(dh)makara 'composite Indus Script hypertext' rebus: dhmākārḥध्माकारःA blacksmith

September 1, 2019, 4:30 pm

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https://tinyurl.com/yy7zvkk4

(dh)makara 'composite animal indus script hypertext' rebus:ध्म blowing, a blower (cf. तूण-,शङ्क-); धमक "a blower", blacksmith (as blowing the forge) Un2. ii , 35 Sch.; मकर a कुबेर treasure (Monier-Williams); dhmākārḥध्माकारःA blacksmith,smith(Apte). Ittagi Mahadeva temple,Karnataka shows twin makara.dula 'two' rebus dul 'metal casting'.Thus, metalcaster blacksmith.

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Gaṇeśa on Huvishka copper coin, 1st cent. CE in Rudra image holding a bow signifies kammaṭa 'mint, coiner'

September 1, 2019, 5:31 pm

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Two copper coins of Huvishka bear a 'Gaṇeśa' legend, but instead of depicting the typical theriomorphic figure of Gaṇeśa, have a figure of an archer holding a full-length bow with string inwards and an arrow. This is typically a depiction of Rudra, but in the case of these two coins is generally assumed to represent Śiva.

Indus Script rebus reading: kamaḍha 'archer, bow' Rebus: kammaṭa 'mint, coiner'

Gardez Vināyaka with Indus Script hypertexts signifies iron smelter, manufactory, खरडा kharaḍā,'wealth-accounting ledger'

September 1, 2019, 10:55 pm

≫ Next: Tiger cub shown on Gardez Vināyaka is rebus पेटा pēṭā smelter guild region of a town

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https://tinyurl.com/y56wgrxf

Today is Gaṇeśa Caturthi, September 2, 2019. 

This monograph demonstrates, by deciphering the Indus Script hypertexts with 
that it is a proclamation of wealth created by artisans, guild of metalworkers. 

My prayers to Gardez Four-armed, divine, MahāVināyaka

Inscription on the pedestal of the pratimā dates it to 5th cent.CE, the days of Shahi Khingala who consecrated the divine MahāVināyaka (Brown, Robert (1991), Ganesh: Studies of an Asian God, Albany: State University of New Yorkpp. 50–55, 120).. His two lower arms rest on two gaṇa-s; thus, he signifies that he is guild-master of a guild. The pratimā is from Sakar Dhar (formerly Shankar Dhar), North of Kabul and relocated to dargah Pir Rattan Nath at Kabul for worship. The inscription on the pedestal reads: ‘This great and beautiful Maha Vinayaka was consecrated by the renowned Shahi King, the illustrious Shahi Khingala.’ (Shakunthala Jagannathan and Nanditha Krishna, Ganesha...The Auspicious... The Beginning, Mumbai, 1992, p. 55.)

The hieroglyphs/hypertexts of Indus Script on this exquisite pratimā of Vināyaka of Gardez are
panja 'feline paw' rebus: panja 'kiln, furnace'
kola 'tiger' rebus: kolhe 'smelter', kol 'working in iron', kole.l 'smithy, forge', kole.l 'temple'
karba, ibha 'elephant' rebus: karba, ib 'iron'

phaḍa फड 'cobra hood' (फडनीस phaḍanīsa 'scribe' of phaḍa, paṭṭaḍa ‘metals manufactory’

karaṇḍa mukuṭa to signify खरडा kharaḍā,'wealth-accounting ledger', करडा karaḍā 'hard alloy of iron'

Gardez Gaṇeśa with Indus Script hypertexts फड 'cobra hood' (फडनीस phaḍanīsa 'scribe' of) karaṇḍa mukuṭa to signify खरडा kharaḍā,'wealth-accounting ledger', करडा karaḍā 'hard alloy of iron' https://tinyurl.com/yd4abfqs

Broad strap antarīya on Gardez Gaṇeśa pratimā is Indus Script hypertext to signify metals (iron) manufactory of Sarasvati civilization. Amarakośa provides a synonym for Gaṇeśa with the expression tri-dhātu, 'three minerals'.

The pratimā has vivid iconographic details to further elaborate on the metaphor of Gaṇeśa an iron smelter, a wealth-accounting ledger keeper, a scribe. 

Gaṇeśa wears an unusual crown, shaped like a wicker basket. The rebus reading of the crown worn by Gaṇeśa is karaṇḍa hieroglyph करंडी   karaṇḍī f (Dim. of करंडा) A little covered basket of bamboo. karaṇḍa'wicker-basket' rebus: करडा karaḍā'Hard from alloy--iron, silver &38' A similar sounding word signifies that Gaṇeśa is a scribe, writer: खरड   kharaḍa f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch.खरडा   kharaḍā a day-book; a note-book. Thus, Gaṇeśa is keeper of a day-book, wealth-accounting ledger.

These metaphors are conveyed by the karaṇḍa-shaped mukuṭa 'crown' worn by Mahāvināyaka of Gardez. Elephant trunk: karibha, ibha 'elephant' rebus: karba, ib 'iron'; ib 'stylus' (as in English nib of stylus).

Gaṇeśa wears a yajñopavita, 'sacred thread' adorned with a cobra-hood:phaḍā'cobra hood'rebus phaḍā,paṭṭaḍe'metals manufactory'. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith. panja 'claw of beast, feline paw' rebus: panja 'kiln'.

Thousands of Gaṇeśa pratimā also show a mouse:mūṣa 'mouse' rebus: mūṣa 'crucible'. Thus, Gaṇeśa is an iron worker producing crucible steel. This metallurgical competence makes him the leader of the guild, ironworker guild-master,Mahāvināyaka.A 5th century marble Ganesha found in Gardez, Afghanistan, now at Dargah Pir Rattan Nath, Kabul. The inscription says that this "great and beautiful image of Mahāvināyaka" was consecrated by the Shahi King Khingala.  For photograph of statue and details of inscription, see: Dhavalikar, M. K., 1991, "Gaņeśa: Myth and Reality" in:  In: Brown RL (ed) Ganesh: studies of an Asian God. State University of New York, pp.50,63. 

The inscription says that this "great and beautiful image of Mahāvināyaka" was consecrated by the Shahi King Khingala. 

I suggest that the paw of a feline is signified below the feline's face; the word is panja 'claw, paw' rebus: panja 'kiln' of metals manufactory: *pañjāpāka ʻ kiln for a heap ʼ. [*pañja -- , āpāka -- ]P. pañjāvā, pãj° m. ʻ brick kiln ʼ; B. pã̄jā ʻ kiln ʼ, G. pajāvɔ m (CDIAL 7686) panzĕ पन्ज़्य m. the wound made by an animal's claw (cf. panja) (K. 678). panja पंज । पञ्चसंख्यात्मकः, अङ्गुलिपञ्चकसंघः m. an aggregate of five; a five (in cards, on dice, or the like); the hand with the five fingers extended (cf. atha-po, p. 61b, l. 2) (Gr.M.); the paw or claw of beast or bird (Gr.M.; Rām. 41, 61, 697-8, 73; H. xii, 16-17). -- dyunu ; ।पञ्चकाघातः m.inf. 'to give the five', i.e. to strike with the five fingers, to scratch with the five finger-nails or (of a wild beast) to tear with the claws. -ʦoṭu ; । छिन्नपञ्चशाखः adj. (f. -ʦüṭü ), one whose fingers, toes, or claws have all been cut off (of man, beast, or bird). panjī पंजी f. a bird's talon (El.); the five fingers (El. panjih, cf. panja; W. 114, panji).(Kashmiri) *pañja- ʻ heap ʼ *pahuñca 

ʻ forearm, wrist ʼ. L. pôcā m. ʻpaw ʼ, (Shahpur) paucā m. ʻ paw, claw ʼ; P. pahũcā m. ʻ wrist, paw ʼ; N. paũjā ʻ paw ʼ; OAw. pahuṁcihi obl. sg. f. ʻ wrist ʼ; H. pahũcā m. ʻ forearm, wrist ʼ; G. pɔ̃hɔ̃cɔ m. ʻ wrist ʼ, M. pohãcī f. PĀ1 ʻ drink ʼ: 

pa -- 1, pāˊtra -- , pāˊna -- , pānīˊya -- , pāyáyati, *pipāsaka -- , pipāsāˊ -- , pipāsitá -- , píbati, pītá -- 1, pīyátē, pēya -- ; āpāna -- 1, nipāna -- , prapāˊ -- . PĀ2 ʻ protect ʼ: pa -- 2, pā -- ; *āpāna -- 2. pā -- in cmpds. ʻprotecting ʼ: 

adhipāˊ -- , tanūpāˊ -- , paśupāˊ -- ; -- pa -- 2. Addenda: *pahuñca -- : S.kcch. paũco m. ʻwrist ʼ, WPah.kṭg. pɔ́̄nj̈ɔ m.(CDIAL 8018).

Gaṇeśa, scribe, keeper of registers for wealth accounting for a nation https://tinyurl.com/y9njyfaq

Gaṇeśa signified by फड, ‘a cobrahood’ on his body (cf. Mahāvināyaka, Gardez), is the फडनिशी or सीphaḍaniśī or sī f The office or business of फडनीस.  फडनीस phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस. नीस  nīsa m (निसणें) Sum, substance, essence; the extract or excerptum; the good portion picked out. v काढ, निघ. 2 Scrutiny or close inquiry into. v कर, काढ, पाह, पुरव g. of o. 3 नीस is sometimes used as ad or in comp. with the sense Essentially or purely, i. e. altogether, utterly; as नीस नंगा Wholly bare, void, or destitute (of money, decency &c.) ; नकलनविशी nakalanaviśī or -निशी f ( P) The office or business of नकलनवीस.; नकलनवीस nakalanavīsa or -नीस m ( P) A transcriber or copyist. 

Gaṇeśa is the account-in-charge recording wealth of a nation.​

Gardez Gaṇeśa

Mirror: http://bharatkalyan97.blogspot.com/2018/09/gardez-ganesa-with-indus-script.html

Tiger cub shown on Gardez Vināyaka is rebus पेटा pēṭā smelter guild region of a town

September 2, 2019, 6:05 am

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https://tinyurl.com/y6p5j4cu

This is an addendum to:

Gardez Vināyaka with Indus Script hypertexts signifies iron smelter, manufactory, खरडा kharaḍā,'wealth-accounting ledger' https://tinyurl.com/y56wgrxf
The tiger cub shown on Gardez Vināyaka reads: panja 'feline paw' rebus: panja 'kiln, furnace' PLUS  पेटा pēṭā 'tiger cub' rebus: पेटा pēṭā smelter guild region of  a town (and part of the phaḍa, paṭṭaḍa‘metals manufactory’).

 

Hieroglyph: पेटा  pēṭā A cub of a tiger or lion. 

Rebus: पेटा pēṭā m (पेट S through H Belly.) Sphere, compass, comprehension, including quality or power: e. g. that of the provincial or county town over the minor towns and villages, that of a key-fort over the circumjacent country, that of a person of authority over his subordinates. Ex. एकानगराच्यापेट्यांतशंभरगांवअसतात; मोठ्यापुरुषासआमंत्रणकेलेंम्हणजेत्याच्यापेट्यांतलाहनसाहनयेतात. 2 A division of country consisting of a number of small towns and villages; a subdivision of a परगणा or तालुका. See under देश.  देश   dēśa m (S) A country, a tract, a region. Under this word may be gathered, and exhibited in their gradations, the words देश, प्रांत, सुभा, पर- गणा, तालुका, जिल्हा, महाल, कसबा, पेटा, पुठा, मौजा, सम्मत, तरफ. देश& प्रांत are the most comprehensive.

Hieroglyph: पांडा   pāṇḍā m (Esp. with वाघाचाpreceding.) A tiger's cub, esp. as half-grown;पाडा   pāḍā m A male calf.

Rebus: पाडा   pāḍā A hamlet or a cluster of houses of agriculturists. 3 The gathering of tree-fruits. A ward or quarter of a town.

Gardez Vināyaka with Indus Script hypertexts signifies iron smelter, manufactory, खरडा kharaḍā,'wealth-accounting ledger' https://tinyurl.com/y56wgrxf

Today is Gaṇeśa Caturthi, September 2, 2019.

This monograph demonstrates, by deciphering the Indus Script hypertexts with
that it is a proclamation of wealth created by artisans, guild of metalworkers.

My prayers to Gardez Four-armed, divine, MahāVināyaka. विनायक pl. N. of partic. 
formulas recited over weapons (रामायण).

Inscription on the pedestal of the pratimā dates it to 5th cent.CE, the days of Shahi Khingala who consecrated the divine MahāVināyaka (Brown, Robert (1991), Ganesh: Studies of an Asian God, Albany: State University of New Yorkpp. 50–55, 120).. His two lower arms rest on two gaṇa-s; thus, he signifies that he is guild-master of a guild. The pratimā is from Sakar Dhar (formerly Shankar Dhar), North of Kabul and relocated to dargah Pir Rattan Nath at Kabul for worship. The inscription on the pedestal reads: ‘This great and beautiful Maha Vinayaka was consecrated by the renowned Shahi King, the illustrious Shahi Khingala.’ (Shakunthala Jagannathan and Nanditha Krishna, Ganesha...The Auspicious... The Beginning, Mumbai, 1992, p. 55.)

The hieroglyphs/hypertexts of Indus Script on this exquisite pratimā of Vināyaka of Gardez are
panja 'feline paw' rebus: panja 'kiln, furnace'
kola 'tiger' rebus: kolhe 'smelter', kol 'working in iron', kole.l 'smithy, forge', kole.l 'temple'
karba, ibha 'elephant' rebus: karba, ib 'iron'

phaḍa फड 'cobra hood' (फडनीस phaḍanīsa 'scribe' of phaḍa, paṭṭaḍa ‘metals manufactory’

karaṇḍa mukuṭa to signify खरडा kharaḍā,'wealth-accounting ledger', करडा karaḍā 'hard alloy of iron' Rebus: karaṇḍi 'fire-god' (Remo)Remo <karandi>E155 {N} ``^fire-^god''.(Munda). 

Gardez Gaṇeśa with Indus Script hypertexts फड 'cobra hood' (फडनीस phaḍanīsa 'scribe' of) karaṇḍa mukuṭa to signify खरडा kharaḍā,'wealth-accounting ledger', करडा karaḍā 'hard alloy of iron' https://tinyurl.com/yd4abfqs

Broad strap antarīya on Gardez Gaṇeśa pratimā is Indus Script hypertext to signify metals (iron) manufactory of Sarasvati civilization. Amarakośa provides a synonym for Gaṇeśa with the expression tri-dhātu, 'three minerals'.

The pratimā has vivid iconographic details to further elaborate on the metaphor of Gaṇeśa an iron smelter, a wealth-accounting ledger keeper, a scribe. 

Gaṇeśa wears an unusual crown, shaped like a wicker basket. The rebus reading of the crown worn by Gaṇeśa is karaṇḍa hieroglyph करंडी   karaṇḍī f (Dim. of करंडा) A little covered basket of bamboo. karaṇḍa'wicker-basket' rebus: करडा karaḍā'Hard from alloy--iron, silver &38' A similar sounding word signifies that Gaṇeśa is a scribe, writer: खरड   kharaḍa f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch.खरडा   kharaḍā a day-book; a note-book. Thus, Gaṇeśa is keeper of a day-book, wealth-accounting ledger.

These metaphors are conveyed by the karaṇḍa-shaped mukuṭa 'crown' worn by Mahāvināyaka of Gardez. Elephant trunk: karibha, ibha 'elephant' rebus: karba, ib 'iron'; ib 'stylus' (as in English nib of stylus).

Gaṇeśa wears a yajñopavita, 'sacred thread' adorned with a cobra-hood:phaḍā'cobra hood'rebus phaḍā,paṭṭaḍe'metals manufactory'. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith. panja 'claw of beast, feline paw' rebus: panja 'kiln'.

Thousands of Gaṇeśa pratimā also show a mouse:mūṣa 'mouse' rebus: mūṣa 'crucible'. Thus, Gaṇeśa is an iron worker producing crucible steel. This metallurgical competence makes him the leader of the guild, ironworker guild-master,Mahāvināyaka.A 5th century marble Ganesha found in Gardez, Afghanistan, now at Dargah Pir Rattan Nath, Kabul. The inscription says that this "great and beautiful image of Mahāvināyaka" was consecrated by the Shahi King Khingala.  For photograph of statue and details of inscription, see: Dhavalikar, M. K., 1991, "Gaņeśa: Myth and Reality" in:  In: Brown RL (ed) Ganesh: studies of an Asian God. State University of New York, pp.50,63. 

The inscription says that this "great and beautiful image of Mahāvināyaka" was consecrated by the Shahi King Khingala. 

I suggest that the paw of a feline is signified below the feline's face; the word is panja 'claw, paw' rebus: panja 'kiln' of metals manufactory: *pañjāpāka ʻ kiln for a heap ʼ. [*pañja -- , āpāka -- ]P. pañjāvā, pãj° m. ʻ brick kiln ʼ; B. pã̄jā ʻ kiln ʼ, G. pajāvɔ m (CDIAL 7686) panzĕ पन्ज़्य m. the wound made by an animal's claw (cf. panja) (K. 678). panja पंज । पञ्चसंख्यात्मकः, अङ्गुलिपञ्चकसंघः m. an aggregate of five; a five (in cards, on dice, or the like); the hand with the five fingers extended (cf. atha-po, p. 61b, l. 2) (Gr.M.); the paw or claw of beast or bird (Gr.M.; Rām. 41, 61, 697-8, 73; H. xii, 16-17). -- dyunu ; ।पञ्चकाघातः m.inf. 'to give the five', i.e. to strike with the five fingers, to scratch with the five finger-nails or (of a wild beast) to tear with the claws. -ʦoṭu ; । छिन्नपञ्चशाखः adj. (f. -ʦüṭü ), one whose fingers, toes, or claws have all been cut off (of man, beast, or bird). panjī पंजी f. a bird's talon (El.); the five fingers (El. panjih, cf. panja; W. 114, panji).(Kashmiri) *pañja- ʻ heap ʼ *pahuñca 

ʻ forearm, wrist ʼ. L. pôcā m. ʻpaw ʼ, (Shahpur) paucā m. ʻ paw, claw ʼ; P. pahũcā m. ʻ wrist, paw ʼ; N. paũjā ʻ paw ʼ; OAw. pahuṁcihi obl. sg. f. ʻ wrist ʼ; H. pahũcā m. ʻ forearm, wrist ʼ; G. pɔ̃hɔ̃cɔ m. ʻ wrist ʼ, M. pohãcī f. PĀ1 ʻ drink ʼ: 

pa -- 1, pāˊtra -- , pāˊna -- , pānīˊya -- , pāyáyati, *pipāsaka -- , pipāsāˊ -- , pipāsitá -- , píbati, pītá -- 1, pīyátē, pēya -- ; āpāna -- 1, nipāna -- , prapāˊ -- . PĀ2 ʻ protect ʼ: pa -- 2, pā -- ; *āpāna -- 2. pā -- in cmpds. ʻprotecting ʼ: 

adhipāˊ -- , tanūpāˊ -- , paśupāˊ -- ; -- pa -- 2. Addenda: *pahuñca -- : S.kcch. paũco m. ʻwrist ʼ, WPah.kṭg. pɔ́̄nj̈ɔ m.(CDIAL 8018).

Gaṇeśa, scribe, keeper of registers for wealth accounting for a nation https://tinyurl.com/y9njyfaq

Gaṇeśa signified by फड, ‘a cobrahood’ on his body (cf. Mahāvināyaka, Gardez), is the फडनिशी or सीphaḍaniśī or sī f The office or business of फडनीस.  फडनीस phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस. नीस  nīsa m (निसणें) Sum, substance, essence; the extract or excerptum; the good portion picked out. v काढ, निघ. 2 Scrutiny or close inquiry into. v कर, काढ, पाह, पुरव g. of o. 3 नीस is sometimes used as ad or in comp. with the sense Essentially or purely, i. e. altogether, utterly; as नीस नंगा Wholly bare, void, or destitute (of money, decency &c.) ; नकलनविशी nakalanaviśī or -निशी f ( P) The office or business of नकलनवीस.; नकलनवीस nakalanavīsa or -नीस m ( P) A transcriber or copyist. 

Gaṇeśa is the account-in-charge recording wealth of a nation.​

Gardez Gaṇeśa

Mirror: http://bharatkalyan97.blogspot.com/2018/09/gardez-ganesa-with-indus-script.html

Gaṇeśa stone scullpture on rock-face at Unakoti Tripura District in the Kailashahar Subdivision in the North-eastern Indian state of Tripura. 6th cent CE

At The Edge of Mount Bromo Volcano Crater, Gaṇeśa Protecting Citizens In Indonesia. Unknown date.


Pancamukha Heramba Gaṇeśa. British Museum. KalingaDated:~12-13th century CE
Evokes metalwork involving five mineral ores, pancadhātu. pañcan पञ्चन् -लोहम् a metallic alloy containing five metals (i. e. copper, brass, tin, lead and iron). -लोहकम् the five metals i. e. gold, silver, copper, tin and lead. cf. பஞ்சகம்மாளர் pañca-kammāḷar , n. < pañcan +. The five castes of artisans, viz., taṭṭāṉ, kaṉṉāṉ, ciṟpaṉ, taccaṉ, kollaṉ; தட்டான், கன்னான், சிற்பன், தச்சன் கொல்லன் என்ற ஐவகைப் பட்ட கம்மாளர். (சங். அக.)

Itihāsa. Nātyasāstra & Tolkāppiyam list the same eight rasa,'figures of speech', meyppāṭu 'physical expression of emotions'

September 2, 2019, 7:45 am

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மெய்ப்பாடு mey-p-pāṭu , n. < மெய் + படு-. 1. Manifest physical expression of the emotions, of eight kinds, viz., nakai, aḻukai, iḷivaral, maruṭkai, accam, perumitam, vekuḷi, uvakai; நகை, அழுகை, இளிவரல், மருட்கை, அச்சம், பெரு மிதம், வெகுளி, உவகை என எண்வகைப்பட்டதும் புறத்தார்க்குப் புலப்படுவதோராற்றான் வெளிப்படுவது மான உள்ள நிகழ்ச்சிகள். (தொல். பொ. 251.) 

Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient Sanskrit text of dramatic theory and other performance arts, written between 200 BC and 200 CE.In the Indian performing arts, a rasa is a sentiment or emotion evoked in each member of the audience by the art. The Natya Shastra mentions six rasa in one section, but in the dedicated section on rasa it states and discusses eight primary rasa. Each rasa, according to Nātyasāstra, has a presiding deity and a specific colour. There are 4 pairs of rasas. For instance, Hāsya arises out of Sringara. The Aura of a frightened person is black, and the aura of an angry person is red. Bharata Muni established the following:

• Śṛṅgāraḥ (शृङ्गारः): Romance, Love, attractiveness. Presiding deity: Vishnu. Colour: light green
• Hāsyam (हास्यं): Laughter, mirth, comedy. Presiding deity: Shiva. Colour: white
• Raudram (रौद्रं): Fury. Presiding deity: Shiva. Colour: red
• Kāruṇyam (कारुण्यं): Compassion, mercy. Presiding deity: Yama. Colour: grey
• Bībhatsam (बीभत्सं): Disgust, aversion. Presiding deity: Shiva. Colour: blue
• Bhayānakam (भयानकं): Horror, terror. Presiding deity: Yama. Colour: black
• Veeram (वीरं): Heroism. Presiding deity: Indra. Colour: saffron
• Adbhutam (अद्भुतं): Wonder, amazement. Presiding deity: Brahma. Colour: yellow

https://en.wikipedia.org/wiki/Rasa_(aesthetics)

https://indiraparthasarathy.wordpress.com/2017/03/29/two-way-street/

Two-way-street March 29, 2017 

இந்திரா பார்த்தசாரதி

‘Rasa’ in Indian poetics, is an aesthetic experience of a reader or viewer, or listener as her/his reponse to any work of art. The creator of such an artistic work should have experienced such a sentiment to share it with the receiver. As such, it is a two-way street with mutual participation of the artist and his reciprocating audience.
The theatre is the best illustration for such an experience. The earliest scientific treatment of this concept is found both in Natyasastra and Tolkappiyam both belonging to ,presumably, the 5th century CE. Whereas in Tolkappiyam, theatre is one of the artistic disciplines that is being discussed as a literary format, in Natyasastra, it receives full dedicated attention as a performing art.
The rasa is not a spontaneous revelation ,like a spiritual awakening occurring to religious mystics, as what is being claimed by them, but a gradual process of sensory and mental peception by which a responsive spectator gets transported from the plane of visible and mundane reality to the higher realms of pure, aesthetic emotion for its own sake.
These sentiments have also been enumerated by the author of Natyasastra. They are ,namely, rati (love), hasa (mirth), soka (sorrow),krodha (anger), utsaha (valour)bhaya (fear),jugupsa(disgust),and vismaya (marvel).
In Tolkappiyam the theory of rasa is classified under the category ‘Meypaatiyal’(physical gestures, or rather the physical manifestations of the emotions that are felt inwardly) and this is in the context of the theme of love, otherwise known as ‘Akam’.
‘Rasa’ is from the etymological root ‘ras’, which means ‘to taste’ , ‘to enjoy’) and in Tamil its synonym is ‘suvai’ (‘to taste’ ‘to enjoy’).
Tolkappiyam , even at the beginning clearly spells out that ‘among the thirty two varieties of sentiments aroused by the the varipous kinds of entertainment provided to the people, theatre is one among them, which evokes physical expressions of eight basic emotions’.
They are namely ‘ nagai’ (laughter), ‘azhugai’ (weeping), ‘ilivaral” ( humiliation), ‘ marutkai’ ( wonder) ‘achcham’ ( fear) , ‘perumidham’ (to feel proud), ‘veguli’ ( anger). They are, more or less the same as in Natyasatra except the Tamil grammatical manual projects the as physical demonstration of the eight basic emotions.
Maybe, Tolkappiyam lays stress on comedy as the foremost aspect of theatre that it mentions ‘laughter’ as the primary sentiment. In Natyasastra it is ‘ love’. Thematically, ‘love’ and ‘ laughter’ are first cousins, if one knows her/ his Shakespeare.
‘Seyirriyam’ appears to be a long-vanished Tamil dramatic manual ,from which, the commentators of Tamil literary ( ‘Silappadikaam’) and grammatical (Tolkappiyam) works give a few quotations to illustrate their point of view.
According to this work that is now extinct, Perasiriyar, the commentator of Tolkappiyam says that when one talks of sentiments (‘ suvai’) he has to have in mind that this experience of sentiment is inclusive in the sense that one who narrates and the one to whom it is narrated should be in the same wave-length of emotional experience. This applies to all categories of art. There cannot be a better definion of ‘ras’ than this.
Perhaps, the eminent musician T.M. Krishna has this in mind when he speaks of the silent aesthetic communication between the performer and his audience, which is possible, only if both of them are in the same emotional wave-length ,when the artist is performing. In the Indian artistic tradition that includes literature, a critic, in the western sense of the term , belongs to an unknown species of creation.
T he author of Natyasastra recognized only eight dominant emotions but later theorists admitted a ninth sentiment called ‘santa’ (serenity) with ‘sama’ (tranqulity) as its performing state. It is ,perhaps, ‘navarasa’ was prescribed for poetry, the later grammarians might have thought this should also apply to theatre. Absence of any sentiment is tranquility, which is, the supreme state of ‘Nirvana’ (Liberation). But how can this bephysically demonstrated on the stage and how can one make a spectator experience the same non-emotional state, if ‘rasa’ is a two way street?
Following this Sanskritic tradition, Perasiriyar, the commentator for Tolkappiyam talks of ‘ Naduvu Nilai’, as the ninth sentiment expressed in a play. One is not sure, whether he means this is required for an actor to demonstrate, in which case it would mean ‘ alienation’, which the German playwright-director Brecht advocated. Perassiriyar says that the actor should keep his persona distant from the role he demonstrates on the stage, which is the sum and substance of Brecht’s theory of acting.

Itihāsa. Blue city, Jodhpur and the medina, or old quarter, in Chefchaouen, Morocco

September 3, 2019, 3:40 am

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Blue city, Jodhpur
The medina, or old quarter, in Chefchaouen, Morocco

A medina quarter (Arabic: المدينة القديمة‎ al-madīnah al-qadīmah "the old city") is a distinct city section found in a number of North African and Maltese cities. A medina is typically walled, with many narrow and maze-like streets. The word "medina" (Arabic: مدينة‎ madīnah) itself simply means "city" or "town" in modern-day Arabic, it cognates with Aramaic-Hebrew word (also "medina") referring to a city or populated area.
Chefchaouen (Arabic: شفشاون‎ Shafshāwan (pronounced IPA: ʃəfˈʃɑˑwən); Berber languages: ⴰⵛⵛⴰⵡⵏ Ashawen), also known as Chaouen was founded in 1471,

This North African town's population swells with the arrival of summer tourists, so a scene like this—a cool blue street empty of people—is more likely during the off-season. Chefchaouen is built across the foothills of the Rif mountains, and is an easy drive from Tangier, Morocco's busy seaside hub. Many European visitors (specially from nearby Spain) arrive here to wander through the slinking streets of the medina among the blue-washed walls that distinguish the town. Theories differ on why the blue tint predominates, but we imagine just looking at the colour on a hot day lowers the temperature by a few degrees.

Indus Script anthropomorph is artisan mē̃d कर्णक karṇi 'an iron helmsman seafaring, supercargo, merchant'

September 3, 2019, 5:23 am

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tiny.cc/dj44bz

Anthropomorph is a professional calling card of an artisan of Sarsvati Civilization.

Sheorajpur anthropomorph has an additional indicator on the chest: fish hieroglyph. aya'fish' rebus: ayas'alloy metal'.

The anthropomorph is shaped like the horns of a ram and like a human with spread legs. Both hieroglyphs are read rebus:

मेण्ड 'ram' (Monier-Williams) . Or. meṇḍa ʻ foolish ʼ; H. mẽṛā, mẽḍā m. ʻ ram with curling horns ʼ, ˚ḍī f. ʻ she -- goat do. (CDIAL 10120) mēṇḍha2 m. ʻ ram ʼ, ˚aka -- , mēṇḍa -- 4, miṇḍha -- 2, ˚aka -- , mēṭha -- 2, mēṇḍhra -- , mēḍhra -- 2, ˚aka -- m. lex. 2. *mēṇṭha- (mēṭha -- m. lex.). 3. *mējjha -- . [r -- forms (which are not attested in NIA.) are due to further sanskritization of a loan -- word prob. of Austro -- as. origin (EWA ii 682 with lit.) and perh. related to the group s.v. bhēḍra -- ]1. Pa. meṇḍa -- m. ʻ ram ʼ, ˚aka -- ʻ made of a ram's horn (e.g. a bow) ʼ; Pk. meḍḍha -- , meṁḍha -- (˚ḍhī -- f.), ˚ṁḍa -- , miṁḍha -- (˚dhiā -- f.), ˚aga -- m. ʻ ram ʼ, Dm. Gaw. miṇ Kal.rumb. amŕn/aŕə ʻ sheep ʼ (a -- ?); Bshk. mināˊl ʻ ram ʼ; Tor. miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ; Chil. mindh*ll ʻ ram ʼ AO xviii 244 (dh!), Sv. yēṛo -- miṇ; Phal. miṇḍ, miṇ ʻ ram ʼ, miṇḍṓl m. ʻ yearling lamb, gimmer ʼ; P. mẽḍhā m., ˚ḍhī f., ludh. mīḍḍhā, mī˜ḍhā m.; N. meṛho, meṛo ʻ ram for sacrifice ʼ; A. mersāg ʻ ram ʼ ( -- sāg < *chāgya -- ?), B. meṛā m., ˚ṛi f., Or. meṇḍhā, ˚ḍā m., ˚ḍhi f., H. meṛh, meṛhā, mẽḍhā m., G. mẽḍhɔ, M. mẽḍhā m., Si. mäḍayā. 2. Pk. meṁṭhī -- f. ʻ sheep ʼ; H. meṭhā m. ʻ ram ʼ. 3. H. mejhukā m. ʻ ram ʼ. *mēṇḍharūpa -- , mēḍhraśr̥ṅgī -- . Addenda: mēṇḍha -- 2: A. also mer (phonet. mer) ʻ ram ʼ (CDIAL 10310)

Rebus:

 मेठ, मेढ, मेण्ड, मेण्ड-मेठ an elephant-keeper Gal. (cf. मेठ). 

karṇaka कर्णक 'spread legs' rebus kanahār 'helmsman'.

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

Thus, anthropomorph hieroglyphic hypertext signifies mē̃d कर्णक karṇi 'an iron helmsman seafaring, supercargo,  merchant.'

Decipherment of this anthropomorph at 

Anthropomorph Indus Script hieroglyphs signify fine gold, ornament gold merchant, Brāhmī syllables signify mã̄jhī boatpeople 

https://tinyurl.com/y55zxfa4

The pictrographs of young bull, ram's horns, spread legs, boar signify: 

goldsmith, iron metalworker, merchant, steersman. 

[Details: कोंद kōnda ‘engraver' (one-horned young bull hieroglyph); kundana 'fine gold' (Kannada) singi 'horned' rebus: singi 'ornament gold' PLUS barāh, baḍhi 'boar' vāḍhī, bari, barea 'merchant' bārakaśa 'seafaring vessel'.bāṛaï 'carpenter' bari barea 'merchant' (boar hieroglyph) PLUS karṇaka कर्णक steersman ('spread legs'); meḍho 'ram' rebus: mẽṛhẽt, meḍ 'iron']

meḍ 'body', meḍho 'ram' rebus: mẽṛhẽt, meḍ 'iron' (ram hieroglyph, (human) body hieroglyph)

कर्णक m. du. the two legs spread out AV. xx , 133 , 3 rebus: कर्णिक having a helm; a steersman (Monier-Williams) 

ayas 'alloy metal' (fish hieroglyph)

कोंद kōnda ‘engraver' (one-horned young bull hieroglyph); kundana 'fine gold' (Kannada). 

bāṛaï 'carpenter' (boar hieroglyph)

bari barea 'merchant' (boar hieroglyph) 

Brāhmī inscription on Indus Script anthropomorph reads (on the assumption that Line 3 is an inscription with Indus Script hypertexts):  

śam ña ga kī ma jhi tha mū̃h baṭa baran khāṇḍā 

samjñā 'symbol, sign' 

kī ma jhi tha 'of Majhitha'

Sha (?) Da Ya शद   sad-a  'produce (of a country)'.-shad-ya, m. one who takes part in an assembly, spectator

Meaning:  

Line 1 (Brāhmī syllables): samjñā 'symbol, sign' (of)

Line 2 (Brāhmī syllables): kī ma jhi tha 'of Majhitha locality or mã̄jhī boatpeople community or workers in textile dyeing: majīṭh 'madder'. The reference may also be to mañjāḍi (Kannada) 'Adenanthera seed weighing two kuṉṟi-mani, used by goldsmiths as a weight'.

Line 3 (Indus Script hieroglyphs):  baṭa 'iron' bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) mū̃h'ingots' khāṇḍā 'equipments'.

Alternative reading of Line 3 (if read as Brāhmī syllables): Sha (?) Da Ya शद   sad-a  signifies: 'produce (of a country' or -shad-ya, m. one who takes part in an assembly, spectator. 

Thus,an alternative reading is that the threelines may signify symbol of मांझीथा Majhīthā sadya 'assembly participant' or member of mã̄jhī boatpeople assembly (community).

Thus, this is a proclamation, a hoarding which signifies the Majitha locality (working in) iron, mixed alloys (bharat) ingots and equipments. Alternative reding is: symbol (of) produce of Majhitha locality or community

Alternatives:

A cognate word signifies boatman: *majjhika ʻ boatman ʼ. [Cf. maṅga -- ?] N. mājhi, mã̄jhi ʻ boatman ʼ; A. māzi ʻ steersman ʼ, B. māji; Or. mājhi ʻ steersman ʼ, majhiā ʻ boatman ʼ, Bi. Mth. H. mã̄jhī m.(CDIAL 9714).மஞ்சி² mañci, n. 1. cf. mañca. [M. mañji.] Cargo boat with a raised platform; படகு.  Thus, a majhitha artisan is also a boatman. 

A cognate word is: mañjiṣṭhā f. ʻ the Indian madder (Rubia cordifolia and its dye) ʼ Kauś. [mañjiṣṭha -- ] Pa. mañjeṭṭhī -- f. ʻ madder ʼ, Pk. maṁjiṭṭhā -- f.; K. mazēṭh, dat. ˚ṭhi f. ʻ madder plant and dye (R. cordifolia or its substitute Geranium nepalense) ʼ; S. mañuṭha, maĩṭha f. ʻ madder ʼ; P. majīṭ(h), mãj˚ f. ʻ root of R. cordifolia ʼ; N. majiṭho ʻ R. cordifolia ʼ, A. mezāṭhi, maz˚, OAw. maṁjīṭha f.; H. mãjīṭ(h), maj˚ f. ʻ madder ʼ, G. majīṭh f., Ko. mañjūṭi; -- Si. madaṭa ʻ a small red berry ʼ, madaṭiya ʻ the tree with red wood Adenanthera pavonina (Leguminosae) ʼ; Md. madoři ʻ a weight ʼ.māñjiṣṭha -- .Addenda: mañjiṣṭhā -- [Cf. Drav. Kan. mañcaṭige, mañjāḍi, mañjeṭṭi S. M. Katre]: S.kcch. majīṭh f. ʻ madder ʼ.(CDIAL 9718) மஞ்சிட்டி mañciṭṭi, n. < mañjiṣṭhā. 1. Munjeet, Indian madder, Rubia cordifolia; நீர்ப்பூடுவகை. (I. P.) 2. Arnotto. See சாப்பிரா. (L.) 3. Chayroot for dyeing; சாயவேர். (L.) மஞ்சாடி mañcāṭi, n. [T. manḍzādi, K. mañjāḍi.] 1. Red-wood, m. tr., Adenanthera paronina; மரவகை. 2. Adenanthera seed weighing two kuṉṟi-mani, used by goldsmiths as a weight; இரண்டு குன்றிமணிகளின் எடை கொண்ட மஞ்சாடிவித்து. (S. I. I. i, 114, 116.) 

The wor manjhitha may be derived from the root:  मञ्ज्   mañj मञ्ज् 1 U. (मञ्जयति-ते) 1 To clean, purify, wipe off. Thus, the reference is to a locality of artisans engaged in purifying metals and alloys. Such purifiers or assayers of metal are also referred to as 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. (Marathi)

Itihāsa. D K Hari discusses the 7000-year history of Kashmir and Kāshmīra pura vāsinī (23:37)

September 3, 2019, 10:33 am

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PGurus

@pGurus1

From Kashyapa to Adi Shankara to Lalitaditya to MSD (Modi-Shah-Doval), D K Hari @Bharathgyan walks the viewer through the 7000-year old history of Kashmir and how it is integral to India

https://www.youtube.com/watch?v=yqtDaDK9VLU (23:37)

Thanks @pgurus1 for airing on pgurus channel, this Inspirational civilization story of Mā Śāradā, Kāshmīra pura vāsinī so beautifully narrated by

@Bharathgyan

जीवेम शरदः शतं

---

Ochre-, burgundy-coloured Harappa tablets convey same narratives as Meluhha message: agasāle 'gold mint' metalwork iron, pewter catalogues of goldsmith

September 4, 2019, 3:25 am

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https://tinyurl.com/y28b5ccj

                                                                                                            Two molded terracotta tablets burgundy and ochre-coloured, with two sides of inscriptions convey identical narratives, thanks to the reconstruction presented by Wim Borsboom.

Ochre coloured tablet H-2001ab. The dark burgundy colored tablet fragment, both faces (H-95ab)

(length: 3.91 cm, width: 1.5 to 1.62 cm) Wim Borsboom suggests a reconstructed narrative on both sides of the burgundy and ochre coloured tablets. http://paradigm-update.blogspot.in/2012/03/harapp-culture-pictures.html?m=1 

Side A: 1. spoked wheel; 2. one-eyed person thwarting to rearing jackals/tigers; 3. elephant

Side B: 4. seated person with twigs as hair-dress; 5. a person kicking with foot head of a buffalo and spearing the animal; 6. crocodile; 7. person seated on a tree branch; 8. tiger below the tree looking back.  

Decipherment and Meluhha rebus readings of narratives on each side are presented:

Side A. mint with mineral ore furnaces; ironwork, metalwork of goldsmith

B. mint with smelter, mineral ore furnaces of blacksmith; pewter, hard iron smelter; blacksmith working with moltencast copper, working in iron.

Crocodile:  karā 'crocodile' Rebus: khār 'blacksmith' (Kashmiri)

person seated on a tree branch: heraka 'spy' rebus: eraka 'moltencast copper'; dhamkara 'leafless tree' Rebus: dhangar 'blacksmith'

tiger below the tree looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.PLUS kola 'tiger' rebus: kol 'working in iron' 

Seated person in penance with twig hair-dress: kuThi 'twig' Rebus: kuThi 'smelter' karA 'arm with bangles' Rebus: khAr 'blacksmith' dhatu 'scarf' Rebus: dhatu 'mineral' PLUS kamaḍha 'penance' (Pkt.) Rebus: kampaṭṭam ‘mint’ (Ta.) Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace, altar (Santali) Thus, mint with smelter, mineral ore furnaces of blacksmith.

person kicking with foot head of a buffalo and spearing the animal: kolsa 'to kick the foot forward' rebus: kolhe 'smelter' PLUS  Pk. koṁta -- m. ʻ spear ʼ; H. kõt m. (f.?) ʻ spear, dart ʼ; -- Si. kota ʻ spear, spire, standard ʼ perh. ← Pa.(CDIAL 3289) Rebus: kunda'fine gold'; kuṇṭha munda (loha) 'hard iron (native metal)' PLUS  rã̄go ʻbuffalo bullʼ Rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in earth ʼ  *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ. Thus, pewter, hard iron smelter.

One-eyed person: kāṇa काण 'one-eyed' PLUS vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ(CDIAL 12069) rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) கண்வட்டம் kaṇ-vaṭṭam  Mint; நாணயசாலை. கண்வட்டக்கள்ளன் (ஈடு.) 

Six locks of hair: bhaṭa ‘six’ rebus: bhaṭa ‘furnace'

Impeding:  ‘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) Thus, together, mint with mineral ore furnaces.

‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil)

Elephant: karibha, ibha 'elephant' rebus:karba, ib 'iron'

Jumping: kũdā'jumping' rebus: kunda 'fine gold', konda 'kiln, furnace'.

Jumping tigers/foxes: dula 'two' rebus: dul 'metal casting' PLUS kola 'tiger' rebus:kol 'working in iron' kolhe 'smelter', kole.l 'smithy, forge' ALTERNATIVE:  lo ‘fox’ (WPah.) rebus: lōha ʻmetalʼ (Pali)

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

arā 'spoke' rebus: āra 'brass' eraka 'knave of wheel' rebus:eraka 'moltencast copper' arka 'gold'; 

 څرخ ṯs̱arḵẖ, āre 'potter's wheel rebus arka'gold, copper'.

h2001 tablet. 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

h95 tablet.

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

Hypertexts Indus Script include bichā 'scorpion' rebus bica 'stone ore' bichi 'hematite (iron ore)'

September 4, 2019, 7:56 am

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bichā विंचू 'scorpion' मेंढा mēṇḍhā'A crook or curved end (of a stick)' Rebus: bichā'haematite ore' meḍ'iron'. Thus, the hieroglyph Sign 130 crook is a semantic determinative meḍ 'iron' to reinforce associated semantics of the scorpion hieroglyph which is an iron ore, haematite, in particular.

dāṭu'cross' Rebus: dhatu'mineral' Rim of jar  kanda karNIka 'rim of jar' Rebus: khanda 'equipment' karNI 'supercargo' karNIka 'scribe'.

Together, the hypertext expression with these hieroglyphs signifies:haematite iron mineral ore, equipment supercargo. 

Indus Script inscriptions deciphered in this monograph include one or more of these hypertext expressions.

Smithy with an armourer

bichā विंचू 'scorpion' rebus: bichā 'haematite ore'

dula 'pair' rebus: dul 'metal casting' PLUS barad, balad 'ox' rebus: bharat (5 copper, 4 zinc and 1 tin)(Punjabi).

karibha, ibha 'elephant' rebus: karba,ib 'iron'

kāṇḍā'rhinoceros' rebus: khaṇḍa'equipment'

kuṭhāru 'a monkey' Rebus: कुठारु kuṭhāru 'an armourer'

ranku'antelope' rebus: ranku'tin'

meḍ 'body' rebus: meḍ 'iron; med 'copper'

http://www.harappa.com/indus/32.html Seal. Mohenjo-daro. Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script symbols. In the centre is a scorpion [a horned crocodile (gharial)?] surrounded by other animals including a monkey.

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

A tablet surface find from Rajanpur (site first reported by Muhammad Hassan during the Punjab Survey of 1986) 70 km. northeast of Harappa is a revelation of a Bronze Age knowledge system. It signifies the alloying and metalcasting by Meluhha artisans using zinc and iron ores (bichi 'hematite, stone ore') and a large portable furnace: kanga.

Rajanpur, 77 km. northeast of Harappa, on west bank of Ravi river.

Rajanpur surface find tablet. Rajanpur is 70 km. northeast of Harappa. (Courtesy: Kenoyer, JEM).

Rajanpur Tablet Side A sattva 'svastika' rebus: sattva, jasta 'zinc' baTa 'rimless pot' rebus: bhaTa 'furnace' baTa 'iron' gaNDa 'four' Rebus: khaNDa 'implements'. Alternative: kolmo 'three' rebus: kolimi 'smithy, forge'.Thus, zinc and iron implements (smithy)

Rajanpur Tablet Side B khareḍo = a currycomb (Gujarati) खरारा [ kharārā ] m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: 1. करडा [karaḍā] Hard alloy.  kharādī ' turner' (Gujarati) खरडा   kharaḍā m (खरडणें) also खरडें n A scrawl; a memorandum-scrap; a foul, blotted, interlined piece of writing.a waste-book; a day-book; a note-book (Marathi) karNaka, kanka 'rim of jar'; rebus: karNI 'Supercargo' karNika 'scribe, account' dATu 'cross' rebus: dhatu 'mineral' 

Crook  मेंढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ 'iron' Scorpion bicha 'scorpion' Rebus: bica 'stone ore' bichi 'hematite (iron ore)' Thus, a turner working as Supercargo (responsible for shipment of) minerals, ferrite hematite ore. Thus, both sides of Rajanpur tablet show zinc and iron hematite ore metalwork implements.

Hieroglyphs and decipherment: 

Four Linear strokes gaNDa 'four' Rebus: khaNDa 'implements'
Rimless pot baTa 'rimless pot' Rebus: baTa 'iron' bhaTa 'furnace'
svastika sattva 'svastika glyph' Rebus: sattva, jasta 'zinc'

Scorpion bicha 'scorpion' Rebus: bica 'stone ore' bichi 'hematite (iron ore)'
Crook  मेंढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ 'iron'
Crossing dATu 'cross' Rebus: dhatu 'mineral'
Rim of jar  karNIka 'rim of jar' Rebus: karNI 'supercargo' karNIka 'scribe'
Comb कंकवा (p. 123) [ kaṅkavā ] m A sort of comb. See कंगवा. कोंगें (p. 180) [ kōṅgēṃ ] n A long sort of honeycomb.Rebus: kanga 'portable furnace' Rebus: kangar 'large brazier': *kāṅgārikā ʻpoor or small brazierʼ.

The tablet is thus a metalwork catalog: alloy implements with zinc, hematite, iron ore, portable furnace supercargo. A documentation of the metallurgical competence of the artisan (guild) and an advancement in the knowledge systems conveyed by Indus Script inscriptions signifying knowledge of a mineral which was zinc iron sulfide. This mineral is called sphalerite ((Zn,Fe S) is a mineral -- zinc iron sulfide-- that is the chief ore of zinc. It consists largely of zinc sulfide in crystalline form but almost always contains variable iron. 

