबक, धृष्मेश्वर.. येरूळ, नाग- नाथ.. अवंढें, बैद्यनाथ.. परळी, भीमाशंकर.. भीमा, मल्लिकार्जुन. श्रीशैल, रामेश्वर.. सेतुबंध.(Marathi)

Trambakeshwar (Trimbakeshwar) is an ancient Hindu temple in the town of Trimbak, in the Nashik District of Maharashtra, India, 28 km from the city of Nashik. It is dedicated to Lord Shiva and is one of the twelve Jyotirlingaas.

It is located at the source of the Godavari River, the longest river in peninsular India. The Godavari River, which is considered sacred within Hinduism, originates from Bramhagiri mountains and meets the sea near Rajahmudry. Kushavarta, a kund is considered the symbolic origin of the river Godavari, and revered by Hindus as a sacred bathing place. http://trimbakeshwar.net/

*triyambuka ʻ meeting of three waters ʼ. [tri -- , ámbu -- ]P. (Raghu Vira) trimmū ʻ name of a partic. canalhead at the juncture of the Chenab and the Jhelum rivers ʼ.(CDIAL 6042).Ambha & Ambho (nt.) [see ambu] water, sea Dāvs iv.54. (Pali)

Hieroglyph: अम्बक [p= 83,2] [L=14392] n. शिव's eye Ba1lar. (cf. त्र्य्-म्बक) an eye L.

त्र्य्--म्बक [p= 463,1] m. " three-eyed " (originally probably " three-mothered " fr. the threefold expression /अम्बे /अम्बिक्/ए ऽम्बालिके VS. &c; cf. त्रि-मात्/ऋ and त्रैमातुर) रुद्र or (later on) शिव RV. vii , 59 , 12 VS. &c (त्रिय्- Kapisht2h. viii , 10 R. vii Kum. iii , 44 ; cf. Pa1n2.6-4 , 77 Va1rtt. Pat. ) N. of one of the 11 रुद्रs MBh. iii Hariv. VP. i , 15 , 123 NarasP. v , 9 (= त्रैय्°) the cakes sacred to रुद्र त्र्य्म्बक TS. iii TBr. i Ka1t2h. S3Br. S3a1n3khBr. Ka1tyS3r. A1s3vS3r.sg. the ceremony in which those cakes , are offered S3a1n3khS3r. xiv , 10 , 21 N. of a sacred bathing-place at the source of the गोदावरी (commonly called Trimbak, and renowned for a temple of the three-eyed god शिव) n. N. of a लिङ्ग S3ivaP. i , 38 , 19 mfn. knowing the 3 वेदs or pervading the 3 worlds TejobUp. 6 f. पार्वती Devi1P. ?? (Monier-Williams)

Listen to the chantings of prayers in Rudra Sukta from Rigveda including the RV 7.46; thanks to Akshay Anchan who has rendered the texts together with the chantings in the Vedic tradition.

https://www.youtube.com/watch?v=0miE2j-X0Gw (14:26)

Published on Mar 26, 2013

Rudra sukta from rigveda recitation by vedic pundits with text in devanagari
Rigveda Mandala First 1-043-01 to 1-043-09 and 1-114-01 to 1-114-11
Rigveda Mandala Second 2-033-01 to 2-033-15
Rigveda Mandala Six 6-074-01 to 6-074-04
Rigveda Mandala Seven 7-046-01 to 7-046-04
Rigveda Mandala Eight 8-063-12

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Gurumurthy recalls Nehru's dilemma of 1963 as history is made by Narendra Modi

August 7, 2019, 5:14 am

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Kudos to Gurmurthy for highlighting the flip-flops of Congress in regard to Kashmir. Nehruvian shortsight created the problem and Gulzarilal Nanda coudn't undo the Kashmir blunder and now the Congress is in a pathetic state of utter confusion, has moved to be a mere appendage to liberal secular clap-trap. See the CWC resolution today. Pathetic, singing the glory of 'union of states'. After a three-hour long CWC meeting, which saw presence of ex-Prime Minister Manmohan Singh, UPA chairperson Sonia Gandhi, Congress leader Rahul Gandhi, the party passed a resolution terming the abrogation of Article 370 as “unilateral, brazen and totally undemocratic”. Nehru's dreams of 1963 have become irrelevant to the party he nurtured. Is the present-day Congress disowning the desires of Nehru to abrogate Art 370?

http://www.newindianexpress.com/opinions/columns/s-gurumurthy/2019/aug/07/modi-did-what-nehru-wanted-to-but-couldnt-on-article-370-2015302.html

Modi did what Nehru wanted to, but couldn’t, on Article 370

Here is an interesting recall and replay of what Nehru wanted to do but could not.

Published: 07th August 2019 04:00 AM | Last Updated: 07th August 2019 01:09 PM

Home Minister Amit Shah and Prime Minister Narendra Modi (Photo | Shekhar Yadav, EPS)

By S Gurumurthy

When Home Minister Amit Shah declared on August 6 that Article 370 has been scrapped and Kashmir fully integrated with the rest of India, whether or not he was aware, he said almost exactly what Jawaharlal Nehru told the Lok Sabha 56 years ago, on December 27, 1963. Here is an interesting recall and replay of what Nehru wanted to do but could not.

‘Art 370 eroded, Kashmir fully integrated,’ said Nehru

Pundit Nehru boastfully declared that Article 370 had been “eroded and Kashmir stands fully integrated” — when the ill-advised Article was very much in force. Nehru’s colleague and the then home minister Gulzarilal Nanda went a step further and told Parliament, “Article 370 is nothing more than a shell emptied of its contents. Nothing has been left in it; we can do it in one day, in 10 days, 10 months. That is entirely for us to consider.” That Article 370 — a temporary and transitional provision — was to be eroded away and it was only a matter of time, was the last stated position of the Congress under Nehru in the fag end of his time.

Why did liberal Nehru, who overruled and even humiliated Sardar Patel on Kashmir, Tibet and China, shift gear after a decade — from liberalism to nationalism? The answer lies in the China Effect. The humiliating defeat China inflicted on India altered Pundit Nehru’s political paradigm. The most telling proof of his shift was his invite to the RSS, his arch nationalist enemy, to participate in the Republic Day parade in 1963 — a complete U-turn by Nehru who banned the RSS in 1948 and declared he would not give “an inch of land” for the saffron flag to fly in India.

The 1962 war turned Nehru, who was a liberal first and nationalist next, into a nationalist first and liberal next. But Nehru could not bring to bear this change to reflect on his work as his health soon sharply declined, suffering his first heart attack in 1963, another in January 1964 and fatally in May 1964. Nehru could not and did not live to accomplish his desire to undo his own blunder. Result: What Nehru wanted to do, even thought he had done, and what his home minister promised to do “in days and months”, but the Congress could not and did not do for decades, had remained the unfinished agenda of Nehru and the nationalist Congress for six decades and more.

Nationalist Congress turns Leftist Congress

Why did the Congress not follow up on what Nehru and Nanda declared to the nation? And worse still, far from doing what Nehru himself wanted, the Congress after Nehru began celebrating Article 370 as the icon of Kashmiriyat, liberalism, secularism and even federalism. The reason for the U-turn away from nationalism was the Leftist takeover of the mind of the Congress from the late and early 1970s.

The Left (undivided CPI) has a history of being anti-India. It supported Partition on two grounds — one, Hindus would oppress the Muslims; and two, the Muslim League had turned progressive under an irreligious Jinnah! A host of CPI leaders, including Mohan Kumaramangalam who as law minister helped Indira Gandhi break the Constitution from within, and Nurul Hasan who devised the JNU as the weapon to break the nation from within, joined the Congress under Indira Gandhi when the nation itself was in the iron grip of the USSR. That is when the nationalist Congress turned into secular Congress. After Indira Gandhi won the 1971 war and turned Kashmir into a bilateral issue through the Shimla accord, she presumed Pakistan would not raise the K-word again.

Her over-confidence made her enter into a deal with Sheikh Abdullah in 1974, which effectively reversed the process of erosion of Article 370 set in motion by Pundit Nehru. Slowly Article 370, which from the word go had a sinister character, began acquiring a noble character and came to be regarded as the only bridge between India and Kashmir. Later, humiliated by the defeat in the 1971 war, Pakistan’s military dictator Gen Zia strategised and weaponised youth into jihadis to launch a low cost war on Kashmir. This evil strategy coupled with incompetent handling by the secular Indian establishment, which equated Article 370 to secularism, almost turned over the Valley to the militants in late 1980s, rendering five lakh Kashmiri Pundits refugees in their own land.

It took enormous effort by the then Narasimha Rao government and J&K governor Jagmohan to recover Kashmir, albeit partially. The secular Indian establishment hid its helplessness to take on militancy and repeatedly glorified Article 370 as the only hope to retain Kashmir with India. Mainstream family parties in Kashmir found a safety net in Article 370 to loot. Hurriyat laughed at the weak Indian state and repeatedly blackmailed India.

This emboldened Pakistan to turn its terror machine on to the mainland India. But the impotent Indian establishment chose to suffer silently. In 2008, when Pakistani terrorists tore Bombay apart for three days, maimed hundreds and displayed their barbarism on TV screens, India could have run over PoK, but instead the Congress, Left and liberals began candlelight processions for peace, asking people not to be provoked by the act of a few.

But the Bhasmasura of terror Pakistan had weaponised soon turned on its own creator. And an over-compassionate India certified Pakistan as not the creator of terror but its victim as much as India was! When the world saw on TV Osama bin Laden in a Pakistan safe house killed by a CIA-led US operation, the world laughed at our immaturity. And yet, India clung to its line of peace talks with terror merchant Pakistan. The Leftist Congress paradigm promoted demonising Army over human rights, fostered slogans of providing a healing touch and advocated peace talks with treacherous Hurriyat and terrorists. With state patronage, the extremists and terrorists controlled Kashmir’s political ecosystem. From being a nationalist party, Congress gradually became the B-team of liberals and Leftists, helping the BJP to move into the nationalist space vacated by the Congress.

Homework for abrogation

For the BJP, Article 370’s abrogation was no sudden idea or an underprepared plan. The BJP’s effort to penetrate J&K began in 2015 with the strategic sharing of power with PDP, which, out of sheer greed, joined hands with its arch enemy. The BJP’s being in power at the Centre and in Kashmir, could go for the jugular of the terrorists and broke their back, as the data shows. The number of stone throwing incidents in four years till 2016 was 3,415. It became just 51 in 2017, even less, 15 in 2018. Extremists eliminated rose by 44%, numbers killed by them fell by 62.5% and the injured came down by 94%. When the situation began improving, the BJP chose to discard Mehbooba and imposed President’s rule, which meant its own rule, but from Delhi. It raided militants and separatists and made them face the law, which was unheard of in Kashmir, shaking them to their roots.

The effect was most telling in the local body elections in 2018, boycotted by Mehbooba Mufti and Omar Abdullah, amid threats by Hurriyat and militants. In municipal polls, 58% voted. In panchayat polls 80% voted. In Kashmir municipal bodies, BJP won 100 seats and Congress 178. In Jammu, BJP won 43, Congress 18. The success of the local body elections served as the index of disenchantment with the two local family parties — the PDP and NC. Having had full five years to understand J&K, the BJP’s homework on J&K was complete. It began to relate to the elected members of the local bodies and sent money to them directly, with no political middlemen. It established direct rapport with those at the bottom of the pyramid in Kashmir, who had never been reached by the distant Delhi in the past. Simultaneously, it also rebuilt the global ecosystem in its favour.

With its increasing clout, India could make its views heard by the high and mighty. India’s clout dwarfed Pakistan’s. The surgical strike and the Balakot revenge for Pulwama attack were accepted by the world as part of India’s genuine rightful action to protect its people and territory. Under the Congress regime and before Modi came to power, this could never have been imagined.

The Modi government has changed the perception of the world about not just Kashmir or Pakistan terrorism, but also about the potentially evil character of Pakistan. This is what enabled India to handle the geopolitical hump and even sensitise the US in advance about its move to scrap 370. The homework to scrap Article 370 extended from local politics to geopolitics.

With such intense homework, backed by a massive mandate in the 2019 elections that threw the Opposition in total disarray, the time was ripe for Modi and Shah to nullify Article 370. In abrogating it, the Modi government has done not just what the BJP and its previous avatar Jana Sangh had for long been promising to do, if it got absolute majority. It has done more. It has done what the Congress and even Pundit Nehru who fathered the near-fatal Article wanted to but could not and did not.

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Indus Script signs, pictorial motifs classify and document wealth cargo of seafaring merchants

August 7, 2019, 10:10 pm

≫ Next: Proof for reading the horned young bull (unicorn) as खोंड Singī kunda, कोँद 'furnace' rebus fine gold, ornament gold

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https://tinyurl.com/y5hqme8t

khoṇḍa'young bull'singi'horned'. Rebus: kunda ‘fine gold’ singi ‘ornament gold’ kolom'three' rebus: kolimi'smithy, forge'

karṇaka'rim of jar'Rebus: kāraṇikā‘judge, scribe, helmsman, supercargo’ kaṇḍa 'jar' rebus: khaṇḍa 'equipment'

The following 38 categories of wealth accounting ledgers are identified in Indus Script Corpora:

Cluster 1 Eagle in flight cluster, thunderbolt weapon, blacksmith classifier

Cluster 2 Metallurgical invention of aṅgāra carburization, infusion of carbon element to harden molten metal

Cluster 3 Svastika cluster, zinc wealth category

Cluster 4 Ficus clusters, copper wealth category

Cluster 5 Tiger cluster, smelter category

Cluster 6 Spearing a bovine cluster, smelter work

Cluster 7 A metallurgical process narrative in four clusters -- four sides of a tablet:

Cluster 8 Seafaring boat cluster, cargo wealth category

Cluster 9 Bier cluster, wheelwright category

Cluster 10 Sickle cluster, wheelwright category

Cluster 11 Sun's rays cluster, gold wealth category

Cluster 12 Body of standing person cluster, element classifier

Cluster 13 Frog cluster, ingot classifier

Cluster 14 Serpent cluster as anakku, 'tin ore' classifier

Cluster 15 Tortoise, turtle clusters, bronze classifiers

Cluster 16 Seated person in penance, mint classifier

Cluster 17 Archer cluster, mint classifier

Cluster 18 ayakara 'metalsmith' cluster, alloy metal smithy, forge classifier

Cluster 19 Smelter cluster, wealth-category of smelted mineral ores

Cluster 20 Magnetite, ferrite ore cluster wealth-category or wealth-classification

Cluster 21 Dhokra 'cire perdue' metal cassting artisans classifier

Cluster 22 dhāvḍī ʻcomposed of or relating to ironʼ, dhā̆vaḍ 'iron-smelters' cluster, Iron, steel product cluster

Cluster 23 Endless knot cluster, yajña dhanam, iron category, ḍhangar ‘blacksmith’ category

Cluster 24 Dance-step cluster, iron smithy/forge

Cluster 25 Minerals Smelter, metals furnace, clusters

Cluster 26 Armoury clusters

Cluster 27 Double-axe cluster, armourer category

Cluster 28 Seafaring merchant clusters

Cluster 29 Smithy, forge clusters

Cluster 30 Equipment making blacksmithy/forge

Cluster 31 Tin smithy, forge clusters

Cluster 32 Alloy metal clusters

Cluster 33 Metal equipment, product clusters

-- Metalwork samgaha, 'catalogues' cluster सं-ग्रह complete enumeration or collection , sum , amount , totality (एण , " completely " , " entirely ") (याज्ञवल्क्य), catalogue, list

Cluster 34 śreṇi Goldsmith Guild clusters

Cluster 34a Three tigers joined, smithy village,smithy shop category

Cluster 35 पोळ [pōḷa], 'zebu'cluster, magnetite ore category pōḷa, 'magnetite, ferrous-ferric oxide

Cluster 36 Dotted circles, Indus Script Hypertexts dhāv 'red ores'

Cluster 37 Indus Script inscriptions on ivory artifacts signify metalwork wealth accounting

Cluster 38 Diffusion of Metallurgy: Meluhha and western Afghanistan sources of tin

33 clusters of field symbols signify 33 metalwork wealth/guild work classifiers for accounting ledgers

FS 1-7 1159 One-horned young bull (bos indicus aurochs)

FS 120 67 One or more dotted circles

FS 122-123 19 Standard device

FS 8-9 5 Two-horned young bull (bos indicus aurochs)

FS 10 54 Bos indicus, zebu

FS 11-13 95 Short-horned bull or ox (aurochs)

FS 15-17 14 Buffalo

FS 18-20 55 Elephant

FS 22-23 16 Tiger

FS 24-25 5 Horned tiger

FS 16-28 39 Rhinoceros

FS 29 1 Two rhinoceroses

FS 30-38 36 Goat-antelope, short tail

FS 39-41 26 Ox-antelope

FS 42 10 Hare

FS 43 1 Hare

FS 51 20 Fabulous animal

FS 56 9 Fabulous animal

FS 63-67 49 Gharial (crocodile + fish)

FS 68 14 Fish

FS 73 9 Entwined serpent, pillar or rings on pillar

FS 74 4 Bird (eagle) in flight

FS 75-77 34 Kino tree on platform

FS 79 3 Pipal leaf

FS 80-90 22 Horned standing persons

FS 105 3 Person grappling two tigers

FS 109 5 Person seated on tree branch

FS 111 3 Woman grappling two men with uprooted trees\

FS 118-119 50 Svastika (on seals of Indus Script Corpora)

FS 124 4 Endless knot, twisted rope

FS 125 3 Boat

FS 131 6 Sickle

FS 130 3 Writing tablet

FS 133-139 51 ornamental edges

TOTAL 1894

Cluster 1 Eagle in flight cluster, thunderbolt weapon, blacksmith classifier

FS 74 (Frequeny in M Corpus: 4) The hypertext FS 74 signifies: blacksmith's mint and weapon, thunderbolt.

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

khamba ‘wing’ rebus: kammaṭa ‘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, lightningʼ, 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)

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;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)

Impression of a cylinder seal, unknown Near Eastern Origin.

Image result for indus script cylinder seal

Impression of a cylinder seal, unknown Near Eastern Origin. Louvre Museum.

FS 117 In the upper regiMer from R.-: person grappling with two animals (tigers); a horned personage standing behind a pedestal; a kinn tree; In the lower register from R.-a bird in flight over a

unicorn : an antelope: two horned bulls facingeach other and a cicle (dotted?)

Indus Script inscription, message: Brassworker's guild, smelter metalwork catalogue, pewter, laterite castings, hard alloys, implements, smithy/forge working in iron, lead, metal hard alloys.

Copyrighted photo by M. Chuzeville for the Departement des antiquites orientales, Musee du Louvre. "One of the two anthropomorphic figures carved on this seal wears the horns of water buffalo while sitting on a throne with hoofed legs, surrounded by snakes, fishes and water buffaloes. Copyrighted photo by M. Chuzeville for the Departement des antiquites orientales, Musee du Louvre."

http://www.akhabataku.com/IndusScript.htm (After Fig. 6)

Hieroglyph multiplexes of the hypertext of the cylinder seal from a Near Eastern Source can be identified: aquatic bird, rhinoceros, buffalo, buffalo horn, crucible, markhor, antelope, hoofed stool, fish, tree, tree branch, twig, roundish stone, tiger, rice plant.

Hieroglyph components on the head-gear of the person on cylinder seal impression are: twig, crucible, buffalo horns: kuThI 'badari ziziphus jojoba' twig Rebus: kuThi 'smelter';koThAri 'crucible' Rebus: koThAri 'treasurer'; tattAru 'buffalo horn' Rebus: ṭhã̄ṭhāro 'brassworker'. koD 'horns' rebus: koD 'workshop'. Thus, the gypertext message is: a brassworker's workshop with a smelter.

This hieroglyph multiplex ligatures head of an antelope to a snake: nAga 'snake' Rebus:nAga 'lead' PLUS karaḍū or ṅkaraḍēṃ ] n A kid. कराडूं (p. 137) [ karāḍūṃ ] n (Commonly करडूं ) Akid. (Marathi) Rebus: करडा (p. 137) [ karaḍā ]'hard alloy' ranku 'antelope' Rebus:ranku 'tin'. tuttināgamu is a Prakritam gloss meaning 'pewter, zinc'. A comparable alloy may be indicated by the hieroglyph-multiplex of antelope-snake: rankunAga, perhaps a type of zinc or lead alloy.

Two fish hieroglyphs flank the hoofed legs of the stool or platform signify: warehouse of cast metal alloy metal implements:

khuṭo ʻleg, footʼ. khũṭ ‘community, guild’ (Santali)Ta. kuracu, kuraccai horse's hoof. Ka. gorasu, gorase, gorise, gorusu hoof. Te. gorija, gorise, (B. also) gorije, korije id. / Cf. Skt. khura- id.; Turner, CDIAL, no. 3906 (embedded). (DEDR 1770)

Ta. kurappam currycomb. Ma. kurappam, kurappan id. Ka. korapa, gorapa id. Te. kurapamu, koṟapamu, goṟapamu id. / ? Cf. Turner, CDIAL, no. 3730, kṣurapra- ('scraper'-meanings). (DEDR 1771)

Hieroglyph: kaṇḍō a stool Rebus: kanda 'implements'

Hieroglyph: maṇḍā 'raised platform, stool' Rebus: maṇḍā 'warehouse'.

dula 'pair' Rebus: dul 'cast metal'

ayo 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda)

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

This mkultiplx is flanked by 1. kolom 'rice plant' Rebus: kolimi 'smithy, forge'; 2. kuTi 'tree' Rebus: kuThi 'smeter'. Thus the message is that the warehouse of cast metal alloy metal implements is complemented by a smelter and a smithy/forge -- part of the metalwork repertoire. khuṭo ʻleg, footʼ. khũṭ‘community, guild’ (Santali)

The hieroglyph-multiplex of a woman thwarting two rearing tigers is also signified on other seals and tablets to signify:

Hieroglyph: kola 'woman' Rebus: kol 'working in iron'

dula 'pair' Rebus: dul 'cast metal' PLUS kola 'tiger' Rebus: kolle 'blacksmith'; kolhe 'smelter'; kole.l'smithy, forge'. The kolmo 'rice-plant' Rebus kolimi 'smithy, forge' is a semantic determinant of the cipher: smithy with smelter. taTu 'thwart' rebus: dhatu 'mineral'. Thus, 'mineral smelter'. Together the hieroglyph-multiplex or hypertext of a woman thwarting two tigers signifies: smithy/forge with smelter for dhatu, minerals.

The bottom register of the cylinder seal impression lists the products: smithy/forge forged iron, alloy castings (laterite PLUS spelter), hard alloy implements.

goTa 'roundish stone' Rebus: goTa 'laterite, ferrite ore''gold-lace braid'

dula 'pair' Rebus: dul 'cast metal' PLUS rã̄go 'buffalo' Rebus: rāṅgā 'zinc alloy, spelter, pewter'. Thus, cast spelter PLUS laterite, ferrite ore.

markhor PLUS tail

miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) koṭe meṛed = forged iron, in contrast to dul meṛed, cast iron (Mundari) PLUS Kur. xolā tail. Malt. qoli id. (DEDR 2135) Rebus: kol 'working in iron' Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village.

Rhinoceros PLUS eagle aśan, śyena, sena 'eagle' rebus: sena 'thunderbolt' ahan 'blacksmith' PLUSkhamba 'wing' rebus: kammaṭa 'mint'.

Hieroglyhph: kāṇṭā 'rhinoceros. gaṇḍá m. ʻ rhinoceros ʼ Rebus: kāṇḍa 'tools, pots and pans and metal-ware' (Gujarati)

Two water-buffalos flanks a hieroglyph: something round, like a seed. Hieroglyph: rã̄go 'buffalo' Rebus: rāṅgā 'zinc alloy, spelter, pewter'. What does the hieroglyph 'something round' signify? I suggest that it signifies goṭa 'round pebble' rebus: goṭa 'laterite (ferrous ore)'.

Orthographic variants of tails of 'animal' hieroglyphs, particularly those of ram or antelope are deciphered as rebus-metonymy layered Meluhha (Proto-Prakritam) words related to blacksmithy or smelters of iron and other metals including metal infusion and cire perdue lost-wax castings. The 'tail' hieroglyh also gets normalised as a sign on texts to connote kolA 'tail' Rebus: kolhe 'smelter' kolle 'blacksmith'.

Some hieroglyph components are: hooded snake or short-tail generally on antelopes.

meḍho-kolhe 'iron smelter'

Hieroglyph: eagle in flight:

Parallels from Harappa Script Corpora:

meḍho-kolhe 'iron smelter' PLUS krammara 'look back' Rebus: kamar 'artisan'

meḍho-kolhe 'iron smelter' PLUS aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda)

khura m. ʻ hoof ʼ KātyŚr̥. 2. *khuḍa -- 1 (khuḍaka -- , khula° ʻ ankle -- bone ʼ Suśr.). [← Drav. T. Burrow BSOAS xii 376: it belongs to the word -- group ʻ heel <-> ankle -- knee -- wrist ʼ, see *kuṭṭha -- ]1. Pa. khura -- m. ʻ hoof ʼ, Pk. khura -- m. (chura -- after khura -- ~ chura -- < kṣurá -- ); Ash. kū˘r ʻ hoof, foot ʼ, kurkāˊ ʻ heel ʼ; Kt. kyur ʻ foot ʼ, kyurkəté ʻ heel ʼ; Gamb kr ʻ hoof, foot ʼ, Niṅg. xūr, Woṭ.khuru, (Kaţārkalā) khur; Dm. khur ʻ foot ʼ; Paš. lauṛ. khurīˊ f. ʻ hoof, heel ʼ (→ Par. khurīˊ ʻ heel ʼ IIFL i 265), kuṛ. xūr ʻ foot ʼ, dar. kurī ʻ heel ʼ, nir. xurī; Shum. xurem ʻ my foot ʼ, xurigyem ʻ my heel ʼ; Gaw. Kal. khur ʻ foot ʼ; Bshk. khur m. ʻ foot ʼ (khin ʻ heel ʼ, Gaw. khunīk, Sv. khunike X píṇḍa -- or < khuriṇī -- AO xviii 240); Tor. khū ʻ foot ʼ, Mai. khur, ky. khor, Phal. khur m.; Sh. gil. khūrṷ m. ʻ hoof ʼ, khūri̯ f. ʻ heel ʼ, koh. khōrṷ m. ʻ hoof ʼ, jij. khuri ʻ heel ʼ (koh. thŭri, pales. thurī ʻ heel ʼ X *thuḍḍati ʻ kicks ʼ?); K. khor m. ʻ foot (esp. human) ʼ, khōr m. ʻ foot of any living being ʼ, khūru m. ʻ leg of a bed &c. ʼ,khūrü f. ʻ heel ʼ, kash. khōr ʻ foot ʼ, rām. pog. khur; S. khuru m. ʻ hoof ʼ; L. khurā m. ʻ foot track ʼ, °rī f. ʻ heel ʼ, awāṇ. khur ʻ hoof ʼ; P. khur m. ʻ hoof ʼ, °rā m. ʻ hoof -- print ʼ, °rī f. ʻ small hoof, heel of shoe ʼ, °rṛā m. ʻ divided hoof, its print ʼ; WPah. bhal. pāḍ. khur m. ʻ foot ʼ; Ku. N. khur ʻ hoof ʼ; A. khurā ʻ hoof, leg of table or stool ʼ; B. khur ʻ hoof ʼ, °rā ʻ foot of bedstead ʼ; Or. khura ʻ hoof, foot ʼ, °rā ʻ hoof, leg ʼ; Mth. khūr, khurī ʻ hoof ʼ, Bhoj. khur; H. khur m. ʻ hoof ʼ, °rā m. ʻ heel of shoe ʼ, °rī f. ʻ hoof, heel of slipper, hoof -- print ʼ; G. khur f. ʻ heel ʼ, kharī f. ʻ hoof ʼ; M. khū˘r m. ʻ hoof, foot of bed ʼ, khurī f. ʻ forepart of hoof ʼ, °rā m., °rẽ n. ʻ heel of shoe ʼ (khurũdaḷṇẽ ʻ to trample ʼ X *kṣundati?); Ko. khūru m. ʻ hoof ʼ, Si. kuraya.2. Pk. khuluha -- m. ʻ ankle ʼ; Gy. wel. xur̄, xur m. ʻ hoof ʼ; S. khuṛī f. ʻ heel ʼ; WPah. paṅ. khūṛ ʻ foot ʼ.khuriṇī -- ; *khuraghāta -- , *khurapāśa -- , *khuramr̥ttikā -- ; *catuṣkhura -- .Addenda: khura -- : WPah.kṭg. (kc.) khūˊr m. ʻ hoof ʼ, J. G. khur m.

Cluster 2 Metallurgical invention of aṅgāra carburization, infusion of carbon element to harden molten metal

Semantic expansion in expressions: aṅgāra-kāsū 'fire-pit' and kāˊrṣāpaṇika 'bought for a kāsū (metal coin)' indicate the semantics of early use and meaning of word aṅgāra 'carbon' element' with variant Meluhha Bhāratiya sprachbund (language union) pronunciations. kāˊrṣāpaṇika ʻ worth or bought for a kārṣāpaṇa ʼ Pāṇ. [kārṣāpaṇá -- ]Pa. kāhāpaṇika -- , Or. kāhāṇiã̄.kāˊrṣi -- see karṣí -- .*kārṣū -- f. ʻ furrow, trench ʼ ~ karṣūˊ -- with dial. IA. a for ā < IE. o as in Av. karšū ʻ ploughed land ʼ and in karṣí -- ~ kāˊrṣi -- T. Burrow BSOAS xxxviii 70, Turner BSOAS xxxvi 429.Pa. kāsū -- in aṅgāra -- kāsū -- f. ʻ fire -- pit ʼ.(CDIAL 3081) kārṣāpaṇá m.n. ʻ a partic. coin or weight equivalent to one karṣa ʼ. [karṣa -- m. ʻ a partic. weight ʼ Suśr. (cf. OPers. karša -- ) and paṇa -- 2 or āpana -- EWA i 176 and 202 with lit. But from early MIA. kā̆hā°]Pa. kahāpaṇa -- m.n. ʻ a partic. weight and coin ʼ, KharI. kahapana -- , Pk. karisāvaṇa -- m.n., kāhāvaṇa -- , kah° m.; A. kaoṇ ʻ a coin equivalent to 1 rupee or 16 paṇas or 1280 cowries ʼ; B. kāhan ʻ 16 paṇas ʼ; Or. kāhā̆ṇaʻ 16 annas or 1280 cowries ʼ, H. kahāwan, kāhan, kahān m.; OSi. (brāhmī) kahavaṇa, Si. kahavuṇa, °vaṇuva ʻ a partic. weight ʼ.(CDIAL 3080).

Cluster 3 Svastika cluster, zinc wealth category

FS 118

FS 119 The Svastika generally within a square or rectangular border.

Cluster 4 Ficus clusters, copper wealth category

FS 78 Rosette of pipal leaves

FS 113 From R. - a horned personage standing between two branches of a pipal tree; a ram; a horned personage kneeling in adorat ion: a low pedestal with some

offerings

FS 115 From R.-a personage standing under an ornamental arch; a kneeling adorant; a ram .

Kot Diji ca. 4000 BCE

Kalibangan 053A tablet.

Hypertext variants in Harappa Script Corpora loa ‘ficus religioss’ rebus: loha ‘copper’ PLUS karNa ‘ears’ rebus: karNI ‘supercargo’.

Cluster 5 Tiger cluster, smelter category

Image result for kalibangan cylinder seal

Kalibangan. Cylinder seal impression

FS 104 Fencing. Fabulo us pe rsonage with a composite body of a human (female) being in the upper half and of a tiger in the lower half. having horns. and a trident-like head·dress facing a group of three persons consisting of a woman in the middle flanked by two men on e either side throwing a spear at each other over her head.

Kalibangan065 Cylinder seal impression. Note the scarf of the person ligatured to a tiger.

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

Rebus: dhātu ‘mineral (Pali).

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

kūtī = bunch of twigs (Skt.)The bunch of twigs = kūdī, kūṭī(Skt.lex.) kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda(AV 5.19.12) and KauśikaSūtra (Bloomsfield's ed.n, xliv. cf. Bloomsfield,American Journal of Philology, 11, 355; 12,416; Roth, Festgruss anBohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).Rebus: kuṭhi 'smelting furnace‘; koṭe ‘forged metal’ (Santali)

kuṭi 'tree' Rebus: kuṭhi 'smelting furnace‘; koṭe ‘forged metal’ (Santali)(Phonetic determinant of the twig on the horns of the woman ligatured to the tiger'

koDu 'horn' Rebus: koD 'workshop'

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

tagaraka, tabernae montana 'flower', 'hair fragrance' Rebus: tagara 'tin'

karaṭi, karuṭi, keruṭi fencing, school or gymnasium where wrestling and fencing are taught (Ta.); garaḍi, garuḍi fencing school (Ka.); garaḍi, garoḍi (Tu.); gariḍi, garidḍī id., fencing (Te.)(DEDR 1262).

Rebus 1: करडा [ karaḍā ] Hard from alloy--iron, silver &c. Rebus 2: kharādī = turner (G.) Rebus 3: 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. 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.

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

FS 112 Fro m R. - a tiger; a goat: a seated personage on a pedestal; a person seated on a Iree with a tiger below.

FS 110 From R, a fabulous animal as in FS. 51; a person seated

on a tree with a tiger below; a svastika within a square border; an elephant.

FS 47

FS 48

FS 51 (Frequency in M Corpus 20) Fabulous animal with the body of a ram. horns of a

bull. trunk of an elephant. hindlegs of a tiger and an upraised serpent-like tail.

FS 52

FS 53 FS 52, FS 53 Fabulous animal with the body of a tiger. a human head and horns of an antelope.

Cluster 6 Spearing a bovine cluster, smelter work

Slide 89 Plano convex molded tablet showing an individual spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center.

On the reverse (90),a female deity is battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity.

Material: terra cotta
Dimensions: 3.91 length, 1.5 to 1.62 cm width
Harappa, Lot 4651-01
Harappa Museum, H95-2486
Meadow and Kenoyer 1997 karA 'crocodile' Rebus: khAr 'blacksmith' (Kashmiri)

kamaDha 'penance' (Prakritam) Rebus: kammaTa 'mint, coiner'

kUtI 'twigs' Rebus: kuThi 'smelter'

muh 'face' Rebus: muhe 'ingot' (Santali)

One side of a molded tablet m 492 Mohenjo-daro (DK 8120, NMI 151. National Museum, Delhi. A person places his foot on the horns of a buffalo while spearing it in front of a cobra hood. FS 99 Person throwing a spear at a sho rt·ho rned bull and placing o ne foot on the head of the animal; a hooded serpe nt at L.

nAga 'snake' Rebus: nAga 'lead, tin'

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.)

(s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā id. rebus: phaḍā, paṭṭaḍa 'metals manufactory'. Vikalpa: kulā 'hood of snake' rebus: kol 'working in iron'

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

Slide 90.

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

FS 100 Person throwing a spear at a buffalo and placing one foot .

FS 101 Person throwing a spear at a buffalo and placing one foot. on its head: three persons standing near a tree at the centre.

Image result for tigers woman six knots bharatkalyan97

FS 105 Person grappling with two tigers standing on either side of him (her?) and rearing on their hindlegs

कुंठणें [ kuṇṭhaṇēṃ ] v i (कुंठ S) To be stopped, detained, obstructed, arrested in progress (Marathi) Rebus: kuṇṭha munda (loha) 'hard iron (native metal)'.

dula 'two' rebus: dul 'metal casting' PLUS kola 'tiger' rebus: kolhe 'smelter', kol 'working in iron' kolle 'blacksmith. Thus, dul kolhe,'metal casting smelter'. kola 'woman' rebus:kol 'working in iron' (Semantic determinative). baṭa 'six' (knots on hairstyle) rebus: bhaṭa 'furnace'.goṭa 'pellets' rebus: gota 'laterite, ferrite ore'.

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

Begram ivories. Plate 389 Reference: Hackin, 1954, fig.195, no catalog N°.
கண்வட்டம் kaṇ-vaṭṭam , n. < id. +. 1. Range of vision, eye-sweep, full reach of one's observation; கண்பார்வைக்குட்பட்ட இடம். தங்கள் கண்வட்டத்திலே உண்டுடுத்துத்திரிகிற (ஈடு, 3, 5, 2). 2. Mint; நாணயசாலை.

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

The colored seal shows this face of the woman holding back two rearing tigers:

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

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

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

FS 106 Nude female figure upside down with thighs drawn apart

and a crab (?) issuing from her womb: two tigers standing face to face rearing on the ir hindlegs at L.

FS 107 Drummer and a tiger.

FS 108 Person kneeling under a kino tree facing a tiger

FS 109 (Frequency of occurrence in M Corpus:5) Pcrson seated on a machan on a kino tree; a tiger below looking up at him/her.

FS 111 (Frequency of occurrence in M Corpus: 3) From R.-a woman with outstretched arms flanked by two men holding uprooted trees fn their hands: a person seated on a tree wit h a tiger below: a tall jar with a lid.

Molded terracotta tablet (H2001-5075/2922-01) with a narrative scene of a man in a tree with a tiger looking back over its shoulder. The tablet, found in the Trench 54 area on the west side of Mound E, is broken, but was made with the same mold as ones found on the eastern side of Mound E and also in other parts of the site (see slide 89 for the right hand portion of the same scene). The reverse of the same molded terra cotta tablet shows a deity grappling with two tigers and standing above an elephant (see slide 90 for a clearer example from the same mold). https://www.harappa.com/indus3/185.html heraka 'spy' rebus: eraka 'moltencast copper' kuTi 'tree' rebus:kuThi 'smelter' karA 'crocodile' rebus: khAr 'blacksmith' barad 'bull' rebus: baraDo 'alloy of pewter, copper, tin'.

Cluster 7 A metallurgical process narrative in four clusters -- four sides of a tablet:

Side 1.Tiger looks back, person on tree.

Side 2 Row of animals in file (a one-horned bull, an elephant and a rhinoceros from right); a gharial with a fish held in its jaw above the animals; a bird (?) at right.

Side 3. a person holding a vessel; a woman with a platter (?); a kneeling person with a staff in his hands facing the woman; a goat with its forelegs on a platform under a tree. [Or, two antelopes flanking a tree on a platform, with one antelope looking backwards?]

Side 4. Bos indicus, zebu

FS 116 One side of 4-sided tablet Mohenjodaro m1431. From R. - A person holding a vessel; a woman with a plallet; a kneeling person with a staff in his hands facing the woman; a goat with its forelegs on a platform under a kino tree.

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

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

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

kāru ‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar ‘blacksmith’ (Kashmiri)

kola ‘tiger’ Rebus: kol ‘working in iron’. Heraka ‘spy’ Rebus: eraka ‘copper’. khōṇḍa ‘leafless tree’ (Marathi). Rebus: kõdār’turner’ (Bengali) dhamkara 'leafless tree' Rebus: dhangar 'blacksmith'

Looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.

koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya (G.); crocodile = kāru (Te.)] baṭṭai quail (N.Santali) Rebus: bhaṭa = an oven, kiln, furnace (Santali) bhástrā f. ʻ leathern bag ʼ ŚBr., ʻ bellows ʼ Kāv., bhastrikā -- f. ʻ little bag ʼ Daś. [Despite EWA ii 489, not from a √bhas ʻ blow ʼ (existence of which is very doubtful). -- Basic meaning is ʻ skin bag ʼ (cf. bakura<-> ʻ bellows ʼ ~ bākurá -- dŕ̊ti -- ʻ goat's skin ʼ), der. from bastá -- m. ʻ goat ʼ RV. (cf.bastājina -- n. ʻ goat's skin ʼ MaitrS. = bāstaṁ carma Mn.); with bh -- (and unexpl. -- st -- ) in Pa. bhasta -- m. ʻ goat ʼ, bhastacamma -- n. ʻ goat's skin ʼ. Phonet. Pa. and all NIA. (except S. with a) may be < *bhāsta -- , cf. bāsta -- above (J. C. W.)]With unexpl. retention of -- st -- : Pa. bhastā -- f. ʻ bellows ʼ (cf. vāta -- puṇṇa -- bhasta -- camma -- n. ʻ goat's skin full ofwind ʼ), biḷāra -- bhastā -- f. ʻ catskin bag ʼ, bhasta -- n. ʻ leather sack (for flour) ʼ; K. khāra -- basta f. ʻ blacksmith's skin bellows ʼ; -- S. bathī f. ʻ quiver ʼ (< *bhathī); A. Or. bhāti ʻ bellows ʼ, Bi. bhāthī, (S of Ganges) bhã̄thī; OAw. bhāthā̆ ʻ quiver ʼ; H. bhāthā m. ʻ quiver ʼ, bhāthī f. ʻ bellows ʼ; G. bhāthɔ,bhātɔ, bhāthṛɔ m. ʻ quiver ʼ (whence bhāthī m. ʻ warrior ʼ); M. bhātā m. ʻ leathern bag, bellows, quiver ʼ, bhātaḍ n. ʻ bellows, quiver ʼ; <-> (X bhráṣṭra -- ?) N. bhã̄ṭi ʻ bellows ʼ, H. bhāṭhī f.OA. bhāthi ʻ bellows ʼ AFD 206.(CDIAL 9424)

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

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

1. Pk. hēraï ʻ looks for or at ʼ (vihīraï ʻ watches for ʼ); K.ḍoḍ. hērūō ʻ was seen ʼ; WPah.bhad. bhal. he_rnū ʻ to look at ʼ (bhal. hirāṇū ʻ to show ʼ), pāḍ. hēraṇ, paṅ. hēṇā, cur. hērnā, Ku. herṇo, N. hernu, A. heriba, B. herā, Or. heribā (caus. herāibā), Mth. herab, OAw. heraï, H. hernā; G. hervũ ʻ to spy ʼ, M. herṇẽ. 2. Pk. hēria -- m. ʻ spy ʼ; Kal. (Leitner) "hériu"ʻ spy ʼ; G. herɔ m. ʻ spy ʼ, herũ n. ʻ spying ʼ. Addenda: *hērati: WPah.kṭg. (Wkc.) hèrnõ, kc. erno ʻ observe ʼ; Garh. hernu ʻ to look' (CDIAL 14165) Ko. er uk- (uky-) to play 'peeping tom'. Kui ēra (ēri-) to spy, scout; n. spying, scouting; pl action ērka (ērki-). ? Kuwi (S.) hēnai to scout; hēri kiyali to see; (Su. P.) hēnḍ- (hēṭ-) id. Kur. ērnā (īryas) to see, look, look at, look after, look for, wait for, examine, try; ērta'ānā to let see, show; ērānakhrnā to look at one another. Malt. ére to see, behold, observe; érye to peep, spy. Cf. 892 Kur. ēthrnā. / Cf. Skt. heraka- spy, Pkt. her- to look at or for, and many NIA verbs; Turner, CDIAL, no. 14165(DEDR 903)

Hieroglyph: ã̄gru sprout, rebus: aṅgar 'carbon element (to carburize moltencast, molten metal), charcoal' --: aṅkurá 1. ʻ *hooked ʼ. 2. m. ʻ sprout ʼ Uṇ., ʻ tumour ʼ Suśr. [*aṅku -- : √añc]1. Gy. as. agura ʻ crooked ʼ JGLS new ser. ii 331; Ash. áklə ʻ top of shoulder ʼ, Kt. ákři ʻ upper part of arm ʼ, Wg. akřá ʻ peg ʼ, Pr. uku ʻ shoulder ʼ; A. ã̄korā ʻ crooked, bent ʼ.2. Pa. aṅkura -- m. ʻ sprout ʼ, Pk. aṁkura -- m., N. ã̄kuro (lw. with k), B. Mth. ã̄kur; Or. āṅkuribā ʻ to cut off ears of ripe rice ʼ; H. ãkurā m. ʻ sprout ʼ, M. ã̄kūr m., ã̄krī f. ʻ tender spike of a tree ʼ; Si. akura, akara ʻ sprout, tumour ʼ.*aṅkurayati, *upāṅkura -- .Addenda: aṅkurá -- . 2. Garh. ã̄gru ʻ sprout ʼ, ãgryɔṇu ʻ to sprout ʼ.(CDIAL 109) Rebus: áṅgāra--: Niṅg. aṅgāˊr ʻ fire ʼ; Md. aguru ʻ charcoal ʼ. aṅgula-- [Cf. daśāṅgulá-- RV.](CDIAL14200) áṅgāra m. n. ʻ glowing charcoal ʼ RV., °aka -- lex. 2. *iṅgāra -- , iṅgāla -- m. Vāsav. com.1. Pa. aṅgāra -- m. ʻ charcoal ʼ, Pk. aṁgāra -- , °aya -- , aṁgāla -- , °aya -- m., Gy. eur. angár ʻ charcoal ʼ, wel. vaṅār m. (v -- from m. article), germ. yangar (y -- from yag, s.v. agní -- 1); Ash. aṅāˊ ʻ fire ʼ, Kt. aṅǻ, Gmb. aṅāˊ, Pr. anéye, Dm. aṅgar (a < ā NTS xii 130), Tir. Chilis Gau. K. nār (n < ṅ -- , not ← Psht. nār ← Ar. AO xii 184), Paš. aṅgāˊr, Shum. ã̄r (← Paš. NOGaw 59), Gaw. Kal. Kho. aṅgāˊr, Bshk. äṅgāˊr, Tor. aṅā, Mai. agār, Phal. aṅgṓr, Sh. agāˊr, ha° m.; S. aṅaru m. ʻ charcoal ʼ (a < ā as in Dm.), L. aṅgār m., P. aṅgyār, °rā m., EP. ãgeār (y or e from MIA. aggi < agní -- 1?), WPah. bhid. aṅgāˊrõ n., pl. -- ã, Ku. aṅār (ḍaṅār id. X ḍājṇo < dahyátē), N. aṅār, A. āṅgār, eṅgār, B. āṅgār, āṅrā, Or. aṅgāra; Bi. ãgarwāh ʻ man who cuts sugar -- cane into lengths for the mill ʼ (= pakwāh); OMth. aṁgāra, Mth. ãgor, H. ãgār, °rā m., G. ãgār, °rɔ m., M. ãgār m., Si. an̆gura. -- Wg. ãdotdot;ř, ã̄īˊ ʻ fire ʼ (as opp. to aṅarīˊk ʻ charcoal ʼ, see aṅgāryāˊ -- ) poss. < agní -- 1, Morgenstierne NTS xvii 226.

2. Pa. iṅghāḷa -- ʻ glowing embers (?) ʼ, Pk. iṁgāra -- , iṁgāla, °aya -- ; K. yĕngur m. ʻ charcoal ʼ, yĕnguru m. ʻ charcoal -- burner ʼ; M. ĩgaḷ, ĩgḷā m., Ko. ĩgḷo. -- Deriv. M. ĩgḷā m. ʻ a kind of large ant ʼ, ĩgḷī f. ʻ a large black deadly scorpion ʼ.aṅgāraka -- , aṅgāri -- , aṅgāryāˊ -- ; aṅgāradhānī -- , *aṅgāravarta -- , *aṅgārasthāna -- , *aṅgr̥ṣṭha -- .Addenda: áṅgāra -- : Md. an̆guru ʻ charcoal ʼ.aṅgāraka ʻ *red like embers ʼ, m. ʻ charcoal; name of various plants ʼ (aṅgārikā -- f. ʻ stalk of sugar -- cane, flower of Butea frondosa ʼ). 2. m. ʻ the planet Mars ʼ. [áṅgāra -- ]1. Pa. aṅgāraka -- ʻ red like charcoal ʼ; S. aṅārī f. ʻ smut in wheat ʼ; WPah. bhal. aṅāˊri f. ʻ a plant with red flowers ʼ.2. Pa. aṅgāraka -- m. ʻ Mars ʼ, Pk. aṁgāraya -- m.; S. aṅāro m. ʻ Tuesday ʼ.aṅgāradhānī -- , °ikā -- f. ʻ portable stove ʼ lex. [áṅgāra -- , dhāˊna -- ]Paš. aṅgarāˊn, aṅgaranīˊ ʻ fireplace *aṅgāravarta m. ʻ fire stone ʼ. [áṅgāra -- , *varta -- 3]Ash. aṅalawaṭ (r -- r > l -- r). *aṅgārasthāna n. ʻ fireplace ʼ. [áṅgāra -- , sthāˊna -- ]Dm. aṅgarthäĩ (perh. a Dm. cmpd.). -- See *agnisthāna -- .aṅgāri f., aṅgāritā -- f. ʻ portable brazier ʼ lex. [áṅgāra -- ]H. ãgārī f.Addenda: aṅgāri -- : †*aṅgāriṣṭha -- .130a †*aṅgāriṣṭha -- ʻ portable brazier ʼ. [aṅgāri -- , stha -- : cf. agniṣṭhá -- ]WPah.kṭg. garṭhɔ m. ʻ charcoal ʼ; J. gārṭhā m. ʻ a small burning coal ʼ.131 aṅgāryāˊ -- , *aṅgāriyā -- , f. ʻ heap of embers ʼ. [Cf. aṅgā- rīya -- ʻ fit for making charcoal ʼ, aṅgārikā -- f., angāritā -- f. ʻ portable fireplace ʼ lex.: áṅgāra -- ]Wg. aṅarīˊk, aṅgríč ʻ charcoal ʼ; Paš. aṅgerík ʻ black charcoal ʼ, Shum. ãdotdot;gerík; Phal. aṅgerīˊ ʻ charcoal ʼ, aṅgerīˊṣi f. ʻ black charcoal ʼ; Ku. aṅāri ʻ sparks ʼ; G. ãgārī f. ʻ small hearth with embers in it ʼ.(CDIAL 125 to 131). This signifies the carbon dhatu or carbon element which enters through godhuma, 'wheat chaff smoke' into the molten metal to harden it.

Bhaja Caitya ca. 100 BCE
Hieroglyph signies arrowhead:
Hieroglyphs signify: vajra 'thunderbolt weapon' and kammaṭa 'mint', yupa, caṣāla are the devices which carburize molten metal and make the metal product hard with the infusion of carbon, godhuma,angāraka. Hieroglyph: agāra n. ʻ house ʼ ĀśvGr̥., āgāra -- Mn. [Prob. ← Drav., Mayrhofer EWA i 17 with lit.] agnyagārá m. ʻ a house for keeping the sacred fire ʼ ŚBr., agnyā° KātyŚr., *agniyā̆°. [agní -- 1, agāra -- ]Pa. agyagāra -- , agyā° n. ʻ house in which fire is kept ʼ; G. agiyārī f. ʻ small fire -- temple ʼ, M. agyārī, agerī f. ʻ pit or house in which Fire -- worshippers keep their fire ʼ.(CDIAL 67) Hieroglyph: ãgīṭhā goldsmith's furnace:agniṣṭhá m. ʻ fire -- pan ʼ ĀpŚr., °ṭhāˊ -- f. ʻ that corner of the Yūpa towards the fire ʼ ŚBr., °ṭhikā -- f. ʻ fire -- pan ʼ. [agní -- 1, stha -- ]Pa. aggiṭṭha -- n. (?) or °ṭhā -- f. (?) ʻ fireplace ʼ; Pk. aggiṭṭha -- ʻ being in the fire ʼ; Dm. aṅguṭí ʻ smoke -- hole ʼ; Phal. aṅgúṭ ʻ fireplace, chimney ʼ; S. āg̠īṭhī f. ʻ fireplace ʼ; P. ãgīṭhā m. ʻ stove ʼ, °ṭhī f., gīṭṭhī f. ʻ small stove ʼ; WPah. bhal. ágṭhi f. ʻ hearth ʼ, sod. geṭhe; Ku. ageṭho ʻ portable fire -- vessel ʼ, N. ãgeṭhi; A. āṅgaṭhā ʻ burning coal ʼ; Or. ā̆ṅgaṭhā, aṅgeṭhā ʻ fire -- pan ʼ; Bi. ãgeṭhā, °ṭhī, (North of Ganges) ãgaiṭhā ʻ jeweller's fireplace ʼ; H. ãgīṭhā m. ʻ goldsmith's furnace ʼ, °ṭhī f., ãgeṭhī, °ṭī f. ʻ portable stove ʼ, G. ãgīṭhī, ãgeṭhī f., OM. āṁgīṭhā m. ʻ stove ʼ, M. āgṭhẽ, °ṭẽ n.; āgṭhī, ā̆gṭī, ā̆kṭī f. ʻ heap of kindled sticks ʼ; Ko. āgṭī, ʻ brazier ʼ. -- The nasal of the majority of mod. lggs. may be due to influence of áṅgāra -- or (with Morgenstierne NTS xii 155 for Dm. aṅguṭí) represent *angr̥ -- ṣṭha -- , cf. Pers. angišt ʻ charcoal ʼ (: ángāra -- , or perh. *aṅgriṣṭha -- < IE. *oṅgli -- in OPruss. anglis ʻ charcoal ʼ Pokorny IEW 779). Forms without nasal due to regular phonetic change as in WPah., or to a new compd. with agní -- 1 as in Sk., or to influence of agní -- and its descendants, as in S. with its ā fr. āgi. -- See also *agnisthāna -- .Addenda: agniṣṭhá -- : WPah.kṭg. géṭṭhɔ m. ʻ stone fireplace ʼ, kc. geṭṭho m. ʻ campfire ʼ, kṭg. géṭṭhi, kc. geṭṭhe f. ʻ fireplace, firepan ʼ, J. geṭhā m.; Garh. ageṭhī ʻ portable firepan ʼ. (CDIAL 65) Pa. ā̆gāra -- , °aka -- n., Pk. āgāra -- , ag°, gāra -- n.(CDIAL 52) agní1 m. ʻ fire ʼ. RV.Pa. aggi -- , aggini -- , gini -- m.; Pk. aggi -- , agiṇi -- , agaṇi -- m., Aś. agi -- , Gy. pal. ag ʻ fire, matches ʼ, agi also ʻ hell ʼ; eur. yag f. ʻ fire ʼ (y -- from f. article), Ḍ. ak, obl. agis f.; Wg. ã̄īˊ (Morgenstierne NTS xvii 226, perh. < agní -- with -- gn -- > *ṅg as dn > nd, see ánna -- ; but poss. < áṅgāra -- as in other Kaf. and Dard. lggs.); S. āgi, āgi f. ʻ fire ʼ, āgo m. ʻ goldsmith's furnace ʼ (ā and g point to borrowing from Rj. or G. areas); L. agg f., awāṇ. ag, obl. aggī; P. agg f., āg f. (← H.); WPah. all dialects agg f., Ku. āgu, āgo ( -- o to preserve orig. gender: -- i in agyūṇo ʻ to burn jungle for grazing, to provoke ʼ), N. āgo, OB. āgi, B. āg; Or. Bi. āgi, Mth. āgi, Bhoj. āgī, OAw. āgi, Aw. lakh. āgi, H. āg, āgī f. (agyānā ʻ to clean metal vessels by burning ʼ); OMarw. OG. āgi f., G. āgi f.; OM. āgi m. (Panse Jñān 213), M. Ko. āg f.; OSi. aga (replaced by ginna, stem gini -- ← Pa.). agnika -- ; agnikārya -- , agnidāha -- , agnidhāˊna -- , agnimantha -- , *agnirujā -- , agnírūpa -- , agniśikhāˊ -- , agniṣṭhá -- , *agnisthāna -- , agnyagārá -- ; kāgni -- , davāgni -- , mandāgni -- , *vajrāgni -- , vanāgni -- .Addenda: agní -- : WPah.kṭg. (kc.) āg f. (rarely m.) ʻ fire ʼ, Garh. āg f.(CDIAL 55) agnikārya m. ʻ kindling the sacred fire with butter ʼ Mn., °rikā -- f. lex. [agní -- 1, kāryà -- ]Pk. aggiāriā -- f. ʻ fire -- worship ʼ; H. agyārī f. ʻ kindling the sacred fire ʼ; M. agerī f. ʻ throwing ghee on the fire during ancestor -- worship ʼ.(CDIAL 58)

Cluster 8 Seafaring boat cluster, cargo wealth category

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

Material: terra cotta
Dimensions: 4.6 cm length, 1.2 x 1.5 cm width Mohenjo-daro, MD 602
Islamabad Museum, NMP 1384
Dales 1965a: 147, 1968: 39

The large oxhide ingots were signified by ḍhālako a large metal ingot (Hieroglyph: dhāḷ 'a slope'; 'inclination' ḍhāla n. ʻ shield ʼ lex. 2. *ḍhāllā -- .1. Tir. (Leech) "dàl"ʻ shield ʼ, Bshk. ḍāl, Ku. ḍhāl, gng. ḍhāw, N. A. B. ḍhāl, Or. ḍhāḷa, Mth. H. ḍhāl m.2. Sh. ḍal (pl. °le̯) f., K. ḍāl f., S. ḍhāla, L. ḍhāl (pl. °lã) f., P. ḍhāl f., G. M. ḍhāl f.Addenda: ḍhāla -- . 2. *ḍhāllā -- : WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f.(CDIAL 5583).

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

Ox-hide ingots.

The word ḍhāla also means 'shield' and ढालपट्टा (p. 204) ḍhālapaṭṭā m '(Shield and sword.) A soldier's accoutrements comprehensively.' This semantics is clear from a bronze figure of Enkomi, Cyprus signifying a warrior standing atop an ox-hide ingot and holding a shield and a spear.

Hieroglyph: tāla -- m. ʻ fan -- palm ʼ, (Pali) tāṛ m. ʻ palm tree ʼ (Sindhi): *tāḍa3 ʻ fan -- palm ʼ, tāḍī -- 2 f. in tāḍī -- puṭa -- ʻ palm -- leaf ʼ Kād., tāla -- 2 m. ʻ Borassus flabelliformis ʼ Mn., tālī -- , °lakī -- f. ʻ palm -- wine ʼ W. [Cf. hintāla -- ] Pa. tāla -- m. ʻ fan -- palm ʼ, Pk. tāḍa -- , tāla -- , tala -- m., tāḍī -- , tālī -- f., K. tāl m., P. tāṛ m., N. tār (tāṛ ← H.), A. tāl, B. tāṛ, Or. tāṛa, tāṛi, tāḷa, Bi. tār,tāṛ, OAw. tāra, H. G. tāṛ m., M. tāḍ m., Si. tala. -- Gy. gr. taró m., tarí f. ʻ rum ʼ, rum. tari ʻ brandy ʼ, pal. tar ʻ date -- spirit ʼ; S. tāṛī f. ʻ juice of the palmyra ʼ; P. tāṛī ʻ the fermented juice ʼ; N. tāṛī ʻ id., yeast ʼ (← H.); A. tāri ʻ the fermented juice ʼ, B. Or. tāṛi, Bi. tārī, tāṛī, Bhoj. tāṛī; H. tāṛī f. ʻ the juice, the fermented juice ʼ; G. tāṛī f. ʻ the juice ʼ, M. tāḍī f. <-> X hintāla -- q.v.tālavr̥nta -- ; *madatāḍikā -- .Addenda: tāḍa -- 3: S.kcch. tāṛ m. ʻ palm tree ʼ.(CDIAL 5750) Ta. kara tāḷam palmyra palm. Ka. kara-tāḷa fan-palm, Corypha umbraculifera Lin. Tu. karatāḷa cadjan. Te. (B.) kara-tāḷamu the small-leaved palm tree.(DEDR 1270) Ka. tār̤ palmyra or toddy palm, Borassus flabelliformis. Tu. tāri, tāḷi id. Te. tāḍu, (inscr., Inscr.2) tār̤u id.; tāṭi of or belonging to the palmyra tree;tāṭi ceṭṭu palmyra tree; tāṭ-āku palmleaf. Kol. (Kin.) tāṭi māk palmyra tree. Nk. tāṛ māk/śeṭṭ toddy palm. Nk. (Ch.) tāṛ id. Pa. tāṛ id. Ga.
(S.3) tāṭi palmyra palm. Go. (G. Ma. Ko.) tāṛ, (S.) tāṛi, (A.) tāḍi toddy palm; (SR.) tādī kal palm liquor (Voc.1709). Konḍa ṭāṛ maran, ṭāṭi maran palmyra tree. Pe. tāṛ mar toddy palm. Kuwi (Su.) tāṭi mārnu, (S.) tāti id. Kur. tāṛ palm tree. Malt. tálmi Borassus flabelliformis. / Cf. Skt. tāla-, Pkt. tāḍa-, tāla-; Turner, CDIAL, no. 5750 (some of the Dr. items may be < IA).(DEDR 3180) tāl 2 ताल् m. the palmyra tree or fan palm, Borassus flabelliformis. (Kashmiri)

ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS Hieroglyph: ढाळ (p. 204) ḍhāḷa Slope, inclination of a plane. Rebus: ḍhālako = a large metal ingot . Thus, large metal or iron ingot.

Hieroglyph: ढाळा (p. 204) ḍhāḷā m A small leafy branch, spring. 2 A plant of gram, sometimes of वाटाणा, or of लांक. ढाळी (p. 204) ḍhāḷī f A branch or bough. தளம்³ taḷam, n. < dala. 1. Leaf; இலை. (சூடா.) 2. Petal; பூவிதழ். (சூடா.)

This Mohenjo-daro prism tablet signifies on Side A a pair of palm trees flanking two oxhide ingots. It has been suggested that the hieroglyphs on all three sides of the tablet are read rebus to signify a metalwork catalogue of cargo carried on the boat (bagala?). Side A; tALa 'palm trees' rebus: DhALa 'large ingot (oxhide)' karaDa 'aquatic bird' rebus: karaDa 'hard alloy' Side B: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS karA 'crocodile' rebus: khAr 'blacksmith', thus aya-kara 'metalsmith' Side C: from l.to r. Part 1: karaNika 'spread legs' rebus: karNI 'supercargo' kanka, karNaka 'rim of jar' rebus: karNI 'supercargo, script, engraver' dula 'pair' rebus: dul 'metal casting' muh 'ingot' khANDA 'notch' rebus:kaNDa 'implements' Part 2: kanka, karNaka 'rim of jar' reebus: karNI 'supecargo, script, engrave' ayo, aya 'fish' PLUS khambhaṛā 'fish-fin' rebus: kammaTa 'mint' kolom 'three' rebus: kolimi 'smithy.forge' muh 'ingot' PLUS kolmo 'rice plant' rebus: kolimi 'smithy/forge'. Thus, the inscription on the three sides signifies mint, metalwork, hard alloys,metalcastings ingots, metal implements from smithy/forge.