                               Mohenjodaro; limestone; Mackay, 1938, p. 344, Pl. LXXXIX:376. kolom'rice plant' rebus: kolimi 'smithy, forge'mlekh'goat' rebus:milakkhu,mleccha'copper'; krammara'look back' rebus: kamar'blacksmith' PLUS ranku'antelope' rebus: ranku'tin' bichā विंचू 'scorpion' Rebus: bichā 'haematite ore' 

A symbolism of a woman spreading her legs apart, which recurs on an SSVC inscribed object. Cylinder-seal impression from Ur showing a squatting female. L. Legrain, 1936, Ur excavations, Vol. 3, Archaic Seal Impressions. bichā विंचू 'scorpion' Rebus: bichā 'haematite ore' PLUS dula 'pair' rebus: dul 'metalcasting' kuṭhi'vagina' rebus: kuṭhi'smelter'.

[cf. Nausharo seal with two scorpions flanking a similar glyph with legs apart. This glyphic composition depicts a smelting furnace for stone ore as distinguished from a smelting furnace for sand ore. meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.)

byucu बिचु; । वृश्चिकः m. (sg. dat. bicis बिचिस्), a scorpion (Kashmiri), WPah.bhal. biċċū m., cur. biccū, bhiḍ. biċċoṭū n. ʻ young scorpionʼ (CDIAL 12081). Rebus: bica, bica-diri (Sad. bicā; Or. bicī) stone ore; meṛeḍ bica, stones containing iron; tambabica, copper-ore stones; samṛobica, stones containing gold (Mundari.lex.) 

dula 'pair' rebus: dul 'cast (metal)' (Santali). Hence the scorpion pair are shown on either side of the female of the Ur seal impression reported by Legrain. Pair of tigers: kola 'tiger' rebus: kol 'working in iron' (Tamil) The pair of tigers connote dul 'cast (metal)', as on the glyphs of a pair of scorpions.

kut.hi, kut.i (Or.; Sad. kot.hi) (1) the smelting furnace of the blacksmith; kut.ire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of e_kut.i has been given to the fire which, in shellac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kut.hi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, as seen in fig. 1, and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari.lex.)
kut.hi = pubes. kola ‘foetus’ [Glyph of a foetus emerging from pudendum muliebre on a Harappa tablet.] kut.hi = the pubes (lower down than pan.d.e) (Santali.lex.) kut.hi = the womb, the female sexual organ; sorrege kut.hi menaktaea, tale tale gidrakoa lit. her womb is near, she gets children continually (H. kot.hi_, the womb) (Santali.Bodding)

In Meluhha hieroglyphs (Indus writing of Asuras or Assur), some extraordinary glyphs show bizarre copulation scenes involving crocodile or intercourse a tergo, pudendum muliebre, scorpions...

Hieroglyphs (allographs): 

kamaḍha 'penance' (Prakrit) 

kamḍa, khamḍa 'copulation' (Santali)

kamaṭha crab (Skt.)

kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.)  kamat.ha = fig leaf, religiosa (Sanskrit) kamaḍha = ficus religiosa (Sanskrit)

kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Sanskrit) 

Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)  kamaṭa = portable furnace for melting precious metals (Telugu); kampaṭṭam = mint (Tamil)

Hieroglyph: kuṭhi pubes (lower down than paṇḍe) (Santali), pudendum muliebre (Munda, Santali) Cognates: koṭṭha (m. nt.) [Sk. koṣṭha abdomen, any cavity for holding food, cp. kuṣṭa groin, and also Gr.ku/tos cavity, ku/sdos 

pudendum muliebre, ku/stis bladder = E. cyst, chest; Lat. cunnus pudendum. 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, koṭhābelly (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).

See: http://bharatkalyan97.blogspot.in/2014/01/4000-year-old-erotica-hieroglyphs-of.html

Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛi f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) 

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

The squatting woman on the Ur cylinder seal impression may be showing dishevelled hair providing for rebus reading: <rabca?>(D)  {ADJ} ``with ^dishevelled ^hair''.  Rebus: రాచ (adj.) Pertaining to a stone. bicha, bichā ‘scorpion’ (Assamese) Rebus: bica ‘stone ore’ (Mu.) sambr.o bica = gold ore (Mundarica)  Thus, the reading of the Ur cylinder seal impression may depict: meṛed-bica ‘iron stone-ore’ kuṭhi‘smelter, furnace’.

Rahman-dheri seal. Obverse: Two scorpions. Two holes. One T glyph. One frog in the middle. Reverse: two rams.

1.mūxā  ‘frog’. Rebus: mũh ‘(copper) ingot’ (Santali) Allograph: mũhe ‘face’ (Santali)

2.bicha ‘scorpion’ (Assamese) Rebus: bica ‘stone ore’ (Mu.)

3.tagaru ‘ram’ (Tulu) Rebus: tagarm ‘tin’ (Kota). damgar ‘merchant’ (Akk.)  miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meD 'iron' (Santali.Mu.Ho.)

4.T-glyph may denote a fire altar like the two fire-altars shown on Warrka vase below two animals: antelope and tiger. kand ‘fire-altar’ (Santali) Alternative: T hieroglyph symbolises sã̄ca साँच 'mould, matrix'.

5.Two holes may denote ingots. dula ‘pair’ Rebus: dul ‘cast’ (Santali)

T-glyph may denote a fire altar like the two fire-altars shown on Warrka vase below two animals: antelope and tiger. kand ‘fire-altar’ (Santali) Two T symbols shown below the hieroglyphs of markhor and tiger on Warka vase. The T symbol on the vase also shows possibly fire on the altars superimposed by bun-ingots.kand ‘fire-altar’ (Santali)

Hieroglyph: mūxā  ‘frog’. Rebus: mũh ‘(copper) ingot’ (Santali) Allograph: mũhe ‘face’ (Santali)

kola ‘woman’ Rebus: kol ‘working in iron’

kuṛī f. ʻ girl’ Rebus: kuṭhi ‘smelter’ 

Brass-worker catalog of implements and repertoire:There are five hieroglyphs on the cylinder seal (Figure 270): ‘dishevelled hair’, ‘pudendum muliebre’, ‘lizard’, ‘scorpion’, ‘woman’. The accent is on the sting of the scorpion: koṭṭu (koṭṭi-) to sting (as a scorpion, wasp) (Tamil) Rebus: Pk. koṭṭaga -- m. ʻ carpenter ʼ, koṭṭila -- , °illa -- m. ʻ mallet ʼ. (DEDR 3236). koṭṭu-k-kaṉṉār  brass-workers. the woman is shown with disheveled hair. A lizard is also shown in the field together with a scorpion (bica). <raca>(D)  {ADJ} ``^dishevelled'' (Munda) rasāṇẽ n. ʻglowing embersʼ (Marathi). rabca ‘dishevelled’ Rebus: రాచ rāca (adj.) Pertaining to a stone (ore) (bica).

Kassite kudurru. http://www.arthistory.upenn.edu/spr03/422/January-March/422January-March.html

See: http://www.matrifocus.com/IMB06/spotlight.htm

On kudurru, boundary stones, the metaphorical, metonymy display of hieroglyphs including scorpion or ligatured scorpion-bird-man with bow and arrow may be explained in a number of ways. I suggest that the scorpion hieroglyph is central to the metalwork traditions. In kole.l 'smithy' these hieroglyphs become divine in kole.l 'temple'. The use of the same gloss to signify both smithy and temple should lead to a hypothesis that the early Bronze Age metalwork was a sacred activity by artisans struck with awe and wonder at the transmutation of mere earth or sand or stones into metal artifacts either as castings cire perdue or as weapons, tools by a kuThAru 'armourer' Hieroglyph: kuThAru 'monkey'.

Text message 3120 read from r. to l.m-377. Mohenjo-daro tablet. haematite iron ore supercargo of unsmelted iron and (iron) alloy metal for mint, coiner, coinage.

 Sign 75 ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'.aya 'fish' rebus: ayas 'iron,alloy metal'. Thus, bright, blazing alloy metal.

Sign 75 khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner,coinage' PLUS aya 'fish' rebus: ayas 'alloy metal'. thus, alloy metal mint.

The first four hieroglyphs on the tablet (read from l.) signify haematite iron ore supercargo (Text message of this segment is a repetition of the message on m0857 Mohenjo-daro seal).

The next two hieroglyphs are,l.to r.:

The technical specifications signified on the tablet are thus, the complete message:  haematite iron ore supercargo of unsmelted iron and (iron) alloy metal for mint, coiner, coinage.

m-857 Seal. Mohenjo-daro

Hieroglyphs in Meluhha: 

1. bicha, 'scorpion' 
2. mẽḍhā ʻcrook, hook', 
3. dāṭu 'cross' 
4. kanka, karNaka, 'rim of jar'

The hypertext inscription composed of four hieroglyph multiplexes PLUS young-bull PLUS standard device (lathe+portable brazier) on Mohenjo-daro seal m-857 signifies: 1. meṛed-bica = 'iron (hematite) stone ore' 2. dhatu khanda karNI 'supercargo of mineral ore, equipment', scribed. (The one-horned young bull PLUS standard device is deciphered as: kondh 'young bull' Rebus: kondh 'turner'; koD 'horn' Rebus: koD 'workshop'; sangaDa 'lathe' Rebus: sangAta 'collection of materials, i.e. consignment or boat load. Rebus: samgraha, samgaha 'arranger, manager'.

Rebus readings in Meluhha: haematite iron ore supercargo

1. bica 'haematite, ferrite ore' 
2. mẽṛhẽt, meḍ ‘iron’ (Santali.Mu.Ho.) PLUS bica; that is, the compound phrase meṛed-bica = 'iron (hematite) stone ore' (Santali)
3. dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā] Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773).
4. kaṇḍa kanka 'smelting furnace account (scribe), karṇīka, 'account, scribe', karṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.'

The four hieroglyph multiplex on Mohenjo-daro seal m-857 signifies: 1. meṛed-bica = 'iron (hematite).

Text 1087 Mohenjo-daro seal m0038

Meluhha rebus readings from l. to r.

Segment 1:  As on m857 seal.

Rebus readings in Meluhha: haematite iron ore supercargo

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

dula 'two' rebus: dul 'metal casting'

ayo ‘fish’ rebus: aya ‘iron', ayas, 'alloy metal’ khambhaṛā ‘fish fin’ rebus: kammaTa ‘mint, coiner, coinage’ 

ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS aḍaren, ḍaren 'lid, cover'

 rebus: aduru 'native, unsmelted metal'

sal 'splinter' rebus: sal 'workshop' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'
kamāṭhiyo 'archer' rebus: kammaṭa 'coiner, mint, coinage' 

Reading 1: kole.l 'temple' rebus: kole.l 'smithy, forge' Reading 2: kuThAru 'treasury' rebus: kuThAru'armourer'
dula 'two' rebus: dul 'metal casting'.

Pictorial motifs (Field symbols) on m857: 

 1.koDiya ‘rings on neck’, ‘young bull’ koD ‘horn’ rebus 1: koṭiya 'dhow, seafaring vessel' khōṇḍī 'pannier sack' खोंडी (p. 216) [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) koD 'workshop'

 khOnda ‘young bull’ rebus 2: kOnda ‘lapidary, engraver’ rebus 3: kundAr ‘turner’ कोंड [kōṇḍa] A circular hamlet; a division of a मौजा or village, composed generally of the huts of one caste. खोट [khōṭa] Alloyed--a metal kunda 'finegold' singhin 'horned' rebus: singi 'ornament gold'.

2. sangaDa ‘lathe, portable brazier’ sanghaṭṭana ‘bracelet’ rebus 1: sanghāṭa ‘raft’ sAngaDa ‘catamaran, double-canoe’rebus čaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats, also rafts. 2  jangaḍia 'military guard accompanying treasure into the treasury' ചങ്ങാതം čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. rebus 3: जाकड़ ja:kaṛ जांगड़ jāngāḍ ‘entrustment note’ जखडणें tying up (as a beast to a stake) rebus 4: sanghāṭa ‘accumulation, collection’ rebus 5. sangaDa ‘portable furnace, brazier’ rebus 6: sanghAta ‘adamantine glue‘ rebus 7: sangara ‘fortification’ rebus 8: sangara ‘proclamation’ 9. samgraha, samgaha 'arranger, manager'.

    

     Thus, the inscription reads: (from) Fortification manager workshop

     

      haematite iron ore supercargo

        Metal castings (alloy metal)    

       (Products) of mint, coiner, coinage

       Unsmelted metal

       Smithy, forge workshop (products) of mint, coiner, coinage

       Metal castings (from armoury) 

 

Indus tablet M-1475 with barely legible inscription (from right to left): Mohenjodaro tablet. m-1475 The second segment (l. to r.) is the message: haematite iron ore supercargo

Obverse
Hieroglyph: tiger:kola 'tiger' rebus: kol 'working in iron,blacksmith' PLUS pattar 'trough' rebus: pattar'goldsmith, guild'

The first segment (l. to r.):

kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS gaNDa 'four' rebus: kaNDa 'implements, fire-altar'
kolom 'three' rebus: kolimi 'smithy, forge' 
kuṭi 'curve; rebus: कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin), thus, bronze PLUS खााडा [ kāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or ʻswordʼ (Prakritam) rebus:  khāṇḍa, khaṇḍa'implements, pots & pans, weapons'.

Together, the message in two components is: smithy,forge implements, bronze implements haematite iron ore supercargo (of) kol pattar, 'ironsmith guild'.

Indus seal M-626 with inscription: 

Indus seal H-61 with inscription: Text 4118

Pictorial motifs (Field symbols) on h61: 

 1.koDiya ‘rings on neck’, ‘young bull’ koD ‘horn’ rebus 1: koṭiya 'dhow, seafaring vessel' khōṇḍī 'pannier sack' खोंडी (p. 216) [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) koD 'workshop'

 khOnda ‘young bull’ rebus 2: kOnda ‘lapidary, engraver’ rebus 3: kundAr ‘turner’ कोंड [kōṇḍa] A circular hamlet; a division of a मौजा or village, composed generally of the huts of one caste. खोट [khōṭa] Alloyed--a metal 

2. sangaDa ‘lathe, portable brazier’ sanghaṭṭana ‘bracelet’ rebus 1: sanghāṭa ‘raft’ sAngaDa ‘catamaran, double-canoe’rebus čaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats, also rafts. 2  jangaḍia 'military guard accompanying treasure into the treasury' ചങ്ങാതം čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. rebus 3: जाकड़ ja:kaṛ जांगड़ jāngāḍ ‘entrustment note’ जखडणें tying up (as a beast to a stake) rebus 4: sanghāṭa ‘accumulation, collection’ rebus 5. sangaDa ‘portable furnace, brazier’ rebus 6: sanghAta ‘adamantine glue‘ rebus 7: sangara ‘fortification’ rebus 8: sangara ‘proclamation’ 9. samgraha, samgaha 'arranger, manager'.

Meluhha rebus readings from l. to r.

Segment 1:  As on m857 seal.

Rebus readings in Meluhha: haematite iron ore supercargo

Segment 2: खााडा [ kāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or ʻswordʼ (Prakritam) rebus:  khāṇḍa, khaṇḍa 'implements, pots & pans, weapons'

Segment 3:
kuṭi 'curve; rebus: कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin), thus, bronze PLUS खााडा [ kāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or ʻswordʼ (Prakritam) rebus:  khāṇḍa, khaṇḍa 'implements, pots & pans, weapons'.

Segment 4: చీమ [ cīma ] cīma. [Tel.] n. An ant rebus: ċiməkára ʻblacksmith, coppersmith'
PLUS hieroglyph śrētrī  'ladder' rebus: śrēṣṭhin 'distinguished man ʼ AitBr., ʻ foreman of a guild ʼ

Sign 186 *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: śrḗṣṭha ʻ most splendid, best ʼ RV. [śrīˊ -- ]Pa. seṭṭha -- ʻ best ʼ, Aś.shah. man. sreṭha -- , gir. sesṭa -- , kāl. seṭha -- , Dhp. śeṭha -- , Pk. seṭṭha -- , siṭṭha -- ; N. seṭh ʻ great, noble, superior ʼ; Or. seṭha ʻ chief, principal ʼ; Si. seṭa, °ṭu ʻ noble, excellent ʼ. 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 12725, 12726)

The inscription is the metalwork catalogue message:

(from) Fortification manager workshop

haematite iron ore supercargo
implements, pots & pans
bronze implements, pots & pans
foreman of coppersmith guild.

Detail from seal H-12 showing inscription over unicorn: Meluhha rebus readings from l. to r.

Pictorial motifs (Field symbols) on h12: 

 1.koDiya ‘rings on neck’, ‘young bull’ koD ‘horn’ rebus 1: koṭiya 'dhow, seafaring vessel' khōṇḍī 'pannier sack' खोंडी (p. 216) [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) koD 'workshop'

 khOnda ‘young bull’ rebus 2: kOnda ‘lapidary, engraver’ rebus 3: kundAr ‘turner’ कोंड [kōṇḍa] A circular hamlet; a division of a मौजा or village, composed generally of the huts of one caste. खोट [khōṭa] Alloyed--a metal 

2. sangaDa ‘lathe, portable brazier’ sanghaṭṭana ‘bracelet’ rebus 1: sanghāṭa ‘raft’ sAngaDa ‘catamaran, double-canoe’rebus čaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats, also rafts. 2  jangaḍia 'military guard accompanying treasure into the treasury' ചങ്ങാതം čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. rebus 3: जाकड़ ja:kaṛ जांगड़ jāngāḍ ‘entrustment note’ जखडणें tying up (as a beast to a stake) rebus 4: sanghāṭa ‘accumulation, collection’ rebus 5. sangaDa ‘portable furnace, brazier’ rebus 6: sanghAta ‘adamantine glue‘ rebus 7: sangara ‘fortification’ rebus 8: sangara ‘proclamation’ 9. samgraha, samgaha 'arranger, manager'.

Segment 1:  As on m857 seal.

Rebus readings in Meluhha: haematite iron ore supercargo

Segment 2:
kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS circumscript of oval: dhALko 'ingot'. Thus ingot for smithy/forge work.

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

ayo ‘fish’ rebus: aya ‘iron', ayas, 'alloy metal’ khambhaṛā ‘fish fin’ rebus: kammaTa ‘mint, coiner, coinage’ 

ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS aḍaren, ḍaren 'lid, cover'

 rebus: aduru 'native, unsmelted metal'

sal 'splinter' rebus: sal 'workshop' PLUS kanac 'corner' rebus: kancu 'bronze'

The inscription on Harappa seal h12 is the metalwork catalogue message:

(from) Fortification manager workshop

ingots for smithy/forge work
alloy metal
alloy metal (of, from) mint, coiner, coinage
unsmelted metal (perhaps aduru, meteoric iron or unsmelted ferrite ore)
bronze implements, pots & pans
From bronze workshop.

Detail from Indus seal M-38 with inscription over unicorn: 

http://indusscriptmore.blogspot.com/?fbclid=IwAR2K_ZVecKNc4rbywszMF-LCzujnlOqmAVNo5nmRK1X8hzCqA6r7kvRqdo0

Text 1012 Mohenjodaro seal. m-626

Line 1 (Top line): (from r. to l.)

Segment 1:
kuṭi 'curve; rebus: कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin), thus, bronze PLUS खााडा [ kāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or ʻswordʼ (Prakritam) rebus:  khāṇḍa, khaṇḍa 'implements, pots & pans, weapons'.
Segment 2: As on m857 seal.

Rebus readings in Meluhha: haematite iron ore supercargo

Segment 3:
kuṭi 'curve; rebus: कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin), thus, bronze PLUS खााडा [ kāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or ʻswordʼ (Prakritam) rebus:  khāṇḍa, khaṇḍa 'implements, pots & pans, weapons'.

Segment 4:

kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS circumscript of oval: dhALko 'ingot'. Thus ingot for smithy/forge work.

kanka, karNaka, 'rim of jar' rebus: kaṇḍa kanka 'smelting furnace account (scribe), karṇīka, 'account, scribe', karṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.'

Thus, the inscription on seal m 626 is the message:

bronze implements
haematite iron ore supercargo

bonze implements
ingots for smithy,forge
supercargo (from) Fortification manager workshop

 1.koDiya ‘rings on neck’, ‘young bull’ koD ‘horn’ rebus 1: koṭiya 'dhow, seafaring vessel' khōṇḍī 'pannier sack' खोंडी (p. 216) [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) koD 'workshop'

 khOnda ‘young bull’ rebus 2: kOnda ‘lapidary, engraver’ rebus 3: kundAr ‘turner’ कोंड [kōṇḍa] A circular hamlet; a division of a मौजा or village, composed generally of the huts of one caste. खोट [khōṭa] Alloyed--a metal 

2. sangaDa ‘lathe, portable brazier’ sanghaṭṭana ‘bracelet’ rebus 1: sanghāṭa ‘raft’ sAngaDa ‘catamaran, double-canoe’rebus čaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats, also rafts. 2  jangaḍia 'military guard accompanying treasure into the treasury' ചങ്ങാതം čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. rebus 3: जाकड़ ja:kaṛ जांगड़ jāngāḍ ‘entrustment note’ जखडणें tying up (as a beast to a stake) rebus 4: sanghāṭa ‘accumulation, collection’ rebus 5. sangaDa ‘portable furnace, brazier’ rebus 6: sanghAta ‘adamantine glue‘ rebus 7: sangara ‘fortification’ rebus 8: sangara ‘proclamation’ 9. samgraha, samgaha'arranger, manager'.

saṁghāṭa m. ʻ fitting and joining of timber ʼ R. [√ghaṭ]Pa. nāvā -- saṅghāṭa -- , dāru -- s° ʻ raft ʼ; Pk. saṁghāḍa -- , °ḍaga -- m., °ḍī -- f. ʻ pair ʼ; M. sãgaḍ f. ʻ a body formed of two or more fruits or animals or men &c. linked together, part of a turner's apparatus ʼ, m.f. ʻ float made of two canoes joined together ʼ (LM 417 compares saggarai at Limurike in the Periplus, Tam. śaṅgaḍam, Tu. jaṅgala ʻ double -- canoe ʼ), sã̄gāḍā m. ʻ frame of a building ʼ, °ḍī f. ʻ lathe ʼ; Si. san̆gaḷa ʻ pair ʼ, han̆guḷa, an̆g° ʻ double canoe, raft ʼ.(CDIAL 12859)

Sign 51 Variants. It is seen from all these variants, that the semantic focus signified by the orthography is on the 'scorpion's pointed stinger'

Hieroglyph as it occurs on Mohenjo-daro Seal m-1 Hunter identified the orthographic components of the sign as: 'the tail, back, two ears and hind legs of an animal'. [Hunter, GR, The script of Harappa and Mohenjodaro and its connection with other script, 1934 (2003), New Delhi]

It is assumed that locks of hair are superscripted on the scorpion hieroglyhph. Hieroglyph: *mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ]S. mī˜ḍhī f., °ḍho m.  ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ° m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.(CDIAL 10312). Thus, the message is :  meṛed-bica = 'iron (hematite) stone ore'. Hieroglyph: Superscript of a curl to the scorpion hieroglyph: मेढा (p. 665) [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

Modern impression of Harappa Seal h-598 

Seals with identical texts from (a) Kish (IM 1822); cf. Mackay 1925 and (b) Mohenjodaro (M-228); cf. Parpola, 1994, p. 132. 

The seal impression of a seal from Mohenjo-daro mint found at Kish (an island in the Persian Gulf) had the text message together with lathe+one-horned young bull:ayo ‘fish’ rebus: aya ‘metal’ khambhaṛā ‘fish fin’ rebus:kammaTa ‘mint, coiner, coinage’ bhaTa ‘six’ rebus: baTa‘iron’ kole.l ‘temple’ rebus: kole.l ‘smithy’ kanka ‘rim of jar’ rebus: karNI ‘supercargo’. sangaḍa, 'lathe-brazier' rebus: konda 'young bull' Rebus: kondar 'turner'sangar ‘fortification’, sangaḍa, 'catamaran' koḍiya 'young bull' rebus: koTiya ‘dhow, seafaring vessel’.

A seal inscribed with Harappa Scrpt found in Kish by Oxford Field Museum, (Chicago) Expedition. This is evidence of use of Harappa Script to authenticate long-distance trade by seafaring merchants of Meluhha. Text message from L.to R.

kole.l 'temple' rebus: kole.l 'smithy, forge' Reading 2: kuThAru 'treasury' rebus: kuThAru 'armourer'
bicha, 'scorpion' rebus: bica 'haematite, stone ferrite ore'

mẽḍhā ʻcrook, hook',  rebus:  mẽṛhẽt, meḍ ‘iron’ (Santali.Mu.Ho.)

dāntā 'tooth, tusk' rebus: dhāˊtu 'ore of red colour' (ferrite ores, copper ores).
The 'hook' hieroglyph is associated with the 'scorpion' hieroglyph. Modern impression of seal L-11 Lothal

Hook hieroglyph:

M. mẽḍhā m. ʻ crook or curved end (of a horn, stick, &c.) ʼ.Thus, the 'crook' hieroglyph is a semantic determinant of the hieroglyph-multiplex composed of the 'curl PLUS crook PLUS scorpion'. Hence, Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) PLUS bicha; that is, the compound phrase meṛed-bica = 'iron (hematite) stone ore' (Santali)

Orthographic variants of the 'scorpion' hieroglyph point to the pointed end of the scorpion's stinger:

See the 'scorpion' hieroglyph on modern impression of seal M-414 from Mohenjo-daro. After CISI 1:100.

Hieroglyph Ka. koṇḍi the sting of a scorpion. Tu. koṇḍi a sting. Te. koṇḍi the sting of a scorpion.(DEDR 2080). Rebus: kuṇḍī = chief of village. kuṇḍi-a = village headman; leader of a village (Pkt.lex.) i.e. śreṇi jeṭṭha chief of metal-worker guild. khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947), kuṭhi‘smelter furnace’ (Mu.) kuṇḍamu ‘a pit for receiving and preserving consecrated fire’ (Te.) 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) 

bicha 'scorpion' (Assamese) Rebus: bica 'stone ore' as in:  meṛed-bica = 'iron stone ore', in contrast to bali-bica, 'iron sand ore' (Munda). bichi , ‘hematite’(Asuri)

byucu scorpion (Kashmiri): vŕ̊ścika m. (vr̥ścana -- m. lex.) ʻ scorpion ʼ RV., ʻ cater- pillar covered with bristles ʼ lex. [Variety of form for ʻ scorpion ʼ in MIA. and NIA. due to taboo? <-> √vraśc?]Pa. vicchika -- m. ʻ scorpion ʼ, Pk. vicchia -- , viṁchia -- m., Sh.koh. bičh m. (< *vr̥ści -- ?), Ku. bichī, A. bisā (also ʻ hairy caterpillar ʼ: -- ī replaced by m. ending -- ā), B. Or. bichā, Mth. bīch, Bhoj. Aw.lakh. bīchī, H. poet. bīchī f., bīchā m., G. vīchī, vĩchī m.; -- *vicchuma -- : Paš.lauṛ. uċúm, dar. učum, S. vichū̃ m., (with greater deformation) L.mult. vaṭhũhã, khet. vaṭṭhũha; -- Pk. vicchua -- ,viṁchua -- m., L. vichū m., awāṇ. vicchū, P. bicchū m., Or. (Sambhalpur) bichu, Mth. bīchu, H. bicchū, bīchū m., G. vīchu m.; -- Pk.viccu -- , °ua -- , viṁcua -- m., K. byucu m. (← Ind.), P.bhaṭ. biccū, WPah.bhal. biċċū m., cur. biccū, bhiḍ. biċċoṭū n. ʻ young scorpion ʼ, M. vīċũ, vĩċū m. (vĩċḍā m. ʻ large scorpion ʼ), vĩċvī, °ċvīṇ, °ċīṇ f., Ko. viccu, viṁcu, iṁcu. -- N. bacchiũ ʻ large hornet ʼ? (Scarcely < *vapsi -- ~ *vaspi -- ).Addenda: vŕ̊ścika -- : Garh. bicchū, °chī ʻ scorpion ʼ, A. also bichā (phonet. -- s -- )(CDIAL 12081).  

mer.ed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mundari) samr.obica, stones containing gold (Mundari.lex.)bicamer.ed iron extracted from stone ore; balimer.ed iron extracted from sand ore (Mu.lex.) kut.ire bica duljad.ko talkena, they were feeding the furnace with ore (Mundari)

A Meluhha gloss for hard stone ore or iron stone is mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) which is denoted by the hieroglyph, 'markhor'. miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Meluhha glosses are annexed which indicate association with cire perdue (or lost wax) method of casting metals using beeswax, particularly in the glosses for miedź, med'  'copper' in Northern Slavic and Altaic languages. 

Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:

Sa. <i>mE~R~hE~'d</i> `iron'.  ! <i>mE~RhE~d</i>(M).

Ma. <i>mErhE'd</i> `iron'.

Mu. <i>mERE'd</i> `iron'.

  ~ <i>mE~R~E~'d</i> `iron'.  ! <i>mENhEd</i>(M).

Ho <i>meD</i> `iron'.

Bj. <i>merhd</i>(Hunter) `iron'.

KW <i>mENhEd</i>

@(V168,M080)

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

— Slavic glosses for 'copper'

Мед [Med]Bulgarian

Bakar Bosnian

Медзь [medz']Belarusian

Měď Czech

Bakar Croatian

KòperKashubian

Бакар [Bakar]Macedonian

Miedź Polish

Медь [Med']Russian

Meď Slovak

BakerSlovenian

Бакар [Bakar]Serbian

Мідь [mid'] Ukrainian[unquote]

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

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

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

Hieroglyph: X signifies crossing or passing over (Note: the hieroglyph also occurs on Haifa pure tin ingots to signify a mineral element: dhatu).

Te. dã̄ṭu to leap, jump, cross over, pass over, go beyond, transgress; n. a leap, jump, crossing or passing over. Kol. da·ṭ- (da·ṭt-) to cross; da·ṭip- (da·ṭipt-) to make to cross; Ka. dāṭu, dāṇṭu to jump, pass or step over, cross, ford, go beyond, exceed, transgress, pass away, expire; n. passing over, jump across, etc.; dāṭisu, dāṇṭisu to cause to pass over. Koḍ. (Kar.) da·ṭ- (-i-) to cross. Tu.dāṇṭuni to cross, ford, pass by. (DEDR 3158)

Rebus: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Pa. dhātu -- m. ʻ element' 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 (CDIAL 6773).

Harappa seal h598 (Modern seal impression)

 Text 5073[The ligature in-fixed on the last sign of the second line may be Sign 54 as on Harappa tablet h260]


Pictorial motifs (Field symbols) on h 598:

 1.koDiya ‘rings on neck’, ‘young bull’ koD ‘horn’ rebus 1: koṭiya 'dhow, seafaring vessel' khōṇḍī 'pannier sack' खोंडी (p. 216) [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) koD 'workshop'

     khOnda ‘young bull’ rebus 2: kOnda ‘lapidary, engraver’ rebus 3: kundAr ‘turner’ कोंड [kōṇḍa] A circular hamlet; a division of a मौजा or village, composed generally of the huts of one caste. खोट [khōṭa] Alloyed--a metal 

2. sangaDa ‘lathe, portable brazier’ sanghaṭṭana ‘bracelet’ rebus 1: sanghāṭa ‘raft’ sAngaDa ‘catamaran, double-canoe’rebus čaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats, also rafts. 2  jangaḍia 'military guard accompanying treasure into the treasury' ചങ്ങാതം čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. rebus 3: जाकड़ ja:kaṛ जांगड़ jāngāḍ ‘entrustment note’ जखडणें tying up (as a beast to a stake) rebus 4: sanghāṭa ‘accumulation, collection’ rebus 5. sangaDa ‘portable furnace, brazier’ rebus 6: sanghAta ‘adamantine glue‘ rebus 7: sangara ‘fortification’ rebus 8: sangara ‘proclamation’ 9. samgraha, samgaha 'arranger, manager'.

Line 1

dula 'two' rebus: dul 'metal casting
eraka 'knav of wheel' rebus: erako 'moltencast, metal infusion' eraka, arka 'copper, gold' arA 'spokes of wheel' rebus: Ara 'brass'; kund opening in the nave or hub of a wheel to admit the axle (Santali) Rebus:kunda ‘turner’ kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295). 
dula 'two' rebus: dul 'metal casting' (Duplication of the hieroglyph || with the spoked wheel hieroglyph in the centre is a phonetic determinant). 
Line 1 is thus the messsage: cire perdue metal caster, turner (in smithy/forge)

Line 2 (From r. to l.) 1. dul loa 'copper casting' cīmara 'copper' PLUS 
kāru coppersmith metal caster (cire perdue metalcaster, because the ficus leaf is duplicated in mirror image) with furnace for smelting copper, red ore.

Thus, the hypertext on Harappa seal h598 may be read in cypher text as: A pair of ficus leaves PLUS pincer PLUS blackant: dula 'pair' rebus: dul 'metal casting' loa 'ficus religiosa' rebus: loh 'copper, red ore' PLUS  baṭa 'rimless, widemouthed pot' rebus: bhaṭa 'furnace'.PLUS PLUS cīma ant. rebus: cīmara 'copper' PLUS kāru'pincer' rebus: khār ‘smith’. The hypertext is thus a signifier of a coppersmith metal caster (cire perdue metalcaster, because the ficus leaf is duplicated in mirror image) with furnace for smelting copper, red ore.

meṛed-bica 'hook + scorpion'

1. mẽḍhā ʻcrook, hook', mẽṛhẽt, meḍ ‘iron’ (Santali.Mu.Ho.) PLUS bica; that is, the compound phrase meṛed-bica = 'iron (hematite) stone ore' (Santali)
2. bicha, 'scorpion' bica 'haematite, ferrite ore' 

sal 'splinter' rebus: sal 'workshop' PLUS  ayo ‘fish’ rebus: aya ‘metal’ khambhaṛā ‘fish fin’ rebus: kammaTa ‘mint, coiner, coinage’ 

Temple, warehouse (armoury)

kole.l 'temple' rebus: kole.l 'smithy, forge' Reading 2: kuThAru 'treasury' rebus: kuThAru 'armourer'

kaṇḍa kanka 'smelting furnace account (scribe), karṇīka, 'account, scribe', karṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.'

NOTE: On the hypertext shown on h 598, the hieroglyph ‘pincers” is ligatured to a ‘black ant’ hieroglyph and the hypertext compoment is embedded in a hieroglyph composition of two ficus religiosa leaves..

Te. cīma ant. Kol. si·ma, (SR.) sime id. Nk. śīma id. Konḍa sīma id. Kuwi (F. Su.) sīma, (P.) hīma id. (DEDR 2623) This hypertext signifies a particular type of metalworker, one who is a coppersmith working in: cīmara -- ʻcopper. The pincers signify: kāru rebus: khār ‘smith’. hence, cīmara kāra ʻcoppersmithʼ -- an expression cited in Saṁghāṭa sutra.

The hypertext on h598 is dul bhatti cīmarakāra ʻmetal casting furnace coppersmith; the hypertexts on l-14, m-1555, m-1566, m-604, m-600, are dul bhatti lohakara ‘metal casting furnace metalsmith’; and the hypertext on m-1563 in dul bhatti loha-khāṇḍa-kara ‘metal casting furnace metal implements artisan’. Evidence is presented and analysed in Annex H Black ant hieroglyph and cīmara kāra ʻcoppersmithʼ. Many such hypertext signs may be seen in List of Harappa Script ‘signs’ in the Corpora in Harappa Script & Language (S. Kalyanaraman, 2016).

Explaining hieroglyph 'blackant' in hypertexts of Harappa Script

Harappa tablet 206 signifies a blackant as a hieroglyph.

h260A,B 4345Text

చీమ [ cīma ] chīma. [Tel.] n. An ant. కొండచీమ. the forest ant. రెక్కలచీమ a winged ant. పారేచీమను వింటాడు he can hear an ant crawl, i.e., he is all alive.చీమదూరని అడవి a forest impervious even to an ant. చలిచీమ a black ant; పై పారేపక్షి కిందపారే చీమ (proverb) The bird above, the ant below, i.e., I had no chance with him. చీమంత of the size of an ant. చీమపులి chīma-puli. n. The ant lion, an ant-eater.

చీముంత [ cīmunta ] chīmunta.. [Tel.] n. A metal vessel. చెంబు.

†cīmara -- ʻ copper ʼ in cīmara -- kāra -- ʻ coppersmith ʼ in Saṁghāṭa -- sūtra Gilgit MS. 37 folio 85 verso, 3 (= zaṅs -- mkhan in Tibetan Pekin text Vol. 28 Japanese facsimile 285 a 3 which in Mahāvyutpatti 3790 renders śaulbika -- BHS ii 533. But the Chinese version (Taishō issaikyō ed. text no. 423 p. 971 col. 3, line 2) has t'ie ʻ iron ʼ: H. W. Bailey 21.2.65). [The Kaf. and Dard. word for ʻ iron ʼ appears also in Bur. čhomār, čhumər. Turk. timur (NTS ii 250) may come from the same unknown source. Semant. cf. lōhá -- ]Ash. ċímä, ċimə ʻ iron ʼ (ċiməkára ʻ blacksmith ʼ), Kt. čimé;, Wg. čümāˊr, Pr. zíme, Dm. čimár(r), Paš.lauṛ. čimāˊr, Shum. čímar, Woṭ. Gaw. ċimár,Kal. čīmbar, Kho. čúmur, Bshk. čimer, Tor. čimu, Mai. sē̃war, Phal. čímar, Sh.gil. čimĕr (adj. čĭmārí), gur. čimăr m., jij. čimer, K. ċamuru m. (adj.ċamaruwu).(CDIAL 14496)

 

See examples of inscriptions which signify 'coppersmith' cīmara 'copper' PLUSkāru'pincer' rebus: khār ‘smith’ at 

http://bharatkalyan97.blogspot.in/2014/04/ant-twisted-rope-and-other-meluhha.html

This hypertext of 'fish ligatured with fins' is signified on h598 seal text message.

Explaining 'fish' and 'zebu hieroglyphs (alloy metal, magnetite ferrite ore)

Many scholars (e.g., Knorozov, Parpola, Mahadevan) see this sign as a fish. The accent is on ‘fin’ hieroglyph ligature. ayo, aya ‘fish’ rebus: aya ‘iron’ ayas ‘metal’ PLUS khambhaṛā 'fish fin’ rebus:kammaṭa ‘mint, coiner, coinage’. Thus, iron metal mint. 

Mohenjo-daro Seals m1118 and Kalibangan 032, glyphs used are: Zebu (bos taurus indicus), fish, four-strokes (allograph: arrow). ayo, aya ‘fish’ (Mu.) + kāṇḍa ‘arrow’ (Skt.) ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) aya = iron (G.); ayah, ayas = metal (Skt.)gaṇḍa, ‘four’ (Santali); Rebus: kaṇḍa ‘fire-altar’, ‘furnace’), kaṇḍa ‘arrow’ read rebus in mleccha (Meluhha) as a reference to a guild of artisans working with ayaskāṇḍa ‘excellent quantity of iron’ (Pāṇini) is consistent with the primacy of economic activities which resulted in the invention of a writing system, now referred to as Harappa Script Writing.

 पोळ pōḷa 'zebu’ See: bolad 'steel' (Russian) folad 'steel' (Old Persian). It is possible that the word bolad (Russian) was cognate with पोळ (p. 305) pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large. 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 (a ferrite ore)'. dāntā 'tooth, tusk' rebus: dhāˊtu 'ore of red colour' (ferrite ores, copper ores).

Vivid hieroglyph hypertexts on Indus Script Corpora include animals tied to a long rope. Such signifiers occur, for example on a Kalibangan terracotta cake which signifies a tiger tied to a rope and dragged; and on Nausharo storage pots which signify a zebu tied with a rope to a pillar/port/tree trunk.

In one hypertext (as on the Kulli plate), three distinct ropes are signified: tri-dhAu ‘three strands’ rebus: tri-dhAtu ‘three minerals’.

These hypertexts signify: 

1. पोळ [pōḷa] tāvaṇi, dāmanī मेढ [ mēḍha ] 'zebu PLUS rope PLUS stake'

2. kola, tāvaṇi, dāmanī मेढ [ mēḍha ] 'tiger PLUS rope PLUS stake'

Rebus signifiers are: 1. पोळ [pōḷa]  'magnetite, ferrite ore' and 2. kol 'working in iron' PLUS meD 'iron' PLUS 

dhāvḍī ʻ composed of or relating to iron ʼ  dhā̆vaḍ m. ʻa caste of iron-- smeltersʼ. Thus, the message is: smelter of iron, magnetite.

The Prakritam gloss पोळ [pōḷa], 'zebu' as hieroglyph is read rebus: pōḷa, 'magnetite, ferrous-ferric oxide'; poliya 'citizen, gatekeeper of town quarter'.

kola 'tiger' rebus: kolle 'blacksmith', kolhe 'smelter' kol 'working in iron'

tāvaṇi, dāmanī 'long rope' rebus: dhāvḍī ʻ composed of or relating to iron ʼ

The stake to which the animal is tied with rope is a semantic determinant reinforcing that the smelted metal is 'iron'.

मेढ [ mēḍha ] f A forked stake rebus: meD 'iron' (Ho.); med 'copper' 

मेढ [ mēḍha ] f A forked stake. Used as a post. Hence a short post generally whether forked or not. Pr. हातीं लागली चेड आणि धर मांडवाची मेढ.Hieriglyph: meṛh rope tying to post, pillar: mēthí m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., °thī -- f. KātyŚr.com., mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP.1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), miho, miyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽh, mẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. meh, mehā ʻ the post ʼ, (SBhagalpur)mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīr, mīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2); L. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛ f., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛha, mehra ʻ a circular construction, mound ʼ; Or. meṛhī,meri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.mēthika -- ; mēthiṣṭhá -- . mēthika m. ʻ 17th or lowest cubit from top of sacrificial post ʼ lex. [mēthí -- ]Bi. mẽhiyā ʻ the bullock next the post on threshing floor ʼ.mēthiṣṭhá ʻ standing at the post ʼ TS. [mēthí -- , stha -- ] Bi. (Patna) mĕhṭhā ʻ post on threshing floor ʼ, (Gaya) mehṭā, mẽhṭā ʻ the bullock next the post ʼ.(CDIAL 10317 to, 10319) Rebus: meD 'iron' (Ho.); med 'copper' (Slavic)

Large storage pot. Nausharo? Smith working in magnetite, ferrite ore

poLa 'zebu' rebus: poLa 'magnetite' ayo 'fish' rebus: aya'iron' ayas 'metal; ḍhaṁkhara — m.n. ʻbranch without leaves or fruitʼ (Prakrit) (CDIAL 5524) Rebus: dhangar 'blacksmith' (Maithili) kUdI 'twig', kuTi 'tree' rebus: kuThi'smelter' meDh 'polar star', meRh 'tied rope' rebus: meD'iron' med 'copper' khareḍo = a currycomb (G.) Rebus:kharādī ' turner' (Gujarati) kharadaखरडें daybook 

Just as ‘text signs’ are ligatured with modifiers, a unique orthographic device is used on Harappa Scrip inscriptions. This orthographic device may be called ‘hypertexting’. Such hypertexting is a principal reason for the number of ‘text signs’ to total over 400.

On the stamp seal h598, this orthographic device can be seen as hieroglyphs of ‘rings on neck’, ‘one horn’ (on the young bull), ‘rings on neck’, pannier on shoulder. All these hieroglyphs constitute a hypertext. Similarly, the standard device shown in front of the hypertext ‘one-horned young bull’ is a combination of two major components: top register signifying a lathe with gimlet and the bottom register held on a flagpost signifying a bowl or portable furnace with smoke emanating from the surface and with the hieroglyphs of dotted circles on the bottom bowl.

Lothal 11 seal. Pictorial motifs (Field symbols) on Lothal 11 seal:

 1.koDiya ‘rings on neck’, ‘young bull’ koD ‘horn’ rebus 1: koṭiya 'dhow, seafaring vessel' khōṇḍī 'pannier sack' खोंडी (p. 216) [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) koD 'workshop'

     khOnda ‘young bull’ rebus 2: kOnda ‘lapidary, engraver’ rebus 3: kundAr ‘turner’ कोंड [kōṇḍa] A circular hamlet; a division of a मौजा or village, composed generally of the huts of one caste. खोट [khōṭa] Alloyed--a metal 

2. sangaDa ‘lathe, portable brazier’ sanghaṭṭana ‘bracelet’ rebus 1: sanghāṭa ‘raft’ sAngaDa ‘catamaran, double-canoe’rebus čaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats, also rafts. 2  jangaḍia 'military guard accompanying treasure into the treasury' ചങ്ങാതം čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. rebus 3: जाकड़ ja:kaṛ जांगड़ jāngāḍ ‘entrustment note’ जखडणें tying up (as a beast to a stake) rebus 4: sanghāṭa ‘accumulation, collection’ rebus 5. sangaDa ‘portable furnace, brazier’ rebus 6: sanghAta ‘adamantine glue‘ rebus 7: sangara ‘fortification’ rebus 8: sangara ‘proclamation’ 9. samgraha, samgaha 'arranger, manager'.

    Text message from r. to l.: kanac 'corner' rebus: kancu 'bronze' sal 'splinter' rebus: sal 'workshop' dula 'two' rebus: dul 'metal casting' PLUS loa ficus religiosa' rebus: loh 'copper' PLUS kAru 'pincer' rebus: khAr 'blacksmith' (Thus, coppersmith cire perdue metalcaster).

bicha, 'scorpion' rebus: bica 'haematite, stone ferrite ore'

mẽḍhā ʻcrook, hook',  rebus:  mẽṛhẽt, meḍ ‘iron’ (Santali.Mu.Ho.)

baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) bhaTa 'furnace' PLUS muka 'ladle' (Tamil)(DEDR 4887) Rebus: mũhe 'ingot' (Santali) mũhã̄ = the quantity of iron produced from a furnace (Santali)

kole.l 'temple' rebus: kole.l 'smithy, forge'.

The 'hook' hieroglyph is associated with the 'scorpion' hieroglyph. Modern impression of seal L-11 Lothal

Hook hieroglyph:

M. mẽḍhā m. ʻ crook or curved end (of a horn, stick, &c.) ʼ.Thus, the 'crook' hieroglyph is a semantic determinant of the hieroglyph-multiplex composed of the 'curl PLUS crook PLUS scorpion'. Hence, Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) PLUS bicha; that is, the compound phrase meṛed-bica = 'iron (hematite) stone ore' (Santali)

Orthographic variants of the 'scorpion' hieroglyph point to the pointed end of the scorpion's stinger: The text message: bica 'scorpion' rebus: bica 'haematite,ferrite ore' baTa 'wide mouthed pot' rebus: bhaTa 'furnace' sal 'splinter' rebus: sal 'worskhop' karṇaka  'rim of jar' (Samskritam) Rebus: kharva 'wealth, nidhi'; karba 'iron' karNI 'supercargo' karNIka 'scribe'. ayo 'fish' rebus: aya 'iron' ayas 'metal alloy'

Sign 342 variants

Daimabad seal. Rim of narrow-necked jar. 

Pottery Kalibangan 105

 karṇaka  'rim of jar' (Samskritam) Rebus: karNI 'supercargo' karNIka 'scribe'.