Hieroglyph: tamar 'palm' (Hebrew). Rebus: tamba 'copper' (Santali) tamra id .(Samskrtam)

FS 125 (Frequency in M Corpus: 3 Boat (on oneside of a three-sided tablet)

m1186 FS 114 From R. - a horned pe rsonage standing between the branches of a pipal trec: a low pedestal with some offerings: a horn ed personage kneeling in adoration; a ram;a row of seven robed figures in the lower register.

bahulā f. pl. ʻ the Pleiades ʼ VarBr̥S., °likā -- f. pl. lex. [bahulá -- ] Kal. bahul ʻ the Pleiades ʼ, Kho. ból, (Lor.) boul, bolh, Sh. (Lor.) b*lle.(CDIAL 9195) Rebus: baghla 'dhow, cargo boat'.

FS 95

Cluster 9 Bier cluster, wheelwright category

FS 96 Person standing at the centre between a two-tiered

structure at R. and a short·horned bull standing near a trident-headed post at L.

khaḍū1 m. ʻ bier ʼ lex. 2. khaṭṭi -- m. lex. [Cf. kháṭvā -- ] 1. B. khaṛu ʻ bier ʼ.2. B. khāṭi ʻ bier ʼ, Or. khāṭa.(CDIAL 3785) Rebus: khāti 'wheelwright'. Text of inscription: dula 'two' rebus: dul 'metalcasting' PLUSarā 'spoke of wheel' rebus: arā 'brass'. Hieroglyph:buffalo: rã̄go 'buffalo' Rebus: rāṅgā 'zinc alloy, spelter, pewter'. Thus, cast spelter Hieroglyph: body: mēd 'body' (Kur.)(DEDR 5099); meḍ 'iron' (Ho.)

Cluster 10 Sickle cluster, wheelwright category

FS 131 (Frequency in M Corpus: 6) Inscribed object in the shape of a crescent or sickle

katti 'sickle' (Tamil) kāti the knife attached to the cock's foot (Voc. 490). ? Cf. 1208 Kol. katk-.(DEDR 1204) Rebus 1: khātā 'labour sphere account book' Rebus 2: käti ʻwarrior' (Sinhalese)(CDIAL 3649). Hieroglyph: katī 'blacksmith's goldsmith's scissors' rebus: khātī m. ʻ 'member of a caste of wheelwrights'

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

FS 106 106: Nude female figure upside down with thighs drawn apart and crab (?) issuing from her womb; two tigers standing face to face rearing on their hindlegs at L.

Image result for bharatkalyan97 dishevelled

FS 92 Man armed with a sickle-shaped weapon facing a seated

woman with dishevelled hair and upraised arms.

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

<raca>(D) {ADJ} ``^dishevelled'' (Munda) rasāṇẽ n. ʻglowing embersʼ (Marathi). rabca 'dishevelled' Rebus: రాచrāca (adj.) Pertaining to a stone.

The descriptive glyphics indicates that the smelting furnace is for bica, stone (ore). This is distinquished from sand ore.

katti 'sickle' (Tamil) kāti the knife attached to the cock's foot (Voc. 490). ? Cf. 1208 Kol. katk-.(DEDR 1204) Rebus 1: khātā 'labour sphere account book' Rebus 2: käti ʻwarrior' (Sinhalese)(CDIAL 3649). Hieroglyph: katī 'blacksmith's goldsmith's scissors' rebus: khātī m. ʻ 'member of a caste of wheelwrights'

The object between the outspread legs of the woman lying upside down is comparable orthography of a crocodile holding fiish in its jaws shown on tablets h705B and h172B. The snout of the crocodile is shown in copulation with the lying-in woman (as seen from the enlarged portion of h180 Harappa tablet).

kola ‘woman’; rebus: kol ‘iron’. kola ‘blacksmith’ (Ka.); kollë ‘blacksmith’ (Koḍ) kuThi 'vagina' rebus: kuThi 'smnelter' karA 'crocodile' rebus: khAr 'blacksmith' khamDa 'copulation' rebus: kammaTa 'coin, mint'

The glyphic elements shown on the tablet are: copulation, vagina, crocodile.

Gyphic: ‘copulation’: kamḍa, khamḍa 'copulation' (Santali) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.) Vikalpa: kaṇḍa ‘stone (ore)’. Glyph: vagina: kuṭhi ‘vagina’; rebus: kuṭhi ‘smelting furnace’. The descriptive glyphics indicates that the smelting furnace is for stone (ore). This is distinquished from sand ore. Glyph: ‘crocodile’: karā ‘crocodile’. Rebus: khar ‘blacksmith’. kāru a wild crocodile or alligator (Te.) Rebus: kāruvu ‘artisan’

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

, n. < கரா. cf. grāha. Alligator; முதலை. கரவார்தடம் (திவ். திருவாய். 8, 9, 9).

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

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

Glosses: Indian sprachbund

kāru ‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar ‘blacksmith’ (Kashmiri)

kola ‘tiger’ Rebus: kol ‘working in iron’.

Heraka ‘spy’ Rebus: eraka ‘copper’. khōṇḍa ‘leafless tree’ (Marathi). Rebus: kõdār’turner’ (Bengali) dhamkara 'leafless tree' Rebus: dhangar 'blacksmith'

Looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.

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

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

ayo 'fish' Rebus: ayas 'metal'. kaṇḍa 'arrow' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. ayaskāṇḍa is a compounde word attested in Panini. The compound or glyphs of fish + arrow may denote metalware tools, pots and pans.kola 'tiger' Rebus: kol 'working in iron, alloy of 5 metals - pancaloha'. ibha 'elephant' Rebus ibbo 'merchant'; ib ‘iron'. Alternative: కరటి [ karaṭi ] karaṭi. [Skt.] n. An elephant. ఏనుగు (Telugu) Rebus: kharādī ‘ turner’ (Gujarati) kāṇḍa 'rhimpceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. The text on h0489 tablet: loa 'ficus religiosa' Rebus: loh 'copper'. kolmo 'rice plant' Rebus: kolami 'smithy, forge'. dula 'pair' Rebus: dul 'cast metal'. Thus the display of the metalware catalog includes the technological competence to work with minerals, metals and alloys and produce tools, pots and pans. The persons involved are krammara 'turn back' Rebus: kamar 'smiths, artisans'. kola 'tiger' Rebus: kol 'working in iron, working in pancaloha alloys'. పంచలోహము pancha-lōnamu. n. A mixed metal, composed of five ingredients, viz., copper, zinc, tin, lead, and iron (Telugu). Thus, when five svastika hieroglyphs are depicted, the depiction is of satthiya 'svastika' Rebus: satthiya 'zinc' and the totality of 5 alloying metals of copper, zinc, tin, lead and iron.

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

కారుమొసలి a wild crocodile or alligator (Telugu).

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

Cluster 11 Sun's rays cluster, gold wealth category

FS 132 Radiating solar symbol

sun arka 'sun' rebus: arka, era 'copper'. arka 'sun' rebus: arka 'copper, gold' (agasāle 'goldsmithy'), eraka 'moltencast'.

Cluster 12 Body of standing person cluster, element classifier

FS 83

FS 84

manḍa 'arbour,canopy' Rebus 1: mã̄ḍ ʻarray of instruments'. Rebus 2: maṇḍā = warehouse, workshop (Konkani.) maṇḍī. 'large grain market' (Urdu).

FS 85 FS 83 to FS 85 Personage wearing a diadem or tall head-dress Slanding between two posts or under an ornamental arch

FS 86

FS 87

FS 88 FS 86 to FS 88 Standing pe rsonage with horns and bovine features (hoofed legs an d/or tail).

FS 90 (Frequency in M Corpus:3) Standing pe rsonage with horns and bovine features

holding a staff or mace on his shoulder.

Horned person. Terracotta. Harappa.

mēd 'body' (Kur.)(DEDR 5099); meḍ 'iron' (Ho.) Ta. mēṉi body, shape, colour, beauty; mēl body. Ma. mēni body, shape, beauty, excellence; mēl body. Koḍ. me·lï body. Te. mēnu id.; mēni brilliancy, lustre; belonging to the body, bodily, personal. Kol. me·n (pl.me·nḍl) body. Nk. mēn (pl. mēnuḷ) id. Nk. (Ch.) mēn id. Pa. mēn (pl. mēnul) id. Ga. (S.) mēnu (pl. mēngil), (P.) mēn id. Go. (Tr.) mēndur (obl. mēnduḍ-), (A. Y. W. M.) mēndul, (L.) meṇḍū˘l, (SR.) meṇḍol id. (Voc.2963). Konḍa mēndol human body. Kur. mē̃d, mēd body, womb, back. Malt. méth body (DEDR 5099)

Ta. kōṭu (in cpds. kōṭṭu-) horn, tusk, branch of tree, cluster, bunch, coil of hair, line, diagram, bank of stream or pool; kuvaṭu branch of a tree; kōṭṭāṉ, kōṭṭuvāṉ rock horned-owl (cf. 1657 Ta. kuṭiñai). Ko. ko·ṛ (obl.ko·ṭ-) horns (one horn is kob), half of hair on each side of parting, side in game, log, section of bamboo used as fuel, line marked out. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn. Ga. (Oll.) kōr (pl. kōrgul) id. Go. (Tr.) kōr (obl. kōt-, pl. kōhk) horn of cattle or wild animals, branch of a tree; (W. Ph. A. Ch.) kōr (pl. kōhk), (S.) kōr (pl. kōhku), (Ma.) kōr̥u (pl. kōẖku) horn; (M.) kohk branch (Voc. 980); (LuS.) kogoo a horn. Kui kōju (pl. kōska) horn, antler.

(DEDR 2200) Rebus: koḍ artisan's workshop (Kuwi) Ta. koṭṭakai shed with sloping roofs, cow-stall; marriage pandal; koṭṭam cattle-shed; koṭṭil cow-stall, shed, hut; (STD) koṭambe feeding place for cattle. Ma. koṭṭil cowhouse, shed, workshop, house. Ka. koṭṭage, koṭige, koṭṭige stall or outhouse (esp. for cattle), barn, room. Koḍ. koṭṭï shed. Tu. koṭṭa hut or dwelling of Koragars; koṭya shed, stall. Te. koṭṭā̆mu stable for cattle or horses; koṭṭāyi thatched shed. Kol. (Kin.) koṛka, (SR.) korkā cowshed; (Pat., p. 59) konṭoḍi henhouse. Nk. khoṭa cowshed. Nk. (Ch.) koṛka id. Go. (Y.) koṭa, (Ko.) koṭam (pl. koṭak) id. (Voc. 880); (SR.) koṭka shed; (W. G. Mu. Ma.) koṛka, (Ph.) korka, kurkacowshed (Voc. 886); (Mu.) koṭorla, koṭorli shed for goats (Voc. 884). Malt. koṭa hamlet. / Influenced by Skt. goṣṭha-. (DEDR 2058)

Cluster 13 Frog cluster, ingot classifier

Dong Son/Karen Bronze drum. Indus Script hieroglyphs: frog, elephant, peacock karibha 'elephant' rebus: karba 'iron' maraka 'peacock' rebus: marakaka 'copper alloy, calcining metal', kuṭi 'tree' rebus: kuṭhi 'smelter' arka 'sun' rebus: arka 'gold' eraka 'moltencast'.

FS 71 Frog

Kur. mūxā frog. Malt. múqe id. / Cf. Skt. mūkaka- id. (DEDR 5023) Rebus: mũhe 'ingot' rebus: muhã 'quantity of metal produced at one time in a native smelting furnace.'

Cluster 14 Serpent cluster as anakku, 'tin ore' classifier

FS 72 Serpent. partly rec lining un a low platform under

a tree.. kuṭi 'tree' rebus: kuṭhi 'smelter' नाग 'serpent' rebus: nāga, 'lead, tin' (भावप्रकाश) Akkadian:anakku 'tin'

FS 73 Serpcnt (!) entwined around a pillar wilh capital (?):

(the motif is always curved in high relief on the reverse side of the inscribed object).(Frequency in M Corpus: 9)

Cluster 15 Tortoise, turtle clusters, bronze classifiers

FS 69 Inscribed object in the shape of a tortoise.

FS 56 (Frequency in M Corpus: 9) dula 'duplicated, mirror image' rebus: dul'metal casting' PLUS

https://frontiers-of-anthropology.blogspot.in/2011/11/giant-turtle-that-bears-world-on-its.html?m=1

A giant turtle (of what was thought to be an extinct species) has been found on Pacific island in 2010 CE !!

https://www.wired.com/2010/08/last-giant-land-turtle/

कंस[p= 241,1] mn. ( √कम् Un2. iii , 62), a vessel made of metal , drinking vessel , cup , goblet AV. x , 10 , 5 AitBr. S3Br. &c; a metal , tutanag or white copper , brass , bell-metal

"Front view of Meiolania platyceps fossil

Meiolania ("small roamer") is an extinct genus of cryptodire

turtle from the Oligocene to Holocene, with the last relict populations at New Caledonia which survived until 2,000 years ago.

The animal was rather large, measuring 2.5 metres (8.2 ft) in length, making it the second-largest known nonmarine turtle or tortoise, surpassed only by Colossochelys atlas from Asia, which lived in the Pleistocene. It lived in Australia and New Caledonia. Remains have also been found on the island of Efate in Vanuatu, associated with settlements from the Lapitaculture...When the first fossil remains (a vertebra) were found, they were originally thought to be from a large monitor lizard, similar to, but smaller than Megalania, so the genus was named accordingly. Later, when more remains were found, it was realized that the "small roamer" was actually a turtle, and not a lizard. Synonyms include Miolania and Ceratochelys."

http://en.wikipedia.org/wiki/Meiolania

There are examples of copper plates with the pictorial motifs of large turtles combined back to back, as a pair to signify: dula 'pair' rebus: dul 'metal casting'.

m1528Act

m1529Act2920

m1529Bct

m1532Act

m1532Bct

m1534Act

m1534Bct

1703 Composition:

Two horned heads one at either end of the body. Note the dottings on the thighs which is a unique artistic feature of depicting a turtles (the legs are like those of an elephant?). The body apparently is a combination of two turtles with heads of turtles emerging out of the shell and attached on either end of the composite body.

Copper tablet type B18, B17b. Tortoise with mirror duplicaes.

B17a, B17b, B18

Hieroglyph: two large turtles joined back to back. Thus, signifying meta casting using cire perdue (lost-wax) technique of creating mirror image metal castings from wax casts.

The hieroglyph multiplex on m1534b is now read rebus as: dula 'pair' rebus: dul 'cast metal' PLUS kassa 'turtle' rebus: kãsā 'bell-metal' kamaṭha 'turtle' rebus: kãsā kammaṭa'bell-metal coiner, mint, portable furnace'.

kamaṭha crab, tortoise (Gujarati); ‘frog’ (Skt.); rebus: kammaṭa ‘mint’ (Kannada)kampaṭṭam ‘coiner, mint’ (Tamil).கமடம், [ *kamaṭam, ] s. A turtle, a tortoise, ஆமை (Winslow Tamil lexicon) కమఠము [ kamaṭhamu ] kamaṭhamu. [Skt.] n. A tortoise.

Rebus: కమటము [ kamaṭamu ] kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి. Allograph: कमटा or ठा [ kamaṭā or ṭhā ] m (कमठ S) A bow (esp. of bamboo or horn) (Marathi). Allograph 2: kamaḍha ‘penance’ (Pkt.) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236)

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

On copper tablet m1543, the correct identification of the animal heads will be turtle species comparable to Meiolania, a horned large turtle of New Guinea.

Hieroglyph: kassa ‘turtle’: kacchapa m. ʻ turtle, tortoise ʼ MBh. 2. *kacchabha -- . [By pop. etym. through kaccha -- for kaśyápa -- VS. J. Charpentier MO xxvi 110 suggested equivalence in MIA. of kassa -- = kaccha -- to explain creation of kacchapa -- ~ kassapa -- . But K. kochuwu, unless a loan from Ind., points to *kakṣapa -- , which would make the formation earlier.] 1. Pa. kacchapa -- m. ʻ tortoise, turtle, °pinī -- f., Pk. kacchava -- m., °vī -- f., K. kochuwu m. (see above), S. kachãũ, °chū̃ m., L. kachū̃ m., P. kacchū, kacchūkummã̄ m. (< kūrmá -- 1), N. kachuwā, A. kācha, B. kāchim, Or. kechu, °cho, kẽchu, kaï˜cha, °ca, kachima, °cima, Mth. kāchu, Bhoj. Aw. lakh. kachuā; H. kachuā, °chwā m., °uī, °wī f. ʻ tortoise, turtle ʼ, kach -- mach m. ʻ dwellers in the water ʼ (< mátsya -- ) whence kacch, kach m. ʻ turtle, tortoise ʼ, M. kāsav, kã̄s° m., Ko. kāsavu. 2. Pk. amg. kacchabha -- , °aha -- m., °bhī -- f.; Si. käsum̆bu, °ubu H. Smith JA 1950, 188; -- G. kācbɔ m., °bī f. with unexpl. retention of -- b -- and loss of aspiration in c. Addenda: kacchapa -- . 1. A. kācha (phonet. -- s -- ) ʻ tortoise ʼ AFD 217. 2. *kacchabha -- (with -- pa -- replaced by animal suffix -- bha -- ): Md. kahan̆bu ʻ tortoise -- shell ʼ.(CDIAL 2619)

Rebus: OMarw. kāso (= kã̄ -- ?) m. ʻ bell -- metal tray for food, food.

kaṁsá1 m. ʻ metal cup ʼ AV., 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 ʻ gong 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; K. kanzü f. ʻ clay or copper pot ʼ; A. kã̄hi ʻ bell -- metal dish ʼ; G. kã̄śī f. ʻ bell -- metal cymbal ʼ, kã̄śiyɔ m. ʻ open bellmetal pan ʼ. kāˊṁsya -- ; -- *kaṁsāvatī -- ? Addenda: kaṁsá -- 1: A. kã̄h also ʻ gong ʼ or < kāˊṁsya -- . (CDIAL 2576) It is possible that the word in Tamil for ‘gold, money’ is cognate with these etyma of Indian sprachbund: காசு³ kācu , n. prob. kāš. cf. kāca. [M. kāšu.] 1. Gold; பொன். (ஆ. நி.) 2. Necklace of gold coins; அச்சுத்தாலி. காசும் பிறப்புங் கலகலப்ப (திவ். திருப்பா. 7). 3. An ancient gold coin = 28 gr. troy; ஒரு பழைய பொன்னாணயம். (Insc.) 4. A small copper coin;சிறுசெப்புக்காசு. நெஞ்சே யுனையோர் காசா மதியேன் (தாயு. உடல்பொய். 72). 5. Coin, cash, money; ரொக்கம். எப்பேர்ப்பட்ட பல காசா யங்களும் (S.I.I. i, 89). 6. Gem, crystal bead; மணி.நாண்வழிக் காசுபோலவும் (இறை. 2, உரை, பக். 29). 7. Girdle strung with gems; மேகலாபர ணம்.பட்டுடை சூழ்ந்த காசு (சீவக. 468). 8. (Pros.) A formula of a foot of two nēr acaiveṇpā; வெண்பாவின்இறுதிச்சீர்வாய்பாட்டுள் ஒன்று. (காரிகை, செய். 7.) 9. The hollow in the centre of each row of pallāṅkuḻi; பல்லாங்குழி யாட்டத்திற் காய்கள் சேர்தற்குரிய நடுக்குழிகள்.

1) కంచరవాడు (p. 224) kañcaravāḍu kanṭsu. n. Bell metal. కంచుకుండ a bowl or vessel or bell metal.కంచువాద్యము a cymbal made of bell metal. కంచుతీసినట్లు as...
2) కంచము (p. 223) kañcamu kanṭsamu. [Tel.] n. A metal plate or dish. కంచుకంచము a dish made of bell metal. మా కంచములో రాయి వేసినాడు he threw a stone into our place, i.e., took away our bread, he disturbed us. మందకంచము a dish which as a rim. ఆకుకంచము a dish which has none.

2) ) కంసర (p. 227) kaṃsara or కంసలల kamsara. [Tel.] n. Smithery; working in gold: adj. Of the goldsmith caste. కంసలది a woman of that caste. కంసలపని the business of a gold-smith.

3) కంసము (p. 227) kaṃsamu kamsamu. [Skt.] n. Bell metal.కంచు.
4) కాంస్యము (p. 265) kāṃsyamu kāmsyamu. [Skt.] n. Bell metal. కంచు.

4) కంసాలి (p. 227) kaṃsāli or కంసాలవాడు kamsāli. [Tel.] n. A goldsmith or silversmith.

5) కంచరవాడు (p. 224) kañcaravāḍu or కంచరి kanṭsara-vaḍu. [Tel.] n. A brazier, a coppersmith. కంచుపనిచేయువాడు. కంచరది a woman of that caste. కంచరిపురుగు kanṭsari-purugu. n. A kind of beetle called the death watch. కంచు kanṭsu. n. Bell metal. కంచుకుండ a bowl or vessel or bell metal. కంచువాద్యము a cymbal made of bell metal. కంచుతీసినట్లు as bright or dazzling as the glitter of polished metal. Sunbright.ఆమె కంచుగీచినట్లు పలికె she spoke shrilly or with a voice as clear as a bell.

కాంచనము (p. 265) kāñcanamu kānchanamu. [Skt.] n. Gold. కాంచనవల్లి a piece of gold wire.కాంచనాంబరము tissue, gold cloth.

Kāñcana काञ्चन a. (-नी f.) [काञ्च्-ल्युट्] Golden, made of gold; तन्मध्ये च स्फटिकफलका काञ्चनी वासयष्टिः Me.81; काञ्चनंवलयम् Ś.6.8; Ms.5.112. -नम् 1 Gold; समलोष्टाश्मकाञ्चनः Bg. 14.24. (ग्राह्यम्) अमेध्यादपि काञ्चनम् Ms.2.239. -2 Lustre, brilliancy. -3 Property, wealth, money. (Apte). kāñcaná ʻ golden ʼ MBh., n. ʻ gold ʼ Mn.Pa. kañcana -- n. ʻ gold ʼ, °aka -- ʻ golden ʼ; Pk. kaṁcaṇa<-> n. ʻ gold ʼ; Si. kasuna ʻ gold ʼ, kasun -- ʻ golden ʼ. (CDIAL 3013)காஞ்சனம்¹ kāñcaṉam , n. < kāñcana. Gold; பொன். (திவா.) కాంచనము (p. 265) kāñcanamu kānchanamu. [Skt.] n. Gold. కాంచనవల్లి a piece of gold wire. కాంచనాంబరము tissue, gold cloth.

The hieroglyph multiplex on m1534b is now read rebus as: dula 'pair' rebus: dul 'cast metal' PLUS kassa 'turtle' rebus: kãsā 'bell-metal' kamaṭha 'turtle' rebus: kãsā kammaṭa

'bell-metal coiner, mint, portable furnace'.

Cluster 16 Seated person in penance, mint classifier

FS 80 (Frequency in M Corpus:3) Horned personage seated on a pedestal.

FS 81

FS 82 kamaḍha 'penance' Rebus: kammaṭa 'mint, coiner'; kaṇḍo 'stool, seat' Rebus: kāṇḍa 'metalware'

Cluster 17 Archer cluster,mint classifier

FS 89 (Frequency in M Corpus: 6) Standing personage with ho rns and bovine features holding a bow in one hand and an arrow or an uncertain object in the other.

kamaṭha 'penance' Rebus: kammaṭa 'mint, coiner';

Cluster 18 ayakara 'metalsmith' cluster, alloy metal smithy, forge classifier

FS 63

FS 64

FS 65

FS 66

FS 67 FS 63 to FS 67 Gharia1. sometimes with a fish held in its jaw and/ or surrounded by school of fish. (Frequency in M Corpus: 49)

FS 68 Inscribed object in the shape of a fish (Frequency in M Corpus: 14) ayo 'fish' rebus: ayas 'alloy metal' अयस् n. iron , metal RV. &c; an iron weapon (as an axe , &c ) RV. vi , 3 ,5 and 47 , 10; gold (नैघण्टुक , commented on by यास्क);steel L. ; ([cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa ; Old Germ. e7r , iron ; Goth. eisarn ; Mod.Germ. Eisen.])

Cluster 19 Smelter cluster, wealth-category of smelted mineral ores

FS 75

FS 76

FS 77 (Frequency of occurrence in M Corpus: 34) Kino tree generally within a railing or on a platform. kuṭi 'tree' rebus: kuṭhi 'smelter'

Cluster 20 Magnetite, ferrite ore cluster wealth-category or wealth-classification

FS 10 (Frequency in M Corpus 54) Bos indicus, zebu. Humped bull.

Hieroglyph: पोळ pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large. पोळी (p. 305) pōḷī fig. A dewlap. पोळी पिकणें g. of s. To begin to fare sumptuously; to get into good living. पोळा (p. 305) pōḷā m (पोळ) A festive day for cattle,--the day of new moon of श्रावण or of भाद्रपद. Bullocks are exempted from labor; variously daubed and decorated; and paraded about in worship.

Rebus: पोळ pōḷa 'magnetite, ferrite ore'. To burn: पोळभाज pōḷabhāja f (पोळणें & भाजणें To burn &c.) In agriculture. A comprehensive term for the operations connected with the burning of the ground.

Metal casting clusters (cire perdue, 'lost wax method')

FS 14

FS 127 A large device in the upper register s howing a number of

small circles in three rows with ano the r row of short vertical lines below (identified as a 'seed-drill "!). I suggest that this is an orthographic representation of a bee-hive with horns and 'notches'. पोळ pōḷa n C (Or पोळें) A honeycomb PLUS koḍ 'horn' rebus: koḍ 'workshop' PLUS 'notches' hieroglyph: 'notch' hieroglyph: खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā 'tools, pots and pans, metal-ware'. Thus, pōḷa koḍ khāṇḍā 'haematite, ferrite ore workshop, metalware smelter.' (Alternative explanation of the field symbol: A large device in the upper register showing a number of small circles in three rows with another row of short vertical lines below (identified as a 'seed-drill "!)

Sign 222 is

Sign 216 + notch (slanted stroke)Hieroglyph: katī 'blacksmith's goldsmith's scissors' rebus: khātī m. ʻ 'member of a caste of wheelwrights' PLUS 'notch' hieroglyph: खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon)khāṇḍā 'tools, pots and pans, metal-ware'. (Marathi). Thus, khātī khāṇḍā 'wheelwright, equipment'

Sign 254 if duplicated

Sign 86 (long linear stroke) koḍa 'one' rebus: koḍ 'workshop' dula 'two, duplicated' rebus: dul 'metal casting' PLUS 'three horizontal strokes' kolom 'three' rebus; kolimi 'smithy, forge'. Thus hypertext of Sign 254 reads: dul koḍ kolimi 'metal casting smithy, forge'

The cluster of hypertexts in Text message of FS 127 reads:

ayo dhakka, ayo ḍhāḷako khātī khāṇḍā 'bright metal alloy, alloymetal large ingot, wheelwright, equipment' dul koḍ kolimi 'metal casting smithy, forge'.

Modifier on Sign 72: sloping stroke: ḍhāḷiyum = adj. sloping, inclining (G.) The ligatured glyph is read rebus as: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati).

The inscription hypertext of FS 127 reads: pōḷa koḍ khāṇḍā 'haematite, ferrite ore workshop, metalware smelter.' PLUS ayo dhakka, ayo ḍhāḷa khātī khāṇḍā 'bright metal alloy, alloymetal ingot, wheelwright, equipment' dul koḍ kolimi 'metal casting smithy, forge'.

It is an orthographic variant of a bee-hive. Hieroglyph: पोळ pōḷa n C (Or पोळें) A honeycomb. पोळें pōḷēṃ n C A cake-form or flat honeycomb. पोळा pōḷā m (पोळ) The cake-form portion of a honeycomb. 3 A kindled portion flying up from a burning mass, a flake. 4 C A nest of bees or of उंबील or हुरण (species of ant) formed on trees by doubling over and gluing together leaves. 5 C A portion of the दाढ (loppings and straw strewed over ground to be turned) remaining unburned. 6 C पोकळा or the flowers of शेगवा rolled up in a plantain-leaf and broiled over the fire. An eatable amongst children.

Cluster 21 Dhokra 'cire perdue' metal cassting artisans classifier

FS 103 Horned (female) personage with a tail and bovine legs

standing near a kino tree attacking a horned tiger rearing on its hindlegs.

Dhokra kamar as a Meluhha hieroglyph: Dholavira, Mohenjo-daro seals Rebus: lost-wax casting

On both the seals (Mohenjodaro and Dholavira), a decrept woman is signified with breasts hanging down to convey the semantics 'decrepit'. The decrepit woman on both seals is ligatured to the back of a bovine (buttock). On both the seals the woman is shown with her arm upraised signifying semantics of 'striking':P. ṭhokṇā ʻ to strike ʼ; Ku. ṭhokṇo ʻ to wield ʼ; N. ṭhoknu ʻ to knock ʼ; A. ṭhūkiba ʻ to strike ʼ, B. ṭhokā, ṭhukā, Or. ṭhukibā; H. ṭhoknā ʻ to knock, make firm ʼ; G. ṭhokvũ ʻ to strike ʼ, M. ṭhokṇẽ (CDIAL 5513) The rebus rendering is a phonetic determinant: dhokra/dokra 'cire perdue, lost-wax metalcaster'.

Plate II. Chlorite artifacts referred to as 'handbags' f-g (w 24 cm, thks 4.8 cm.); h (w 19.5 cm, h 19.4 cm, thks 4 cm); j (2 28 cm; h 24 cm, thks 3 cm); k (w 18.5, h 18.3, thks 3.2) Jiroft IV. Iconography of chlorite artifacts. http://www.iranicaonline.org/articles/jiroft-iv-iconography-of-chlorite-artifacts

An allograph to signify dhokra/dokra is a dhokra 'basket or wallet.' This hieroglyph is shown on a number of 'basket-shaped or wallet-shaped' stone sculptures from Bactria Margiana Archaeological Complex. Hieroglyph: N. dhokro ʻ large jute bag ʼ, B. dhokaṛ; Or. dhokaṛa ʻ cloth bag ʼ; Bi. dhŏkrā ʻ jute bag ʼ; Mth. dhokṛā ʻ bag, vessel, receptacle ʼ; H. dhukṛīf. ʻ small bag ʼ; G. dhokṛũ n. ʻ bale of cotton ʼ; -- with -- ṭṭ -- : M. dhokṭī f. ʻ wallet ʼ; -- with -- n -- : G. dhokṇũ n. ʻ bale of cotton ʼ; -- with -- s -- : N. (Tarai) dhokse ʻ place covered with a mat to store rice in ʼ.2. L. dhohẽ (pl. dhūhī˜) m. ʻ large thatched shed ʼ.3. M. dhõgḍā m. ʻ coarse cloth ʼ, dhõgṭī f. ʻ wallet ʼ.4. L. ḍhok f. ʻ hut in the fields ʼ; Ku. ḍhwākā m. pl. ʻ gates of a city or market ʼ; N. ḍhokā (pl. of *ḍhoko) ʻ door ʼ; -- OMarw. ḍhokaro m. ʻ basket ʼ; -- N.ḍhokse ʻ place covered with a mat to store rice in, large basket ʼ.(CDIAL 6880) Rebus: dhokra ‘cire perdue’ casting metalsmith.