Indus Script hieroglyph multiplexes signify mint; scorpion, ficus glomerata, fish signify bica 'hematite ore', loa 'copper ore', ayas 'native metal'

meRed bica ‘iron stone ore’, lo ‘copper ore’

V326 (Orthographic variants of Sign 326) V327 (Orthographic variants of Sign 327)

Sign 51 Variants. It is seen from all these variants, that the semantic focus signified by the orthography is on the 'scorpion's pointed stinger'

These are two glyphs of the script with unique superscripted ligatures; this pair of ligatures does not occur on any other ligatured glyph in the entire corpus of Indus script inscriptions. Orthographically, Sign 51 glyph is a ‘scorpion’; Sign 327 glyph is a ‘ficus glomerata leaf’. The glosses for the ‘sound values’ are, respectively: bica ‘scorpion’ (Santali), lo ‘ficus’ (Santali). 

 aya 'fish' Rebus: ayas 'metal'

The meaning of 'ayas' in Rigveda has been uncertain and conjectures have been made from the texts as exemplified by the succinct presentation by 

Arthur Anthony Macdonell, and Arthur Berriedale Keith:

 

Source: Vedic Index of Names and Subjects, Volume 1 Arthur Anthony Macdonell, Arthur Berriedale Keith Motilal Banarsidass Publisher, 1995

Hieroglyphs of two Samarra bowls 

Image 1. Eight fish, four peacocks holding four fish, slanting strokes surround
Image 2. Six women, curl in hair, six scorpions

Samarra, Iraq, circa 5000 bce

ayo ‘fish’; rebus: ayas ‘metal’

mora peacock; morā ‘peafowl’ (Hindi); rebus: morakkhaka loha, a kind of copper, grouped with pisācaloha (Pali). moraka "a kind of steel" (Sanskrit)

gaṇḍa set of four (Santali); rebus: kaṇḍ ‘fire-altar, furnace’ (Santali)
मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). S. mī˜ḍhī f., °ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ° m. ʻbraid of hair on a girl's forehead ʼ (CDIAL 10312). मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock.मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl. Rebus: mē̃ḍ ‘iron’ (Mu.) meṛha M. meṛhi F.’twisted, crumpled, as a horn’; meṛha deren ‘a crumpled horn’ (Santali)

bicha, bichā ‘scorpion’ (Assamese) Rebus: bica ‘stone ore’ (Mu.) sambr.o bica = gold ore (Mundarica) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.)

bhaṭa ‘six ’; rebus: bhaṭa ‘furnace’. 

satthiya ‘svastika glyph’; rebus: satthiya ‘zinc’, jasta ‘zinc’ (Kashmiri), satva, ‘zinc’ (Pkt.)

kola ‘woman’; rebus: kol ‘iron’. kola ‘blacksmith’ (Ka.); kollë ‘blacksmith’ (Koḍ)

Sources for the images:

Image 1. The Samarra bowl (ca. 4000 BC) at on exhibit at the Pergamon museum, Berlin. The bowl was excavated as Samarra by Ernst Herzfeld in the 1911-1914 campaign, and described in a 1930 publication. The design consists of a rim, a circle of eight fish, and four fish swimming towards the center being caught by four birds. At the center is a swastika symbol. (Ernst Herzfeld, Die vorgeschichtlichen Töpfereien von Samarra, Die Ausgrabungen von Samarra 5, Berlin 1930.)

Image 2. Women with flowing hair and scorpions, Samarra, Iraq. After Ernst Herzfeld, Die Ausgrabungen von Samarra V: Die vorgeschichtischenTopfereien, Univ. of Texas Press, pl. 30. Courtesy Dietrich Reimer. This image is discussed in Denise Schmandt-Besserat, When writing met art, p.19. “The design features six humans in he center of the bowl and six scorpions around the inner rim. The six identical anthropomorphic figures, shown frontally, are generally interpreted as females because of their wide hips, large thighs, and long, flowing hair…Six identical scorpions, one following after the other in a single line, circle menacingly around the women.”

Scorpion hieroglyph on an Assyrian tablet

• After Figs. 439-440. Tablet with envelope: Marriage contract of an Assyrian merchant with an Anatolian woman. 1950-1835 BCE. Clay. Ankara Museum of Anatolian civilisations. Meluhha hieroglyphs (Bottom register):  bull, ram, scorpion, serpent. ḍhangra ‘bull’. Rebus: ḍhangar ‘blacksmith’. meḍh ‘ram’. Rebus:meḍ ‘iron’. bicha ‘scorpion’ Rebus: bica ‘stone ore’. nāga ‘serpent Rebus: nāga ‘lead’.  The merchant is perhaps trades: lead, stone ore, iron.

  
  

  After Fig. 410. Tablet: A notary document. 1830-1700 BCE. Clay. Ankara Museum of Anatolian civilisations. Kt. n/k.032, inv. no. 165-32-64. Top register seal impression.Hieroglyphs: lion, goat looking back, two tigers. kol 'tiger' Rebus: kol 'working in iron'. dula 'pair' Rebus: dul 'cast metal'. arye 'lion' Rebus: arā ‘brass’ mlekh 'goat' Rebus: milakkhu 'copper'. krammara 'look back' Rebus: kamar 'smith, artisan'. Thus, milakkhu kamar 'copper smith'.

Hypertext formation in Harappa Script explained by Dennys Frenez & Massimo Vidale

Harappan chimaera and its hypertextual components. Harappan chimera and its hypertextual components. The 'expression' summarizes the syntax of Harappan chimeras within round brackets, creatures with body parts used in their correct  anatomic position (tiger, unicorn, markhor goat, elephant, zebu, and human); within square brackets, creatures with body parts used to symbolize other anatomic elements (cobra snake for tail and human arm for elephant proboscis); the elephant icon as exonent out of the square brackets symbolizes the overall elephantine contour of the chimeras; out of brackes, scorpion indicates the animal automatically perceived joining the lineate horns, the human face, and the arm-like trunk of Harappan chimeras. (After Fig. 6 in: Harappan chimaeras as 'symbolic hypertexts'. Some thoughts on Plato, Chimaera and the Indus Civilization (Dennys Frenez & Massimo Vidale, 2012).

Dennys Frenez and Massimo Vidale focus attention on pictorial motifs and on m0300 seal, identify a number of hieroglyph components constituting the hieroglyph-multiplex -- on the pictorial motif of 'composite animal', seen are hieroglyph components (which they call hypertextual components): serpent (tail), scorpion, tiger, one-horned young bull, markhor, elephant, zebu, standing man (human face), man seated in penance (yogi).  

The yogi seated in penance and other hieroglyphs are read rebus in archaeometallurgical terms: kamaDha 'penance' (Prakritam) rebus: kampaTTa 'mint'. Hieroglyph: kola 'tiger', xolA 'tail' rebus:kol 'working in iron'; kolle 'blacksmith'; kolhe 'smelter'; kole.l 'smithy'; kolimi 'smithy, forge'. खोड [khōṇḍa ] m A young bull, a bullcalf (Marathi) rebus: khond 'turner'. dhatu 'scarf' rebus: dhatu 'minerals'.bica 'scorpion' rebus: bica 'stone ore'. miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (Gujarati) Rebus:meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.) mẽṛhet iron; ispat m. = steel; dul m. = cast iron (Munda) kara'elephant's trunk' Rebus: khar 'blacksmith'; ibha 'elephant' rebus: ib 'iron'. Together: karaibā 'maker, builder'.

Use of such glosses in Meluhha speech can be explained by the following examples of vAkyam or speech expressions as hieroglyph signifiers and rebus-metonymy-layered-cipher yielding signified metalwork:

Example 1: mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali)mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt= iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends;kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali) kaula mengro‘blacksmith’ (Gypsy) mleccha-mukha (Samskritam) = milakkhu ‘copper’ (Pali) The Samskritam glossmleccha-mukha should literally mean: copper-ingot absorbing the Santali gloss, mũh, as a suffix.

Example 2: samṛobica, stones containing gold (Mundari) samanom = an obsolete name for gold (Santali) [bica ‘stone ore’ (Munda): meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda)].

In addition to the use of hieroglyph-components to create hieroglyph-multiplexes of pictorial motifs such as 'composite animals', the same principle of multiplexing is used also on the so-called 'signs' of texts of inscriptions. 

Gaṇeśa,Varāha, bāhulā -- Saptamātr̥ka on Indus Script relate to artisans' hand armour, woodwork, metalwork

September 4, 2019, 8:08 pm

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--Gaṇeśa,Varāha, artisans working in iron and wood with Saptamātr̥ka

I suggest that the Saptamātr̥ka are called bāhulā in Meluhha expression on Indus Script read rebus: bāhulam'hand armour-guard, vambrace', thus related to the protective armour of warriors of Sarasvati civilization, protecting the wealth created by seafaring merchants and artisans of guilds, gaṇa.

Association with Saptamātr̥ka is the clearest indication of the role of women artisans in the Civilization during the Tin-Bronze Revolution from 4th millennium BCE.

Gaṇeśa with Saptamātr̥ka (Brāhmaṇi, Vaishṇavi, Maheṣvari, Indrāṇi, Vārāhi, Kaumāri, Cāmuṇḍā) n Mahādeva in a panel in d open museum in Āṣapuri, MP.












Nataraja–Shiva (left) with Virabhadra and the first three Matrikas. Matrikas are depicted with children – Ellora


"The Rigveda (IX 102.4) speaks of a group of seven Mothers who control the preparation of Soma, but the earliest clear description appears in select chapters of the epic Mahabharata dated to 1st century AD.^[18][19] Wangu^[who?] believes that Matrika description in Mahabharata is rooted in the group of seven females depicted on Indus valley seals."https://en.wikipedia.org/wiki/Matrikas

About the depiction of seven or six Pleiades on Indus Script, see:

Metal cargo from smithy, forge on bāhula बाहुल 'Pleiades' rebus बाहुलम् ‘vantbrass, metal arm guards’ bagalā 'arab boat' on three Indus Script inscriptions m300, m1186, h97 

https://tinyurl.com/y2oqs6hu

बहुलिका   bahulikā बहुलिका (pl.) The Pleiades.

बाहुलम् 1 Manifoldness. -2 An armour for the arms, vantbrass (Apte) Alternate name for vantbrass is vambrace. Etymology From Middle English vambrace, vauntbras, from Anglo-Norman vambras, avantbras.vambrace (plural vambraces)

1. (historical) The piece of armor designed to protect the arm from the elbow to the wrist.
2. (historical) The pieces of armor protecting the arm from the shoulderto the wrist. https://en.wiktionary.org/wiki/vambrace

"Vambraces (French: avant-bras, sometimes known as lower cannons in the Middle Ages) or forearm guards are tubular or gutter defences for the forearm worn as part of a suit of plate armour that were often connected to gauntlets. Vambraces may be worn with or without separate couters in a full suit of medieval armour. The term originates in the early 14th century. They were made from either boiled leather or steel. Leather vambraces were sometimes reinforced with longitudinal strips of hardened hide or metal, creating splinted armour." https://en.wikipedia.org/wiki/Vambrace

A vambrace (full arm protection)

A left-arm vambrace; the bend would be placed at the knight's elbow

Translations: ±

piece of armor from elbow to wrist

piece of armor from shoulder to wrist 

bāhula बाहुल a. Manifold. -लः Fire; शीतरुजं समये च परस्मिन् बाहुलतो रसिका शमयन्ती Rām. Ch.4.99. -2The month Kārtika. . -ली The day of full moon in the month of Kārtika. -Comp. -ग्रीवः a peacock.; बाहुल्यम्   bāhulyam बाहुल्यम् 1 Abundance, plenty, copiousness. -2 Manifoldness, multiplicity, variety. -3 The usual course or common order of things. (बाहुल्यात्, -ल्येन 1 usually, commonly. -2 in all probability.)

बहुल   bahula बहुल a. (compar. बंहीयस् superl. बंहिष्ठ) 1 Thick, dense, compact; वृक्षांश्च बहुलच्छायान् ददृशुर्गिरिमूर्धनि Mb.3. 143.3. -2 (a) Broad, wide, capacious; (b) ample, large. -3 Abundant, copious, plentiful, much, numer- ous; अविनयबहुलतया K.143. -4 Numerous, manifold, many; तरुणतमालनीलबहुलोन्नमदम्बुधराः Māl.9.18. -5 Full of, rich or abounding in; जन्मनि क्लेशबहुले किं नु दुःखमतः परम् H.1.184; क्रियाविशेषबहुलां भोगैश्वर्यगतिं प्रति Bg.2.43. -6 Accompanied or attended by. -7 Born under the Pleiades; P.IV.3.33

बाहुलेयः   bāhulēyḥ बाहुलेयः An epithet of Kārtikeya.

bāhula बाहुल 'Pleiades' rebus: bāhuḷa ʻarmour for the arms'; बगला bagalā m An Arab boat of a particular description (Marathi)  बहुल born under the Pleiades Pa1n2. 4-3 , 33; m. pl. N. of a people (मार्कण्डेय-पुराण); बहुला f. pl.= कृत्तिकास् , the Pleiades (वराह-मिहिर); 

On m0300 bagala 'pleiades' rebus: bagala 'dhow, seafaring vessel'.

[Pleiades, scarfed, framework,  scarfed person, worshipper, markhor, ficus religiosa] Brief memoranda:

The bottom register has hieroglyphs of: worshipper, ram, ficus, buffalo-horned person: bhaTa 'worshipper' Rebus: bhaTa 'furnace' meDha 'ram' Rebus: meD 'iron', loa 'ficus' Rebus: loh 'copper, metal' taTThAr 'buffalo horn' 

manḍa 'arbour,canopy' M. mã̄ḍav m. ʻ pavilion for festivals ʼ, mã̄ḍvī f. ʻ small canopy over an idol ʼ(CDIAL 9734)Rebus 1: mã̄ḍ ʻarray of instruments'.  rebus: 

maṇḍā 'warehouse, workshop' (Konkani)  maṇḍī 'market' 

Rebus:  ṭhaṭherā 'brass worker' (Punjabi) Thus, the message of this portion of the epigraph is: brass worker furnaces of loh 'copper' and meD 'iron'

The top register has scarfed, pleiades: Hieroglyph: dhatu 'scarf' Rebus: dhatu 'mineral ore' bahulA 'Pleiades' Rebus 1:बगला   bagalā m An Arab boat of a particular description (Marathi) Rebus 2:  bāhula 'armour for the arms' 

Hieroglyph: worshipper: bhaṭā G. bhuvɔ m. ʻ worshipper in a temple ʼ rather < bhr̥ta --(CDIAL 9554) Yājñ.com., Rebus: bhaṭā ‘kiln, furnace’

Hieroglyph: ram, markhor: Dm. mraṅ m. ‘markhor’ Wkh. merg f. ‘ibex’ (CDIAL 9885) Tor. miṇḍ ‘ram’, miṇḍā́l ‘markhor’ (CDIAL 10310) Rebus: meḍ(Ho.); mẽṛhet ‘iron’ (Munda.Ho.)

Hieroglyph: standing person with buffalo horn: taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker' Ta. taṭṭāṉ gold or silver smith; fem. taṭṭātti. Ma. taṭṭu a blow, knock; taṭṭuka to tap, dash, hit, strike against, knock; taṭṭān goldsmith; fem. taṭṭātti; taṭṭāranwasherma(DEDR 3039) *ṭhaṭṭhakāra- brassworker;(CDIAL 5490) *ṭhaṭṭh ʻ strike ʼ. [Onom.?]N. ṭhaṭāunu ʻ to strike, beat ʼ, ṭhaṭāi ʻ striking ʼ, ṭhaṭāk -- ṭhuṭuk ʻ noise of beating ʼ; H. ṭhaṭhānā ʻ to beat ʼ, ṭhaṭhāī f. ʻ noise of beating ʼ. ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- . [*ṭhaṭṭha -- 1, kāra -- 1] 1. Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H. ṭhaṭherā m.(CDIAL 5490, 5493).

h097 Text 4251 h097 Pict-95: Seven robed figures (with stylized twigs on their head and pig-tails) standing in a row. Text of inscription: खांडा [ khāṇḍā] m A jag, notch, or indentation (as upon the edge of a tool).This is a hieroglyph-multiplex: slant PLUS notch: dhāḷ 'slanted' rebus ḍhāḷako 'large ingot' khaṇḍa 'implements' PLUS kolom 'three' rebus: kolimi 'smithy, forge' PLUS kole.l 'temple' rebus: kole.l 'smithy, forge' (Semantic determinative) PLUS  muka 'ladle' (Tamil)(DEDR 4887) Rebus: mū̃h 'ingot' (Santali).PLUS baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati).bhaṭa 'furnace' PLUS kāṇḍa 'flowing water' Rebus: kāṇḍā 'metalware, tools, pots and  pans' PLUS Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn.(DEDR 2200) Rebus: kōḍ 'workshop'.

Seal m 1186 Mohenjo-daro

Decipherment: ḍabu ‘an iron spoon’ (Santali) Rebus: ḍab, ḍhimba, ḍhompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt together (Santali) ḍabe, ḍabea wide horns (Santali) Rebus: ḍhābā workplace (P.) 

The stool on which the bowl is placed is also a hieroglyph read rebus:

Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ 'stone (ore)' as in: ayaskāṇḍ'excellent iron' (Panini)

dhaṭu m. (also dhaṭhu) m. ‘scarf’ (WPah.) (CDIAL 6707) Allograph: ḍato = claws of crab (Santali) Rebus: dhātu = mineral (Skt.), dhatu id. (Santali) 

See the human face ligatured to a ram's body (an indication of the hieroglyphic nature of the orthographic composition):

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

miṇḍāl 'markhor' (Tor.wali) meḍho 'a ram, a sheep' (G.)(CDIAL 10120)mēṇḍhaʻramʼ(CDIAL 9606).मेंढा [mēṇḍhā] m (मेष S through H) A male sheep, a ram or tup. मेंढका or क्या [ mēṇḍhakā or kyā ] a (मेंढा) A shepherd (Marathi) Rebus: meḍ 'iron' (Ho.) mēṇḍh 'gold' as in: मेंढसर [ mēṇḍhasara ] m A bracelet of gold thread. (Marathi)

मेढ [mēḍha] f A forked stake. Used as a post. Hence a short post generally whether forked or not. Pr. हातीं लागली चेड आणि धर मांडवाची मेढ.

m1186 (DK6847) [Pleiades, scarfed, framework, ficus religiosa , scarfed person, worshipper, twigs (on head), horn, markhor, human face ligatured to markhor, stool, ladle, frame of a building] 

Brief memoranda:

bhaṭā G. bhuvɔ m. ʻ worshipper in a temple ʼ rather < bhr̥ta --(CDIAL 9554) Yājñ.com., Rebus: bhaṭā ‘kiln, furnace’

mū̃h ‘human face’ Rebus: mū̃h ‘ingot’ (See human face ligatured to a markhor: Seal m1186) PLUS Dm. mraṅ m. ‘markhor’ Wkh. merg f. ‘ibex’ (CDIAL 9885) Tor. miṇḍ ‘ram’, miṇḍā́l ‘markhor’ (CDIAL 10310) Rebus: meḍ(Ho.); mẽṛhet ‘iron’ (Munda.Ho.)

lo, no ‘nine’ phonetic reinforcement of: loa ‘ficus’ Rebus: lo ‘copper’

dhaṭu m. (also dhaṭhu) m. ‘scarf’ (Western Pahari) (CDIAL 6707) Rebus: dhatu ‘minerals’ (Santali)

maṇḍa m. ʻ ornament ʼ Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Munda.Ho.)

A group of six or seven women wearing twigs may not represent Pleiades, bagaḷā). The groups of such glyphs occur on four inscribed objects of Indus writing. (See four pictorial compositions on: m1186A, h097, m0442At m0442Bt). Glyph (seven women): bahula_ = Pleiades (Skt.)bagaḷā = name of a certain godess (Te.) bagaḷā ,bagaḷe, vagalā (Ka.); baka , bagaḷlā , vagaḷā (Te.) bakkula = a demon, uttering horrible cries, a form assumed by the Yakkha Ajakalāpaka, to terrify the Buddha (Pali.lex.) bahulā f. pl. the Pleiades VarBr̥S., likā -- f. pl. lex. [bahulá -- ] Kal. bahul the Pleiades , Kho. ból, (Lor.) boul, bolh, Sh. (Lor.) b*lle (CDIAL 9195) bahulegal. = the Pleiades or Kṛittikā-s (Ka.lex.) bahula_ (VarBr.S.); bahul (Kal.) six presiding female deities: vahulā the six presiding female deities of the Pleiades (Skt.); vākulai id. (Ta.)(Ta.lex.) Pleiades: bahulikā pl. pleiades; bahula born under the pleiades; the pleiades (Skt.lex.) bahule, bahulegal. the pleiades or kr.ttikās (Ka.)(Ka.lex.) Image: female deities of the pleiades: vākulēyan- < va_kulēya Skanda (Ta.lex.) பாகுளி pākuḷi, n. perh. bāhulī. Full moon in the month of Puraṭṭāci; புரட்டாசி மாதத்துப் பெளர்ணமி. அதைப் பாகுளி யென்று (விநாயகபு. 37, 81). Glyph (twig on head on seven women): adaru ‘twig’; rebus: aduru ‘native metal’. Thus, the seven women ligatured with twigs on their heads can be read as: bahulā + adaru; rebus: bangala ‘goldsmith’s portable furnace’ + aduru ‘native metal’. bāhulēya Kārttikēya, son of S'iva; bāhula the month kārttika (Skt.Ka.)(Ka.lex.) வாகுலை vākulai, n. < Vahulā. The six presiding female deities of the Pleiades. Rebus: bagalo = an Arabian merchant vessel (Gujarati) bagala = an Arab boat of a particular description (Ka.); बगला   bagalā m An Arab boat of a particular description. (M.); bagarige, bagarage = a kind of vessel (Ka.)  cf. m1429 seal. बहुल Born under the Pleiades; P.IV.3.33. An epithet of fire. -ला 1 A cow; कस्मात् समाने बहुलाप्रदाने सद्भिः प्रशस्तं कपिलाप्रदानम् Mb.13.77.9. The Pleiades (pl.) -लम् 1 The sky. बहुलिका (pl.) The Pleiades. बाहुल a. Manifold. -लः Fire; शीतरुजं समये च परस्मिन् बाहुलतो रसिका शमयन्ती Rām. Ch.4.99. -2 The month Kārtika. -लम् 1 Manifoldness. बाहुलेयः An epithet of Kārtikeya.बाहुल्यम् 1 Abundance, plenty, copiousness. -2 Manifoldness, multiplicity, variety. -3 The usual course or common order of things. (बाहुल्यात्, -ल्येन 1 usually, commonly. -2 in all probability.) बाह्लिः N. of a country (Balkh). -Comp. -ज, -जात a. bred in the Balkh country, of the Balkh breed.बाह्लकाः बाह्लिकाः बाह्लीकाः m. (pl.) N. of a people.-कम् 1 Saffron; ... प्रियाङ्गसंगव्यालुप्तस्तनतटबाह्लिक- श्रियो$पि दृश्यन्ते बहिरबलाः Rām. Ch.7.64. Amarakośa makes references to the Saffron of Bahlika and Kashmira countries (Amarkosha, p 159, Amarsimha.) 

बाह्लिः N. of a country (Balkh). -Comp. -ज, -जात a. bred in the Balkh country, of the Balkh breed.बाह्लकाः बाह्लिकाः बाह्लीकाः m. (pl.) N. of a people.-कम् 1 Saffron; ... प्रियाङ्गसंगव्यालुप्तस्तनतटबाह्लिक- श्रियो$पि दृश्यन्ते बहिरबलाः Rām. Ch.7.64. Amarakośa makes references to the Saffron of Bahlika and Kashmira countries (Amarkośa, p 159, Amarsimha.) 

Balkh may refer to Bahlikas (Sanskrit: बाह्लिक; Bāhlika) who were the inhabitants of Balikha (Sanskrit: बलिख), mentioned in Atharvaveda, Mahabharata, Ramayana, Puranas. Kamboja.vishhaye jatair Bahlikaishcha hayottamaih (Valmiki Ramayana I.6.22.) VanayujanParvatiyanKamboj.Aratta.Bahlikan (Mahabharata 7.36.36) "The fact that Puranic evidence locates the Bahlikas in Uttarapatha and further the close association of the Bahlikas with the Kambojas as well as with Tusharas, Sakas and Yavanas in the Atharvaveda Parisista and in some other ancient sources suggests that the Bahlikas were located as a close neighbor to the Tusharas, Sakas, Yavanas and the Kambojas etc. Since the Kambojas were located in Badakshan and Pamirs, the Tusharas on the north of Pamirs and the Sakas on the river Jaxartesand beyond, the Bahlikas or Bahlams, as neighbors to these people should be placed in Bactria...Dr P. E. Pargiter points out that there was also another Bahlika settlement in the plains of Punjab alongside or south of Madradesa...Ramayana refers to (Saurashtrans.bahlikan.chandrachitranstathaivacha)...The Bahlikas have been equated to Mlechchas in the later Brahmanical literature. There is a distinct prophetic statement in the Mahabharata that the mlechcha kings of Sakas, Yavanas, Kambojas, Bahlikas etc. will rule unrighteously in Kali yuga. (3.188.34-36). " https://en.wikipedia.org/wiki/Bahlikas

The presence of Gaṇeśa and Vārāhi are explained as Indus Script hypertexts, as on the Gaṇa shown on Kanchipuram temple.

गण m. a flock , troop , multitude , number , tribe , series , class (of animate or inanimate beings) , body of followers or attendants RV. AV. &c; troops or classes of inferior deities (especially certain troops of demi-gods considered as शिव's attendants and under the special superintendence of the god गणे*श ; cf. -देवता) Mn. Ya1jn5. Lalit. &c; a company , any assemblage or association of men formed for the attainment of the same aims Mn. Ya1jn5. Hit. (Monier-Williams)

Hieroglyph: karaṇa करण 'dance-step'
Rebus: karaṇa करण A writer, जज्ञे धीमांस्ततस्तस्यां युयुत्सुः करणो नृप Mb.1.115. 43; Ms.1.22;  Business, trade.

See: 

Gaṇeśa dances with the Gaṇa, guild. His dance-step karaṇa करण makes him rebus 'writer', 'trade' 

https://tinyurl.com/yy6w87ye

karibha, ibha 'elephant' rebus: karba, ib 'iron'

barea 'merchant' (barāh, baḍhi 'boar')barāh, baḍhi 'boar' rebus: vāḍhī, bari, barea 'merchant' bārakaśa 'seafaring vessel';baḍhoe ‘a carpenter, worker in wood, iron’; badhoria ‘expert in working in wood’(Santali) বরাহ barāha 'boar' Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman.

baḍhia = a castrated boar, a hog; rebus: baḍhi 'a caste who work both in iron and wood'  వడ్రంగి, వడ్లంగి, వడ్లవాడు (p. 1126) vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్రంగిపిట్ట or వడ్లంగిపిట్ట vaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటము. వడ్లకంకణము vaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదము. వడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste. vardhaki m. ʻ carpenter ʼ MBh. [√vardh] Pa. vaḍḍhaki -- m. ʻ carpenter, building mason ʼ; Pk. vaḍḍhaï -- m. ʻ carpenter ʼ, °aïa -- m. ʻ shoemaker ʼ; WPah. jaun. bāḍhōī ʻ carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaï, baṛahi, A. bārai, B. bāṛaï, °ṛui, Or. baṛhaï, °ṛhāi, (Gaṛjād) bāṛhoi, Bi. baṛahī, Bhoj. H. baṛhaī m., M. vāḍhāyā m., Si. vaḍu -- vā.(CDIAL 11375)

baḍaga is a takṣa, divine tvaṣṭr̥ of R̥gveda, he is a yajña puruṣa as evidenced in Khajuraho monumental varāha sculpture.. He is the very embodiment of the Veda, Veda puruṣa.  त्वष्टृ m. a carpenter , maker of carriages (= त्/अष्टृ) AV. xii , 3 , 33; " creator of living beings " , the heavenly builder , N. of a god (called सु-क्/ऋत् , -पाण्/इ , -ग्/अभस्ति , -ज्/अनिमन् , स्व्-/अपस् , अप्/असाम् अप्/अस्तम , विश्व्/अ-रूप &c RV. ; maker of divine implements , esp. of इन्द्र's thunderbolt and teacher of the ऋभुs i , iv-vi , x Hariv. 12146 f. R. ii , 91 , 12 ; former of the bodies of men and animals , hence called " firstborn " and invoked for the sake of offspring , esp. in the आप्री hymns RV. AV. &c MBh. iv , 1178 Hariv. 587 ff. Ragh. vi , 32 ; associated with the similar deities धातृ , सवितृ , प्रजा-पति , पूषन् , and surrounded by divine females [ग्न्/आस् , जन्/अयस् , देव्/आनाम् प्/अत्नीस् ; cf. त्व्/अष्टा-व्/अरूत्री] recipients of his generative energy RV. S3Br. i Ka1tyS3r. iii ; supposed author of RV. x , 184 with the epithet गर्भ-पति RAnukr. ; father of सरण्यू [सु-रेणु Hariv.; स्व-रेणु L. ] whose double twin-children by विवस्वत् [or वायु ? RV. viii , 26 , 21 f.] are यमयमी and the अश्विन्s x , 17 , 1 f. Nir. xii , 10 Br2ih. Hariv.545 ff. VP. ; also father of त्रि-शिरस् or विश्वरूप ib. ; overpowered by इन्द्र who recovers the सोम [ RV. iii f. ] concealed by him because इन्द्र had killed his son विश्व-रूप TS. ii S3Br. i , v , xii ; regent of the नक्षत्र चित्रा TBr. S3a1n3khGr2. S3a1ntik. VarBr2S. iic , 4 ; of the 5th cycle of Jupiter viii , 23 ; of an eclipse iii , 6 ; त्वष्टुर् आतिथ्य N. of a सामन् A1rshBr. ).

Late Uruk and Jemdet Nasr seal; ca. 3200-3000 BCE; serpentine; cat.1; boar and bull in procession; terminal: plant; heavily pitted surface beyond plant.  Indus Script hieroglyphs read rebus: baḍhia = a castrated boar, a hog; rebus: baḍhi ‘a caste who work both in iron and wood’ Hieroglyph: dhangar 'bull' Rebus: dhangar 'blacksmith' baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali) বরাহ barāha 'boar'Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman (cargo boat).

Indus Script Hieroglyph: barāh, baḍhi ‘boar’ Rebus: vāḍhī, bari, barea ‘merchant’ 

baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’ Together with an anthropomorph of copper/bronze with the curved horns of a ‘ram’, the hypertext signifies: meḍh ‘ram’ rebus: meḍ ‘iron’ PLUS baḍhi ‘boar’ rebus: baḍhoria, ‘expert in working in wood’PLUS khondar‘young bull’ rebus: konda ‘furnace’ kundaṇa ‘fine gold’ Thus, the anthropomorph is a professional calling card of a worker with furnace, worker in iron, fine gold and wood. It is not mere coincidence that Varāha signifies an ancient gold coin. Another anthropomorph rplaces the young bull frieze on the chest of the ram with a ‘fish’ hieroglyph. ayo ‘fish’ rebus: aya ‘iron’ ayas ‘alloy metal’.

. 

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

Hieroglyph: dhangar 'bull' Rebus: dhangar 'blacksmith' 

Cast axe-head; tin bronze inlaid with silver; shows a boar attacking a tiger which is attacking an ibex.ca. 2500 -2000 BCE Bactria-Margiana Archaeological Complex. Length: 17.8 cm (7 in). Weight: 675.5 g (23.82 oz). British Museum.ME 123628 (1913,0314.11913,0314.1) R. Maxwell-Hyslop, 'British Museum “axe” no. 123628: a Bactrian bronze', Bulletin of the Asia Institute, NS I (1987), pp. 17-26
Curator's comments: See RL file 6616 (29/6/1995); also Research Lab file 4992 of 12/09/1983 where XRF analysis of surface indicates composition as tin bronze with approx 10% tin and traces of arsenic, nickel, silver and lead. Dalton's inclusion in the 'Catalogue of the Oxus Treasure' among a small group of comparative items has unfortunately led to recurrent confusion over the date and provenance of this piece. It was first believed to be Achaemenid in date (Dalton, 'Catalogue of the Oxus Treasure', p. 48), labelled as such in 1975 in the former Iranian Room and thus suggested to be an Achaemenid scabbard chape (P R S Moorey CORRES 1975, based on an example said to have been excavated by P. Bernard at Ai Khanoum or seen by him in Kabul Bazaar, cf. P. Bernard CORRES 1976). It has also been assigned a 4th-5th century AD Sasanian date (P. Amiet, 1967, in 'Revue du Louvre' 17, pp. 281-82). However, its considerably earlier - late 3rd mill. BC Bronze Age - date has now been clearly demonstrated following the discovery of large numbers of objects of related form in south-east Iran and Bactria, and it has since been recognised and/or cited as such, for instance by H. Pittmann (hence archaeometallurgical analysis in 1983; R. Maxwell-Hyslop, 1988a, "British Museum axe no. 123628: a Bactrian bronze", 'Bulletin of the Asia Institute' 1 (NS), pp. 17-26; F. Hiebert & C.C. Lamberg-Karlovsky 1992a, "Central Asia and the Indo-Iranian Borderlands",' Iran' 30, p. 5; B. Brentjes, 1991a, "Ein tierkampfszene in bronze", 'Archäologische Mitteilungen aus Iran' 24 (NS), p. 1, taf. 1). 
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=367862&partId=1

Decipherment: There are three hieroglyphs: ram (markhor), tiger, boar. The rebus renderings are: coppersmith (merchant's helper), smelter, worker in wood and iron.

Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍh ‘helper of merchant’ (Gujarati) mẽṛhẽt, meḍ 'iron' (Mu.Ho.) med 'copper' (Slavic) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) Thus, coppersmith, helper of merchant.

kola 'tiger' rebus: kolle 'blacksmith', kolhe 'smelter' kol 'working in iron'. Thus, a smelter.

badhi 'boar' rebus: badhi 'carpenter, worke in iron' and dhangar 'bull' rebus: dhangar 'blacksmith'. baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali) বরাহ barāha 'boar'Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman.

Shaft-hole axe head double-headed eagle anthropomorph, boar, and winged tiger ca. late 3rd–early 2nd millennium B.C.E Silver, gold foil L. 15 cm. 

Anthropomorph (human body) is represented twice, once on each side of the axe, and consequently appears to have two heads. On one side, he grasps the boar by the belly and on the other, by the tusks. 

The composite animal (feline, tiger body) has folded and staggered wings, and the talons of a bird of prey in the place of his front paws. Its single horn has been broken off and lost.

http://www.metmuseum.org/art/collection/search/329076

Rebus readings are: eruvai 'kite' rebus: eruvai 'copper' PLUS kambha 'shoulder, wing' rebus: kammaTa 'mint'; thus, copper mint.

kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' PLUS kambha 'wing' rebus: kammaTa 'min'; thus, iron smelter's mint.

badhi 'boar' rebus: badhi 'carpenter, worke in iron' and dhangar 'bull' rebus: dhangar 'blacksmith'. baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali) বরাহ barāha 'boar'Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman.

The hieroglyph-multiplexes on Ancient Near East artifacts include hieroglyph components: tiger, rhinoceros, eagle, kid (goat), bull/ox. All are metalwork cipher texts. These are in addition to a boar: বরাহ barāha 'boar' Rebus: bāṛaï 
'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman. 

See:

A tribute to baḍhi, వడ్ర, baḍaga, yajña puruṣa. He is Varāha,’boar’ & tiger on Indus Script Corpora artisan working in iron, wood & seafaring Meluhha merchant 

https://tinyurl.com/y84vj7ff

Dr S Kalyanaraman decodes Harappan symbols and their link to Sarasvati Valley -- PGurus September 5, 2019

September 5, 2019, 2:44 am

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Which was the path Saraswati took? To Prayag or Kutch? How can a river flow East and West? What do the Harappan symbols say? Were they the Hallmark certification of that time? Dr Kalyanaraman

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Dr S Kalyanaraman decodes Harappan symbols and their link to Saraswati Valley - PGurus

Which was the path Saraswati took? To Prayag or Kutch? How can a river flow East and West? What do the Harappan symbols say? Were they the Hallmark certification of that time?

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1:05 PM · Sep 5, 2019·Hootsuite Inc.

Dr S Kalyanaraman decodes Harappan symbols and their link to Sarasvati Valley

Which was the path Saraswati took? To Prayag or Kutch? How can a river flow East and West? What do the Harappan symbols say? Were they the Hallmark certification of that time? Dr. S Kalyanaraman decodes every aspect with massive research and facts

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 Sahil Mishra

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September 5, 2019 https://www.youtube.com/watch?v=OAbIfgT0KR8 (42:48)
                                                                                                                    

Published on Sept. 4, 2019
Which was the path Saraswati took? To Prayag or Kutch? How can a river flow East and West? What do the Harappan symbols say? Were they the Hallmark certification of that time? Dr. S Kalyanaraman decodes every aspects with massive research and facts Connect with PGurus

                                                                                                                    

Presenttion can be read below:

Role of Ancient India, Sarasvati Civilization in Tin-Bronze, Metals Revolution of 4th Millennium BCE by PGurus on Scribd

Ancient Harappan Genome lacks ancestry from Steppe Pastoralists or Iranian Farmers -- Vasant Shinde et al (Cell, 5 Sept. 2019 Full text)

September 5, 2019, 4:17 pm

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Cell: September 5, 2019 (Volume 178, Issue 6) Graphical Abstract

Mysterious Indus Valley People Gave Rise to Modern-Day South Asians

By Stephanie Pappas - Live Science Contributor 5 hours ago History 

Who were the ancient people from the mysterious Harappan Civilization?

The skeleton of an individual from the Indus Valley Civilization whose fragile, ancient DNA revealed links to modern-day South Asian populations. 

(Image: © Vasant Shinde)

Ancient DNA evidence reveals that the people of the mysterious and complex Indus Valley Civilization are genetically linked to modern South Asians today. 

The same gene sequences, drawn from a single individual who died nearly 5,000 years ago and was buried in a cemetery near Rakhigarhi, India, also suggest that the Indus Valley developed farming independently, without major migrations from neighboring farming regions. It's the first time an individual from the ancient Indus Valley Civilization has yielded any DNA information whatsoever, enabling researchers to link this civilization both to its neighbors and to modern humans. 

The Indus Valley, or Harappan, Civilization flourished between about 3300 B.C. and 1300 B.C. in the region that is now covered by parts of Afghanistan, Pakistan and northwestern India, contemporaneous with ancient Egypt and Mesopotamia. The people of the Indus Valley forged an impressively advanced civilization, with large urban centers, standardized systems of weights and measurements and even drainage and irrigation systems. Yet despite that sophistication, archaeologists know far less about the civilization than that of ancient Egypt or Mesopotamia, in part because the Indus Valley writing system hasn't yet been deciphered.

Cracking Codes: 5 Ancient Languages Yet to Be Deciphered

(Image credit: Vasant Shinde)

 Elusive DNA

Gathering ancient DNA from the Indus Valley is an enormous challenge, Vagheesh Narasimhan, one of the leading authors of the new research and a postdoctoral fellow in genetics at Harvard Medical School, Live Science, because the hot, humid climate tends to degrade DNA rapidly. Narasimhan and his colleagues attempted to extract DNA from 61 individuals from the Rakhigarhi cemetery and were successful with only one, skeleton likely belonging to a female which was found nestled in a grave amid round pots, her head to the north and feet to the south. 

(Image credit: Vasant Shinde)

The first revelation from the ancient gene sequences was that some of the inhabitants of the Indus Valley are connected by a genetic thread to modern-day South Asians. "About two-thirds to three-fourths of the ancestry of all modern South Asians comes from a population group related to that of this Indus Valley individual," Narasimhan said. 

Where the Indus Valley individual came from is a more difficult question, he said. But the genes do suggest that the highly agricultural Indus people were not closely related to their farming neighbors in the western part of what is now Iran. 

"We were able to examine different associations between the advent of farming in that part of the world with the movement of people in that part of the world," said Narasimhan.

Farming, Narasimhan said, first began in the Fertile Crescent of the Middle East around 10,000 years ago. No one knows precisely how it spread from there. Did agriculture pop up independently in areas around the globe, perhaps observed by travelers who brought the idea to plant and cultivate seeds back home? Or did farmers move, bringing their new agricultural lifestyle with them? 

In Europe, the genetic evidence suggests that the latter is true: Stone Age farmers introduced Southern Europe to agriculture, then moved north, spreading the practice as they went. But the new Indus Valley genetic evidence hints at a different story in South Asia. The Indus Valley individual's genes diverged from those of other farming cultures in Iran and the Fertile Crescent before 8000 B.C., the researchers found. 

"It diverges at a time prior to the advent of farming almost anywhere in the world," Narasimhan said. In other words, the Indus Valley individual wasn't the descendent of wandering Fertile Crescent farmers. She came from a civilization that either developed farming on its own, or simply imported the idea from neighbors — without importing the actual neighbors. 

Both immigration and ideas are plausible ways to spread farming, Narasimhan said, and the new research suggests that both happened: immigration in Europe, ideas in South Asia. The results appear today (Sept. 5) in the journal Cell. 

Complex populations

The researchers also attempted to link the Indus Valley individual to his or her contemporaries. In a companion paper published today in the journal Science, the researchers reported on ancient and modern DNA data from 523 individuals who lived in South and Central Asia over the last 8,000 years. Intriguingly, 11 of these people — all from outside the Indus Valley — had genetic data that closely matched the Indus Valley Individual. These 11 people also had unusual burials for their locations, Narasimhan said. Together, the genetic and archaeological data hint that those 11 people were migrants from the Indus Valley Civilization to other places, he said. 

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However, these conclusions should be viewed as tentative, warned Jonathan Mark Kenoyer, an archaeologist and expert on the Indus Valley Civilization at the University of Wisconsin, Madison, who was not involved in the new research. Archaeological evidence suggests that Indus Valley cities were cosmopolitan places populated by people from many different regions, so one person's genetic makeup might not match the rest of the population. Furthermore, Kenoyer said, burial was a less common way of dealing with the dead than cremation. 

"So whatever we do have from cemeteries is not representative of the ancient populations of the Indus cities, but only of one part of one community living in these cities," Kenoyer said.

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And though the Indus individual and the 11 potential migrants found in other areas might have been related, more ancient DNA samples will be needed to show which way people, and their genes, were moving, he said.

Narasimhan echoed this need for more data, comparing the cities of the Indus Valley to modern-day Tokyo or New York City, where people gather from around the world. Ancient DNA is a tool for understanding these complex societies, he said.  

"Population mixture and movement at very large scales is just a fundamental fact of human history," he said. "Being able to document this with ancient DNA, I think, is very powerful." https://www.livescience.com/south-asians-descend-from-harappan-civilization.html

About decipherment of Indus Script see:

https://www.youtube.com/watch?time_continue=75&v=OAbIfgT0KR8 (42:48)

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Which was the path Saraswati took? To Prayag or Kutch? How can a river flow East and West? What do the Harappan symbols say? Were they the Hallmark certification of that time? Dr. S Kalyanaraman decodes every aspects with massive research and facts

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Don't miss this video, where Dr. S. Kalyanaraman explains the history of the bronze-age period, their technology, economy, and writing systems. Learn how the Sindhu-Saraswathi civilization created wealth with metal works.

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Dr S Kalyanaraman decodes Harappan symbols and their link to Sarasvati Valley -- @PGurus1 September 5, 2019 https://pgurus.com/dr-s-kalyanaraman-decodes-harappan-symbols-and-their-link-to-saraswati-valley/…https://youtube.com/watch?time_continue=75&v=OAbIfgT0KR8

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पांडा pāṇḍā 'tiger cub' phaḍa फड 'cobra hood' rebus phaḍa, paṭṭaḍa ‘metals manufactory’ of Vināyaka

September 5, 2019, 6:27 pm

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https://tinyurl.com/y2jo2yvm

This ~1300 years old murtis of Vināyaka...One found from Afghanistan & another from Vietnam... Separated by 1000s of miles & yet follows the same iconographic convention of Vishnudharmottara purana! (Naga Yajnopavita & Vyagra charma around waist for eg )

Hieroglyph: पांडा   pāṇḍā m (Esp. with वाघाचा preceding.) A tiger's cub, esp. as half-grown;पाडा   pāḍā m A male calf. Semantic determinative hieroglyphs: phaḍa फड 'cobra hood'; पाण्ड्व n. an uncoloured woollen garment (शतपथ-ब्राह्मण)

Rebus 1: पाडा   pāḍā A hamlet or a cluster of houses of agriculturists. 3 The gathering of tree-fruits. A ward or quarter of a town.
Rebus 2:  फडनीस phaḍanīsa 'scribe' of phaḍa, paṭṭaḍa ‘metals manufactory’

Tiger cub shown on Gardez Vināyaka is rebus पेटा pēṭā smelter guild region of a town 

https://tinyurl.com/y6p5j4cu

This is an addendum to:

Gardez Vināyaka with Indus Script hypertexts signifies iron smelter, manufactory, खरडा kharaḍā,'wealth-accounting ledger' https://tinyurl.com/y56wgrxf
The tiger cub shown on Gardez Vināyaka reads: panja 'feline paw' rebus: panja 'kiln, furnace' PLUS  पेटा pēṭā 'tiger cub' rebus: पेटा pēṭā smelter guild region of  a town (and part of the phaḍa, paṭṭaḍa ‘metals manufactory’).

 

Hieroglyph: पेटा  pēṭā A cub of a tiger or lion. 

Rebus: पेटा pēṭā m (पेट S through H Belly.) Sphere, compass, comprehension, including quality or power: e. g. that of the provincial or county town over the minor towns and villages, that of a key-fort over the circumjacent country, that of a person of authority over his subordinates. Ex. एका नगराच्या पेट्यांत शंभर गांव असतात; मोठ्या पुरुषास आमंत्रण केलें म्हणजे त्याच्या पेट्यांत लाहनसाहन येतात. 2 A division of country consisting of a number of small towns and villages; a subdivision of a परगणा or तालुका. See under देश.  देश   dēśa m (S) A country, a tract, a region.  Under this word may be gathered, and exhibited in their gradations, the words देश, प्रांत, सुभा, पर- गणा, तालुका, जिल्हा, महाल, कसबा, पेटा, पुठा, मौजा, सम्मत, तरफ. देश & प्रांत are the most comprehensive.

Hieroglyph: पांडा   pāṇḍā m (Esp. with वाघाचा preceding.) A tiger's cub, esp. as half-grown;पाडा   pāḍā m A male calf.

Rebus: पाडा   pāḍā A hamlet or a cluster of houses of agriculturists. 3 The gathering of tree-fruits. A ward or quarter of a town.

Gardez Vināyaka with Indus Script hypertexts signifies iron smelter, manufactory, खरडा kharaḍā,'wealth-accounting ledger' https://tinyurl.com/y56wgrxf

Today is Gaṇeśa Caturthi, September 2, 2019.

This monograph demonstrates, by deciphering the Indus Script hypertexts with
that it is a proclamation of wealth created by artisans, guild of metalworkers.

My prayers to Gardez Four-armed, divine, MahāVināyaka. विनायक pl. N. of partic. 
formulas recited over weapons (रामायण).

Inscription on the pedestal of the pratimā dates it to 5th cent.CE, the days of Shahi Khingala who consecrated the divine MahāVināyaka (Brown, Robert (1991), Ganesh: Studies of an Asian God, Albany: State University of New Yorkpp. 50–55, 120).. His two lower arms rest on two gaṇa-s; thus, he signifies that he is guild-master of a guild. The pratimā is from Sakar Dhar (formerly Shankar Dhar), North of Kabul and relocated to dargah Pir Rattan Nath at Kabul for worship. The inscription on the pedestal reads: ‘This great and beautiful Maha Vinayaka was consecrated by the renowned Shahi King, the illustrious Shahi Khingala.’ (Shakunthala Jagannathan and Nanditha Krishna, Ganesha...The Auspicious... The Beginning, Mumbai, 1992, p. 55.)

The hieroglyphs/hypertexts of Indus Script on this exquisite pratimā of Vināyaka of Gardez are
panja 'feline paw' rebus: panja 'kiln, furnace'
kola 'tiger' rebus: kolhe 'smelter', kol 'working in iron', kole.l 'smithy, forge', kole.l 'temple'
karba, ibha 'elephant' rebus: karba, ib 'iron'

phaḍa फड 'cobra hood' (फडनीस phaḍanīsa 'scribe' of phaḍa, paṭṭaḍa ‘metals manufactory’

karaṇḍa mukuṭa to signify खरडा kharaḍā,'wealth-accounting ledger', करडा karaḍā 'hard alloy of iron' Rebus: karaṇḍi 'fire-god' (Remo)Remo <karandi>E155 {N} ``^fire-^god''.(Munda). 

Gardez Gaṇeśa with Indus Script hypertexts फड 'cobra hood' (फडनीस phaḍanīsa 'scribe' of) karaṇḍa mukuṭa to signify खरडा kharaḍā,'wealth-accounting ledger', करडा karaḍā 'hard alloy of iron' https://tinyurl.com/yd4abfqs

Broad strap antarīya on Gardez Gaṇeśa pratimā is Indus Script hypertext to signify metals (iron) manufactory of Sarasvati civilization. Amarakośa provides a synonym for Gaṇeśa with the expression tri-dhātu, 'three minerals'.