The hieroglyph of dhokaṛa 'an old female with breasts hanging down' and ligatured to the ḍhōṅgā 'buttock' of a bovine is also deployed on a Mohenjo-daro seal; 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'. kuṭhi 'tree' rebus: kuṭhi'smelter'. On a Dholavira seal, the reinforcing hieroglyphs are a pair of crocodiles: karā 'crocodile' rebus: khār'blacksmith' (Kashmiri) PLUS dula 'pair' rebus; dul 'metal casting' Thus, together, metalcaster blacksmith.

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.

Dholavira molded terracotta tablet with Meluhha hieroglyphs written on two sides. Hieroglyphs: dhokaṛa ʻdecrepit, hanging down (of breasts)' (Oriya)(CDIAL 5567).

M. ḍhẽg n. ʻ groin ʼ, ḍhẽgā m. ʻ buttock ʼ. M. dhõgā m. ʻ buttock ʼ. (CDIAL 5585). 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)

**Cluster 22 dhāvḍī ʻcomposed of or relating to ironʼ, dhā̆vaḍ 'iron-smelters' cluster, Iron, steel product cluster** m0304 Seal impression and other field symbol components

FS 50 Fabulous animal with features of an ox and a rhinoceros

facing the special c ult object.

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) ...gaṇḍa 'rhinoceros'; rebus: khaṇḍ 'tools' barad, balad, ''ox' rebus: bharat 'alloy metal (copper, zinc, tin)

FS 19

FS 20 (Frequency in M Corpus: 55) Elephant. sometimes with a tTOugh in front.

FS 21

FS 27

Cluster 23 Endless knot cluster, yajña dhanam, iron category, ḍhangar ‘blacksmith’ category

FS 124 (Frequency in M Corpus: 4) The 'endless knot' motif.

मेध = yajña

मेधा = धन (नैघण्टुक , commented on by यास्क ii , 10.)

Variant of endless knot motif is twisted, plaited threads or strands of rope. FS 102 Group of persons vaulting over an uncertain bovine animal.

मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meḍ ' iron' (Munda). Rebus: medha 'yajna'., medhā'dhanam'.

FS 98 Short-ho rned bull trampling a prostrate person underneath.

meṭṭu to tread, trample, crush under foot, tread or place the foot upon (Te.); meṭṭu step (Ga.); mettunga steps (Ga.). maḍye to trample, tread (Malt.)(DEDR 5057) మెట్టు [ meṭṭu ] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు, నడుచు, త్రొక్కు. "మెల్ల మెల్లన మెట్టుచుదొలగి అల్లనల్లనతలుపులండకు జేరి." BD iv. 1523. To tread on, to trample on. To kick, to thrust with the foot.మెట్టిక meṭṭika. n. A step , మెట్టు, సోపానము (Telugu)

Rebus: meḍ 'iron' (Mundari. Remo.)

ḍhanga = tall, long shanked; maran: ḍhangi aimai kanae = she is a big tall woman (Santali.lex.)

Rebus: ḍhangar ‘blacksmith’ (WPah.): ḍānro = a term of contempt for a blacksmith (N.)(CDIAL 5524) ṭhākur = blacksmith (Mth.); ṭhākar = landholder (P.); ṭhakkura – Rajput, chief man of a village (Pkt.); ṭhakuri = a clan of Chetris (N.); ṭhākura – term of address to a Brahman, god, idol (Or.)(CDIAL 5488). dha~_gar., dhã̄gar = a non-Aryan tribe in the Vindhyas, digger of wells and tanks (H.); dhāngar = young servant, herdsman, name of a Santal tribe (Or.); dhangar = herdsman (H.)(CDIAL 5524).

Cluster 24 Dance-step cluster, iron smithy/forge

FS 93 (Frequency in M Corpus:2) Three dancing figures in a row

kolom 'three' rebus: kolami 'smithy, forge'

meḍ 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D. Stampe's Munda etyma) Rebus: meḍ 'iron' (Mundari. Remo.)

Clusterr 25 Minerals Smelter, metals furnace, clusters

FS 4

FS 25 (Frequency in M Corpus: 5) Horned tiger.

FS 54

See: Octopus veṛhā, unicorn (young aurochs kondh), Indus Script hypertexts are professional calling cards of jangaḍiyo bəḍhàri ʻmilitary guards in charge of treasure and stores of a templeʼ https://tinyurl.com/y9

Cluster 26 Armoury clusters

FS 5 कुठारु kuṭhāru 'a monkey' Rebus: कुठारु kuṭhāru 'an armourer' (Monier-Williams) ,

FS 23 (Frequency in M Corpus 16) Tiger. generally with a trough in front.

kūṭāgāra n.m. ʻ apartment on the roof of a house ʼ R. [kūˊṭa -- 4, agāra -- ]

Pa. kūṭāgāra -- n. ʻ building with an upper storey ʼ; Pk. kūḍāgāra -- n. ʻ house shaped like a crest ʼ; Si. kuḷāra ʻ balcony, gabled house ʼ.(CDIAL 3398) Rebus: kuṭhāru 'armourer'

Cluster 27 Double-axe cluster, armourer category

FS 129 (Frequency in M Corpus: 17) Inscribed object in the shape of a double·shield or double-axe.

FS 133 Double-axe without shaft

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

Cluster 28 Seafaring merchant clusters

FS 6

Cluster 29 Smithy, forge clusters

FS 7 (Frequency of occurrence in M Corpus: 1159) Unicorn, generally facing a standard device.

FS 44 Row of animals in file (a unicorn, an elephant and a

rhinoceros from R.); a gharial with a fish held in its jaw above the animals; a bird (?) at R.

Cluster30 Equipment making black-smithy/-forge

FS 42 (Frequency in M Copus:10 ) Hare facing a bush.

FS 43 (Frequency in M Copus:5) Inscribed object in the shape of a hare.

Examples of incised copper tablets (Hieroglyph-multiplex (FS 42 field symbol): hare PLUS thorn/bush):

m1491Act

m1491Bct

m1492Act

m1492Bct

m1493Bct

1706 Hare

m1494

Pict-42

m1497Act

See: http://bharatkalyan97.blogspot.in/2016/01/data-mining-techniques-decipherment-of.html

Hieroglyph kharā 'hare' (Oriya): *kharabhaka ʻ hare ʼ. [ʻ longeared like a donkey ʼ: khara -- 1?]N. kharāyo ʻ hare ʼ, Or. kharā, °riā, kherihā, Mth. kharehā, H. kharahā m(CDIAL 3823) ``^rabbit'' Sa. kulai `rabbit'.Mu. kulai`rabbit'.KW kulai @(M063) खरगोस (p. 113) kharagōsa m ( P) A hare. (Marathi)

Rebus: khār खार् 'blacksmith' (Kashmiri) K. khāra -- basta f. ʻ blacksmith's skin bellows ʼ(CDIAL 9424) khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -; or । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü , a blacksmith's smelting furnace; cf. hāl 5. -kūrü ; । लोहकारकन्या f. a blacksmith's daughter. -koṭu -। लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü - । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste; । 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.

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

Cluster 31 Tin smithy, forge clusters

FS 33 -FS 38 Goat-antelope with a short tail (and different types of

boms), sometimes with a trough in front. ranku ‘antelope’ rebus: ranku ‘tin’ krammara ‘turn back’ rebus:kamar ‘blacksmith’.

FS 34

FS 36

FS 32

FS 37

FS 38 (Frequency in M Corpus: 36) Goat-antelope with a short tail (and different types of boms), sometimes with a trough in front.

FS 41 (Frequency in M Corpus: 26) Ox-antelope with a long tail, generally with a trough

in front .

Cluster32 Alloy metal clusters

FS 9 (Frequency in M Corpus: 5) Bull with two long horns (otherwise resembling the
'unicorn' ), generally facing the special standard device.

FS 16

FS 17 (Frequency in M Corpus 14) Buffalo. generally with a trough in front.

FS 13 (Frequency in M Corpus: 95) Short-horned bull, generally with head lowered over a trough.

FS 29 Fabulous animal of uncertain desc ription with two heads. one at either end of the hody. (Ref. 1703)

Cluster 33 Metal equipment, product clusters

--Metalwork samgaha, 'catalogues' cluster सं-ग्रह complete enumeration or collection , sum , amount , totality (एण , " completely " , " entirely ") (याज्ञवल्क्य), catalogue, list

FS 28 (Frequency in M Corpus: 39) Rhinoceros. generally with a trough in front.

FS 31

Cluster 34 śreṇi Goldsmith Guild clusters

FS 46

FS 57

FS 58

FS 59

FS 60

Cluster 34a Three tigers joined, smithy village,smithy shop category

FS 61 Composite motif, three tigers joined together

.kol 'tiger' rebus: kolhe 'smelter' kol 'working in iron' kolmo 'three' rebus: kolimi 'smithy, forge' cāli 'interlocked' rebus śālikā 'village of artisans,shop'. Thus kolimi śālikā 'smithy village,smithy shop'

FS 62 Composite mo tif consist ing of six heads of animals viz.thnse of unicorn . short-horned bull. antelope. tiger and of two ulher uncertain animals radiating oulwarth. from a ring. (Frequency: 62 M Corpus) Seal of a Metal guild-master. Hieroglyph: śrēṣṭrī 'ladder' Rebus: 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.

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

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

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

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

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

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

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

The glyphics are:

1. Glyph: ‘one-horned young bull’: kondh ‘heifer’. kũdār ‘turner, brass-worker’.

2. Glyph: ‘bull’: ḍhangra ‘bull’. Rebus: ḍhangar ‘blacksmith’. koD 'horns' rebus: koD 'workshop'

3. Glyph: ‘ram’: meḍh ‘ram’. Rebus: meḍ ‘iron’

^4.Glyph: ‘antelope’: mr̤eka ‘goat’. Rebus: milakkhu ‘copper’. Vikalpa 1: meluhha ‘mleccha’ ‘copper worker’. Vikalpa 2: meṛh ‘helper of merchant’.

^5.

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

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

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

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

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

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

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

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

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

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

FS 45 Hypertext, 'bulled, of copulation': saṅghāibā Rebus: jangaḍ ,'invoiced on approval basis'. samgaha, 'catalogue, list'. Vajra saṅghāta 'metallic adamantine glue'.

Vajra is a metallic product as explained in Varahamihira's Brhatsamhita.

The expression used is: vajra samghāta, 'metallic adamantine glue' or 'joining together'. saṁghātá m. ʻ close union, mass ʼ TS., ʻ closing (a door) ʼ VS., ʻ dashing together ʼ MBh. [Cf. saṁhata<-> with similar range of meanings. -[- ghāta] Pa. saṅghāta -- m. ʻ killing, knocking together ʼ; Pk. saṁghāya -- m. ʻ closeness, collection ʼ; Or. saṅghā, saṅgā ʻ bamboo scaffolding inside triangular thatch, crossbeam of thatched house, copulation (of animals) ʼ; -- adj. ʻ bulled (of a cow) ʼ < **saṁghātā* -- or saṁhatā -- ?saṁghātayati ʻ strikes together, kills ʼ MW. [ghāta -- ] Pa. saṅghātanika -- in cmpd. ʻ binding together ʼ; Pk. saṁghāyaï ʻ strikes together, joins ʼ; S. saṅghāhaṇu ʻ to kill ʼ; Or. saṅghāibā ʻ to cause to meet or be joined, put a cow to bull ʼ (whence ʻ (of a bull) to copulate ʼ).(CDIAL 12862, 12863)

In metallurgy, such a glue is explained as a calcine. To calcine is to reduce, oxidize, or desiccate metallic ores by roasting or exposing to strong heat. This is further explained in the Bharatiya metallurgical proesses as bhasma. Bhasma is a calcined preparation in which a stone-ore (gem) or metal (mineral ore) is converted into ash. vanga-bhasma is calx of tin (Kannada)
Cluster 35 पोळ **[pōḷa], 'zebu'cluster, magnetite ore category pōḷa, 'magnetite, ferrous-ferric oxide'**

Nandi1 & (freq.) Nandī (f.) [Sk. nandi, but cp. BSk. nandī Divy 37] 1. joy, enjoyment, pleasure, delight in (c. loc.) S i.16, 39, 54; ii.101 sq. (āhāre); iii.14 (=upādāna); iv.36 sq.; A ii.10 (kāma˚, bhava˚, diṭṭhi˚), iii.246;iv.423 sq. (dhamma˚); Sn 1055 (+nivesana); Nd2 330 (=taṇhā); Pug 57; Dhs 1059≈(in def. of taṇhā); Vbh 145, 356, 361; DhsA 363; ThA 65, 167. -- For nandī at Miln 289 read tandī. -- 2. a musical instrument: joy -- drum [Sk. nandī] Vin iii.108 (=vijayabheri). Cp. ā˚. -- (y)āvatta "turning auspiciously" (i. e. turning to the right: see dakkhiṇāvatta), auspicious, good Nett 2, 4, 7, 113 (always attr. of naya); -- ûpasecana (rāgasalla) sprinkled over with joy, having joy as its sauce Nett 116, 117; cp. maŋsûpasecana (odana) J iii.144=vi.24; -- kkhaya the destruction of (finding) delight S iii.51; -- (ŋ)jaha giving up or abandoning joy Sn 1101 (+okañjaha & kappañjaha); Nd2 331; -- bhava existence of joy, being full of joy, in ˚parikkhīṇa one in whom joy is extinct (i. e. an Arahant), expld however by Com. as one who has rid himself of the craving for rebirth (tīsu bhavesu parikkhīnataṇha DhA iv.192=SnA 469) S i.2, 53; Sn 175, 637=Dh 413; -- mukhī (adj. -- f.) "joyfaced," showing a merry face, Ep. of the night (esp. the eve of the uposatha) Vin i.288 (ratti); ii.236 (id.); -- rāga pleasure & lust, passionate delight S ii.227; iii.51; iv.142, 174, 180; M i.145; Dhs 1059≈, 1136; esp. as attr. of taṇhā in phrase n -- r -- sahagata -- taṇhā (cp. M Vastu iii.332: nandīrāgasahagatā tr̥ṣṇā) Vin i.10; S iii.158; v.425 sq.; Ps ii.137; Nett 72; -- saŋyojana the fetter of finding delight in anything Sn 1109, 1115; Nd2 332; -- samudaya the rise or origin of delight M iii.267. (Pali)

नान्दी [p= 535,2] f. ( √ नन्द्) joy , satisfaction , pleasure RV. MBh.; eulogium or praise of a deity , (esp.) a kind of blessing pronounced as a prologue to a drama Mr2icch. Ka1lid. Sa1h. Prata1p. &c; (in music) a partic. measure; = द्वादश-तूर्य-निर्घोष L. नन्द m. joy , delight , happiness (also pl.) AV. VS. &c; (in mus.) a flute 7 inches long; name of one of कुबेर's 9 gems L.; नन्दा name f. of a river flowing near कुबेर's city अलका MBh. BhP.

Details of this plaque provenanced from Hari Rud and discussions by Massimo Vidale are presented at https://tinyurl.com/y9ta74um

The hypertext of the plaque signifies a smelter working on magnetite ferrite ore and sangatarāśū 'stone cutter'.

1. dāmaṛī ʻheifer', 2. pōḷa vatsatará 'zebu calf' Rebus: dhā̆vaḍ 'iron smelter'; 2. pōḷa ‘magnetite ore, ferrite ore’ PLUS śrivatsa ‘wealth’ -- that is, wealth derived by a smelter from working on magnetite ferrite ore

pōḷa 'zebu' pōḷa vatsatará m. ʻ zebu young bull or goat before weaning or copulation ʼ, °rīˊ -- f. TS. [vatsá -- 1] Pa. vacchatara -- m. ʻ weaned calf ʼ, °rī -- f.; Pk. vacchadara -- m., °rī -- f., vacchayara -- m. ʻ calf ʼ, Dm. baċhár m., Bshk. baċḗr (< vatsatarīˊ -- ); Phal. baċhāˊr m. ʻ calf 1 -- 2 years old ʼ; Sh. băċhar m. ʻ calf ʼ, băċhăréi f., (Lor.) blċər m. ʻ 3 -- year old calf ʼ, blsəro m. ʻ yearling calf ʼ; S. vachero m. ʻ colt ʼ, L.awāṇ. vacherā, P. vachḗrā, ba° m., WPah.bhal. bachéro m., bhiḍ. bacherɔṭu n. ʻ tiny foal ʼ; Ku.gng. bacher ʻ calf ʼ; Or. bācharā, bach° ʻ young of animal (esp. of horse) ʼ, bācharī ʻ calf ʼ; H. bacherā m. ʻ colt, calf ʼ, bacheṛā m. (< **bacherṛā? -- → N. bacheṛo* ʻ colt ʼ, Bi. bacheṛā); G. vacherɔ m., °rī f. ʻ foal ʼ; OG. vācharaḍaüṁ n. ʻ calf ʼ, G. vācharṛũ n., °ṛī f.Addenda: vatsatará -- [With apravītā trihāyaṇī vatsatarī ʻ unimpregnated 3 year old heifer ʼ, garbhiṇī vatsatarī ʻ heifer which has calved once ʼ cf. Ir. Seistanī gastar ʻ cow expecting calf ʼ, gástar ʻ 3 year old colt ʼ GM 12.5.69]WPah.kṭg. (kc.) bəċhérɔ m. ʻ colt ʼ, bhal. bachero m. ʻ tiny foal ʼ.(CDIAL 11241)

Rebus readings of the hieroglyphs signified on the plaque are:

సగ్గెడ saggeḍa 'A metal vessel' Rebus: sagara 'proclamation, trade'; sangatarāśū 'stone cutter'

śrēṣṭrī 'ladder' Rebus: seṭh ʻ head of a guild, Members of the guild (working with a furnace)

kāṅga 'comb' Rebus: kanga 'brazier, fireplace'.

pōḷā 'zebu' rebus: pōḷa ‘magnetite ore, ferrite ore’

Meluhha is the parole (speech form), lingua franca of Sarasvati-Sindhu civilization.

These readings of Jiroft hypertexts are premised on the suggested presence of Meluhha speakers of artisan guilds in Halil Rud (Jiroft culture), as explorers for metal resources and producers of metal products to create wealth of their nation or janapada.

Jiroft culture and Harappa culture are cognates: an iconographic comparison reveals the deep roots of Indo-Iranian traditions. See notes on the arrival of Meluhha speakers in Indo-Iranian region.

When a hypertext is presented with a black drongo perched on a zebu (bos indicus), it is not necessary to posit a mythological narrative. Treating this as a hypertext of metaphors rendered rebus in Indus Script Meluhha provides a truthful framework for realizing the meanings of the signifier and the signified in the message. Hieroglyph: black drongo: పోలడు pōlaḍu rebus: पोलाद [ pōlāda ] n ( or P) Steel. पोलादी a Of steel. (Marathi) bulad 'steel, flint and steel for making fire' (Amharic); fūlād 'steel' (Arabic) The Prakritam gloss पोळ [pōḷa], 'zebu' as hieroglyph is read rebus: pōḷa, 'magnetite, ferrous-ferric oxide'; poliya 'citizen, gatekeeper of town quarter'. Thus, the black drongo perched on a zebu, bos indicus as a hypertext signifies: magnetite, ferrite ore and steel.

Halil Rud plaque signifies:in Sarasvati Script hieroglyphs pōlāda pōḷa dhā̆vaḍ 'smelter and worker in magnetite ferrite ore and steel' (in) sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ.

White marble seal from Jiroft. Cylinder seal photograph courtesy of Halil Rud Archaeological Project. Paper first published in April 2015 in South Asian Studies.

https://www.harappa.com/blog/rare-white-marble-cylinder-seal-jiroft

A rare white marble cylinder seal from Jiroft. A brand new paper by Massimo Vidale and Dennys Frenez, Indus Components in the Iconography of a White Marble Cylinder Seal from Konar Sandal South (Kerman, Iran) provides a detailed analysis of this seal found at the recently discovered site of Jiroft . Well used, and apparently worn at the wrist, it testifies to the multiple cultural and trade connections between the Indus civilization and its western neighbors. It also suggests many more discoveries and insights into Indus civilization will come from material found at and connected to Jiroft.Read Massimo Vidale's paper Indus Components in the Iconography of a White Marble Cylinder Seal from Konar Sandal South (Kerman, Iran). The first part of the article summarizes what we know about the Jiroft civilization so far, its apparent origins in the late 5th millennium BCE, how it flourished at the height of the Indus civilization, and the tantalizing facts about connections between the two. Could it have been the ancient nation and state of Marhashi/Parahshum about which so little is known but which would have been at the cross-roads of so many cultures? What could have been the function of these so-called whorl seals, only found so far here, at Mohenjo-daro, Allahdino and Kalibangan?
Trough guild clusters
Tiger, & other wild animals in front of the trough classifies the trough as a hieroglyph: Hieroglyph: pattar 'trough' Rebus: pattharaka 'merchant' pattar ‘guild, goldsmith’.

FS 12

FS 15

FS 18

FS 22

FS 26

FS 30

FS 39

FS 97 Person standing at the centre pointing with his right

hand at a short- horned bull facing a trough. and with his le ft hand at the

sign 15

FS 126 Anchor (?)

FS 130 Inscribed object in the shape of a writing tablet

A تحریر taḥrīr, s.m. (2nd) (inf. II of حر), Writing correctly, writing, description. 2. Written, dated. Pl. تحریرونه taḥrīrūnah. تحریر کیدل taḥrīr kedal, verb intrans. To be written. تحریرکول taḥrīr kawul, verb trans. To write, to describe. (Pashto)

FS 134 Motif in a potlcry graffito showing a rectangular enclosure with four marks within looking like X and V

FS 135 Seven linear strokes

FS 136 Divisions in a rectangle

FS 137 + shape (Fire-altar?)

FS 138

FS 139 FS 135 to FS 139 (Frequency in M Corpus:26) Different geometrical patterns ge nentlly occupying the

whole field on one side of lhe inscribed object.

FS 140 Three linear strokes (duplicated) on either end of the two text messages on two sides of the tablet

FS 141

FS 142

FS 143

FS 144

FS 145 FS 140 to FS 145 (Frequency in M Corpus:25) Different ornamental borders of geometrical patlerns

at either or both ends of a text or along the edges.

Cluster 36 Dotted circles, Indus Script Hypertexts dhāv 'red ores'

Together with 'one-horned young bull' (Frequency of occurrence in M Corpus: 1159) the hypertext of 'dotted circles' occurs with high frequency in the Indus Script Corpora.

One or more do lt cd circle ~ as on FS 120 occur on 67 seals in M Corpus. Frequency of occurrence of 'standard device' in M Corpus: 19.

FS 1

FS 2

FS 3 Hieroglyph: आर . v.l. for अर q.v. , a spoke MBh. i , 1498 (ed. Bomb. i , 33 , 4 reads अर).Rebus: आर n. brass BhP. x , 41 , 20 (Apte) आर--कूट 'a kind of brass' (Monier-Williams) आरः रम् [आ-ऋ-घञ्] 1 Brass; ताम्रारकोष्ठां परिखादुरा- सदाम् Bhāg.1.41.2. -2 Oxide of iron. -3 An angle, corner. -4 N. of a tree (मधुराम्रफल). . -कूटः, -टम् brass; उत्तप्तस्फुरदारकूटकपिलज्योतिर्ज्वलद्दीप्तिभिः U.5.14. किमारकूटाभरणेन श्रियः N. Hieroglyph: Ka. kuttige throat, neck, throat and neck. Te. kutika, kutuka throat; kuttika, kuttuka throat, gullet, voice, tone; gontu, gontuka throat, voice, tone. Nk. kutka throat. Pa. kunda gōlu nape of the neck. Konḍa gotika throat; (Sova dial.) kutu neck. Pe. kuta, in: kuta asponḍ hiccough. Manḍ. kuta ahponḍ id. Kuwi (Ṭ.) kuta, in: kuta ve'uri id.; (F.) kūta vē'ūri aiyali to hiccough; (S.) kūtha wiuri hicock (sic); (for ve'uri, see 5383).(DEDR 1718)

FS 8

FS 24

FS 35

FS 40

FS 49

FS 55

FS 70

FS 79 (Frequency of occurrence in M Corpus: 3) Inscribed object in the shape of a pipal leaf.

FS 91

FS 94

FS 120

FS 121 Lozenge infixed in a dotted circle.

FS 122

FS 123 The special standard device -- lathe & portable furnace (with dotted circles)

FS 128 Inscribed o bject in the sha pe of a heart (Dotted circles)

h101 Ivory stick. Harappa.

Hypertext 4561: Dotted circle is an orthography composed of 'strand' (cross-section of a thread) and 'circle': dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'; dhāū, dhāv 'red stone minerals'.PLUS 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) வட்டம்¹ vaṭṭam, < Pkt. vaṭṭavṛtta. n. 1. Circle, circular form, ring-like shape; மண்ட லம். (தொல். சொல். 402, உரை.) 2. Halo round the sun or moon, a karantuṟai-kōḷ; பரிவேடம். (சிலப். 10, 102, உரை.) (சினேந். 164.) 3. Potter's wheel; குயவன் திரிகை. (பிங்.) 4. Wheel of a cart; வண்டிச்சக்கரம். (யாழ். அக.) 5. The central portion of a leaf-plate for food; உண்கல மாய்த் தைக்கும் இலையின் நடுப்பாகம். Loc. 6. cf. āvṛtti. Turn, course, as of a mantra; தடவை. விநாயகர் நாமத்தை நூற்றெட்டு வட்டஞ் செய்து (விநாயகபு. 74, 214). 7. Revolution, cycle; சுற்று. (W.) 8. Cycle of a planet; ஒரு கிரகம் வான மண்டலத்தை ஒரு முறை சுற்றிவருங் காலம். அவன் சென்று ஒரு வியாழவட்டமாயிற்று. 9. Circuit, surrounding area or region; சுற்றுப்பிரதேசம். கோயில் வட்டமெல்லாம் (சீவக. 949). 10. A revenue unit of a few villages; சில ஊர்களைக் கொண்ட பிரதேசம். Thus, dhav+vr̥ttá 'circle, rounded' Rebus: dhā̆vaḍ 'iron-smelters'

Hieroglyph: goldsmith's scissors, shears: karttrī f. ʻ scissors ʼ lex. 2. *kārttrī -- (X *kārti -- ?). [> kartari -- ? -- √kr̥t1]1. Pk. kattiyā -- f. ʻ scissors, shears ʼ; Gy. gr. hung. kat f., rum. span. kača (< *katya) f. ʻ shears ʼ; P. katī f. ʻ goldsmith's or blacksmith's scissors ʼ; A. kātī ʻ scissors ʼ; H. kātī f. ʻ goldsmith's scissors ʼ, G. kāt f.2. L. kātr m.f. ʻ scissors ʼ, P. kāt f. Addenda: karttrī -- : WPah.kṭg. kəṭeurɔ m. ʻ scissors ʼ.(CDIAL 2863). Ta. katti knife, cutting instrument, razor, sword, sickle. Ma. katti knife. Ko. katy

billhook knife; kati·r- (katrc-; < katy-tayr, katy-tarc-) to cut; kaṇkeyt, kaṇki·t sickle (for kaṇ, see 1166). To. kaṇ koty dagger-shaped knife burned with corpse (cf. 1166). Ka. katti knife, razor, sword. Koḍ. katti knife.Tu. katti, katte id. Te. katti knife, razor, sword. Go. (Ch.) katti cock's spur; (Elwin) kāti the knife attached to the cock's foot (Voc. 490). ? Cf. 1208 Kol. katk-.(DEDR 1204) Rebus 1: khātā 'labour sphere account book' Rebus 2: käti ʻwarrior' (Sinhalese)(CDIAL 3649). Hieroglyph: katī 'blacksmith's goldsmith's scissors' rebus: khātī m. ʻ 'member of a caste of wheelwrights'

Variant of Sign 216

Hieroglyph: Ka. kāru pincers, tongs. Te. kāru id. Ga. (S.3) kāru id. (< Te.).(DEDR 1473) Ka. paṭakāru tongs, pincers. Te. paṭakāru, paṭukāṟu pair of tongs, large pincers. (DEDR 3864) Rebus: khār खार् 'blacksmith'.(Kashmiri)

Sign 123 kuṭi 'a slice, a bit, a small piece'(Santali) Rebus: kuṭhi. 'iron smelter furnace' (Santali) kuṭhī factory (A.)(CDIAL 3546) PLUS 'notch' hieroglyph: खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā 'tools, pots and pans, metal-ware'. Thus, khāṇḍā kuṭhi metalware smelter.

Ivory inscription 18

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

Etyma

kaṇṭhá m. (a) ʻ throat, neck ʼ ŚBr. (b) ʻ narrowest part of a hole ʼ Suśr. (c) ʻ voice ʼ MBh., ʻ sound ʼ W. (d) ʻ *border, immediate proximity ʼ Pañcat.[Mayrhofer EWA i 146 accepts connexion with Drav. (T. Burrow BSOAS xi 133) but considers both IA. and Drav. forms to have originated in Muṇḍa (Kuiper PMWS 29). This is supported by the many forms with a varying degree of phonet. similarity not referable to a common IA. original: see *gāṭṭa -- 1, gāˊtra -- , *gicca -- , *ghaṭṭā -- , *ghaṇṭa -- , ghāṭā -- 1, *ghicca -- 1, *ghiñca -- , *ghēñca -- , *ghēṇṭu -- , *śraṭṭa -- , kŕ̊kāṭikā -- , kandhara -- ]

(a) Pa. kaṇṭha -- m. ʻ throat, neck ʼ; Pk. kaṁṭha -- m. ʻ neck ʼ; Gy. pal. kand ʻ throat ʼ, Gaw. Sv. khaṇṭi; L. awāṇ. kadhlī ʻ neck -- strap ʼ; WPah. bhal. kaṇṭh m. ʻ collar of a shirt ʼ, kaṇṭhi f. ʻ sheep with a black neck ʼ; Ku. gng. kāni ʻ neck ʼ or < skandhá -- ; Or. kaṇṭhā ʻ throat ʼ, H. poet. kã̄ṭhā m.; M. kã̄ṭhẽ n. ʻ neck ʼ; Si. kaṭa ʻ throat, mouth ʼ (X skandhá -- in SigGr. kaṇḍa ʻ neck ʼ).
(b) Wg. káṇṭä ʻ water -- channel ʼ, Woṭ. kaṇṭḗl f., Gaw. khāṇṭ*l, Bshk. kāṇḍə.
(c) Kt. kaṭīˊ ʻ sound ʼ, Pr. (LSI) kuṭ; Paš. lauṛ. kāṇḍā ʻ voice, word ʼ, kuṛ. kāṇ ʻ shouting ʼ; Gaw. khaṇṭ f. ʻ word ʼ.
(d) Pk. kaṁṭha -- m. ʻ border, edge ʼ; L. awāṇ. kaḍḍhā ʻ bank ʼ; P. kaṇḍhā m. ʻ bank, shore ʼ, °ḍhī f. ʻ land 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°?) ʻ bank of a river ʼ; G. kã̄ṭhɔ m. ʻ bank, coast, limit, margin of a well ʼ; M. kāṭh, kã̄ṭh, °ṭhā m. ʻ coast, edge, border ʼ, kã̄ṭhẽ n. ʻ arable land near the edge of a hill. ʼ -- L. P. kaṇḍh f. ʻ wall ʼ perh. infl. in meaning by kanthā -- 1.kaṇṭhaka -- ; utkaṇṭhati, utkaṇṭhā -- , utkaṇṭhita -- ; kaṇṭhamaṇi -- .Addenda: kaṇṭá -- : (a) S.kcch. kano m. ʻ neck (of a pot) ʼ.(d) S.kcch. kaṇṭho m. ʻ bank, coast ʼ; Garh. kã̄ṭhu ʻ throat (?), bank (?) ʼ.(CDIAL 2680) Ta. kar̤uttu neck, throat. Ma. kar̤uttu neck (of man, animal, plant, vessel, etc.). Ir. kaṇucu neck, throat. Ko. kaṛtl neck; ? kiḍg id. Ka. kattu neck, throat; gaṇṭalu, gaṇṭlu, gaṇṭala throat. Tu. kaṇṭelů neck, throat. Ga. (Oll.) gaḍli neck. Konḍa gaḍli id., hollow in the nape of the neck. Kuwi (Su.) gaḍli back of neck. ? Cf. 1996 Kur. xēser. / Cf. Skt. kaṇṭha- neck; Turner, CDIAL, no. 2680. (DEDR 1366) skandhá m. ʻ shoulder, upper part of back ʼ AV., ʻ trunk of tree, mass (esp. of an army) ʼ MBh., skándhas<-> n. ʻ branching top of a tree ʼ RV. [Absence of any trace of initial s -- in Kafiri and Dardic supports possibility of IA. *kandha -- beside sk° (unnecessarily assumed in ODBL 438 for NIA. k -- which is dissim. from kh<-> before dh as prob. in Aś. agi -- k(h)aṁdha -- )]Pa. khandha -- m. ʻ shoulder, back, tree -- trunk ʼ, °aka<-> m. ʻ division, chapter ʼ; Pk. khaṁdha -- , ka° m. ʻ shoulder, tree trunk, wall ʼ; Ash. kándä ʻ stem, trunk ʼ, Kt. kə́nē, Wg. kaná; Paš.lauṛ. xānd ʻ shoulder ʼ, ar. kandīˊ, kuṛ. kōn (obl. kānda); Shum. kandam ʻ my shoulder ʼ; Gaw. kandík ʻ shoulder ʼ; Bshk. kān (with rising tone) ʻ shoulder, upper part of back ʼ; Tor. kan ʻ shoulder ʼ, Sv. kandike, Phal. kān, kan; S. kandhu m. ʻ neck, back of neck ʼ, °dho m. ʻ back of neck, edge ʼ, °dhī f. ʻ bank of river ʼ, °dhī pāso ʻ neighbourhood ʼ; L.awāṇ. khaddhā ʻ multitude ʼ, P. khandhā m. ʻ mass, multitude, flock of sheep or goats, herd of buffaloes ʼ, ludh. kannhā m. ʻ shoulder ʼ, (Ambala) kandhā m.; Ku. kã̄d, kã̄dho, kāno ʻ shoulder ʼ, gng. kāni ʻ neck ʼ; N. kã̄dh, kã̄d ʻ shoulder, back ʼ (whence khãduwā, °dilo ʻ heavy, solid ʼ, kãdheuli, khãde° ʻ stick carried by coolies across shoulders to take the weight of a load ʼ); A. kāndh, kān ʻ shoulder ʼ, kandhā, kanā ʻ large bundle of reeds &c. carried on the shoulder ʼ, kã̄dhi ʻ pent house, veranda, eaves ʼ; B. kã̄dh ʻ shoulder ʼ, kã̄dhā ʻ edge, bank ʼ; Or.kāndha, kã̄dhā ʻ shoulder ʼ; Bi. kānhe ʻ on the shoulder ʼ, (Patna) khandh, °dhā ʻ large area of cultivated land ʼ; Mth. kānh, kanhā ʻ shoulder ʼ, Bhoj. kānh, Aw.lakh. kã̄dh; H. kã̄dh, °dhā m. ʻ shoulder ʼ, kandh m. ʻ tree trunk, thick branch ʼ; G. khã̄dhi, kã̄° f. ʻ shoulder ʼ; M. khã̄d, °dā m. ʻ shoulder, back of neck ʼ, f. ʻ large bough ʼ; Ko. khã̄ndhu m. ʻ shoulder ʼ; Si. kan̆da ʻ shoulder, tree trunk, collection, mass ʼ, kan̆du ʻ mountain ʼ (< -- aka -- ). -- With metath. K. nakh, dat. °khas m. ʻ shoulder ʼ? <-> Bshk. khan m. ʻ hill ʼ, Tor. Mai. khān, Chil. Gau. kān (→ Par. khándi IIFL i 265) poss. all < skandhá -- , but prob. like Tor. (Grierson) khaṇḍ ʻ hill ʼ, Phal. khāṇ, khaṇ, Sh.koh. khŭṇ m., gur. khonn, pales. khōṇə, jij. khɔ̈̄ṇ rather < khaṇḍá -- AO xviii 240. -- X maṇi -- 2 q.v. skandhayati, skandhika -- , *skandhiya -- , skándhya -- , *skāndhika -- ; *skandhakāṣṭha -- , *skandhakīla -- , *skandhataṭa -- , *skandhapaṭṭa -- , *skandhavarti -- , *skandhāvara -- , *skandhāvāra -- ; kālaskandha -- .Addenda: skandhá -- : S.kcch. kandh m. ʻ back of neck ʼ, kandho m. ʻ shoulder ʼ; WPah.kṭg. kannh m. ʻ shoulder ʼ, kc. kānh, jaun. kānn m.; kṭg. (kc.) khándɔ m. ʻ big box along the wall of living room for grain ʼ.†*skandhavāla -- .(CDIAL 13627) *gāṭṭa1 ʻ neck, throat ʼ. [Cf. ghāṭā -- 1: see list s.v. kaṇṭhá -- ]S. g̠āṭo m. ʻ nape of neck ʼ; L. gāṭṭā m. ʻ neck, throat ʼ, (Ju.) g̠āṭā m. ʻ nape of neck ʼ, awāṇ. gāṭā; P. gāṭṭā m. ʻ neck, throat ʼ; -- S. g̠āṭru m. ʻ throat ʼ(CDIAL 4111)kr̥kāṭikā f. ʻ joint of neck ʼ Suśr., kŕ̊kāṭa -- n. AV., °ṭaka -- n. lex., kakāˊṭikā -- f. ʻ a part of the skull ʼ AV. [PMWS 29 groups -- kāṭ -- , prefixed by kr̥ -- , ka -- , with kaṇṭhá -- as Mu., and so separates from kr̥ka -- ʻ throat, neck ʼ]Pk. kiāḍiā -- f. ʻ upper part of neck ʼ, kiyāḍiyā -- f. ʻ upper part of ear ʼ; S. kiāṛī f. ʻ back of the head, the hair on it ʼ; L. kīāṛī f. ʻ nape of neck ʼ; P. kiāṛī f. ʻ nape of neck, back of head, jaw ʼ, adv. ʻ behind ʼ; WPah. khaś. kiāṛī ʻ back of neck ʼ; -- ext. with -- kk -- : Wg. kirīk ʻ back of neck ʼ and poss. Ash. kakeṛík ʻ throat ʼ despite apparent survival of -- k -- .
*upakr̥kāṭī -- .Addenda: kr̥kāṭikā -- , kŕ̊kāṭa -- : S.kcch. tiṛo m. ʻ back ʼ, pl. ʻ bones of the back ʼ < *tr̥kāṭa -- with dissimilation of k -- k; WPah.kṭg. keṛi f. ʻ neck ʼ, kc. kēr, J. kyāṛi, keṛi f. -- cf. Wkc. keṭho (keṭo?) m. ʻ neck ʼ. (CDIAL 3419)

Rebus: Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a fireplace during weddings. Pe. kanda fire trench. Kui kanda small trench for fireplace. Malt. kandri a pit. (DEDR 1214)

†kaṇṭhāla -- m. ʻ boat ʼ lex. [kaṇṭhá -- ]G. kãṭhāḷ ʻ maritime ʼ.(CDIAL2682a)

Hypertext of Harappa ivory stick inscription reads: dhā̆vaḍ khātī khāṇḍā kuṭhi 'iron smelter, wheelwright, metalware smelter (furnace)or metalware factory.'

In addition to an ivorystick inscription of Harappa, there are 18 Indus Script inscriptions on ivory sticks, ivory plaques and ivory cubes in Mohenjo-daro:

530 and 531 ivory rods are shaped like a meDga 'stake' rebus: medha 'yajna' (yupa) with caSAla (as described in Satapatha Brahmana and Taittiriya Samhita) for a Soma yaga.

John Marshall wrote: "Seals of this group [cylinder seals, although Mackay above is not sure they are true cylinder seals]], if indeed they are seals, are very rarely found at Mohenjo-daro, only five specimen being obtained in all. They are all made of ivory and differ from the cylinder seals of other countries in being very long and thing; nor are they perforated for suspension on a cord. It is possible that these so-called seals are not true seals at all. They incised characters upon them might conceivably be identification marks for a game or something similar. On the other hand, they are certainly suitable for use a seals and in this account they are included in this chapter For the sake of clearness the actual seal is shown side by side with each impression.

No 529 (Pl. CXIV, HR 5515). Ivory. 2.7 inches long by 0.25 in. in diameter. Double groove at one end for attachment of cord. The other end is decorated with three parallel grooves. Level, 4 feet below surface. Central Courtyard (30), House LIII, Block 7, HR Area.
No 530 (Pl. CXIV, HR 4985). Ivory. 2.05 inches long by 0.25 in. in diameter. Double groove at one end for a cord; the other end is broken. Level 3 feet below surface. Central Courtyard (30), House LIII, Block 7, HR Area.
No 531 (Pl. CXIV, DK 2666). Ivory. Now 2.05 inches long by 0.3 in. in diameter. Its polish shows that it has been much used. About one-half of the seal is covered with an inscription, deeply and roughly incised and bordered by two deep cut lines. One end of the seal is shaped into a conical head with a deep groove possibly intended for a cord. The seal is not bored; nor is it perfectly round. Level, 4 feet below surface. Street between Blocks 1 and 2, Section B, DK Area.
No 532 (Pl. CXIV, VS 875). Ivory. Now 2 inches long by 0.3 in. in diameter. One end is broken and a small piece is missing. The seal tapers slightly towards its complete end. Five deeply incised characters occupy a space of about two-thirds of the circumference of the seal. Level, 12 feet below surface. Found in front of Room 70, House XXVII, VS Area.
No 533 (Pl. CXIV, VS 958). Ivory. 2.75 inches long by 0.3 in. in diameter. Decorated at 0-.5 in. from each end with a deeply incised cross-hatched border. Towards one end of the intervening space are two deeply incised characters This seal is not perfectly round. Level, 10 feet below surface of the ground. From Room 69, House XXVIII, VS Area. (John Marshall, Mohenjo-daro and the Indus Civilization, p. 371

The 5 ivory rod inscriptions (529 to 533 Marshall) are flipped left horizontally and presnted with rebus readings:

Ivory inscription 1

kuTi 'water carrier' rebus: kuThi 'smelter' dula 'two' rebus: dul 'metal casting' PLUS karNika 'spread legs' rebus: karNI 'Supercargo' meD 'body' rebus: meD 'iron' med 'copper' (Slavic) baTa 'rimless pot' rebus: bhaTa 'furnace' gaNDa 'four' rebus: kaNDa 'implements'. Thus the message is: Smelter, metalcater, Supercargo working with iron/copper implements and furnace.

Ivory inscription 2

khaNDa 'divisions'; rebus: kaNDa 'implements' dhAv 'strand' dhAv 'string' rebus: dhAvaD 'smelter' dhaTo 'claws of crab' rebus: dhatu 'minerals'. Thus the message is: Smelter of minerals, (maker of metal) implements.'

Ivory inscription 3

dula 'two' rebus: dul 'metal casting' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) kamaTha 'bow and arrow' rebus: kammaTa 'mint, coiner, coinage' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' khANDA 'notch' rebus: kaNDa 'implements' PLUS khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) muh 'ingot'.Thus, the message is: Turner of metal castings, mins-master-coiner, iron (metal) implements, ingots and metal (alloys) turner.

Ivory inscription 4

(529 Marshall Ivory rod) khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' karã̄ 'wristlets, bangles' rebus: khAr 'blacksmith' sal 'splinter' rebus: sal 'workshop' khANDA 'notch' rebus: kaNDa 'implements' Fish-fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus: kammaTa 'mint, coiner, coinage'. Thus, the message is: Blacksmith, Turner, Supercargo implements workshop, mint-master/coiner. (529 and 530 ivory rods have identical inscriptions; 530 has an additional hieroglyph: three linear strokes)

Ivory inscription 5

(530 Marshall Ivory rod) khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, engraver, account' karã̄ 'wristlets, bangles' rebus: khAr 'blacksmith' sal 'splinter' rebus: sal 'workshop' khANDA 'notch' rebus: kaNDa 'implements' Fish-fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus: kammaTa 'mint, coiner, coinage'. kolom 'three' rebus: kolimi 'smithy, forge'. Thus, the message is: Blacksmith, Turner, Supercargo (engraver) implements workshop, mint-master/coiner, (working in) smithy/forge..

Ivory inscription 6

m1650 Ivory stick

Hypertext 3505 daTo 'claws of crab' rebus: dhatu 'mineral' kanac 'corner' rebus: kancu 'bronze' gaNDA 'four' rebus: kaNDa 'implements' PLUS kolom 'three' rebus: kolimi 'smithy, forge' dula 'two' rebus: dul 'metal casting' dula 'two' rebus: dul 'metal casting' PLUS baTa 'rimless pot' rebus: bhaTa 'furnace' karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.)Thus, the message is: Supercargo, (worker in) minerals, bronze implements, smithy/forge, metal caster, Metals turner (alloys) using furnace

Ivory inscription 7

Pict-141 Geometrical pattern

Hypertext 2942 karNika 'spread legs' rebus: karNI 'Supercargo' meD 'body' rebus: meD 'iron' med 'copper' (Slavic) PLUS khANDA 'notch' rebus: kaNDa 'implements' sal 'splinter' rebus: sal 'workshop' khaNDa 'divisions'; rebus: kaNDa 'implements'. Tus, the message is: Supercargo (working in) iron/copper implements workshop.

Ivory inscription 8

Pict 142 geometrical pattern

Hypertext 2941 Ivory or bone rod geometrical pattern followed by inscription koḍa 'one' rebus: koḍ 'workshop' dula 'two' rebus: dul 'metal casting' PLUS baTa 'rimless pot' rebus: bhaTa 'furnace' karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). Thus, the message is: Turner, Supercargo in metal casting workshop and (working with) furnace

Ivory inscription 9

Hypertext 2943 Hypertext 2943 is a duplication of the Hypertext 2941: koDa 'one' rebus: koD 'workshop' dula 'two' rebus: dul 'metal casting' dula 'two' rebus: dul 'metal casting' PLUS baTa 'rimless pot' rebus: bhaTa 'furnace' karNI 'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). Thus, the message is: Turner, Superargo in metal casting workshop and (working with) furnace.

Ivory inscription 10

Pict 143 Geometrical pattern

Hypertext 2948 gaNDa 'four' rebus: kaNDa 'implements' ranku 'liquid measure' rebus: ranku 'tin' (thus, tin implements) kuTi 'water carrier' rebus: kuThi 'smelter' PLUS karNI 'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). (thus, Supercargo, engraver working with smelter) khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) Thus, the message is: Supercargo (working with smelter) Tin work and Turner (of metal alloys) working with furnace and engraving.

Ivory inscription 11

Hypertext 2944 Ivory or bone rod Phal. tērc̣hi ʻ adze ʼ (with "intrusive" r).Rebus: takṣa in cmpd. ʻ cutting ʼ, m. ʻ carpenter ʼ VarBr̥S PLUS kolom 'three' rebus: kolimi 'smithy, forge' (Thus, carpenter working with smithy/forge). muH 'ingot' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge' (Thus smithy/forge ingots) kuTi 'water carrier' rebus: kuThi 'smelter' PLUS karNI 'Supercargo' karNaka 'scribe, account' Thus the message is: Carpenter working with smithy/forge, ingots for smithy and Supercargo working with smelter and engraving.

Ivory inscription 12

Hypertext 2945 Ivory or bone rod gaNDa 'four' rebus: kaNDa 'implements' kolmo 'rice plant' rebus: kolimi 'smithy, forge' Thus, the message is: (Maker of) implements in smithy/forge.

Ivory inscription 13

Ivory rod, ivory plaques with dotted circles. Mohenjo-daro (Musee National De Arts Asiatiques, Guimet, 1988-1989, , Les cites oubliees de l’Indus Archeologie du Pakistan.] dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'. dATu 'cross' rebus: dhatu 'mineral'. Thus, the message signified by dotted circles and X hieroglyph refers to dhā̆vaḍ priest of 'iron-smelters'. The aquatic duck shown atop an ivory rod is: karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) Thus, the metalworker (smelter) works with hard alloys (using carburization process). Three dotted circles: kolom 'three' rebus: kolimi 'smithy, forge'. Thus working with minerals and hard alloys for smithy, forge.

Ivory inscription 14

m1652 Ivory stick sal 'splinter' rebus: sal 'workshop' PLUS daTo 'claws of crab' rebus: dhatu 'mineral' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' koDa 'one' rebus: koD 'workshop' dula 'two' rebus: dul 'metal casting'. Thus the message is: workshop for minerals, metals and metalcaster.

Ivory inscription 15

m1651 Ivory stick A, D, F

Hypertext 2947 Dotted circle hieroglyphs at the ends of the rod: dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter) dATu 'cross' rebus: dhatu 'mineral'. Fish-fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus: kammaTa 'mint, coiner, coinage'.muh 'ingot' PLUS khANDA 'notch' rebus: kaNDa 'implements' (Thus, ingot implements) koḍa 'sluice'; Rebus: koḍ 'artisan's workshop (Kuwi) karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). thus the message is: Working with dhatu (minerals), mint (coiner), ingot implements workshop, Supercargo (scribe, account), Turner (alloys) of metal, Smelter

Ivory inscription 16

Hypertext 2940 Ivory or bone rod dula 'two' rebus: dul 'metal casting' arA 'spokes' rebus: Ara 'brass' eraka 'nave of wheel' rebus: eraka 'molten cast, copper'.kamaTha 'bow and arrow' rebus: kammaTa 'mint, coiner, coinage' karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). Thus, the message is: Supercargo (scribe, account), Turner (of alloys) of metal, mint-master, working with metal casting.

Ivory inscription 17

m1653 ivory plaque

Hypertext 1905 bhaTa 'warrior' rebus: bhaTa 'furnace' kuṭila 'bent' CDIAL 3230) Rebus:kuṭila, katthīl = bronze (8 parts copper and 2 parts tin).Thus, a bronze furnace worker.

Vajra and Indus Script ivory hypertexts on a seal, ivory artifacts

https://tinyurl.com/y85goask

I suggest that this fillet (dotted circle with a connecting strand or tape is the hieroglyph which signifies धातु (Rigveda) dhāu (Prakrtam) 'a strand' rebus: element, mineral ore. This hieroglyph signifies the पोतृ,'purifier' priest of dhā̆vaḍ 'iron-smelters' of dhāū, dhāv 'red stone minerals'.

http://bharatkalyan97.blogspot.in/2015/11/priest-of-dhavad-iron-smelters-with.html Orthography of the 'dotted circle' is representation of a single strand: dhāu rebus: dhāū 'red stone minerals.

It is this signifier which occurs in the orthography of the dotted circle hieroglyph-multiplex on early punch-marked coins of Magadha -- a proclamation of the dhāū 'element, mineral ores' used in the Magadha mint. On one Silver Satamana punch-marked coin of Gandhara septa-radiate or, seven strands emerge from the dotted circle signifying the use in the mint of सप्त--धातु 'seven mineral ores'.

navan नवन् num. a. (always pl.). Nine; -धातु m. Nine metals; हेमतारारनागाश्च ताम्ररङ्गे च तीक्ष्णकम् । कांस्यकं कान्तलोहं च धातवो नव कीर्तिताः ॥, -निधि m. (pl.) the nine treasures of Kubera. i. e. महापद्मश्च पद्मश्च शङ्खो मकरकच्छपौ । मुकुन्दकुन्द- नीलाश्च खर्वश्च निधयो नव ॥

सप्त--धातु [p= 1149,3] mf(उ)n. (°त्/अ-) consisting of 7 , 7-fold RV.(Monier-Williams) saptá ʻ 7 ʼ RV.

Pa. Pk. satta ʻ 7 ʼ, NiDoc. Dhp. sata, Ḍ. svt, Ash. sot, sūt, Wg. sōt, Kt. sut, Pr. sete, Dm. Tir. sat, Paš.lauṛ. sāta, uzb. sātə, ar. sāt, dar. chil. sat, Niṅg. Shum. Woṭ. sat, Gaw. sɔt, Kal. sat, sāt, Kho. sot, Bshk. s*lt, s*ltt, Tor. Kand. Mai. sāt, Sv. sat, Phal. sat, sāt, Sh.gil. săt, koh. gur. sătt, jij. sät, K. sath (dat. satan), rām. pog. kash. ḍoḍ. satt, S. sata, L. P. WPah. (all dial.) satt, Ku. N. sāt, A. xāt, B. sāt, Or. sāta, Mth. Bhoj. Aw.lakh. H. Marw. G. M. sāt, Ko. sāta, OSi. (Brāhmī inscr.) sata, Si. sat -- a, ha°, Md. hat.saptaka -- , saptatí -- , saptamá -- , saptin -- , sāˊpta -- ; saptaguṇa -- , saptácatvāriṁśat -- , saptatriṁśat -- , saptádaśa, saptanavati -- , saptapañcāśat -- , saptaparṇa -- , saptabhūma -- , *saptamāsa -- , saptamāsya -- , saptavarṣa -- , saptáviṁśati -- , saptaṣaṣti -- , saptasaptati -- , saptāśīti -- , saptāhá -- , saptōttara -- , *sāptānna -- ; sārdhasapta.Addenda: saptá: WPah.kṭg. sátt (obl. -- a) ʻ 7 ʼ, kc. sāt, Garh. sāt. (CDIAL 13139)

The 'dot' within the circle is a signifier of a mineral dhāū ingot खोट khōṭa 'A mass of metal (unwrought or of old metal melted down); an ingot or wedge.'

Trefoil motifs are carved on the robe of the so-called "priest-king" statuette from Mohenjo-daro and are also known from contemporary sites in western Pakistan,

Image result for cult object gold fillet mohenjodaro

Image result for cult object gold fillet mohenjodaro

Sumerian marble calf with inlaid trefoils of blue stone. From the late Uruk era, Jemdet Nasr cira 3300 - 2900 B.C.E 5.3 cm. long; Vorderasiatisches Museum, Berlin; Parpola, 1994, p. 213.

Sitting bull Louvre AO7021.jpg Black marble (formerly inlaid), found in Warka (ancient city of Uruk), Djemdet-Nasr period (ca. 3000 BCE)

Steatite statue fragment. Mohenjo-daro (Sd 767). After Ardeleanu-Jansen, 1989: 196, fig. 1; cf. Parpola, 1994, p. 213

Mesopotamian lama deity, a bull with a human head, kind, protective spirits associated with the great sun god Shamash. In one inscription, an Assyrian king called upon lama deities to "turn back an evil person, guard the steps, and secure the path of the king who fashioned them." 2100-2000 BCE Serpentine, a smooth green stone the color of life-giving water in a desert area. The hollowed-out shapes on the body originally were inlaid with pearly shell or lapis lazuli.


"Images of human-headed bulls are found throughout Mesopotamian history. Several statuettes dating from the late third millennium BC show a bearded creature wearing the divine horned headdress, lying down with its head turned to the side. They have been found at various Sumerian sites, the majority from Telloh.

Crete. Cow-head rhython with trefoil decor.

9.5 x 13.9 cm ca. 1450-1400 BCE Rhyton in the form of a bull's head

[Minoan; Greece, Crete] (1973.35) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art







Harry Burton photograph taken during the excavation of the tomb in 1922 in pharaoh's Antechamber, Treasury and Burial chamber.




















Funeral couch of Tutankhamen features cow with solar disc and inlay blue glass trefoils decorating the body. Said to represent Goddess Hathor."An inscription from The Book of the divine cow found in the Burial chamber alludes to its sacred function as a solar barque for bearing the pharaoh to the heavens...Hieroglyphs carved on the footboard promise the protection of Isis and the endurance of Osiris." 





http://www.kingtutexhibit.com/catalogs/tutankhamun_catalog.pdf Tutankhamun ascended to the throne around 1332 B.C.E, when he was about 9 years old.The boy king died in 1323 B.C.E around the age of 18. - See more at: http://www.livescience.com/54090-tutankhamun-king-tut.html#sthash.Xy0Q04lU.dpuf 










A suggestion: A dotted circle as dhAv 'strand' hieroglyph may be read rebus as: धाम 





[p= 514,3] m. pl. N. of a class of superhuman beings MBh.; abode (Samskrtam) This may explain the significance of three dotted circles (trefoil) on the couch of Tuutankhamun with damkom bull calves signified on the couch.

The hieroglyph of 'dotted circle' continues in early punch-marked coins as in Kuru Janapada with variants orthographically signifying metalwork in a mint.

Evolution ḍha-, dha- in Brahmi script syllables are evocative of 'string' and 'circle, dotted circle' as may be seen from the following orthographic evidence of epigraphs dated from ca. 300 BCE:

It may be seen from the table of evoution of Brahmi script orthography that

1. a circle signified the Brahmi syllable 'ṭha-' and a dotted circle signified the syllable 'tha-';

2. a string with a twist signified the syllable 'da-', a string ending in a circled twist signified the syllable 'ḍha-' and a stepped string signified the syllable 'ḍa-'.

Section 4: Orthograhy of Brahmi syllabary from ca. 300 BCE

Terracotta sivalinga, Kalibangan.Shape of polished lingam found at Harappa is like the summit of Mt. Kailas, Himalayas. Plate X(c), Lingam in situ in trench Ai (MS Vats, 1940, Exxcavations at Harappa, Vol. II, Calcutta). In trenches III and IV two more stone lingams were found. (MS Vats, opcit., Vol. I, pp. 51-52). The Hindu traditional metaphor of s'iva is the glacial river Ganga emerging from locks of his hair as he sits in penance on summit of Mt. Kailas, Himalayas. The metaphor results in Kailas in Ellora, showing Ravana lifting up the mountain.

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/

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

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

baTa 'six' Rebus: bhaTa 'furnace' miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Munda) Alternative: ranku 'antelope' Rebus: ranku 'tin'

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

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

One badge used had a bangle with trefoil hieroglyph.

It was suggested that this may relate to the functions of a dhā̆vaḍ 'smelter' tri-dhAtu,'‘three

minerals'.

Terracotta bangle fragments decorated with red trefoils outlined in white

on a green ground from the late Period 3C deposits in Trench 43. This image

shows both sides of the two fragments

(H98-3516/8667-01 & H98-3517/8679-01)

Detail of terracotta bangle with red and white trefoil on a green background H98-3516/8667-01 from Trench 43).

miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Munda)

"Late Harappan Period dish or lid with perforation at edge for hanging or attaching to large jar. It shows a Blackbuck antelope with trefoil design made of combined circle-and-dot motifs, possibly representing stars. It is associated with burial pottery of the Cemetery H period,dating after 1900 BC.The Late Harappan Period at Harappa is represented by the Cemetery H culture (190-1300 BC) which is named after the discovery of a large cemetery filled with painted burial urns and some extended inhumations. The earlier burials in this cemetery were laid out much like Harappan coffin burials, but in the later burials, adults were cremated and the bones placed in large urns (164). The change in burial customs represents a major shift in religion and can also be correlated to important changes in economic and political organization. Cemetery H pottery and related ceramics have been found throughout northern Pakistan, even as far north as Swat, where they mix with distinctive local traditions. In the east, numerous sites in the Ganga-Yamuna Doab provide evidence for the gradual expansion of settlements into this heavily forested region. One impetus for this expansion may have been the increasing use of rice and other summer (kharif) crops that could be grown using monsoon stimulated rains. Until late in the Harappan Period (after 2200 BC) the agricultural foundation of the Harappan cities was largely winter (rabi) crops that included wheat and barley. Although the Cemetery H culture encompassed a relatively large area, the trade connections with thewestern highlands began to break down as did the trade with the coast. Lapis lazuli and turquoise beads are rarely found in the settlements, and marine shell for ornaments and ritual objects gradually disappeared. On the other hand the technology of faience manufacture becomes more refined, possibly in order to compensate for the lack of raw materials such as shell, faience and possibly even carnelian." (Kenoyer in harappa.com slide description)http://www.harappa.com/indus2/162.htm

Trefoil motifs are carved on the robe of the so-called "priest-king" statuette from Mohenjo-daro and are also known from contemporary sites in western Pakistan, Afghanistan, and southern Central Asia.dhā̆vaḍ 'smelter' tri-dhAtu,'‘three minerals". त्रिधातु mfn. consisting of 3 parts , triple , threefold (used like Lat. triplex to denote excessive)RV. S3Br. v , 5 , 5 , 6; n. the aggregate of the 3 minerals.tri त्रिधा ind. in 3 parts, ways or places; triply, ˚त्वम् tripartition; Ch. Up. -धातुः an epithet of Gaṇeśa. dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼMBh., 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)

त्रिधातुः is an epithet of Gaṇeśa. This may indicate three forms of ferrite ores: magnetite, haematite, laterite which were identified in Indus Script as poLa 'magnetite', bichi 'haematite' and goTa 'laterite'.

Rebus readings of Indus Script hieroglyphs may explain the त्रिधातुः epithet of Gaṇeśa: karibha 'elephant's trunk' rebus: karba 'iron' ibha 'elephant' rebus: karba, ib 'iron'.

It has been suggested at

http://bharatkalyan97.blogspot.in/2015/11/trefoil-of-indus-script-corpora-and.html?view=sidebar that the trefoil decorating the shawl of the 'priest-king' of Mohenjo-daro is a cross-sectional signifier of three strands of rope.

Thus, a dotted circle is signified by the word: dhāī 'wisp of fibre' (Sindhi).

Single strand (one dotted-circle)

Two strands (pair of dotted-circles)

Three strands (three dotted-circles as a trefoil)

These orthographic variants provide semantic elucidations for a single: dhātu, dhāū, dhāv 'red stone mineral' or two minerals: dul PLUS dhātu, dhāū, dhāv 'cast minerals' or tri- dhātu, -dhāū, -dhāv 'three minerals' to create metal alloys'. The artisans producing alloys are dhā̆vaḍ m. ʻa caste of iron -- smeltersʼ, dhāvḍī ʻcomposed of or relating to ironʼ)(CDIAL 6773).

dām 'rope, string' rebus: dhāu 'ore' rebus: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meḍ 'iron' (Munda).