The pratimā has vivid iconographic details to further elaborate on the metaphor of Gaṇeśa an iron smelter, a wealth-accounting ledger keeper, a scribe. 

Gaṇeśa wears an unusual crown, shaped like a wicker basket. The rebus reading of the crown worn by Gaṇeśa is karaṇḍa hieroglyph करंडी   karaṇḍī f (Dim. of करंडा) A little covered basket of bamboo. karaṇḍa'wicker-basket' rebus: करडा karaḍā'Hard from alloy--iron, silver &38' A similar sounding word signifies that Gaṇeśa is a scribe, writer: खरड   kharaḍa f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch.खरडा   kharaḍā a day-book; a note-book. Thus, Gaṇeśa is keeper of a day-book, wealth-accounting ledger.

These metaphors are conveyed by the karaṇḍa-shaped mukuṭa 'crown' worn by Mahāvināyaka of Gardez. Elephant trunk: karibha, ibha 'elephant' rebus: karba, ib 'iron'; ib 'stylus' (as in English nib of stylus).

Gaṇeśa wears a yajñopavita, 'sacred thread' adorned with a cobra-hood:phaḍā'cobra hood'rebus phaḍā,paṭṭaḍe'metals manufactory'. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith. panja 'claw of beast, feline paw' rebus: panja 'kiln'.

Thousands of Gaṇeśa pratimā also show a mouse:mūṣa 'mouse' rebus: mūṣa 'crucible'. Thus, Gaṇeśa is an iron worker producing crucible steel. This metallurgical competence makes him the leader of the guild, ironworker guild-master,Mahāvināyaka.A 5th century marble Ganesha found in Gardez, Afghanistan, now at Dargah Pir Rattan Nath, Kabul. The inscription says that this "great and beautiful image of Mahāvināyaka" was consecrated by the Shahi King Khingala.  For photograph of statue and details of inscription, see: Dhavalikar, M. K., 1991, "Gaņeśa: Myth and Reality" in:  In: Brown RL (ed) Ganesh: studies of an Asian God. State University of New York, pp.50,63. 

The inscription says that this "great and beautiful image of Mahāvināyaka" was consecrated by the Shahi King Khingala. 

I suggest that the paw of a feline is signified below the feline's face; the word is panja 'claw, paw' rebus: panja 'kiln' of metals manufactory: *pañjāpāka ʻ kiln for a heap ʼ. [*pañja -- , āpāka -- ]P. pañjāvā, pãj° m. ʻ brick kiln ʼ; B. pã̄jā ʻ kiln ʼ, G. pajāvɔ m (CDIAL 7686) panzĕ पन्ज़्य m. the wound made by an animal's claw (cf. panja) (K. 678). panja पंज । पञ्चसंख्यात्मकः, अङ्गुलिपञ्चकसंघः m. an aggregate of five; a five (in cards, on dice, or the like); the hand with the five fingers extended (cf. atha-po, p. 61b, l. 2) (Gr.M.); the paw or claw of beast or bird (Gr.M.; Rām. 41, 61, 697-8, 73; H. xii, 16-17). -- dyunu ; ।पञ्चकाघातः m.inf. 'to give the five', i.e. to strike with the five fingers, to scratch with the five finger-nails or (of a wild beast) to tear with the claws. -ʦoṭu ; । छिन्नपञ्चशाखः adj. (f. -ʦüṭü ), one whose fingers, toes, or claws have all been cut off (of man, beast, or bird). panjī पंजी f. a bird's talon (El.); the five fingers (El. panjih, cf. panja; W. 114, panji).(Kashmiri) *pañja- ʻ heap ʼ *pahuñca 

ʻ forearm, wrist ʼ. L. pôcā m. ʻpaw ʼ, (Shahpur) paucā m. ʻ paw, claw ʼ; P. pahũcā m. ʻ wrist, paw ʼ; N. paũjā ʻ paw ʼ; OAw. pahuṁcihi obl. sg. f. ʻ wrist ʼ; H. pahũcā m. ʻ forearm, wrist ʼ; G. pɔ̃hɔ̃cɔ m. ʻ wrist ʼ, M. pohãcī f. PĀ1 ʻ drink ʼ: 

pa -- 1, pāˊtra -- , pāˊna -- , pānīˊya -- , pāyáyati, *pipāsaka -- , pipāsāˊ -- , pipāsitá -- , píbati, pītá -- 1, pīyátē, pēya -- ; āpāna -- 1, nipāna -- , prapāˊ -- . PĀ2 ʻ protect ʼ: pa -- 2, pā -- ; *āpāna -- 2. pā -- in cmpds. ʻprotecting ʼ: 

adhipāˊ -- , tanūpāˊ -- , paśupāˊ -- ; -- pa -- 2. Addenda: *pahuñca -- : S.kcch. paũco m. ʻwrist ʼ, WPah.kṭg. pɔ́̄nj̈ɔ m.(CDIAL 8018).

Gaṇeśa, scribe, keeper of registers for wealth accounting for a nation https://tinyurl.com/y9njyfaq

Gaṇeśa signified by फड, ‘a cobrahood’ on his body (cf. Mahāvināyaka, Gardez), is the फडनिशी or सीphaḍaniśī or sī f The office or business of फडनीस.  फडनीस phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस. नीस  nīsa m (निसणें) Sum, substance, essence; the extract or excerptum; the good portion picked out. v काढ, निघ. 2 Scrutiny or close inquiry into. v कर, काढ, पाह, पुरव g. of o. 3 नीस is sometimes used as ad or in comp. with the sense Essentially or purely, i. e. altogether, utterly; as नीस नंगा Wholly bare, void, or destitute (of money, decency &c.) ; नकलनविशी nakalanaviśī or -निशी f ( P) The office or business of नकलनवीस.; नकलनवीस nakalanavīsa or -नीस m ( P) A transcriber or copyist. 

Gaṇeśa is the account-in-charge recording wealth of a nation.​

Gardez Gaṇeśa

Mirror: http://bharatkalyan97.blogspot.com/2018/09/gardez-ganesa-with-indus-script.html

Hieroglyph: पांडा   pāṇḍā m (Esp. with वाघाचा preceding.) A tiger's cub, esp. as half-grown;पाडा   pāḍā m A male calf.

Hieroglyph: पाण्ड्व n. an uncoloured woollen garment (शतपथ-ब्राह्मण)

Rebus: पाडा   pāḍā A hamlet or a cluster of houses of agriculturists. 3 The gathering of tree-fruits. A ward or quarter of a town.

M. pã̄ḍā, ˚ḍyā m. ʻ half -- grown tiger -- cub ʼ; paṇḍá m. ʻ eunuch, weakling ʼ lex., páṇḍaka -- m. MaitrS., páṇḍaga -- AV., paṇḍra -- 1, ˚aka -- m. MārkP. [A ʻ defective ʼ word: see lists s.vv. baṇḍá -- , vaṇṭa -- 2.<-> Cf. Khot. pandara ʻ foolish ʼ]Pa. paṇḍaka -- m. ʻ eunuch ʼ, Pk. paṁḍa -- , ˚aga -- , ˚aya<-> m.; B. pã̄ṛ ʻ huge, ungainly, ugly, full -- grown, overripe ʼ; Or. paṇḍā ʻ fruitless (of a tree), male buffalo, male calf not yet broken to the plough ʼ; H. pã̄ḍ f. ʻ a woman without breasts or milk ʼ.(DEDR 7717)

Rebus: Ta. pāṭi town, city, hamlet, pastoral village; pāṭam street, street of herdsmen. Ma. pāṭi (in n.pr. of villages). Ka.pāḍi settlement, hamlet, village. Koḍ. pa·ḍi hut of a Kurumba. Te. pāḍu village (at the end of names of places). / Cf. Skt. pāṭaka- a kind of village, half a village (from which are borrowed Ta. pāṭakam street, section of a village, Ma. pāṭakampart of a village); Turner, CDIAL, no. 8031, to which add Mar. pāḍā hamlet or cluster of houses of agriculturalists (also Guj., Beng., etc.); MBE 1974a, p. 132, n. 17. DED 3347. (DEDR 4064) pāṭaka m. ʻ quarter of a town or village ʼ. [← Drav. T. Burrow BSOAS xii 383, but perh. same as pāṭa<-> EWA ii 245]S. pāṛo m. ʻ quarter of a town, vicinity ʼ; H. pāṛā m. ʻ quarter of a town ʼ.Addenda: pāṭaka -- m. ʻ kind of village, part of village ʼ lex. [MIA. pāḍa(ya) -- ʻ quarter, street ʼ ~ Drav. Tam. pāṭa(ka)mid. DED 3347 and perh. conn. pallī -- 1 ← Drav. DED 3309]Pk. pāḍa -- , pāḍaya -- m.; A. pārā, B. pāṛā, Or. paṛā, H. pāṛā m., M. pāḍā m. (CDIAL 8031) pāṭa m. ʻ breadth, expanse ʼ lex., ˚aka -- m. ʻ long span, flight of steps ʼ lex. [√paṭ1?]Pa. pāṭikā -- f. ʻ stone steps ʼ; Pk. pāḍaa -- m. ʻ road ʼ; Kho. (Lor.) pāḷ ʻ resting -- place in a cliff, ledge ʼ (or poss. < *pādaḍa -- ); L. pāṛ m. ʻ pit sunk to the sand in which a well is built ʼ, (Shahpur) ʻ hole made by thief in a hedge ʼ, pāṛā m. ʻ space left in ploughing ʼ, awāṇ. pāṛ ʻ hole ʼ; P. pāṛā m. ʻ space, space between two lines of ploughed land ʼ; N. pāro ʻ shaft in handle of khukri or any instrument ʼ, kan -- pāro ʻ temple, brow, gill ʼ (: kān ʻ ear ʼ); H. pāṛ(ā) m. ʻ scaffold, wooden frame over a well ʼ. (CDIAL 8030) padrá m. ʻ village, road in a village ʼ lex. [← Drav. cf. Kur. padda ʻ village ʼ? -- Whether or not connected with pallī1 (also ← Drav.), scarcely, with EWA ii 236, hyper -- sanskritism for this, since NIA. forms attest early padra -- ]Pk. padda -- n. ʻ site of a village, small village ʼ; B. pāṛā ʻ quarter of a village ʼ; Or. paṛā ʻ quarter of a town or village, village ʼ; H. pāṛā m. ʻ quarter of a town ʼ; G. pādar n. ʻ gate of a village, confines of a village, uncultivated land near a village ʼ.*vaṭapadra -- .Addenda: padrá -- : with Pk. padda -- , G. pādar (= S.kcch. padhar m. ʻ confines of a village ʼ) same as or X *paddhara -- ? -- and to be distinguished from B. pāṛā, Or. paṛā, H. pāṛā (= A. pārā ʻ settlement, quarter of a village ʼ) < pāṭaka -- . (CDIAL 7780) *padu ʻ place, quarter ʼ. [Contained in padavīˊ -- m. ʻ place (?) ʼ RV., ʻ footsteps, way ʼ MBh., ʻ place ʼ R. <-> pád -- 2]S. pãũ m. ʻ ace in dice (i.e. a quarter of the highest throw of 4 dots) ʼ, P. pau m., N. pau, Or. paa, OAw. paü m., H. pau f., G. po m., M. pav, pau m. (CDIAL 7764) Ta. paṭṭi cow-stall, sheepfold, hamlet, village; paṭṭam sleeping place for animals; paṭṭu hamlet, small town or village; paṭṭiṉam maritime town, small town; paṭappu enclosed garden; paṭappai id., backyard, cowstall. Ma. paṭṭi fold for cattle or sheep. Ko. paṭy Badaga village. To. oṭy id. (< Badaga haṭṭi). Ka. paṭṭi pen or fold, abode, hamlet; paṭṭa city, town, village. Tu. paṭṭů nest. Te. paṭṭu abode, dwelling place. / Cf. Turner, CDIAL, no. 7705, paṭṭana- (DEDR 3868)    वाडा   vāḍā m (वाट or वाटी S) A stately or large edifice, a mansion, a palace. Also in comp. as राज- वाडा A royal edifice; सरकारवाडा Any large and public building. 2 A division of a town, a quarter, a ward. Also in comp. as देऊळवाडा, ब्राह्मण- वाडा, गौळीवाडा, चांभारवाडा, कुंभारवाडा. 3 A division (separate portion) of a मौजा or village. The वाडा, as well as the कोंड, paid revenue formerly, not to the सरकार but to the मौजेखोत. 4 An enclosed space; a yard, a compound. 5 A pen or fold; as गुरांचा वाडा, गौळवाडा or गवळीवाडा, धन- गरवाडा. The pen is whether an uncovered enclosure in a field or a hovel sheltering both beasts.  वाडी   vāḍī f (वाटी S) An enclosed piece of meaand keepers. dow-field or garden-ground; an enclosure, a close, a paddock, a pingle. 2 A cluster of huts of agriculturists, a hamlet. Hence (as the villages of the Konkan̤ are mostly composed of distinct clusters of houses) a distinct portion of a straggling village. 3 A division of the suburban portion of a city.(Marathi)

Hieroglyph: pādú m. ʻ foot (?) ʼ RV. 10, 27, 24. [It is difficult to ascribe the persistent occurrence of u and v in the word for ʻ foot ʼ and many derivatives only to incorporation of a final -- u resulting from pādō nom. sg. of pāˊda -- . On the other hand pādú -- (cf. *padu -- ), though occurring only once in RV. prob. as ʻ foot ʼ and once in MānGr̥. as ʻ place ʼ, does give pāˊdukā -- ʻ shoe ʼ known to Pāṇini and pāduka -- ʻ little foot ʼ in Pali. Nevertheless it remains doubtful whether all or indeed any of the NIA. words listed below descend from pādú -- rather than pāˊda -- . <-> pád -- 2]Pa. pāduka -- ʻ little foot ʼ; Gy. arm. pav ʻ foot ʼ, pal. pau ʻ foot, leg ʼ; Dm., pâwá ʻ sole of foot ʼ; K. pāv m. ʻ foot (of centipede) ʼ, pôwu m. ʻ step in a staircase ʼ; L. pāvā m. ʻ foot of bedstead ʼ, awāṇ. pāvā ʻ foot of sheep, leg of bedstead ʼ; P. pāvā, pāvã̄, pāmā m. ʻ foot of bed ʼ; Ku. pau ʻ foot ʼ, N. pāu; A. pāw ʻ feet, legs ʼ; MB. pāwa ʻ foot ʼ, OAw. pāūṁ, dir. pl. pāvaṁ m., Bhoj. pã̄w; H. pāu, pã̄u m. ʻ foot, leg, footprint ʼ; OMarw. pāva, pāṁva m. ʻ foot ʼ; -- ext. with -- ḍ -- : P. pāuṛ, pauṛ, m. ʻ hoof ʼ; WPah.jaun. pāuṛ ʻ stone steps ʼ (~ paiṛ); H. pã̄uṛī f. ʻ fetters ʼ; G. pāvṛɔ m. ʻ iron step of a carriage, notch in a tree, pedal, leg ʼ, pāvṛũ n. ʻ step ʼ; -- with -- ll -- : G. pāvlũ n. ʻ foot ʼ.pāˊdukā -- ; *pāduvanta -- ; *vipādukā -- .Addenda: pādú -- : WPah.kṭg. pau m. ʻ foot, bedpost ʼ, J. pã̄w m.; with ext. OP. paüṛī f. ʻ step, rung ʼ, P. pauṛī; Ko. pāul ʻ footprint ʼ, pāvli ʻ 1/4 rupee ʼ, pāvṭi ʻ footstep ʼ -- also rather < pāˊda -- . (CDIAL 8075)

 Hieroglyph: *ḍambharūpa ʻ young animal ʼ. [ḍimbha -- 3, rūpá -- ]N. ḍambaru, ḍammaru ʻ tiger's cub (CDIAL 5533)   dām m. ʻ young ungelt ox ʼ: damya ʻ tameable ʼ, m. ʻ young bullock to be tamed ʼ Mn. [~ *dāmiya -- . -- √dam]Pa. damma -- ʻ to be tamed (esp. of a young bullock) ʼ; Pk. damma -- ʻ to be tamed ʼ; S. ḍ̠amu ʻ tamed ʼ; -- ext. -- ḍa -- : A. damrā ʻ young bull ʼ, dāmuri ʻ calf ʼ; B.dāmṛā ʻ castrated bullock ʼ; Or. dāmaṛī ʻ heifer ʼ, dāmaṛiā ʻ bullcalf, young castrated bullock ʼ, dāmuṛ, °ṛi ʻ young bullock ʼ.Addenda: damya -- : WPah.kṭg. dām m. ʻ young ungelt ox ʼ.(CDIAL 6184).

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

Gaṇeśa stone scullpture on rock-face at Unakoti Tripura District in the Kailashahar Subdivision in the North-eastern Indian state of Tripura. 6th cent CE

At The Edge of Mount Bromo Volcano Crater, Gaṇeśa Protecting Citizens In Indonesia. Unknown date.


Pancamukha Heramba Gaṇeśa. British Museum. KalingaDated:~12-13th century CE
Evokes metalwork involving five mineral ores, pancadhātu. pañcan पञ्चन् -लोहम् a metallic alloy containing five metals (i. e. copper, brass, tin, lead and iron). -लोहकम् the five metals i. e. gold, silver, copper, tin and lead. cf. பஞ்சகம்மாளர் pañca-kammāḷar , n. < pañcan +. The five castes of artisans, viz., taṭṭāṉ, kaṉṉāṉ, ciṟpaṉ, taccaṉ, kollaṉ; தட்டான், கன்னான், சிற்பன், தச்சன் கொல்லன் என்ற ஐவகைப் பட்ட கம்மாளர். (சங். அக.)

All Indus Script hypertexts with phaḍā 'serpent hood' signify metals manufactory public officers 

https://tinyurl.com/y7a26nhe

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

फडपूस (p. 313) phaḍapūsa f (फड & पुसणें) Public or open inquiry. फडफरमाश or स (p. 313) phaḍapharamāśa or sa f ( H & P) Fruit, vegetables &c. furnished on occasions to Rajas and public officers, on the authority of their order upon the villages; any petty article or trifling work exacted from the Ryots by Government or a public officer. 

फडनिविशी or सी (p. 313) phaḍaniviśī or sī & फडनिवीस Commonly फड- निशी & फडनीस. फडनीस (p. 313) phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस. 

फडकरी (p. 313) phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain). 

फडझडती (p. 313) phaḍajhaḍatī f sometimes फडझाडणी f A clearing off of public business (of any business comprehended under the word फड q. v.): also clearing examination of any फड or place of public business. 

फड (p. 313) phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nach house, गाण्याचा or ख्यालीखुशालीचा फड A singing shop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work, as a factory, manufactory, arsenal, dock-yard, printing-office &c. 4 A plantation or field (as of ऊस, वांग्या, मिरच्या, खरबुजे &c.): also a standing crop of such produce. 5 fig. Full and vigorous operation or proceeding, the going on with high animation and bustle (of business in general). v चाल, पड, घाल, मांड. 6 A company, a troop, a band or set (as of actors, showmen, dancers &c.) 7 The stand of a great gun. फड पडणें g. of s. To be in full and active operation. 2 To come under brisk discussion. फड मारणें- राखणें-संभाळणें To save appearances, फड मारणें or संपादणें To cut a dash; to make a display (upon an occasion). फडाच्या मापानें With full tale; in flowing measure. फडास येणें To come before the public; to come under general discussion. 

Cloth worn onGaṇeśa pratimā, Gardez, Afghanistan. Hieroglyph: படம்¹ paṭam , n. < paṭa. 1. Cloth for wear; சீலை. (பிங்.) மாப்பட நூலின் றொகுதிக் காண் டலின் (ஞானா. 14, 21). 2. Painted or printed cloth; சித்திரச்சீலை. (பிங்.) இப்படத்தெழுது ஞான வாவி (காசிக. கலாவ. 2). 3. Coat, jacket; சட்டை. படம்புக்கு (பெரும்பாண். 69). 4. Upper garment, cloak; போர்வை. வனப்பகட்டைப் பட மாக வுரித்தாய் (தேவா. 32, 7). 5. Body; உடல். படங்கொடு நின்றவிப் பல்லுயிர் (திருமந். 2768).

Hieroglyph: படம் paṭam, n. < pada. Instep; பாதத் தின் முற்பகுதி. படங்குந்திநிற்றல் (சூடா. 9, 53).

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

Instep venerated. Amaravati sculptural friezes. Skambha with ayo khambhaṛā 'fish-fin' rebus: ayo kammaṭa 'alloy metals mint, coiner, coinage'.
A truly fascinating paper by Dennys Frenez and Massimo Vidale on composite Indus creatures and their meaning: Harappa Chimaeras as 'Symbolic Hypertexts'. Some Thoughts on Plato, Chimaera and the Indus Civilization at a.harappa.com/... 

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

On this seal, the key is only 'combination of animals'. This is an example of metonymy of a special type called synecdoche. Synecdoche, wherein a specific part of something is used to refer to the whole, or the whole to a specific part, usually is understood as a specific kind of metonymy. Three animal heads are ligatured to the body of a 'bull'; the word associated with the animal is the intended message.
The ciphertext of this composite animal is to be decrypted by rendering the sounds associated with the animals in the combination: ox, young bull, antelope. The rebus readings are decrypted with metalwork categories: barad 'ox' rebus: bharat 'alloy of copper, pewter, tin'; kondh ‘young bull’ rebus: kũdār ‘turner, brass-worker, engraver (writer)’; ranku 'antelope' rebus: ranku 'tin'.      