Semantics of single strand of rope and three strands of rope are: 1. Sindhi dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, Lahnda dhāī˜ id.; 2. tridhāˊtu -- ʻ threefold ʼ (RigVeda)

Ta. vaṭam cable, large rope, cord, bowstring, strands of a garland, chains of a necklace; vaṭi rope; vaṭṭi (-pp-, -tt-) to tie. Ma. vaṭam rope, a rope of cowhide (in plough), dancing rope, thick rope for dragging timber. Ka. vaṭa, vaṭara, vaṭi string, rope, tie. Te. vaṭi rope, cord. Go. (Mu.) vaṭiya strong rope made of paddy straw (Voc. 3150). Cf. 3184 Ta. tār̤vaṭam. / Cf. Skt. vaṭa- string, rope, tie; vaṭāraka-, vaṭākara-, varāṭaka- cord, string; Turner, CDIAL, no. 11212. (DEDR 5220) 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)

I suggest that the expression dhā̆vaḍ 'smelter' signified by trefoil or three strands is a semantic duplication of the parole words:

dhāī 'wisp of fibre' PLUS vaṭa, vaṭara, vaṭi string, rope, tie. Thus, it is possible that the trefoil as a hieroglyph-multiplex was signified in parole

by the expression dhā̆vaḍ 'three strands' rebus: dhā̆vaḍ 'smelter'.

The shawl decorated with dhā̆vaḍ 'trefoil' is a hieroglyph: pōta 'cloth' rebus:

पोता पोतृ, 'purifier' in a yajna. போற்றி pōṟṟi, போத்தி pōtti Brahman temple- priest in Malabar; மலையாளத்திலுள்ள கோயிலருச் சகன். Marathi has a cognate in

पोतदार [pōtadāra] m ( P) An officer under the native governments. His business was to assay all money paid into the treasury. He was also the village-silversmith. The shawl decorated with dhā̆vaḍ 'trefoil' is a hieroglyph: pōta 'cloth' rebus:

पोतदार [pōtadāra] m ( P) An officer under the native governments. His business was to assay all money paid into the treasury. He was also the village-silversmith. पोतृ पु० पुनाति पु--तृन् । ऋत्विग्मेदे अच्छावाकशब्दे ८५ पृ० दृश्यम् । होत्रादिशब्देन द्वन्द्वे ऋत आत् । पोताहोतारौ ।

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

पोता, [ऋ] पुं, (पुनातीति । पू + “नप्तृनेष्टृ-त्वष्टृहोतृपोतृभ्रातृजामातृमातृपितृदुहितृ ।”उणा० २ । ९६ । इति तृन्प्रत्ययेन निपात्यते ।) विष्णुः । इति संक्षिप्तसारोणादिवृत्तिः ॥ऋत्विक् । इति भूरिप्रयोगः ॥ (यथा, ऋग्वेदे ।४ । ९ । ३ ।“स सद्म परि णीयते होता मन्द्रो दिविष्टिषु ।उत पोता नि षीदति ॥”)

https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः पोतृ [p= 650,1] प्/ओतृ or पोतृ, m. " Purifier " , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; = यज्ञस्य शोधयिट्रि Sa1y. )

RV. Br. S3rS. Hariv. N. of विष्णु L. पौत्र, पोत्री f. N. of दुर्गा Gal. (cf. पौत्री). pōtṛ

पोतृ m. One of the sixteen officiating priests at a sacrifice (assistant of the priest called ब्रह्मन्). पोत्रम् [पू-त्र] The office of the Potṛi. ब्रह्मन् m. one of the 4 principal priests or ऋत्विज्as (the other three being the होतृ , अध्वर्यु and उद्गातृ ; the ब्रह्मन् was the most learned of them and was required to know the 3 वेदs , to supervise the sacrifice and to set right mistakes ; at a later period his functions were based especially on the अथर्व-वेद) RV. &c होतृ m. (fr. √1. हु) an offerer of an oblation or burnt-offering (with fire) , sacrificer , priest , (esp.) a priest who at a sacrifice invokes the gods or recites the ऋग्-वेद , a ऋग्-वेद priest (one of the 4 kinds of officiating priest »ऋत्विज् , p.224; properly the होतृ priest has 3 assistants , sometimes called पुरुषs , viz. the मैत्रा-वरुण , अच्छा-वाक, and ग्रावस्तुत् ; to these are sometimes added three others , the ब्राह्मणाच्छंसिन् , अग्नीध्र or अग्नीध् , and पोतृ , though these last are properly assigned to the Brahman priest ; sometimes the नेष्टृ is substituted for the ग्राव-स्तुत्) RV.&c नेष्टृ m. (prob. fr. √ नी aor. stem नेष् ; but cf. Pa1n2. 3-2 , 135 Va1rtt. 2 &c ) one of the chief officiating priests at aसोम sacrifice , he who leads forward the wife of the sacrificer and prepares the सुरा (त्वष्टृ so called RV. i , 15 ,3) RV. Br. S3rS. &c अध्वर्यु m.

one who institutes an अध्वर any officiating priest a priest of a particular class (as distinguished from the होतृ , the उद्गातृ , and the ब्रह्मन् classes. The अध्वर्युpriests " had to measure the ground , to build the altar , to prepare the sacrificial vessels , to fetch wood and water , to light the fire , to bring the animal and immolate it " ; whilst engaged in these duties , they had to repeat the hymns of the यजुर्-वेद , hence that वेद itself is also called अध्वर्यु)pl. (अध्वर्यवस्) the adherents of the यजुर्-वेद; उद्-गातृ m. one of the four chief-priests (viz. the one who chants the hymns of the सामवेद) , a chanterRV. ii , 43 , 2 TS. AitBr. S3Br.

Ka1tyS3r. Sus3r. Mn. &c अच्छा-वाकm. " the inviter " , title of a particular priest or ऋत्विज् , one of the sixteen required to perform the great sacrifices with the सोम juice. ग्रावन् m. a stone for pressing out the सोम (originally 2 were used RV. ii , 39 , 1 ; later on 4 [ S3a1n3khBr.xxix , 1] or 5 [Sch. on S3Br. &c ]) RV. AV. VS. S3Br.= ग्राव-स्त्/उत् Hariv. 11363

pōtrá1 ʻ *cleaning instrument ʼ (ʻ the Potr̥'s soma vessel ʼ RV.). [√pū]Bi. pot ʻ jeweller's polishing stone ʼ? -- Rather < *pōttī -- .(CDIAL 8404) *pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, puti, pũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá --(CDIAL 8403) pōtana पोतन a. 1 Sacred, holy. -2 Purifying.

Hence the importance of the office of Potr̥, 'Rigvedic priest of a yajna' signified as 'purifier', an assayer of dhāˊtu 'minerals.

Meluhha artifacts in Ancient Near East, Indus Script hypertext evidence from Gonur Depe, Tell Abraq, Mohenjo-daro

https://tinyurl.com/ycfaahgv

Indus Script hypertext evidence from Gonur Tepe, Tell Abraq, Mohenjo-daro include the following; both relate to documented accounting ledgers of Tin-Bronze Age metalwork:

1.Hieroglyph of tabernae montana on an ivory comb, on a bronze axe

2.Hieroglyph of dotted circles on ivory combs and on ivory artifacts

It is clear from the evidence that there was diffusion of metallurgical technologies between Meluhha artisans and Ancient Near East artisans.

The hypertexts signify:

tabar = a broad axe (Punjabi). Rebus: tam(b)ra ‘copper’ tagara ‘tabernae montana’, ‘tulip’. Rebus: tagara ‘tin’.

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

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

See:

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

http://tinyurl.com/z3x7zev

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

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

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

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

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

Tell Abraq axe with epigraph (‘tulip’ glyph + a person raising his arm above his shoulder and wielding a tool + dotted circles on body) [After Fig. 7 Holly Pittman, 1984, Art of the Bronze Age: Southeastern Iran, Western Central Asia, and the Indus Valley, New York, The Metropolitan Museum of Art, pp. 29-30].

tabar = a broad axe (Punjabi). Rebus: tam(b)ra ‘copper’ tagara ‘tabernae montana’, ‘tulip’. Rebus: tagara ‘tin’. Glyph: eṛaka ‘upraised arm’ (Tamil); rebus: eraka = copper (Kannada)

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

The glyph is tabernae montana, ‘mountain tulip’. A soft-stone flask, 6 cm. tall, from Bactria (northern Afghanistan) showing a winged female deity (?) flanked by two flowers similar to those shown on the comb from Tell Abraq.(After Pottier, M.H., 1984, Materiel funeraire e la Bactriane meridionale de l'Age du Bronze, Paris, Editions Recherche sur les Civilisations: plate 20.150) Two flowers are similar to those shown on the comb from Tell Abraq. Ivory comb with Mountain Tulip motif and dotted circles. TA 1649 Tell Abraq. [D.T. Potts, South and Central Asian elements at Tell Abraq (Emirate of Umm al-Qaiwain, United Arab Emirates), c. 2200 BC—AD 400, in Asko Parpola and Petteri Koskikallio, South Asian Archaeology 1993: , pp. 615-666] Tell Abraq comb and axe with epigraph After Fig. 7 Holly Pittman, 1984, Art of the Bronze Age: Southeastern Iran, Western Central Asia, and the Indus Valley, New York, The Metropolitan Museum of Art, pp. 29-30].

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

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

Dotted circles, tulips on ivory combs signify dāntā 'ivory' rebus dhāˊtu 'ore of red colour' (Rigveda) tagaraka 'tulip' rebus tagara 'tin'

h1522 Potsherd ca. 3300 BCE (from Indus Writing Corpora)
Note: The first known examples of writing may have been unearthed at an archaeological dig in Harappa, Pakistan. So-called 'plant-like' and 'trident-shaped' markings have been found on fragments of pottery dating back 5500 years. According to Dr Richard Meadow of Harvard University, the director of the Harappa Archaeological Research Project, these primitive inscriptions found on pottery may pre-date all other known writing.
http://news.bbc.co.uk/2/hi/science/nature/334517.stm http://news.bbc.co.uk/2/hi/science/nature/334517.stm

A rebus reading of the hieroglyph is: tagaraka, tabernae montana. Rebus:

tagara ‘tin’ (Kannada); tamara id. (Skt.) Allograph: ṭagara ‘ram’. Since tagaraka

is used as an aromatic unguent for the hair, fragrance, the glyph gets depicted on a stone flask, an ivory comb and axe of Tell Abraq.

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

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

Diffusion of Metallurgy: Meluhha and western Afghanistan sources of tin

"...In the later 4th and early 3rd millennia, greater tin values occur--5.3% in a pin from Susa B; and 5% in an axe from Mundigak III in Afghanistan; but these are still exceptional in a period characterized by the use of arsenical copper ...arond 270 BC, during Early Dynastic III in Mesopotamia...eight metal artifacts of forty-eight in the celebrated 'vase a la cachette' of Susa D are bronzes; four of them -- three vases and one axe -- have over 7% tin. The analyses of objects from the Royal Cemetery at UR present an even clearer picture: of twenty-four artifacts in the Iraq Museum subjected to analysis, eight containing significant quantities of tin and five with over 8% tin can be considered true bronzes in the traditional sense.a contemporary shaft-hole axe from Kish contains 4% tin, and significant amounts were detected in a few artifacts from Tepe Giyan and Tepe Yahya IVB in Iran, and Hili in Oman. Thus, we see an increasing pattern of tin usage......Gudea of Lagash (2150-2111BCE)speaks of the tin of Meluhha...the geographer Strabo (XV.2.10) who, in referring to the inhabitants of Drangiana (modern Sistan), says that they have 'only scanty supplies of wine, but they have tin in their country'...this passage..does accord well with the discoveris in the area of Herat...There are two possible routes from Afghanistan to Mesopotamia. One crosses the northern part of the Iranian plateau, along the Elburz mountains, then through the passes in the Zagros descends to Babylonia and Assyria. In the 1st millennium it was one of the principal supply routes of eastern goods to Assyria. In the 2nd millennium the tin that Assur exported to Anatolia might have followed this route. Along it are found such sites as Tepe Sialk (where the use of tin is attested in the 4th millennium), Tepe Giyan and Tepe Hissar, wehre other finds (such as lapis lazuli at Hissar) implicate them in long-distance commerce in the 3rd millennium...Recently Oman has yielded the first signs of the use of tin in the region. The analysis of a sword from Hili, dated to the mid-3rd millennium, shows a tin content of 6.5%, and a mold of a tap hole (?) associated with the remains of a furnace held metal with a tin content of 5%...At Umm an-Nar artifacts with tin contents on the order of 2% were recovered; the tin must have been mixed with the local copper...Meluhha...the use of tin is attested already in the late 4th or early 3rd millennium at Mundigak III in southern Afghanistan. Tin appears only in small quantities in artifacts from Sahr-i-Sokhta in eastern Iran and at Tepe Yahya in southern Iran...In the Indus Valley, the copper-tin alloy is known at Mohenjodaro...The discoveries of tin in artifacts at Hili, though singular, are important because the site lies in an area clearly involved in long-distance trade. However, there is no clear evidence that the site was a way-station on the route which brought tin from Afghanistan to Mesopotamia. Therefore the presence of tin at Hili indicates only that it was transported in the Gulf area, where it was also used to fill local needs. The collective indications are that western Afghanistan ws the zone able to provide the tin used in Southwest Asia in the 4th and 3rd millennia...In order to elucidate the questions raised by our findings, a project aimed specifically at tin-- its sources and metallurgy-- should be organized." (Serge Cleuziou and Thierry Berthoud, Early Tin in the Near East, in: Expedition, Vol. 25, No. 1, 1982, pp. 14-19). cf. R.J.Forbes, 1954, Extracting, smelting and alloying, in: Charles Singer, E.J.Holmyard and AR Hall (eds.), 1954, A History of Technology, Oxford, Clarendon Press. Knox, Robert, 1994, A new Indus Valley Cylinder Seal, pp. 375-378 in: South Asian Archaeology 1993, Vol. I, Helsinki. Ibid., p. 377; cf. Lamberg- Karlovsky and Tosi 1973: pl. 137.

It is likely that the sources of tin can also extend the Tin Road of Meluhha into the river beds of Sindhu and Sarasvati rivers and associated tributary rivers and water channels for panned tin obtained by prospectors.

An unresolved problem in the study of Bronze Age civilizations has been the identification of sources of tin. Arsenical bronzes of the millennia earlier to the 5th millennium were replaced by tin-bronzes creating a veritable revolution in the march of civilization.

John Muhly has highlighted and contributed significantly to the resolution of this problem. Many cuneiform texts do point to Meluhha as the major source of tin, reaching through the transit points of Magan and Dilmun along the Persian Gulf region and west of Mehergarh.

A possible scenario is presented by a geologist, TM Babu (2003) in: Advent of the bronze age in the Indian subcontinent In Mining and metal production: through the ages, eds. P. Craddock and J. Lang, London, British Museum Press, pp175-180. In this article, Babu starts with the traditions in ancient India of making idols for worship using pancha-loha (lit. five metals), creating an alloy of copper, tin, lead, zinc, arsenic and less commonly, silver and gold. A word in Tamil denoting this alloy is kol which also means ‘working in iron’. This lexeme is denoted by the hieroglyphs: tiger (kola), woman (kola), rice-plant (kolom). Similar rebus readings of hundreds of hieroglyphs on Indus writing point to the Indian sprachbund, a linguistic union which explains the presence, for example, Munda words in ancient Sanskrit texts.

Papagudem boy wearing a bangle of tin

“Bronze articles such as ornamental mirrors, arrowheads, pins, bangles and chisels, of both low tin and high tin content, have been recovered from Lothal, the Harappn port on the Gujarat coast, which has been dated earlier than 2200 BCE. The tin content in these articles range from 2.27% to 11.82%; however, some of the articles contain no tin. Tin is said to have been brought as tablets from Babylon and mixed with copper to make an alloy of more pleasing colour and luster, a bright golden yellow. The utilization of bronze is essential only for certain articles and tools, requiring sharp cutting edges, such as axes, arrowheads or chisels. The selection of bronze for these items indicates the presence of tin was intentional…Recent discoveries of tin occurrences in India are shown in…Fig. 11.2. However, none of these occurrences shows evidences of ancient mining activity. This is because, unlike copper ores, the mining and metallurgy of the tin ore cassiterite is simple, and leaves little permanent trace…tin ore is usually recovered by simple panning of surface deposits, often contained in gravel, which soon collapse, leaving little evidence of having once been worked. Cassiterite is highly resistant to weathering, and with its high specific gravity, it can be easily separated from the waste minerals. The simple mining and metallurgical methods followed even now by Bastar and Koraput tribals in Chattisgarh and Orissa, central India, could be an indication of the methods used in the past. These tribal people produce considerable quantities of tin without any external help, electric power or chemical agents, enough to make a modern metallurgist, used to high technology, wonder almost in disbelief. Clearly though, the technology practiced has a considerable importance for those studying early smelting practices. The history of this process is poorly known. Back in the 1880s Ball (1881) related the story of a Bastar tribal from the village of Papagudem, who was observed to be wearing a bangle of tin. When questioned as to where the metal had come from, he replied that black sands, resembling gunpowder were dug in his village and smelted there. Thus it is very likely that the present industry is indigenous, and may have a long history. That being said, neither the industry or its products appear in any historical document of any period, and thus is unlikey to have been a significant supplier of metal…The tin content of cassiterite ranges from 74.94% (mean 64.2%), showing that pebbles contain about 70% to 90% of the tin oxide, cassiterite…The ore is localized in gravel beds of the black pebbles of cassiterite which outcrop in stream beds etc. and there are other indicators, in the vegetation. The leaves of the Sarai tree (Shoria robusta) growing on tin-rich ground are often covered in yellow spots, as if suffering from a disease. (The leaves were found to contain 700 ppm of tin on analysis!) Wherever the tribals find concentrations of ore in the top soil, the ground all around the area is dug up and transported to nearby streams, rivers or ponts…The loose gravelly soil containing the tin ore is dug with pick and shovel, and carried to the washing sites in large, shoulder-strung bamboo baskets. The panning or washing of the ore is carrie out using round shallow pans of bamboo. The soil is washed out, leaving the dense casiterite ore at the bottom of the pan…The ore is smelted in small clay shaft furnaces, heating and reducing the ore using charcoal as the fuel…The shft furnaces are square at the base and of brick surmounted by a clay cylindrical shaft…The charcoal acts as both the heating and reducing agent, reducing the black cassiterite mineral into bright, white tin metal…a crude refining is carried out by remelting the metal in an iron pan at about 250 degrees C. The molten tin is then poured into the stone-carved moulds to make square- or rectangular-shaped tin ingots for easy transportation. (Babu, TM, 2003, Advent of the bronze age in the Indian subcontinent in: Craddock, PT and J. Lang, Mining and Metl production through the ages, British Museum, pp.174-180).

Trefoil Indus Script hieroglyph signifies dhā̆vaḍ 'smelter' dhāu 'ore'. त्रिधातुः (magnetite, hematite, laterite) is an epithet of Gaṇeśa

A "bent bar" shatamana from the Kuru and Panchala janapada, c.500-350 BCE

Source: http://www.vcoins.com/ancient/saylesandlavender/store/viewitem.asp?idProduct=5939

Kuru Janapada from Haryana Region, Silver ½-Karshapana (2), triangular mark, rev six-armed symbol, the second uniface on a dumpy flan, attributed to Kuru Janapada of Babyal (Haryana) region by Handa (Rajgor series 21, 428).

Kuru janapada. Dotted triskelion. 450 to 350 BCE. Triskelion arms encircle dots. Arrows attach to the dotted circle. 'Twist' hieroglyphs are shown next to the arrows.

Coins of Kuru #Janapada 1 of the 16 #Mahajanapadas. Haryana-Delhi region, c.450–350 BCE. #IndianHistory #IndianCoin https://t.co/z7VsdWeRJc

Coins of Kuru #Janapada 1 of the 16 Mahajanapadas. Haryana-Delhi region, c.450–350 BCE. https://t.co/z7VsdWeRJc - 2015-11-25 13:14:47
http://twicsy.com/i/EQMR3i#1fXO1da71PEArcjT.99

c. 4th Century BCE
Weight:1.73 gm., Diam:12-13 mm.

Triskele with crescents and dots /
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A triskelion hieroglyph of Kuntala punchmarked coins can be signifiers of त्रि धातु 'three minerals'. The endings of the triskelion are curved like crucibles holding 'dots' or ingots. koṭhārī ʻ crucible ʼ (Old Punjabi) rebus: koṭhari 'chamber' (oriya) koṭṭhāgāra ʻstorehouse' (Prakrtam) खोट khōṭa 'A mass of metal (unwrought or of old metal melted down); an ingot or wedge.'

The chariot linch-pin found at Kirkburn has a triskele hieroglyph-multiplex with an orthography of hierolyph components signifying associated semantics of metalwork. The circular edge of the ends of the linch-pin is embossed with raised circles signifying ingots out of the three sets of crucibles.

Copper alloy and iron linch pin; exposed iron shank, rectangular in section and markedly off-centre to the upper terminal. Upper terminal slightly lop-sided, its perforation is clear of corrosion, and there are wear facets at two points on the edge of th

In this hieroglyph-multiplex, the central hieroglyph component is three curved (crucibles) emanating from the centre. At the tip of each of the three cuve-endings, an explanatory hieroglyph component signifies: 1. crucible; and 2. a round ingot emanating from the crucible. Orthography clearly signifies metalwork by a Celtic artisan. The bend in the curved legs emanating from the centre in the triskele is relatable to: कोट or bend, कोटः kōṭḥ Crookedness. A beard (Samskritam. Apte)

Hieroglyph: koṭhārī f. ʻ crucible (Old Punjabi)(CDIAL 3546) Rebus: Pk. koṭṭhāgāra -- , koṭṭhāra -- n. ʻ storehouse ʼ; K. kuṭhār m. ʻ wooden granary ʼ, WPah. bhal. kóṭhār m.; A. B. kuṭharī ʻ apartment ʼ, Or. koṭhari; Aw. lakh. koṭhār ʻ zemindar's residence ʼ; H. kuṭhiyār ʻ granary ʼ; G. koṭhār m. ʻ granary, storehouse ʼ, koṭhāriyũ n. ʻ small do. ʼ; M. koṭhār n., koṭhārẽ n. ʻ large granary ʼ, -- °rī f. ʻ small one ʼ; Si.koṭāra ʻ granary, store ʼ.(CDIAL 3550).

Note: poLa 'magnetite', bichi 'haematite' and goTa 'laterite' may refer to tri-dhAtu 'three red ferrite ores'.

Rendering of जटा jaṭā on ekamukhalinga is a unique orthographic/ iconographic metaphor signified by sculptors to denote the nature of चषालः caṣāla and its role in the pyrolysis process to carburize metal into hard alloys during smelting. "Pyrolysis has been used since ancient times for turning wood into charcoal on an industrial scale. Besides wood, the process can also use sawdust and other wood waste products...Pyrolysis is used on a massive scale to turn coal into coke for metallurgy, especially steelmaking."

Av. wazra, Pahl. warz, NPers. gorz; with epithets vājrabāhu- “mace in arm,” °hasta- “mace in hand,” °dakṣiṇa- “mace in his right [hand],” vajrabhṛˊt-, °vāh- “mace-carrying,” vajrín- “mace-possessing”) and the epithet vṛtrahán- (Av. wərəθrajan-) “slaying, smashing vṛtrā.” http://www.iranicaonline.org/articles/indra

Gorz. "It is mentioned in Avesta as the special weapon of Mithra (Yt. 10.132) and Kərəsāspa-/Garšāsp (Y. 9.10). Kərəsāspa is portrayed as having long hair (gaēsuš) and wielding a club (gaδavarō; see Reichelt, p. 2), while Mithra’s club is described as being made of gold and bearing one hundred knobs and one hundred edges. It is also called the most solid and the most effective weapon in securing victory and as swift as imagination (Yt. 10.132)." http://www.iranicaonline.org/articles/gorz

Kuntala janapada Punch-marked coin 450 BCE. Two angular shaped parallel lines having solid dot on the head connect to the central dot There is a A triskelion or triskele (which invariably has rotational symmetry) a motif consisting of three interlocked spirals between the two solid dots.

śã̄gal, śã̄gaḍ ʻchainʼ (WPah.) śr̥ṅkhala m.n. ʻ chain ʼ MārkP., °lā -- f. VarBr̥S., śr̥ṅkhalaka -- m. ʻ chain ʼ MW., ʻ chained camel ʼ Pāṇ. [Similar ending in mḗkhalā -- ]Pa. saṅkhalā -- , °likā -- f. ʻ chain ʼ; Pk. saṁkala -- m.n., °lā -- , °lī -- , °liā -- , saṁkhalā -- , siṁkh°, siṁkalā -- f. ʻ chain ʼ, siṁkhala -- n. ʻ anklet ʼ; Sh. šăṅāli̯ f., (Lor.)š*lṅāli, šiṅ° ʻ chain ʼ (lw .with š -- < śr̥ -- ), K. hö̃kal f.; S. saṅgharu m. ʻ bell round animal's neck ʼ, °ra f. ʻ chain, necklace ʼ, saṅghāra f. ʻ chain, string of beads ʼ,saṅghirī f. ʻ necklace with double row of beads ʼ; L. saṅglī f. ʻ flock of bustard ʼ, awāṇ. saṅgul ʻ chain ʼ; P. saṅgal m. ʻ chain ʼ, ludh. suṅgal m.; WPah.bhal. śaṅgul m. ʻ chain with which a soothsayer strikes himself ʼ, śaṅgli f. ʻ chain ʼ, śiṅkhal f. ʻ railing round a cow -- stall ʼ, (Joshi) śã̄gaḷ ʻ door -- chain ʼ, jaun. śã̄gal, śã̄gaḍ ʻ chain ʼ; Ku. sã̄glo ʻ doorchain ʼ, gng. śāṅaw ʻ chain ʼ; N. sāṅlo ʻ chain ʼ, °li ʻ small do. ʼ, A. xikali, OB. siṅkala, B. sikal, sikli, chikal, chikli, (Chittagong) hĩol ODBL 454, Or.sāṅk(h)uḷā, °ḷi, sāṅkoḷi, sikaḷā̆, °ḷi, sikuḷā, °ḷi; Bi. sīkaṛ ʻ chains for pulling harrow ʼ, Mth. sī˜kaṛ; Bhoj. sī˜kar, sĩkarī ʻ chain ʼ, OH. sāṁkaḍa, sīkaḍa m., H. sã̄kal, sã̄kar,°krī, saṅkal, °klī, sikal, sīkar, °krī f.; OG. sāṁkalu n., G. sã̄kaḷ, °kḷī f. ʻ chain ʼ, sã̄kḷũ n. ʻ wristlet ʼ; M. sã̄k(h)aḷ, sāk(h)aḷ, sã̄k(h)ḷī f. ʻ chain ʼ, Ko. sāṁkaḷ; Si. säkilla, hä°, ä° (st. °ili -- ) ʻ elephant chain ʼ.śr̥ṅkhalayati.Addenda: śr̥ṅkhala -- : WPah.kṭg. (kc.) śáṅgəḷ f. (obl. -- i) ʻ chain ʼ, J. śã̄gaḷ f., Garh. sã̄gaḷ.śr̥ṅkhalayati ʻ enchains ʼ Daś. [śr̥ṅkhala -- ]Ku.gng. śāṅaī ʻ intertwining of legs in wrestling ʼ (< śr̥ṅkhalita -- ); Or. sāṅkuḷibā ʻ to enchain ʼ.(CDIAL 12580, 12581)சங்கிலி¹ caṅkili, n. < šṛṅkhalaā. [M. caṅ- kala.] 1. Chain, link; தொடர். சங்கிலிபோ லீர்ப்புண்டு (சேதுபு. அகத். 12). 2. Land-measuring chain, Gunter's chain 22 yards long; அளவுச் சங்கிலி. (C. G.) 3. A superficial measure of dry land=3.64 acres; ஓர் நிலவளவு. (G. Tn. D. I, 239). 4. A chain-ornament of gold, inset with diamonds; வயிரச்சங்கிலி என்னும் அணி. சங்கிலி நுண்டொடர் (சிலப். 6, 99). 5. Hand-cuffs, fetters; விலங்கு.

Read on... https://tinyurl.com/y8p7b8q2

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Proof for reading the horned young bull (unicorn) as खोंड Singī kunda, कोँद 'furnace' rebus fine gold, ornament gold

August 8, 2019, 12:03 am

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https://tinyurl.com/yytgtyhs

The proof for reading the 'unicorn' is given below.

The etyma are from Marathi language.

खोंड khōṇḍa m A young bull, a bullcalf.

खोंड khōṇḍa खोंडा khōṇḍā m A variety of जोंधळा. खोंडें khōṇḍēṃ n A description of जोंधळा. It is grown in the hot weather on garden-land. There are varieties of जोंधळा jōndhaḷā m A cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz. उता- वळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा. There are however many others as केळी, अरगडी, डुकरी, बेंदरी, मडगूप &c. The list includes खुंडी (variant pronunciation of खोंड khōṇḍa खोंडा khōṇḍā

खोंडा khōṇḍā m A कांबळा of which one end is formed into a cowl or hood.

The young bull is often shown with a खोंडा khōṇḍā m A कांबळा On this pectoral the pannier ofr कांबळा is vividly shown on the shoulder of the young bull.

Mohenjo-daro pectoral

The Mari procession shows the young bull carried on a flagpost which is a खोंड khōṇḍa खोंडा khōṇḍā m A variety of जोंधळा. See the picture.

Location of Mari on Euphrates river, Mesopotamia

Procession in Mari palace Zimri-Lim in the 18th century BCE. Marble plaque from Louvre Museum

So, the young bull which is shown on thousands of inscriptions is खोंड khōṇḍa 'young bull' read rebus: kunda 'fine gold' (Marathi); kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln.(Kashmiri)

Thus, the young horned bull signifies a furnace.

The young bull is horned.

Santali gloss.

शृङ्गिन्् sriṅg-ín horned (V., C.); m. (C.) horned animal (Monier-Williams) शिंग śiṅga n (शृंग S) A horn. Pr. म्हशीचीं शिंगें म्हशीस जड नाहींत (Marathi) Rebus: singi 'ornament gold' Singī & singi (f.) [cp. Sk. śṛngī] 1. gold Vin i.38; S ii.234; J i.84.(Pali) शृङ्गिः śṛṅgiḥ शृङ्गिः Gold for ornaments (Skt. Apte)

Thus, the horned young bull is a composite signifier fine gold, ornament gold.

The pictorial motif is deciphered as a cargo fine gold and ornament gold by seafaring merchants of Meluhha (mleccha).

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Announcement: Indus Script deciphered. Inscriptions are wealth cargo of artisans, seafaring merchants of Meluhha (Bharat)

August 8, 2019, 1:21 am

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https://tinyurl.com/y5ftm8zo

The proof for reading the 'unicorn' is given below.

The etyma are from Marathi language.

खोंड khōṇḍa m A young bull, a bullcalf.

खोंड khōṇḍa खोंडा khōṇḍā m A variety of जोंधळा. खोंडें khōṇḍēṃ n A description of जोंधळा. It is grown in the hot weather on garden-land. There are varieties of जोंधळा jōndhaḷā m A cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz. उता- वळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा. There are however many others as केळी, अरगडी, डुकरी, बेंदरी, मडगूप &c. The list includes खुंडी (variant pronunciation of खोंड khōṇḍa खोंडा khōṇḍā

खोंडा khōṇḍā m A कांबळा of which one end is formed into a cowl or hood.

The young bull is often shown with a खोंडा khōṇḍā m A कांबळा On this pectoral the pannier ofr कांबळा is vividly shown on the shoulder of the young bull.

Mohenjo-daro pectoral

The Mari procession shows the young bull carried on a flagpost which is a खोंड khōṇḍa खोंडा khōṇḍā m A variety of जोंधळा. See the picture.

Location of Mari on Euphrates river, Mesopotamia

Procession in Mari palace Zimri-Lim in the 18th century BCE. Marble plaque from Louvre Museum

So, the young bull which is shown on thousands of inscriptions is खोंड khōṇḍa 'young bull' read rebus: kunda 'fine gold' (Marathi); kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln.(Kashmiri)

Thus, the young horned bull signifies a furnace.

The young bull is horned.

Santali gloss.

शृङ्गिन्् sriṅg-ín horned (V., C.); m. (C.) horned animal (Monier-Williams) शिंग śiṅga n (शृंग S) A horn. Pr. म्हशीचीं शिंगें म्हशीस जड नाहींत (Marathi) Rebus: singi 'ornament gold' Singī & singi (f.) [cp. Sk. śṛngī] 1. gold Vin i.38; S ii.234; J i.84.(Pali) शृङ्गिः śṛṅgiḥ शृङ्गिः Gold for ornaments (Skt. Apte)

Thus, the horned young bull is a composite signifier fine gold, ornament gold.

The pictorial motif is deciphered as a cargo fine gold and ornament gold by seafaring merchants of Meluhha (mleccha).

Almost all Indus Script inscriptions document wealth cargo of seafaring merchants of Meluhha (Bharat). Bharat itself is a word derived from and associated with metalwork.

भरती bharatī a Composed of the metal भरत. भरत bharata n A factitious metal compounded of copper, pewter, tin &c.भरताचेंभांडें bharatācē mbhāṇḍēṃ n A vessel made of the metal भरत.

The word which signifies an accounting ledger is खरडा kharaḍā This is signified by Sign 176

Sign 176 is like a currycomb. The sign signifies daybook of कुळकरणी kuḷakaraṇī m (कुल & कारणी S) An officer of a village under the पांटील. His business is to keep the accounts of the cultivators with Government and all the public records. The word karaṇī is the most frequently used word in the script. The sign is Sign 342

This sign reads: 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 a steersman (Skt.) कारणी or कारणीक kāraṇī or kāraṇīka a (कारण S) That causes, conducts, carries on, manages. Applied to the prime minister of a state, the supercargo of a ship &38;c. 2 Useful, serviceable, answering calls or occasions.(Marathi).

Artisans and seafaring merchants of Bharat created the Hindu civilization which evolved under śreṇi dharma of guilds to contribute 33% of world GDP in 1 Common Era. śreṇi dharma is a restatement of the dictum of ईशोपनिषद

शावास्यं इदं सर्वंयत्किञ्चजगत्यांजगत्।

तेनत्यक्तेनभुञ्जीथामागृधःकस्यस्विद्धनम्॥१॥

Meaning of ईशोपनिषद statement governed wealth-creation activities of Sarasvati Sindhu Civilization:

All this is for habitation by the Supreme Divinity. Whatsoever is individual universe of movement is the universal motion.

S. Kalyanaraman, Ph.D., D.Litt.

Sarasvati Research Centre

https://srinikalyanaraman.academia.edu/research#papers

https://sites.google.com/site/kalyan97/national-water-grid

https://sites.google.com/site/indianoceancommunity1/

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Chronology of the Indus Civilization, the Oman peninsula and Mesopotamia.

August 8, 2019, 5:18 am

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Source : https://www.academia.edu/26492006/Bronze_Age_Salūt_ST1_and_the_Indus_Civilization_Recent_discoveries_and_new_insights_on_regional_interaction

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Indus Script decipherment of wealth cago is validated by Shalamaneser III black obelisk as Rosetta stone of Nimrud

August 8, 2019, 7:10 pm

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https://tinyurl.com/y2gf25qn

Indus Script decipherment has been announced as wealth cargo on 8000 inscriptions.

See Announcement: Indus Script deciphered. Inscriptions are wealth cargo of artisans, seafaring merchants of Meluhha (Bharat) https://tinyurl.com/y5ftm8zo

This claim of decipherment gets validated from the pictographs of a surprising resource: Shalamaneser III Black Obelisk which lists tributes signified rebus by the pictographs of iron ore, iron work, fine gold, ornament gold, pewter, tin ore, armour, silver, gemstones and jewels from Musri (possibly Kurdistan). Note: the possibility that Musri refers to Muciri of Westcoast of India needs further researches based on some leads discussed in this monograph.

"The Black Obelisk 6 1/2 feet tall of Shalmaneser III is a black limestone

Assyrian sculpture with many scenes in bas-relief and inscriptions. It comes from Nimrud (ancient Kalhu; known in the Bible as Calah), in northern Iraq,

The Obelisk contains 5 rows of bas-relief (carved) panels on each of the 4 sides.

Shalmaneser III ruled ancient Assyria from 858-824 BC., and was the son of Assurnasirpal II.

The obelisk commemorates the deeds of King Shalmaneser III (reigned 858–824 BC).

It is on display at the British Museum in London, and several other museums have cast. Replicas can be found at the Oriental Institute in Chicago, Illinois; Harvard's Semitic Museum in Cambridge, Massachusetts; the ICOR Library in the Semitic Department at The Catholic University of America in Washington, D.C.; Corban University's Prewitt–Allen Archaeological Museum in Salem, Oregon; the Siegfried H. Horn Museum at Andrews University in Berrien Springs, MI; Canterbury Museum in Christchurch, New Zealand; the Museum of Ancient Art at Aarhaus University in Denmark, and in the library of the Theological University of the Reformed Churches in Kampen, the Netherlands. https://en.wikipedia.org/wiki/Black_Obelisk_of_Shalmaneser_III

On the top and the bottom of the reliefs there is a long cuneiform inscription recording the annals of Shalmaneser III. It lists the military campaigns which the king and his commander-in-chief headed every year, until the thirty-first year of reign. Some features might suggest that the work had been commissioned by the commander-in-chief, Dayyan-Assur.

Tribute offerings are shown being brought from identifiable regions and peoples. It was erected as a public monument in 825 BC at a time of civil war, in the central square of Nimrud, close to the much earlier White Obelisk of Ashurnasirpal I. It was discovered by archaeologist Sir Austen Henry Layard in 1846 and is now in the British Museum.

Translation of the 5 relief narratives:

a. Tribute of Sûa, the Gilzânite. I received from him: silver, gold, lead, copper vessels, staves for the hand of the king, horses, two-humped camels.

b. “Tribute of Jehu, [Ia-ú-a] of house of Omri. [Bīt-Ḫumrî] I received from him: silver, gold, a golden bowl, a golden goblet, golden cups, golden buckets, tin, a staff of the king’s hand, javelins.” (COS 2.113F)

c. Tribute of the land of Musri. I received from him: two-humped camels, a river-ox, a sakêa, a sûsu, elephants, monkeys, apes.

d. Tribute of Marduk-apal-usur of Suhi. I received from him: silver, gold, pitchers of gold, ivory, javelins, bûia, brightly colored linen garments.

e. Tribute of Karparunda of Hattina. I received from him: silver, gold, lead, copper, copper vessels, ivory, cypress (timbers).

Source: http://www.bible.ca/manuscripts/bible-archeology-Shalmaneser-III-Assyria-inscriptions-annals-Black-Obelisk-Jehu-bowing-House-son-Omri-Nimrud-Calah-827BC.htm

It features twenty relief scenes, five on each side. They depict five different subdued kings, bringing tribute and prostrating before the Assyrian king. From top to bottom they are: (1) Sua of Gilzanu (in north-west Iran), (2) "Jehu of Bit Omri" (Jehu of the House of Omri), (3) an unnamed ruler of Musri (probably Egypt), (4) Marduk-apil-usur of Suhi (middle Euphrates, Syria and Iraq), and (5) Qalparunda of Patin (Antakya region of Turkey). Each scene occupies four panels around the monument and is described by a cuneiform script above them.

The Black Obelisk has five registers of four sculptural friezes on each of the four sides. The Third register from the top is a Musiri panel depicting tributes from the land of Musri. The sculptures signify tributes offered to Shalamaneser III. This is mentioned in the inscription on the Third Register from top.

Since the tributes received from Musri include the three animal hieroglyphs which are normally shown on Indus Script inscriptions, though the iconographic style may be from recollected memory, the cuneiform inscription related to these tributes (or animal hieroglyphs) as: river ox (water buffalo?), sakea (translated as rhinoceros), susu (translated as antelope), elephants, bazitu/uqupu (translated as monkeys). See Ancient Records, Univ. of Chicago, Oriental Institute:

(p.211) https://oi.uchicago.edu/sites/oi.uchicago.edu/files/uploads/shared/docs/ancient_records_assyria1.pdf

The five registers refer to tributes from:

1. Sua of Gilzanu (in north-west Iran)
2. Jehu of Bit Omri (ancient northern Israel) The tribute of Jehu, son of Omri: I received from him silver, gold, a golden bowl, a golden vase with pointed bottom, golden tumblers, golden buckets, tin, a staff for a king [and] spears.
3. Gifts and tributes brought to Shalamaneser include water-ox, rhino, antelope, elephant, monkeys, two-humped camels Who is the unnamed ruler of Musri (probably Egypt, probably Muciri of western coast of Bharat) who gave the tributes listed on the Third Register from top? "I received tribute from Muṣri: two-humped camels, a water buffalo TT , a rhinoceros, an antelope, female elephants, female monkeys and apes."
4. Marduk-apil-usur of Suhi (middle Euphrates, Syria and Iraq) Shalmaneser says that “I received tribute from Marduk-apla-usur, the Suhean, silver, gold, pails, ivory, spears, byssus, garments with multi-coloured trim and linen.”
5. Qalparunda of Patin (Antakya region of Turkey) Shalmaneser says that “I received tribute from Qarparunda the Patinean, silver, gold, tin, bronze compound, bronze cauldrons, ivory and ebony.”

What were the tributes from Musri symbolised by sculptural friezes of animals?

It appears that the tributes from the land of Musri may ultimately from Meluhha since the hieroglyphs used are from Indus Script Cipher. I suggest that the cuneiform inscription refers to the animals specified as tributes. This is consistent with the decipherment of most of Indus Script Corpora as wealth-accounting ledgers of metalwork.

Side A: Attendants bring "tribute from Muṣri: two-humped camels". Muṣri, meaning 'borderland', probably refers to a country far to the east.
Side B: Exotic animals from Muṣri: "a river-ox [water-buffalo], an [Indian] rhinoceros (and) an antelope". The sculptor seems never to have seen a rhinoceros.
Side C: "Female [Indian] elephants, female monkeys (and) apes" from Muṣri.
Side D: More "monkeys" and their keepers from Muṣri. The way the monkeys are carved suggests that the sculptor had not seen them himself. This may not be the case, however. Monkeys were not new sights for the Assyrian court at this time.

1.Water-buffalo: Hieroglyph: rã̄go 'water-buffalo' 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.(CDIAL 10562) ranga 'alloy of copper, zinc, tin'.

2. River ox: Hieroglyph, short-horned bull: barad, balad, 'ox' rebus: bharata 'metal alloy' (5 copper, 4 zinc and 1 tin).

3. Does sakea in the black obelisk inscription signify 'unicorn' i.e. animal shown on Indus Script with one horn? " I suggest that this signifies the 'one-hored young bull with a curved, s-shaped, mutilated horn' shown on thousands of Indus Script Inscriptions.

4. Elephant, camel: Hieroglyphs: karibha, ibha 'elephant' karabhá m. ʻ camel ʼ MBh., ʻ young camel ʼ Pañcat., ʻ young elephant ʼ BhP. 2. kalabhá -- ʻ young elephant or camel ʼ Pañcat. [Poss. a non -- aryan kar -- ʻ elephant ʼ also in karḗṇu -- , karin -- EWA i 165] 1. Pk. karabha -- m., ˚bhī -- f., karaha -- m. ʻ camel ʼ, S. karahu, ˚ho m., P. H. karhā m., Marw. karhau JRAS 1937, 116, OG. karahu m., OM. karahā m.; Si. karaba ʻ young elephant or camel ʼ.2. Pa. kalabha -- m. ʻ young elephant ʼ, Pk. kalabha -- m., ˚bhiā -- f., kalaha -- m.; Ku. kalṛo ʻ young calf ʼ; Or. kālhuṛi ʻ young bullock, heifer ʼ; Si. kalam̆bayā ʻ young elephant ʼ Rebus: karba, ib 'iron'Addenda: karabhá -- : OMarw. karaha ʻ camel ʼ.

5. Monkeys: hieroglyphs: Four monkeys shown as tributes are:

kuṭhāru कुठारु monkey; rebus: kuṭhāru, कुठारु an armourer.

korg 'black monkey' rebus: kuro silver (Kol.Nk.)

रत्नी ratnī 'female monkey dressed as woman'Rebus: ratnin 'possessing gifts', rátna n. ʻ gift ʼ RV., ʻ treasure, jewel ʼ Mn. [√raṇ1]Pa. ratana -- n. ʻ jewel ʼ

markaṭa मर्कट ( Un2. iv , 81) a monkey , ape VS. &c Rebus: marakata n. ʻ emerald ʼ R.Pk. maraada -- , maragaya -- m.n.; Si. marā ʻ emerald ʼ, adj. ʻ greenʼ(CDIAL 9868) मरकत marakata m S An emerald. (Marathi)

Hieroglyphs: tails: picha ʻ tail, feather' Rebus: picchalā ʻDalbergia sissoo, Bombax heptaphyllumʼ

Thus, the tributes received are iron implements, metal armour, lapidary metalwork wealth from Meluhha and tin ore (ranku 'antelope' rebus; ranku 'tin').

[quote] There were animals with one horn such as the narwal (a small whale with a long horn); the "sakea" which was a kind of goat like deer depicted by the Assyrians with one horn. In some opinions the sakea was a mythical animal (THE ARAB FRINGE. AN ENQUIRY CONCERNING Mutsri, KUSH, MELUHHA AND MAGAN by Michael Banyai
http://www.abara2.de/chronologie/fringe.php)...The Lion and Unicorn were representative of Israel in its aspect of power in the End Times. The lion and unicorn are on the coat of arms officially symbolizing Britain. Bilaam the heathen prophet foresaw that in the End Times the descendants of Israel would be very powerful. He likened them to a lion and a raem or unicorn. [unquote]
http://www.britam.org/Proof/Joseph/joUnicorn.html

Surprise!

The animals depicted on the Third Register are Indus Script hieroglyphs:
The black obelisk of shalmaneser III (858 - 824 bce)
1. camels

Side A: Attendants bring tribute from MuÃ¡Â¹Â£ri in the form of two-humped camels. Unlike the upper tregisters, neither Shalmaneser III nor the subdued ruler appear. Photo ÃÂ© Osama S. M. Amin. Black Obelisk of Shalmaneser III.

Side A: Attendants bring tribute from Musri in the form of two-humped camels. Unlike the upper registers on side A, neither Shalmaneser III nor the subdued ruler appear. Photo © Osama S. M. Amin.
The black obelisk of shalmaneser III (858 - 824 bc) From left to right : a river ox (water buffalo), an Indian rhinoceros and an antelope. As the British museum plaque next to the obelisk explained: the sculptor had clearly never seen a rhinoceros! #britishmuseum #obelisk #shalmaneseriii #limestone #nimrud #riverox #waterbuffalo #indian #rhinoceros #antelope #assyria #assyrian

The black obelisk of shalmaneser III (858 - 824 bc) From left to right : a river ox (water buffalo), an Indian rhinoceros and an antelope. As the British museum plaque next to the obelisk explained: the sculptor had clearly never seen a rhinoceros! #britishmuseum #obelisk #shalmaneseriii #limestone #nimrud #riverox #waterbuffalo #indian #rhinoceros #antelope #assyria #assyrian

Side B: This register depicts exotic animals from Musri in the form of a river-ox, a rhinoceros (and) an antelope. Photo © Osama S. M. Amin. As the British museum plaque next to the obelisk explained: the sculptor had clearly never seen a rhinoceros!

Side C: There are female elephants, female monkeys (and) apes. Photo ÃÂ© Osama S. M. Amin. Black Obelisk of Shalmaneser III.

Side C: There are female elephants, female monkeys (and) apes. Photo © Osama S. M. Amin.
2.
Image result for black obelisk

Detail from Scene 3, Side D of the Black Obelisk. A monkey or ape from Muṣri PGP ? This strange-looking humanoid figure, chained by its leg and restrained by a keeper, is described as one of the "female monkeys and apes" brought as tribute to Shalmaneser from the country of Muṣri. View high-quality large image of Scene 3 (1.6 MB). © The Trustees of the British Museum.

Monkeys and tails:

हरिगण harigaṇa m S A troop of monkeys. Ex. सुग्रिवें घालुनि आपुली आण ॥ आणविले सप्तद्वीपाचे ह0 ॥. हरि hari m (S) In Sanskrit, and, accordingly, in old Prákrit books, the word signifies A horse; a lion; an ape or monkey; a frog (Marathi.Molesworth)

हरिन्मणि harinmaṇi m S (Green gem.) An emerald.

pravaṁga, ˚vaga -- m. ʻ monkey ʼ lex., plavaṁga -- , ˚vaga -- m. MBh. [Cf. plava -- m. ʻ monkey, frog ʼ lex., plavaga<-> m. also ʻ frog ʼ R., plavaka -- m. ʻ frog ʼ lex., plavaṁgama<-> (= pra˚ lex.) m. ʻ monkey ʼ Mn., ʻ frog ʼ R. Forms with -- aṁga -- infl. by pataṁgá. -- √pru -- ]
Pk. pavaṁga -- m. ʻ monkey ʼ; Si. pavan̆ga, ˚vaga ʻ the black monkey Presbytes cephalopterus ʼ.(CDIAL 8772)

vānara m. ʻ monkey ʼ Mn. [Der. vanar -- in cmpd. ʻ forest ʼ RV. -- vána -- 1]
Pa. vānara -- m. ʻ monkey ʼ, Pk. vāṇara -- m., Sh.gur. vandur m. (← L. *vāndur), K. wã̄dur, wānur m., S. vānaru m., P.ludh. bāndar (→ L.awān. bã̄drī f.), WPah.bhal. bānar n., bhiḍ. bã̄dar n., Ku. bānar, N. bã̄dar, bã̄dhar, bānar, A. bāndar, B. bã̄dar, Or. bāndara, Bi. Mth. bānar, OAw. bānara, lakh. bã̄dar, H. bã̄dar, bã̄drā m., ˚rī f., Marw. bã̄dro m., G. vã̄dar, vã̄drɔ m., ˚rī f., ˚rũ n., M. vã̄dar m.n., Ko. vāṁdar, Si. van̆durā, f. vän̆durī, ˚diri; -- Gy. as. (Baluči) banur ← Ind.Addenda: vāˊnara -- : WPah.kṭg. bandər m. ʻ monkey ʼ (← H.?), poet. bandro ʻ brown ʼ, J. bāndar m. ʻ monkey ʼ, poet. bandri f. ʻ she -- monkey ʼ, Garh. bã̄dar m..(CDIAL 11515)

Ta. kuraṅku monkey, ape; kuraṅkaṉ mischievous fellow, as a monkey; kōnti ape (< Te.). Ma. kuraṅṅu, (hon.) kuraṅṅan monkey, chiefly macaco. Ko. korg black monkey. To. kwarg monkey. Ka. koraṅgi, kōti id. Tu. kuraṅga, kōti id. Te. k(r)ō̃ti id. Kol. ko·ti red-faced monkey. Nk. kōti id. Ga. (S) kōnti monkey; (S.2) kōti red-faced monkey. Konḍa kōnti monkey(DEDR 1769) Rebus: Ta. kuru brilliancy, lustre, effulgence; (-pp-, -tt-) to glisten; kuruku, kuruttu whiteness; kurumai lustre, brightness; ? kuricil illustrious person. Ko. kurj beautiful or handsome person. Kol. (Hislop) kuro silver. Nk. (Hislop) kuro id. Nk. (Ch.) khuraid. Go. (Hislop, L.) kuro id. (Voc. 777); ? (Hislop) kural king (Voc. 771). (DEDR 1782)

Location of Musri

I have suggested that the reference to Musri is to a region in Kurdistan.

Meluhha settlers of Musri (Kurdistan) offer tributes, document the wealth in Indus Script on ShalamaneserIII black obelisk

https://tinyurl.com/y6yhql2g

"Musri (Assyrian: Mu-us-ri), or Muzri, was a small ancient kingdom, in northern areas of Iraqi Kurdistan. The area is now inhabited by Muzuri (Mussouri) Kurds.

Musri is also a geographical name mentioned in several Neo-Assyrian

inscriptions and referring to Egypt, and not to a country in northern Arabia as once believed. Compare Hebrew Mizraim." (https://en.wikipedia.org/wiki/Musri)

Could the reference to Musri on the Black Obelisk of Shalamaneser II be a reference to Muciri port in India's west coast, Kerala?

முசிறி muciṟi , n. Muziris, an ancient sea-port, near Cranganore; மேற்கடற்கரையி லுள்ள பழைய துறைமுகப்பட்டினம். முழங்குகடன் முழவின் முசிறியன்ன (புறநா. 343, உரை).முசிரி muciri , n. See முசிறி. முகையவிழ் தார்க்கோதை முசிரியார் கோமான் (முத்தொள். 6).

முசிறு muciṟu , n. cf. முயிறு. 1. Red ant, Formica smaragdina; செந்நிற

முள்ள எறும்பு வகை. 2. One easily enraged; surly, irritable person; கடுகடுப்

புள்ளவ-ன்-ள். 3. See முசு¹. (W.)

मुचिर mfn. liberal , munificent , Un2. , i , 52 Sch.; charity, virtue; wind; a deity (Monier-Williams) முசிரம் muciram , n. < mucira. Liberality, generosity; வள்ளன்மை. (W.)

[quote] Muziris (Tamil: Muchiri, (A. Sreedhara Menon (1967). "Muchiri - A Survey of Kerala History") roughly identified with medieval Muyirikode, or

Mahodaya/Makotai Puram) was an ancient harbour - possible seaport and urban centre - on the Malabar Coast (modern-day Indian state of Kerala) that dates from at least the 1st century BCE, if not earlier. Muziris, or Muchiri, found mention in the bardic Tamil poems and a number of classical sources. [unquote] https://en.wikipedia.org/wiki/Muziris

"The important known commodities "exported" from Muziris were spices (such as black pepper and malabathron), semi-precious stones (such as beryl), pearls, diamonds, sapphires, ivory, Chinese silk, Gangetic spikenard and tortoise shells. The Roman navigators brought gold coins, peridots, thin clothing, figured linens, multicoloured textiles, sulfide of antimony, copper, tin, lead, coral, raw glass, wine, realgar and orpiment." (Steven E. Sidebotham. Berenike and the Ancient Maritime Spice Route, pp 191. University of California Press 2011; George Gheverghese Joseph (2009). A Passage to Infinity. New Delhi: SAGE Publications Pvt. Ltd. p. 13.)

"the city where the beautiful vessels, the masterpieces of the Yavanas [Ionians], stir white foam on the Culli [Periyar], river of the Chera, arriving with gold and departing with pepper-when that Muciri, brimming with prosperity, was besieged by the din of war." (Akanaṉūṟu Eṭṭuttokai 149.7-11; loc.cit.Kulke, Hermann; Dietmar Rothermund (2004). A History of India. Routledge. I).

Purananuru described Muziris as a bustling port city where interior goods were exchanged for imported gold. (Peter Francis. Asia's Maritime Bead Trade: 300 B.C. to the Present, pp . 120 University of Hawaii Press,) "With its streets, its houses, its covered fishing boats, where they sell fish, where they pile up rice-with the shifting and mingling crowd of a boisterous river-bank were the sacks of pepper are heaped up-with its gold deliveries, carried by the ocean-going ships and brought to the river bank by local boats, the city of the gold-collared Kuttuvan (Chera chief), the city that bestows wealth to its visitors indiscriminately, and the merchants of the mountains, and the merchants of the sea, the city where liquor abounds, yes, this Muciri, were the rumbling ocean roars, is give to me like a marvel, a treasure. " (Raoul McLaughlin. Rome and the Distant East: Trade Routes to the Ancient Lands of Arabia, India and China. pp 48-50, Continuum (2010)).

Periplus describes Muziris as a main trade port of Chera chiefdom.

"...then come Naura and Tyndis, the first markets of Lymrike, and then Muziris and Nelkynda, which are now of leading importance. Tyndis is of the Kingdom of Cerobothra; it is a village in plain sight by the sea. Muziris, in the same Kingdom, abounds in ships sent there with cargoes from Arabia, and by the Greeks; it is located on a river, distant from Tyndis by river and sea 500 stadia, and up the river from the shore 20 stadia...There is exported pepper, which is produced in only one region near these markets, a district called Cottonara." (Periplus of the Erythraean Sea, "The Voyage around the Erythraean Sea". depts.washington.edu.)

Pliny also refers to this port town. "To those who are bound for India, Ocelis (on the Red Sea) is the best place for embarkation. If the wind, called Hippalus (south-west Monsoon), happens to be blowing it is possible to arrive in forty days at the nearest market in India, Muziris by name. This, however, is not a very desirable place for disembarkation, on account of the pirates which frequent its vicinity, where they occupy a place called Nitrias; nor, in fact, is it very rich in articles of merchandise. Besides, the road stead for shipping is a considerable distance from the shore, and the cargoes have to be conveyed in boats, either for loading or discharging. At the moment that I am writing these pages, the name of the King of this place is Celebothras." (Pliny's Natural History. In Thirty-seven Books, Volumes 1-3 by Pliny (the Elder.) p.135.)

Ilango Adigal described the port town in Cilapadikaram and refers to Greek traders arriving in their ships to barter their gold to buy pepper and since barter trade is time-consuming, they lived in homes living a lifestyle that he termed as "exotic" and a source of "local wonder". The text refers to spice trade with Romans, "When the broadrayed sun ascends from the south and white clouds start to form in the early cool season, it is time to cross the dark, bellowing ocean. The rulers of Tyndis dispatch vessels loaded with eaglewood, silk, sandalwood, spices and all sorts of camphor." (McLaughlin, Raoul (11 September 2014). The Roman Empire and the Indian Ocean: The Ancient World Economy and the Kingdoms of Africa, Arabia and India. Pen and Sword.)

A Misnomer in Political Economy

Classical Indo-Roman Trade

Vol. 48, Issue No. 26-27, 29 Jun, 2013

Special Articles

Rajan Gurukkal

An independent evaluation of the latest archaeological data unearthed at ancient port-sites of the Egyptian desert and Indian west coast confirms that the classical overseas trade, celebrated in ancient Indian historiography as the "Indo-Roman trade", was an exchange of serious imbalance, because of its being between an empire and a region of uneven chiefdoms. The Tamil south was a region characterised by the interactive coexistence of several unevenly evolved and kinship-based redistributive economies structured by the dominance of agro-pastoral means of subsistence and predatory politics. It was distinct for its semi-tribal political economy that precluded any demand for Mediterranean luxury goods. Even the presumption that the chieftain had shipped his goods only up to the Red Sea coast, and had depended on intermediaries for the remaining jobs, is difficult to accept.

https://www.epw.in/journal/2013/26-27/special-articles/classical-indo-roman-trade.html

The location of Musri in westcoast of Bharat is further strengthened by the find of sewn boat from Kerala dated to ca. 19th cent. BCE (using coir ropes to make boats) found in Ayn Soukhna (north of Suez canal)

Ancient Bhārat of 19th cent. BCE as a Maritime, ship-building nation along Indian Ocean Rim, evidence of sewn boats from Red Sea port of Ayn Sukhna comparable to Kerala catamarans

https://tinyurl.com/y9n2pa3j

"The Indian ships are much bigger than ours. Their bases are made of three boards .. face formidable storms." See, R. H. Major, ed. (1857), "The travels of Niccolo Conti"
archive.org/stream/indiain…

The boards are very thick: 9 to 13 cm. Retained widths are usually between 30 and 50 cm, but some are up to 70 cm. The analysis shows that the boards are predominantly cedar wood and sometimes oak. The posts are acacia. The structural parts are made of wood imported from Mediterranean while the connecting pieces are common species in Egypt.

Image result for ce alexandrie ain sukhna sewn boat

Catamarans built in Malabar coast compare with sewn boats of 19th cent. BCE Ain Sukhna, a Red sea port

Sewn boats of Kerala CEAlexandrie

Feb. 5, 2013 The technique of assembly by lashings is one of the world's oldest for constructing boats. It was in use in antiquity in egypt and in homeric greece. In the present day, this method is still used in the indian ocean, most notably in india itself, at kerala, where, nevertheless, the technique is unfortunately dying out. This film takes us to kerala on the malabar coast, and into a network of lakes and lagoons and canals known as the backwaters, where the last of these "sewn" boats are still employed. We shall follow the work of traditional carpenters who continue to practise this ancient technique and begin to understand its subtleties. Https://www.youtube.com/watch?v=xtpzpvprmr4 (26:00)

http://tinyurl.com/hqbne2m

Ain Sukhna, (Arabic: العين السخنة‎‎ el-ʿĒn el-Soḵna) archaeological explorations have shown an ancient pharaonic Red Sea port and settlement from which seafaring expeditions were organised.

The sewn sailing boats discovered at this site dated to 19th cent. BCE based on a study of ceramic materials and dating of wood by radiocarbonne (14C).

Research is ongoing on the techniques used in making the sewn boats studying the techniques used even today in Malabar Coast of Kerala. Preliminry results indicate that the techniques used for making the Ain Sukhna boats and the present-day rafts called catamarans (lit. kaTTUmaram) of Kerala are comparable.

See: http://drs.nio.org/drs/bitstream/handle/2264/4029/Int_J_Naut_Archaeol_41_148a.pdf

The proof for reading the 'unicorn' is given below.

The etyma are from Marathi language.

खोंड khōṇḍa m A young bull, a bullcalf.

खोंडा khōṇḍā m A कांबळा of which one end is formed into a cowl or hood.

The young bull is often shown with a खोंडा khōṇḍā m A कांबळा On this pectoral the pannier ofr कांबळा is vividly shown on the shoulder of the young bull.

Mohenjo-daro pectoral

The Mari procession shows the young bull carried on a flagpost which is a खोंड khōṇḍa खोंडा khōṇḍā m A variety of जोंधळा. See the picture.

Location of Mari on Euphrates river, Mesopotamia

Procession in Mari palace Zimri-Lim in the 18th century BCE. Marble plaque from Louvre Museum

Thus, the young horned bull signifies a furnace.

The young bull is horned.

Santali gloss.

Thus, the horned young bull is a composite signifier fine gold, ornament gold.

The pictorial motif is deciphered as a cargo fine gold and ornament gold by seafaring merchants of Meluhha (mleccha).

Almost all Indus Script inscriptions document wealth cargo of seafaring merchants of Meluhha (Bharat). Bharat itself is a word derived from and associated with metalwork.

भरती bharatī a Composed of the metal भरत. भरत bharata n A factitious metal compounded of copper, pewter, tin &c.भरताचें भांडें bharatācē mbhāṇḍēṃ n A vessel made of the metal भरत.

The word which signifies an accounting ledger is खरडा kharaḍā This is signified by Sign 176

शावास्यं इदं सर्वं यत्किञ्च जगत्यां जगत् ।

तेन त्यक्तेन भुञ्जीथा मा गृधः कस्यस्विद्धनम् ॥ १ ॥

Meaning of ईशोपनिषद statement governed wealth-creation activities of Sarasvati Sindhu Civilization:

All this is for habitation by the Supreme Divinity. Whatsoever is individual universe of movement is the universal motion.

S. Kalyanaraman, Ph.D., D.Litt.

Sarasvati Research Centre

https://srinikalyanaraman.academia.edu/research#papers

https://sites.google.com/site/kalyan97/national-water-grid

https://sites.google.com/site/indianoceancommunity1/

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Centuries-old Nandi statues unearthed near Mysuru

August 9, 2019, 5:38 am

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Centuries-old Nandi statues unearthed near Mysuru

SPECIAL CORRESPONDENT

MYSURU, JULY 15, 2019 23:21 IST 3

A pair of Nandi statues being excavated in Arasinakere village near Mysuru.

A pair of centuries-old Nandi statues, carved out of monolithic soapstone, have been unearthed from a dried lake bed in Arasinakere, about 20 km from here.

The locals, particularly the senior citizens of the village, had earlier been aware of the presence of the Nandis, whose heads appeared to peep out partially whenever the water level in the lake dipped. The complete drying up of the waterbody during summer presented the curious residents an opportunity to dig deeper.

The locals, who dug up the area and even deployed an earth mover during a three-to-four-day exercise, managed to unearth two giant Nandi statues facing each other.

A team of officials from the Department of Archaeology, Museums and Heritage, including archaeologist M.L. Gowda and engineer Satish, visited the spot on Monday. Speaking to The Hindu, Mr. Gowda said the statues appeared to belong to the 16th or 17th century, dating back to the post-Vijayanagar period. He said they resembled most of the sculptures carved out of the smooth soapstone during that period.

The statues are carved out of a single rock. “The statues are incomplete. While one appears to be 60% completed, the other is at about 85%,” Mr. Gowda said. He added that the statues were also not identical in size. While the larger one is around 15 feet in length and 12 feet in height, the smaller one is more compact, according to locals.

Report sent

A report on the excavation has been sent to the Commissioner of the Department Archaeology, Museums and Heritage, T. Venkatesh. For the time being, further excavation has been stopped and the department officials is awaiting instructions from seniors on the measures to be taken for the statues’ conservation. Mr. Gowda said the department had been aware of the presence of the statues. “We conducted a spot inspection during 2016, but the area was covered with shrubs and submerged,” he said.

Meanwhile, citing locals, Jyothi S., Panchayat Development Officer of Marballi Gram Panchayat, under whose purview Arasinakere falls, said the village adjoining the waterbody is named after the Maharaja. Arasinakere, when translated into English, means ‘the king’s lake’, she said.

Locals also claim that the late Maharaja of Mysore, Sri Jayachamarajendra Wadiyar, had visited the lake several decades ago and tried to unearth the statues by deploying men and material. However, the labourers had to be abandon the task because of the rising water level in the lake.

While the locals suggest there could be an ancient temple beneath the lake, archaeologists say it is plausible that the Nandi statues had been carved out of the rock found at the spot for transportation to a different destination.

https://www.thehindu.com/news/national/karnataka/centuries-old-nandi-statues-unearthed-near-mysuru/article28451937.ece

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Zebu and black drongo, Indus Script hieroglyphs signify magnetite, steel

August 9, 2019, 6:27 pm

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≪ Previous: Centuries-old Nandi statues unearthed near Mysuru

The zebu hieroglyph on Indus Script Corpora. Zebu 'poḷa' and poḷaḍu 'black drongo' painted on a pot from Nausharo. Rebus Meluhha readings: poḷa 'magnetite ferrite ore' poḷaḍu 'steel'. (link: https://twitter.com/kalyan97/status/1159808314668044288/photo/1) pic.twitter.com/ZzAuLPSNeu Inline image

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Susa pot ca. 2500 BCE Indus Script hieroglyphs aya 'fish' polaḍu 'black drongo' khaṇḍa 'water' signify metal equipment cargo

August 9, 2019, 6:56 pm

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Susa (Acropole), ca. 2500-2400 BCE (h. 20 ¼ in. or 51 cm).MuseeduLouvre.Sb 2723  Trade contacts Meluhha Hieroglyphs aya 'fish' rebus ayas 'alloy metal' polaḍu 'black drongo' rebus polaḍ  'steel' khaṇḍa 'water' rebus khaṇḍa 'equipment'

https://tinyurl.com/yanl8u78

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Tell Asmar cylinder seal Indus Script hieroglyphs signify artisan iron metalware

August 9, 2019, 8:17 pm

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Glazed steatite . Cylinder seal. 3.4cm high.Tell Asmar (Eshnunna), Iraq. IM 14674; Indus Script hieroglyphs karabha, ibha‘elephant’ Rebus:arba,ib'iron', ibbo ‘merchant’, ib ‘iron’ geṇḍa 'rhino' Rebus: kāṇḍā ‘metalware’. kāru ‘crocodile’ Rebus: kāru ‘artisan’. (link: https://tinyurl.com/yanl8u78)

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शंख blown produces the praṇava sound OM. Turbinella pyrum conches found in Harappa for such use.

August 9, 2019, 9:02 pm

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शंख blown produces the praṇava sound OM. ओमित्येतदक्षरमुद्गीथमुपासीत । ओमिति ह्युद्गायति तस्योपव्याख्यानम् ॥ omiti hyudgāyati tasyopavyākhyānam "One should meditate on this Syllable [Om]."– Chandogya Upanishad 1.1.1 See image of conch as a blower of the sound OM. Complete raw shell Turbinella pyrum harappa (image attached) used as conch blower and as libation vessel. Turbinella pyrum is a signature tune of Sarasvati Civilization.

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Śankhanād at Gangā ārati produces OM praṇava sound (Video 2:55)

August 9, 2019, 9:37 pm

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Harinath Sharma

Nonstop 150 seconds Powerful Śankhanād( Seashell/Conch shell sound) at Ganga  ārati Time, Varanasi while PM Narendra Modi performs Ganga  ārati in Vāraṇāsi on 25 Apr 2019 https://www.youtube.com/watch?v=2aUJcVa2U_c

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‘370 was an anomaly that has now been removed’ -- Shonaleeka Kaul

August 10, 2019, 1:13 am

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https://m.facebook.com/renuka.gopinath/posts/10217448643265712?src=email_notif
‘370 was an anomaly that has now been removed’

The amendment of Article 370 granting special status to Kashmir, far from undoing Kashmiri history, in fact restores it. The alleged “special status" stood precariously on an entrenched misrepresentation of the valley in political and academic circles as culturally insular, unique and hermetically sealed. My recent book (The Making Of Early Kashmir: Landscape And Identity In The Rajatarangini, Oxford University Press, 2018), however, has shown that Kashmir was never isolated or insular, but incredibly open and cosmopolitan; and overwhelmingly Indic in her genesis and composition rather than “unique".

All manner of cultural markers over 2,500 years of Kashmiri history (right from 500 BCE onwards) display unequivocally a Kashmir that was intensively integrated with the rest of India. From Uttar Pradesh, Bihar and Bengal in the east to Malwa and Saurashtra in central and west India, and even Karnataka and Tamil Nadu in the far south, not to mention Punjab and Himachal closer home—Kashmiris looked to these places for politics, state formation, trade, education, asylum, employment, art, religion, philosophy, and even fashion, while people from the rest of India travelled to and settled in Kashmir in large numbers over the centuries for the same reasons. In the face of this historical reality of Kashmir, Article 370 as an exclusionary means artificially separating Kashmir from the rest of the country was an anomaly that has now been removed.

—Shonaleeka Kaul, associate professor, Centre for Historical Studies, School of Social Sciences, Jawaharlal Nehru University

https://www.livemint.com/mint-lounge/features/voices-of-the-valley-1565349636237.html

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Trade contacts of Meluhha-Mesopotamia, validated by Indus Script hieroglyphs unicorn kunda singi 'fine gold, ornament gold', overflowing pot lokhaṇḍ ʻiron toolsʼ

August 10, 2019, 5:16 pm

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https://tinyurl.com/y5o83av8

Oriental Institute

@orientalinst Aug 10, 2019

Happy #catterday! This calcite cylinder seal dates to the Early Dynastic period (2900–2800 BC). It comes from the site of Tell Agrab in Iraq. The seal shows two bull men attacking a lion with swords. In turn, the lion is attacking a bull. There is a calf's head in the background.

arye'lion' rebus: āra 'brass'

kõda 'young bull-calf'.  Rebus: kundaṇa 'fine gold'; kō̃da कोँद a kiln (Kashmiri) 
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m1656 pectoral

Overflowing pot of m1656 pectoral and on Ibni Sharrum cylinder seal signifies Indus Script hypertext lokhaṇḍa 'metal tools, pots and pans, metalware'

https://tinyurl.com/y6psctdw

"Pendant or medallion [from Mohenjo-daro] pictures the unicorn combined with many sacred symbols of the Indus religion. The body of the figure has a womb-shaped symbol in its belly, the same motif is elaborated to form the frame for the pendant, which is also a common design for shell inlay. Two leaf shapes of the sacred pipal tree are depicted at the animals shoulders and rump. A ritual offering stand is placed in front of the image.
The deeply incised frame and the symbols on the unicorn would have been set with inlay." (J.M. Kenoyer, Indus Civilization, p. 1
https://www.harappa.com/blog/unicorn-pendant

m1656 Mohenjodro Pectoral. The body of the young bull has the pictograph signified on the body. Arka flipped vertically and signified on the body of the young bull on pectoral, as shown below.

The young bull signifies Hieroglyph: kõda 'young bull-calf'.

Rebus: kundaṇa 'fine gold'; kō̃da कोँद a kiln (Kashmiri)

singi'horned' rebus: singi'gold for ornaments'

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The overflowing pot atop the one-horned young bull is an Indus Script hypertext. The rebus reading in Meluhha of the overflowing pot is:

lokhaṇḍa 'metal tools, pots and pans, metalware' (Marathi) The expression is composed of two words: '(pot etc.) to overflow' and 'water'. The rebus readings are:

1. (B) {V} ``(pot, etc.) to ^overflow''. See `to be left over'. @B24310. #20851. Re(B) {V} ``(pot, etc.) to ^overflow''. See `to be left over'. (Munda ) Rebus: loh ‘copper’ (Hindi)

. காண்டம்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண்டமும் (கல்லா. 49, 16). Rebus: khāṇḍā ‘metal tools, pots and pans’ (Marathi).

Standard device has two hieroglyph components: 1. kunda'lathe' rebus: kundaṇa 'fine gold'; kō̃da कोँद a kiln (Kashmiri)

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2. kammata'portable furnace' rebus: kammaṭa'mint, coiner, coinage'

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Ibni-Sharrum cylinder seal shows a kneeling person with six curls of hair.Cylinder seal of Ibni-sharrum, a scribe of Shar-kali-sharri (left) and impression (right), ca. 2183–2159 B.C.; Akkadian, reign of Shar-kali-sharri. Lower register signifies flow of water. There are some seals with clear Indus themes among Dept. of Near Eastern Antiquities collections at the Louvre in Paris, France, among them the Cylinder Seal of Ibni-Sharrum, described as "one of the most striking examples of the perfection attained by carvers in the Agade period [2350–2170 BCE].

https://www.harappa.com/category/blog-subject/seals Cylinder seal impression of Ibni-sharrum, a scribe of Shar-kalisharri ca. 2183–2159 BCE The inscription reads “O divine Shar-kali-sharri, Ibni-sharrum the scribe is your servant.” Cylinder seal. Serpentine/Chlorite. AO 22303 H. 3.9 cm. Dia. 2.6 cm.

<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) Glyph of flowing water in the second register: காண்டம் kāṇṭam , n. < kāṇḍa. 1. Water; sacred water;நீர்; kāṇṭam ‘ewer, pot’ கமண்டலம். (Tamil) Thus the combined rebus reading: Ku. lokhaṛ ʻiron tools ʼ; H. lokhaṇḍ m. ʻ iron tools, pots and pans ʼ; G. lokhãḍ n. ʻtools, iron, ironwareʼ; M. lokhãḍ n. ʻ iron ʼ(CDIAL 11171). The kneeling person’s hairstyle has six curls. bhaṭa ‘six’; rebus: bhaṭa‘furnace’. मेढा

mēḍhā A twist or tangle arising in thread or cord, a curl or snarl. (Marathi) Rebus: meḍ ‘iron’ (Ho.) Thus, the orthography denotes meḍ bhaṭa ‘iron furnace’.

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)

Gudea sculpture holding an overflowing pot which is an Indus Script hieroglyph.

Gudea (Sumerian 𒅗𒌣𒀀 Gu₃-de₂-a) was a ruler (ensi) of the state of Lagash in

Southern Mesopotamia who ruled c. 2144–2124 BC.He probably did not come from the city, but had married Ninalla, daughter of the ruler Ur-Baba (2164–2144 BC) of Lagash, thus gaining entrance to the royal house of Lagash.

He was succeeded by his son Ur-Ningirsu.

Gudea’s link with Meluhha is clear from the elaborate texts on the two cylinders describing the construction of the Ninĝirsu temple in Lagash. An excerpt: 1143-1154. Along with copper, tin, slabs of lapis lazuli, refined silver and pure Meluḫa cornelian, he set up (?) huge copper cauldrons, huge …… of copper, shining copper goblets and shining copper jars worthy of An, for laying (?) a holy table in the open air …… at the place of regular offerings (?)

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Geometrical motifs of Indus Script signify zinc, fire-altar, mints of thunderbolt makers

August 11, 2019, 2:34 am

≫ Next: kuṭi 'water-carrier'proves Indus Script is logographic, rebus kuṭhi 'smelter'

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https://tinyurl.com/y65xmpyu

sattva, 'svastika' symbol'; rebus: sattu (Tamil), satta, sattva (Kannada) jasth जसथ्।रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath ्ज़स््थ््or zasuth ज़सुथ्।रप m. (sg. dat. zastas ुज़्तस),् zinc, spelter, pewter (cf. Hindī jast). jastuvu; ।रपू्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri) The geometrical motif symbolises transmutation of sphalerite (zinc blende) ore into vapour and condensation as liquid and powder by a process of distillation, Zinc has a low boiling point. At temperatures typically used for smelting metals, zinc is a gas that will escape from a furnace with the flue gas and be lost, unless specific measures are taken to prevent it. The most common zinc concentrate processed is zinc sulfide, which is obtained by concentrating sphalerite using the froth flotation method. The concentrate is collected in retorts a shown in the following figure of (top) pyrometallurgical process and (bottom) electrolysis process. Pyrometallurgical distillation process is described in Kharakwal, J. S. & Gurjar, L. K. (December 1, 2006). "Zinc and Brass in Archaeological Perspective". Ancient Asia. 1: 139–159.
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Ancient zinc retorts assembled in an industrial scale distillation of zinc at Zawar, Rajasthan.

The top path is the pyrometallurgical process of smelting zinc and the bottom path is the electrolytic process.

Variant shapes of fire-altars. कोँद 'potter's kiln' (Kashmiri) PLUS sal 'splinter' rebus: sal 'workshop' mlekh 'goat' Rebus: milakkhu 'copper' mleccha 'copper' PLUS xoli 'fish-tail' rebus: kolhe 'smelter', kol 'working in iron'. Thus, copper smelter workshop is signified by the seal hieroglyphs.

कोँद 'potter's kiln' (Kashmiri) A. goṭ ‘a fruit, whole piece’, °ṭā ‘globular, solid’, guṭi ‘small ball, seed, kernel’; B. goṭā ‘seed, bean, whole’; Or. goṭā ‘whole, undivided’, goṭi ‘small ball, cocoon’, goṭāli ‘small round piece of chalk’; Bi. goṭā ‘seed’; Mth. goṭa ‘numerative particle’ (CDIAL 4271) Rebus: koṭe ‘forging (metal)(Mu.) Rebus: goṭī f. ʻlump of silver' (G.)PLUS gaṇḍa 'four' rebus: kāṇḍā 'implements'

धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. त्रि-ध्/आतु , threefold &c ; cf.त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c (Monier-Williams) dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; 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: 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); dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) 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; (CDIAL 6773)

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) آهن ګران āhan-garān 'thunderbolt makers' आ-हनस् mfn. to be beaten or pressed out (as सोम); to be skimmed (as milk) RV. The expression अहं सोममाहनसं is significant inproviding a lead to the nature of the product, soma. A remarkable expression yields the early avocation of the soma presser. The expression is: ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16) (Kashmiri) P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garān. آهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing. and Pl.); (W.) Pl. آهن رباوي āhan-rubāwī. See اوسپنه. پنه aos-panaʿh, s.f. (3rd) Iron. Also used as an adjective to qualify another noun, signifying, Iron-like, hard. Pl. يْ ey. اوسپنخړيَ aos-panḵẖaṟṟaey, s.m. (1st) The dross of iron left after melting. Pl. يِ ī.(Pashto) The Pashto expression aos-pana is cognate of R̥gveda word ayas'alloy metal' aya 'iron' (Gujarati) अयस् steel L. ; ([cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa ; Old Germ. e7r , iron ; Goth. eisarn ; Mod. Germ. Eisen.]); n. iron , metal RV. &c; an iron weapon (as an axe , &c ) RV. vi , 3 ,5 and 47 , 10; gold. The word āhan <अशन् m. (connected with √ अश्) ([only /अश्ना (instr.) and /अश्नस् , perhaps better derived from /अश्मन् q.v. , cf. Whitney's Gr. 425 e]) , stone , rock RV. x , 68 , 8; a stone for slinging , missile stone RV. ii , 30 , 4 and iv , 28 , 5; ( NBD. ) the firmament RV. i , 164 , i ; 173 , 2 ; x , 27 , 15 [in the first two of these three passages the form /अश्नस् has before been taken as nom. sg. m.fr. 1. अश्न q.v.]; अश्न m. (cf. /अशन्) , a stone RV. viii , 2 , 2. The early association of stone with a thunderbolt yields the term अशनी f. = अश्/अनि , the thunderbolt S3Br. xi (voc.) R. iii , 35 , 40.

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kuṭi 'water-carrier'proves Indus Script is logographic, rebus kuṭhi 'smelter'

August 11, 2019, 5:32 pm

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https://tinyurl.com/y2qdr4mr

Indus Scrript pictograph on a Ur seal is a logograph. It reads in Meluhha kuṭi 'water-carrier' rebus: kuṭhii 'smelter'. This is a clear demonstration of the logograhic nature of Indus Script Cipher. The pictograph becomes a frequently used sign, Sign 12 and also gets ligatured with the most frequent sign Sign 342 to yield composite hypertext Sign 15.

On the Ur seal, Sign 12 is indicated by the 'water-carrier' pictograph PLUS two 'stars' PLUS split parenthesis. Seal Ur (Upenn; U.16747); dia. 2.6, ht. 0.9 cm.; Gadd, PBA 18 (1932), pp. 11-12, pl. II, no. 12; Porada 1971: pl.9, fig.5; Parpola, 1994, p. 183; water carrier with a skin (or pot?) hung on each end of the yoke across his shoulders and another one below the crook of his left arm; the vessel on the right end of his yoke is over a receptacle for the water; a star on either side of the head (denoting supernatural?). The whole object is enclosed by 'parenthesis' marks. The parenthesis is perhaps a way of splitting of the ellipse (Hunter, G.R., JRAS, 1932, 476). An unmistakable example of an 'hieroglyphic' seal. The parenthesis is split oval or lozenge shape which is an Indus Script hypertext: mũh 'lozenge-shape' rebus: mũh '(copper) ingot' (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron smelters' (Santali)

The reading of the Ur seal is: kuṭi ‘water-carrier’ rebus: kuṭhi ‘smelter’ meḍha

‘polar star’ rebus: meḍ ‘iron’ dula ‘pair’ rebus: dul ‘metal casting’ PLUS mũh 'lozenge-shape (split parentthesis)' rebus: mũh '(copper) ingot' mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron smelters' (Santali) Thus, the Ur seal signifies seafaring cargo of iron metalcasting ingots from smelter.

The reading of the Ur seal is reinforced by the hieroglyph signifiers on the obverse boss of the seal. kolom'three' rebus: kolimi'smithy, forge' PLUS dotted circle: dhāv, dāya'one in dice' + vaṭṭa'circle' rebus धावड dhāvaḍa'red ferrite ore smelter' PLUS gaṇḍa 'four' rebus: khaṇḍa'equipment'; thus, equipment from smelter (for) smithy/forge.

Sign 342 (rim-of-jar).

cf.The model for Sign 12 is provided in the pictograph of 'water-carrier' on Ur seal impression. cf. Demonstration of hypertext process of 'signs' and 'field symbols' on Indus Script cipher

https://tinyurl.com/y93voqz8

Sign 15 which is a hypertext reads: metalcasting ingot (from) smelter (Sign 12) PLUS Sign 342 karṇika 'rim-of-jar' Rebus: karṇika 'scribe; karṇaka

'steersman';karaṇi 'supercargo'; (upa)karaṇa 'equipment'. Thus, Sign 15 signifies metalcasting ingots and equipment (from) smelter.

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Kashmir, the Crown of India -- TKV Rajan (Video 15:57)

August 11, 2019, 7:14 pm

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https://www.youtube.com/watch?time_continue=1&v=X0AZ0tqUy3Q (15:57)

tkv rajan

Published on Aug 10, 2019

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Expression Mohen Jo Daro means 'riverfront harbour or port'

August 12, 2019, 2:27 am

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https://tinyurl.com/y5h6qjzu

Ahsan Talpur August 10 at 11:40 AM provided a remarkable insight. "People of village Balhreji (nearby village of Mohenjo Daro) and other villagers of vicinity called Mohen Jo Daro in Sindhi as Mohen which means face or front as in Hindi or Urdu people called Monh. Mohen Jo Daro means Mound of Face of River. Mr John Marshall has correctly pronounced and writes the spelling of Mohen Jo Daro." Ahsan Talpur on Facebook.

Thus, it will be an error to explain Mohen Jo Daro as a 'mound of the dead'.

I agree with Ahsan Talpur that Mohen Jo Daro means a 'river front mound.'

dará3 in cmpds. ʻ cleaving ʼ RV. (dára -- Pāṇ.); B. darā ʻ cave, valley ʼ; M. darā m. ʻ deep ravine ʼ; Or. dari ʻ cave ʼ, (Sambhalpur) daer ʻ ditch, canal ʼ; H. G. darī f. ʻ cave, valley ʼ(CDIAL 6188) and cognate துறை tuṟai [K. toṟe.] in Tamil and Kannada signify a 'river'. Thus, Mohen Jo Daro is an expression which means 'river front mound' or 'riverfront harbour or port'.

dhāˊra2 ʻ stream ʼ in dhāˊra -- pūta -- RV., adj. ʻ streaming down ʼ Suśr., m. ʻ heavy rain ʼ Hariv. 2. dhāˊrā -- 1 f. ʻ stream, flood ʼ RV. 1. Pk. dhāra -- n. ʻ spring water ʼ; Kho. (Lor.) dar ʻ flowing rapidly ʼ; P. dhārā m. ʻ stream, current ʼ; Ku. dhāro ʻ spring ʼ; N. dhāro ʻ spring, stream (e.g. of tears) ʼ; H. dhār m. ʻ heavy rain ʼ, dhālā m. ʻ stream, current ʼ. <-> M. dhārẽ n. ʻ hole in roof or wall for smoke ʼ (cf. dhārā<-> ʻ hole in pitcher ʼ lex.): very doubtful. 2. Pa. dhārā -- f. ʻ stream, current ʼ; Pk. dhārā -- f. ʻ stream, rain ʼ; Kho. (Lor.) dar ʻ swift water in river ʼ; K. dār f. ʻ stream of falling liquid ʼ; S. dhāra f. ʻ stream, current ʼ; L. dhār, pl. ˚rã f. ʻ stream (esp. of milk) ʼ, awāṇ. dhār f. ʻ current ʼ; P. dhār f. ʻ stream, current ʼ; WPah.bhal. nak -- dhār ʻ nose -- bleeding ʼ; Ku. dhār ʻ flow of water ʼ; A. B. dhār ʻ current ʼ, Or. dhāra, Mth. dhār; OAw. dhāra ʻ spring, stream ʼ; H. dhār f. ʻ stream, current, flow of milk from cow ʼ; G. M. dhār f. ʻ current ʼ; OSi. diya -- därä ʻ in the flow of the waters ʼ, Si. daraya ʻ torrent, heavy rain ʼ. sudhārá -- ; *uṣṇadhāra -- , *jharadhāra -- , *jhāladhāraka -- , *pānīyadhāraka -- . Addenda: dhāˊra -- 2. 2. dhāˊrā -- 1: WPah.kṭg. (kc.) dhāˋr f. (obl. -- a) ʻ stream ʼ, J. dhā'r f., poet. dharna f.(CDIAL 6788)

In Tamil and Kannada, துறை tuṟai [K. toṟe.] means 'river'; the Tamil expression

துறைமுகம் tuṟai-mukam can be interpreted both as a 'seaport town' and a 'river front'. The word mukam in Tamil is cognate Punjabi mū̃hã̄ 'head of a canal' and Nepali muhān 'river mouth': S. mũhũ m. ʻ face, mouth, opening ʼ; L. mũh m. ʻ face ʼ, awāṇ. mū̃ with descending tone, mult. mũhã m. ʻ head of a canal ʼ; P. mū̃h m. ʻ face, mouth ʼ, mū̃hã̄ m. ʻ head of a canal ʼ; Ku. do -- maulo ʻ confluence of two streams ʼ; Si. muhul, muhuna, mūṇa ʻ face ʼ H. Smith JA 1950, 179.; -- -- ḍ -- : S. muhaṛo m. ʻ front, van ʼ; Bi. (Shahabad) mohṛā ʻ feeding channel of handmill ʼ(CDIAL 10158)

mukhāyana ʻ entrance course (of a river) ʼ. [múkha -- , áyana -]P. mũhāṇ* m. ʻ source of a river ʼ; N. muhān ʻ rivermouth, division of a river into two ʼ; A. mohānā ʻ rivermouth ʼ; B. muhanā ʻ river -- mouth, confluence of two rivers ʼ; Or. mũhāṇa ʻ river -- mouth ʼ; H. muhānā m. ʻ river -- mouth, confluence of two rivers ʼ.(CDIAL 10173)

முகம் mukam , n. < mukha. Front; முன்பு. ஈன்றாள் முகத்தேயு மின்னாதாம் (குறள், 923). ஸங்கமுகம் saṅka-mukam , n. < saṅ-ga +. Mouth of a river; நதி கடலுடன்கூடு மிடம். துறைமுகம் tuṟai-mukam , n. < துறை +. 1. Harbour, seaport; கப்பல்கள் வந்து தங்கும் கடற் றுறை. கலங்கள் அசைகின்ற கடற்றுறைமுகங்களில் (சிலப். 6, 154, உரை). 2. Seaport town; கப்பல் வந்து தங்கும் கடற்கரைப்பட்டினம். துறை tuṟai [K. toṟe.] River; ஆறு. (திவா.) 8. Place where washermen wash clothes; வண்ணானொலிக்கும் இடம். துறைச்செல்லா ளூரவராடை கொண் டொலிக்குநின் புலைத்தி (கலித். 72, 13). 9. Ghat, bathing ghat; நீர்த்துறை. தண்புனற் றுருத்தியுந் தாழ்பூந் துறைகளும் (மணி. 1, 65). 10. Frequented place, place of meeting, rendezvous; சபைகூடுமிடம். (W.)

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Modi did what Nehru wanted to, but couldn’t, on Article 370

Cluster 13 Frog cluster, ingot classifier

Cluster 22 dhāvḍī ʻcomposed of or relating to ironʼ, dhā̆vaḍ 'iron-smelters' cluster, Iron, steel product cluster m0304 Seal impression and other field symbol components

Rebus: meḍ 'iron' (Mundari. Remo.)

meḍ 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D. Stampe's Munda etyma) Rebus: meḍ 'iron' (Mundari. Remo.)

See: Octopus veṛhā, unicorn (young aurochs kondh), Indus Script hypertexts are professional calling cards of jangaḍiyo bəḍhàri ʻmilitary guards in charge of treasure and stores of a templeʼ https://tinyurl.com/y9

The hypertext of the plaque signifies a smelter working on magnetite ferrite ore and sangatarāśū 'stone cutter'.

1. dāmaṛī ʻheifer', 2. pōḷa vatsatará 'zebu calf' Rebus: dhā̆vaḍ 'iron smelter'; 2. pōḷa ‘magnetite ore, ferrite ore’ PLUS śrivatsa ‘wealth’ -- that is, wealth derived by a smelter from working on magnetite ferrite ore

Rebus readings of the hieroglyphs signified on the plaque are:

pōḷā 'zebu' rebus: pōḷa ‘magnetite ore, ferrite ore’

Ivory inscription 18

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

Sitting bull Louvre AO7021.jpg Black marble (formerly inlaid), found in Warka (ancient city of Uruk), Djemdet-Nasr period (ca. 3000 BCE)

https://tinyurl.com/ycfaahgv

Indus Script hypertext evidence from Gonur Tepe, Tell Abraq, Mohenjo-daro include the following; both relate to documented accounting ledgers of Tin-Bronze Age metalwork:

1.Hieroglyph of tabernae montana on an ivory comb, on a bronze axe

2.Hieroglyph of dotted circles on ivory combs and on ivory artifacts

It is clear from the evidence that there was diffusion of metallurgical technologies between Meluhha artisans and Ancient Near East artisans.

The hypertexts signify:

tabar = a broad axe (Punjabi). Rebus: tam(b)ra ‘copper’ tagara ‘tabernae montana’, ‘tulip’. Rebus: tagara ‘tin’.

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

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

See:

Diffusion of Metallurgy: Meluhha and western Afghanistan sources of tin

Surprise!

Centuries-old Nandi statues unearthed near Mysuru

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The reading of the Ur seal is: kuṭi ‘water-carrier’ rebus: kuṭhi ‘smelter’ meḍha

Sign 342 (rim-of-jar).

cf.The model for Sign 12 is provided in the pictograph of 'water-carrier' on Ur seal impression. cf. Demonstration of hypertext process of 'signs' and 'field symbols' on Indus Script cipher

**Cluster 22 dhāvḍī ʻcomposed of or relating to ironʼ, dhā̆vaḍ 'iron-smelters' cluster, Iron, steel product cluster** m0304 Seal impression and other field symbol components