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

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

Brief memoranda: kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’; kaṇḍo ‘stool, seat’ Rebus: kāṇḍa  ‘metalware’ kaṇḍa  ‘fire-altar’.

kāru 'crocodile' Rebus: kāru 'artisan'; khar 'blacksmith'

Hieroglyphs (allographs): 

kamaḍha 'penance' (Prakriam) 

kamḍa, khamḍa 'copulation' (Santali)

kamaṭha crab (Skt.)

kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.)  kamat.ha = fig leaf, religiosa (Sanskrit) kamaḍha = ficus religiosa (Sanskrit)

kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Sanskrit) 

Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)  kamaṭa = portable furnace for melting precious metals (Telugu); kampaṭṭam = mint (Tamil)

eraka 'upraised arm' rebus: eraka 'moltencast copper' arka 'gold'.

able ornée de serpents et de divinités aux eaux jaillissantes
XIVe siècle avant J.-C.
Suse, Tell de l'Acropole
Bronze
H. 19.5 cm; W. 15.7 cm; L. 69.5 cm
Fouilles J. de Morgan, 1898, 1898
Sb 185
Near Eastern Antiquities
Sully wing
Ground floor
Iran, Susiana (Middle Elamite period)
Room 10
Author(s):Herbin Nancie
This table, edged with serpents and resting on deities carrying vessels spouting streams of water, was doubtless originally a sacrificial altar. The holes meant the blood would drain away as water flowed from the vessels. Water was an important theme in Mesopotamian mythology, represented particularly by the god Enki and his acolytes. This table also displays the remarkable skills of Elamite metalworkers.
A sacrificial table
The table, edged with two serpents, rested on three sides on five figures that were probably female deities. Only the busts and arms of the figures survive. The fourth side of the table had an extension, which must have been used to slot the table into a wall. The five busts are realistic in style. Each of the deities was holding an object, since lost, which was probably a water vessel, cast separately and attached by a tenon joint. Water played a major role in such ceremonies and probably gushed forth from the vessels. Along the sides of the table are sloping surfaces leading down to holes, allowing liquid to drain away. This suggests that the table was used for ritual sacrifices to appease a god. It was believed that men were created by the gods and were responsible for keeping their temples stocked and providing them with food. The sinuous lines of the two serpents along the edge of the table mark off holes where the blood of the animals, sacrificed to assuage the hunger of the gods, would have drained away.
The importance of water in Mesopotamian mythology
In Mesopotamia, spirits bearing vessels spouting streams of water were the acolytes of Enki/Ea, the god of the Abyss and of fresh water. The fact that they figure in this work reflects the extent of the influence of Mesopotamian mythology in Susa. Here, they are associated with another Chtonian symbol, the snake, often found in Iranian iconography. The sinuous lines of the serpents resemble the winding course of a stream. It is thought that temples imitated the way streams well up from underground springs by the clever use of underground channels. Water - the precious liquid - was at the heart of Mesopotamian religious practice, being poured out in libations or used in purification rites.
Objects made for a new religious capital
Under Untash-Napirisha, the founder of the Igihalkid Dynasty, the Elamite kingdom flourished. He founded a new religious capital, Al-Untash - modern-day Chogha Zanbil - some 40 kilometers southeast of Susa. However, the project was short-lived. His successors soon brought large numbers of religious objects back to Susa, the former capital. This table was certainly among them. Its large size and clever drainage system reflect the remarkable achievements of metalworking at the time.
Bibliography
Amiet Pierre, Suse 6000 ans d'histoire, Paris, Éditions de la Réunion des musées nationaux, 1988, pp.98-99 ; fig. 57.
Miroschedji Pierre de, "Le dieu élamite au serpent", in : Iranica antiqua, vol.16, 1981, Gand, Ministère de l'Éducation et de la Culture, 1989, pp.16-17, pl. 10, fig.3.
http://www.louvre.fr/en/oeuvre-notices/table-decorated-serpents-and-deities-bearing-vessels-spouting-streams-water

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

Hieroglyph: kāṇḍə ‘water’ Wg. káṇṭä ʻ water -- channel ʼ, Woṭ. kaṇṭḗl f., Gaw. khāṇṭ*l, Bshk. kāṇḍə (CDIAL 2680). காண்டம்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16)

khaṇḍa ‘implements (metal)’

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

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

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

Rebus readings of glyphs on text of inscription:

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

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

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

dula ‘pair’; rebus dul ‘cast (metal)’

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

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

Jasper Akkadian cylinder seal

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

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

koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse'

If the hieroglyph on the leftmost is moon, a possible rebus reading: قمر ḳamar

A قمر ḳamar, s.m. (9th) The moon. Sing. and Pl. See سپوږمي or سپوګمي (Pashto) Rebus: kamar 'blacksmith'.

kulā hooded snake Rebus: kolle 'blacksmith' kolhe 'smelters'

koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse'

kamar 'moon' Rebus: kamar 'blacksmith'

arka 'sun' Rebus: arka, eraka 'copper, gold, moltencast, metal infusion'

lokANDa 'overflowing pot' Rebus: lokhaNDa 'metal implements, excellent 

implements'

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

baTa 'six' Rebus: bhaTa 'furnace' PLUS meDh 'curl' Rebus: meD 'iron'

m0492Ct 2835 Pict-99: Person throwing a spear at a bison and placing one foot on the head of the bison; a hooded serpent at left.

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

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

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

nAga 'serpent' Rebus: nAga 'lead'

Hieroglyph: rã̄go ʻ buffalo bull ʼ 

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

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

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

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

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

C-49 a,b,c

+ hieroglyph in the middle with covering lines around/dots in corners poLa 'zebu' rebus: poLa 'magnetite'; dhAv 'strand' rebus: dhAv 'smelter'; kulA 'hooded snake' rebus: kolle 'blacksmith' kol 'working in iron' kolhe 'smelter'; kolmo 'three' koD 'horn' rebus: kolimi 'smithy' koD 'workshop'. tri-dhAtu 'three strands, threefold' rebus: tri-dhAv 'three mineral ores'.

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

Cylinder seal with a zebu, scorpion, man, snake and tree. Enstatite.H. 2.6 cm (1 in.); diam. 1.55 cm (5/8 in.). Mesopotamia, Ur, U. 16220. Late 3rd millennium BCE. British Museum. BM 122947

Gadd seal 6. (cut down into Ur III mausolea from Larsa level; U. 16220), enstatite; Legrain, 1951, No. 632; Collon, 1987, Fig. 611 Cylinder seal; BM 122947;humped bull stands before a palm-tree, a thorny stone(?), tabernae montana (five-petalled fragrant flower); snake; person with long legs; behind the bull a scorpion ... Deciphered Indus writing: pola 'zebu, bos indicus'; pola ‘magnetite ore’ (Munda. Asuri); bichi 'scorpion'; 'hematite ore'; tagaraka 'tabernae montana'; tagara 'tin'; ranga 'thorny'; Rebus: pewter, alloy of tin and antimony;  kankar., kankur. = very tall and thin, large hands and feet; kankar dare = a high tree with few branches (Santali) Rebus: kanka, kanaka = gold (Samskritam); kan = copper (Tamil) nAga 'snake' nAga 'lead' (Samskritam).

Jiroft artifacts with Meluhha hieroglhyphs referencing dhokra kamar working with metals.

Dark grey steatite bowl carved in relief. Zebu or brahmani bull is shown with its hump back; a male figure with long hair and wearing akilt grasps two sinuous objects, representing running water, which flows in a continuous stream. Around the bowl, another similar male figure stands between two lionesses with their head turned back towards him; he grasps a serpent in each hand. A further scene (not shown) represents a prostrate bull which is being attacked by a vulture and a lion. 

The zebu is reminiscent of Sarasvati Sindhu seals. The stone used, steatite, is familiar in Baluchistan and a number of vessels at the Royal Cemetery at Ur were made out of this material. 

The bowl dates from c. 2700-2500 B.C. and the motif shown on it resembles that on a fragment of a green stone vase from one of the Sin Temples at Tell Asmar of almost the same date. 

Khafajeh bowl; a man sitting, with his legs bent underneath, upon two zebu bulls. This evokes the proto-Elamite bull-man; the man holds in his hands streams of water and issurrounded by ears of corn. He has a crescent beside his head. On the other side of the bowl, a man is standing upon two lionesses and grasping two serpents.

Figure 11: a. mountains landscape and waers; (upper part) a man under an arch with sun and crescent moon symbols; (lower part) man seated on his heels holding zebus; b. man holding a snake; c. two men (drinking) and zebus, on a small cylindrical vessel; d. Head of woman protruding from  jar, and snakes; 3. man falling from a tree to the trunk of which a zebu is tied; f. man with clas and bull-man playing with cheetahs, and a scorpion in the center (on a cylindrical vessel). http://www.iranicaonline.org/articles/jiroft-iv-iconography-of-chlorite-artifacts.

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

bica 'scorpion' rebus; bicha 'haematite, ferrite ore'

पोळा [ pōḷā ] rebus: पोळा [ pōḷā ] 'magnetite, Fe3O4' 

Hieroglyph: kāṇḍə ‘water’ Wg. káṇṭä ʻ water -- channel ʼ, Woṭ. kaṇṭḗl f., Gaw. khāṇṭ*l, Bshk. kāṇḍə (CDIAL 2680). காண்டம்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16)

khaṇḍa ‘implements (metal)’

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

Bhāratīya itihāsa, Indus Script hypertexts signify metalwork wealth-creation by Nāga-s in paṭṭaḍa ‘smithy’ 

https://tinyurl.com/ya6lsf5a

-- Location: capital Dhānyakaṭaka Amarāvati, the place of immortals

Early Satavahanas (220 B. C. E. to Second half of first century B. C. E.)

Thesis of this monograph is that Nāga-s signified by the Indus Script hieroglyph-hypertext फड, phaḍa 'cobra hood' were artisans in-charge of manufactories to produce wealth of the nation in paṭṭaḍa ‘smithy’ of the Bronze Age. 

फडनिविशी or सी (p. 313) phaḍaniviśī or sī & फडनिवीस Commonly फड- निशी & फडनीस. फडनिशी or सी (p. 313) phaḍaniśī or sī f The office or business of फडनीस. फडनीस (p. 313) phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस. फडपूस (p. 313) phaḍapūsa f (फड & पुसणें) Public or open inquiry. 

[quote] As province after province fell out of the empire of Ashoka and formed itself into a separate kingdom under some chief, a branch of the Satiyaputras who are mentioned in the Edicts of Ashoka took advantage of this opportunity and founded a kingdom in what was known as Maharashtra [Bakhle, 45.]. In the light of the information supplied by the Hathigumpha inscription of Kharevela and that at Nane Ghat, we get 220 B. C. E. as the approximate year in which Simuka founded the dynasty of the Satavahanas [Bakhle, 48; Sir R. Bhandarkar and D. R. Bhandarkar, however, advocate 75 B. C. E. as the date of the rise of their dynasty.]. The independent State of Satiputra army was situated along the western ghats and the konkan coast below [Sir R. Bhandarkar c/f Bakhle, 51.]. Their territory extended from sea to sea [Chitgupi, 28.].

Satakarni was probably contemporary with Pushyamitra and the performance of the Ashvamedha sacrifice recorded in the Nane Ghat inscription can be explained by supposing that he was the actual conqueror of Ujjain [Bakhle, 53.]. The sacrifices and fees paid to the Brahmans testify eloquently to the wealth of his realm and his Ashvamedha sacrifice bespeaks his sarvabhaumatva. But after Kuntala, the Satavahanas were forced to take refuge in Southern Maharashtra.

In this work of conquests, the Satavahanas were helped by the Rathikas and Bhojas who were duly rewarded with offices, titles and matrimonial alliances [Nilkanta Sastri, History of South India, 88.] [unquote]

http://ratnagiri.nic.in/gazetter/gom/his_satavahanas.html

http://dsal.uchicago.edu/reference/schwartzberg/fullscreen.html?object=057

The sculptural friezes of Amaravati are replete with a recurrent theme of adoration of 

Nāga-s.

Nāga-s worshipped the Atharva Veda fiery pillar of light (AV X.7), worshipped in kole.l 'smithy,forge' calling it kole.l 'temple. Nāga-s venerated Dhamma as exemplified by Indus Script hypertexts. 

See: Dream of Mahā Māyā and itihāsa of Amaravati, Sanchi, Bharhut lohapasada, celestial palaces of divinities, Great Thupa-s  https://tinyurl.com/y8k6egn8

Bronze Age metalwork to create the wealth of the nation

Sculptural Frieze 1, Amaravati

Sculptural Frieze 2, Amaravati

The two sculptural friezes 1 and 2 show artisans carrying a threaded-rope and the entire scene emerges out of the snout of a makara. On frieze 1, the purnakumbha signifying wealth is kept on top of a base signified by the 'srivatsa' hypertext which reads: khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage' PLUS dula 'pair' rebus: dul 'metalcasting' PLUS aya 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, the hypertext message is: dul aya kammaṭa 'cast metal mint'. The threaded-rope is a hypertext which signifies: 1. dāmanī दामनी A foot-rope. dāmā दामा A string, cord. धामन् dhāman A fetter. dāˊman1 ʻropeʼ 

R̥gveda rebus: dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ). 2. mēḍhā 'twist' rebus med 'iron' med 'copper' (Slavic)  mēḍhā 'yajña, dhanam, nidhi'. makara 'composite animal of crocodile PLUS elephant': karabha,ibha 'elephant' rebus: karba, ib 'iron' PLUS karā 'crocodile' rebus: khār 'blacksmith'.PLUS dhmakara, dhamaka 'forge-blower, blacksmith'. 

The message of the two friezes is thus an itihāsa narrative of wealth-production by metal smelters and artisans of Amaravati and related heritage sites during the Bronze Age.

कटक [p= 243,3] m. (Comm. on Un2. ii , 32 and v , 35) a twist of straw , a straw mat Comm. on Ka1tyS3r.

कटक is also the name of the capital of Orissa. The two friezes affirm the name of Amaravati as Dhānyakaṭaka by showing artisans carrying a threaded rope of straw the source of dhanam, wealth and hence, the name Dhānyakaṭaka, 'wealth from the twist of straw' which is a metaphor for dul aya kammaṭa, 'cast metal mint' work producing wealth.

Nāga-s were a फड, phaḍa, metalwork artisan-architect guild. That they were a फड, phaḍa is signified by the Indus Script hypertext:फड, phaḍa 'hood of cobra' rebus: फड, phaḍa 'guild in charge of manufactory 

(a plant where something is manufactured),arsenal (collection of weapons and military equipment)'. That Nāga-s were working in a metal casting mint is signified by the hypertext of 'Śrivatsa' and other Indus Script hieroglyphs. This identification of the manufactory of Dhānyakaṭaka, the capital city of the region, is elaborated in this monograph, in the context of Bhāratīya Itihāsa of Nāga-s.

.

                     

The hypertexts are:

ayo kammaṭa dvāra, 'entrance mint workshop'  

paṭṭaḍi 'metal anvil workshop'.

Hieroglyph: फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c  स्फट [p= 1269,3] m. a snake's expanded hood L. phaṭa n. ʻ expanded hood of snake ʼ MBh. 2. *phēṭṭa -- 2. [Cf. phuṭa -- m., °ṭā -- f., sphuṭa -- m. lex., °ṭā -- f. Pañcat. (Pk. phuḍā -- f.), sphaṭa -- m., °ṭā -- f., sphōṭā -- f. lex. andphaṇa -- 1. Conn. words in Drav. T. Burrow BSOAS xii 386] 1. Pk. phaḍa -- m.n. ʻ snake's hood ʼ, °ḍā -- f., M. phaḍā m., °ḍī f. 2. A. pheṭ, phẽṭ. (CDIAL 9040) పటము (p. 695) paṭamu paṭamu. [Skt.] n. A cloth, వస్త్రము. A picture. గెరిపటము a paper kite, పతంగి.  The hood of a serpent, (See hoods of cobra adorning the worshipping naga-s). 

Ta. patam cobra'shood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45. (DEDR 47)

Rebus: Factory, guild: फड (p. 313) phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nachhouse, गाण्याचा or ख्यालीखुशालीचा फड A singingshop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work,--as a factory, manufactory, arsenal, dock-yard, printing-office &c. फडकरी (p. 313) phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain).  फडनीस (p. 313) phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस.(Marathi) பட்டரை¹ paṭṭarai , n. See பட்டறை¹. (C. G. 95.) பட்டறை¹ paṭṭaṟai , n. < பட்டடை¹. 1. See பட்டடை, 1, 3, 5, 7, 8, 12, 14. 2. Machine; யந்திரம். 3. Rice-hulling machine; நெல்லுக் குத்தும் யந்திரம். Mod. 4. Factory; தொழிற்சாலை. Mod. 5. Beam of a house; வீட்டின் உத்திரம். 6. Wall of the required height from the flooring of a house; வீட்டின் தளத்திலிருந்து எழுப்ப வேண்டும் அளவில் எழுப்பிய சுவர். வீடுகளுக்குப் பட்டறை மட்டம் ஒன்பதடி உயரத்துக்குக் குறை யாமல் (சர்வா. சிற். 48). பட்டறை² paṭṭaṟai , n. < K. paṭṭale. 1. Community; சனக்கூட்டம். 2. Guild, as of workmen; தொழிலாளர் சமுதாயம். (Tamil)

పట్టడ (p. 696) paṭṭaḍa paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు. 

పటసాల (p. 695) paṭasāla paṭa-sāla. [Tel.] n. A hall or courtyard. பட்டகசாலை paṭṭaka-cālai , n. < T. paṭa- šāla. [K. paṭṭasāle.] 1. Central or principal hall in a house; கூடம். Loc.

See: 

Indus Script hypertexts ayo kammaṭa dvāra, 'entrance mint workshop' (Mahāvamsa); paṭṭaḍi 'metal anvil workshop' 

https://tinyurl.com/y94jt7ah

Cholas & Nāga-s. Nāga-s created the Dhānyakaṭaka, Amarāvati monument, the place for immortals                                       

"Historically, relations between the early Chola dynasty and the Naga dynastyof Tamilakam became well established. Royals by the name Chora-Naga, Ila Naga, Cula Naga and Kunjja Naga ruled the island of Eelam (Ceylon) between 62 BCE - 196 CE. During this period, Tondai Nadu, the homeland of the Pallavas was inhabited by the Kurumbar or Aruvar/Aruvalar people (Tamil: Aruval = people with bill-hook/ Telugu name for Tamil people), one of several Tamil Naga tribes that the Kaliththokai describes as having migrated to mainland Tamilakam during the Sangam period. Ptolemy mentions the coasts of the Cholas (Soringoi) of Chola Nadu and the Aruvar (Arouarnoi) of Aruva Nadu, writing that "Orthoura" was a royal city of Soretai ruled by Sornagos, and Malanga ruled by Basaranagos of the latter. Historians have conjectured that Orthoura refers to the early Chola capital of Uraiyur while Malanga refers to Mavilanka, near Kanchipuram. "Orthoura" may refer to the northeastern Jaffna Tamil port town Uduthurai, where an early copper coin discovered carries the name Naka bumi in Tamil Brahmi, referring to the Naka Dynasty of Naka Nadu. Manimekhalai of the Sangam literature corpus describes the liaison of Princess Pilli Valai of Nāka Nadu with King Killivalavan of Chola Nadu at Nainativu; out of which union was born Prince Tondai Ilandiraiyan(Thiraiyar/sea farer of Eelam), corroborating tradition that the Pallavas were an off-shoot or branch of the Cholas and that their formation began from an ancient Chola-Nāka alliance. The Velurpalaiyam plates, dated to 852 CE credits the Naga liaison episode, and creation of the Pallava line, to a king named Virakurcha, son of Chutapallava, while preserving its legitimizing significance:^[Michael D Rabe. (1997). The Māmallapuram Praśasti: A Panegyric in Figures, Artibus Asiae, Vol. 57, No. 3/4 (1997), pp. 189-241.^]

..from him (Aśvatthāman) in order (came) Pallava, the lord of the whole earth, whose fame was bewildering. Thence, came into existence the race of Pallavas... [including the son of Chūtapallava] Vīrakūrcha, of celebrated name, who simultaneously with (the hand of) the daughter of the chief of serpents grasped also the complete insignia of royalty and became famous.

The earliest Tamil literature which throws light on a region associated with the Pallavas is the Akananuru, which locates the elder Tiriyan in Gudur, Nellore district, with a kingdom extending to Tirupati or Thiruvengadam. This Tiriayan is called the elder in order to distinguish him from the younger Tiraiyan whose capital was Kanchipuram.Perumpāṇāṟṟuppaṭai 29-30, 454] The Sangam work, Perumbanarruppatai, traces the line of the younger Tiriyan (aka Ilam Tiriyan) to the Solar dynasty of Ikshvakus, while the later Tamil commentators identify him as the illegitimate child of a Chola king and a Naga princess.[KR Subramanian. (1989). Buddhist remains in Āndhra and the history of Āndhra between 224 & 610 A.D, p.72].

Historically, early relations between the Nagas and Pallavas became well established.[KR Subramanian. (1989). Buddhist remains in Āndhra and the history of Āndhra between 224 & 610 A.D, p.71]."

http://dictionnaire.sensagent.leparisien.fr/Pallava_dynasty/en-en/

Amaravati Drum Slabs: Nagas

Although the pictures below show only a portion of each drawing, they lead into pop-up images of entire drawings. Detailed scans of each folio can be accessed through the links, but will take some time to download.

The central decoration of these drum slabs is a multi-headed serpent.

Drawing of a drum slab measuring 4ft.8in. by 2ft.8in.[WD1061, folio 18]
Copyright © The British Library Board

Inscribed: H.H. September 1816.
Location of Sculpture: Unknown.
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Drawing of a drum slab measuring 4ft.5in. by 3ft.0.9in. [WD1061, folio 20]
Copyright © The British Library Board

Inscribed:Tope slab. 25th Sept'r 1816. M.BLocation of Sculpture: Unknown.
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Drawing of a drum slab measuring 5ft.5in. by 2ft.9in. [WD1061, folio 23].
Copyright © The British Library Board

Inscribed:H.H. 15th October 1816.
Location of Sculpture: Unknown.
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Drawing of a drum slab measuring 4ft.6in. by 3ft.2in. [WD1061, folio 32]
Copyright © The British Library Board

Inscribed: Inner Circle S.W. No.7. 27th October 1816.
Location of Sculpture: Unknown.
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Drawing of a drum slab measuring 4ft.9in. by 3ft. [WD1061, folio 35]
Copyright © The British Library BoardInscribed: Inner circle S.W. side. No.8. 15th Nov'r. 1816. T.A. & M.B.
Location of Sculpture: Unknown.
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Drawing of a drum slab measuring 4.5ft. by 3ft. [WD1061, folio 46]
Copyright © The British Library Board

Inscribed: Sculpture at Amrawutty. Resembles No. 7. March 5th 1816.
Location of Sculpture: The British Museum. See Knox (1992) catalogue number 74; Barrett (1954) catalogue number 93; BM81.
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Drawing of a rectangular slab with two scenes showing four standing figures with a horse above and Naga king with four Naga women below. [WD1061, folio 31]
Copyright © The British Library Board

Inscribed: 6ft. by 3ft.l0in. Loose stone lying on the south side. H.H. 25th October 1816.
Location of Sculpture: The British Museum. Knox (1992) catalogue number 102; Barrett (1954) catalogue number 72; BM53.
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http://www.bl.uk/onlinegallery/features/amaravati/twoframe.html

These two sculptural friezes demonstrate the venerate of Skambha of Atharva Veda 

Spoked-wheel of Dharma. Amaravati. Around the circumference, the embellishments are 'srivatsa' hieroglyphs which signify, āra ayo kammaṭa 'brass metal mint'.

Hieroglyphs of 'Śrivatsa' hypertext: fish-fin, tied together, spathe, lotus

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

śrivatsa symbol [with its hundreds of stylized variants, depicted on Pl. 29 to 32] occurs in Bogazkoi (Central Anatolia) dated ca. 6th to 14th cent. BCE on inscriptions Pl. 33, Nandipāda-Triratna at: Bhimbetka, Sanchi, Sarnath and Mathura] Pl. 27, Svastika symbol: distribution in cultural periods] The association of śrivatsa with ‘fish’ is reinforced by the symbols binding fish in Jaina āyāgapaṭas (snake-hood?) of Mathura (late 1st cent. BCE).  śrivatsa  symbol seems to have evolved from a stylied glyph showing ‘two fishes’. In the Sanchi stupa, the fish-tails of two fishes are combined to flank the ‘śrivatsa’ glyph. In a Jaina āyāgapaṭa, a fish is ligatured within the śrivatsa  glyph,  emphasizing the association of the ‘fish’ glyph with śrivatsa glyph.

(After Plates in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi, Agama Kala Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77). 

Bharhut gateway, Gateway model in ivory of Begram, Sanchi gateway (all three adorned with 

ayo kammaṭa )

Stupa-1 North Torana, East pillar showing Triratna motif. Sanchi, Dist Raisen, Madhya Pradesh India

Sailendra Nath Sen derives the name Satavahana from name from the Munda words Sadam ("horse") and Harpan ("son"), implying "son of the performer of a horse sacrifice".(Sailendra Nath Sen (1999). Ancient Indian History and Civilization,. New Age International,pp.172-176) "An inscription found at Naneghat was issued by Nayanika (or Naganika), the widow of Satakarni I; another inscription found at Naneghat has been dated to the same period on paleographic basis. A slightly later inscription dated to the reign of Satakarni II has been found at Sanchi in Madhya Pradesh, located to the north of Maharashtra." Satakarni  is a name derived from Munda sada 'horse' and kon 'son'. "A stupa in Kanaganahalli village of Karnataka, dated between first century BCE and first century CE, features limestone panels depicting portraits of Chimuka (Simuka), Satakani (Satakarni) and other Satavahana rulers."(Akira Shimada (9 November 2012). Early Buddhist Architecture in Context. BRILL., p.45). 

Coin-based evidence suggests that Simuka's reign ended sometime before 120 BCE.

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

ayo khambhaṛā 'fish-fin' rebus: ayo kammaṭa 'alloy metals mint, coiner, coinage'.

Nahal Mishmar evidence of hieroglyphs and link with writing system of Indus Script, dated to ca 3300 BCE

September 5, 2019, 7:46 pm

≫ Next: Science journalists report on DNA Rakhigarhi research study in Cell journal. Read on to understand the relevance of Indus Script decipherment...

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https://tinyurl.com/y668xvzw

5 AUGUST, 2019 - 18:40 ED WHELAN

Earliest Writing System May Have Been Developed by Ancient Metalworkers 6,000 Years Ago

An Israeli academic has claimed to have found the earliest writing in the world. He claims that a proto-writing system was developed by ancient metalworkers over 6,000 years ago in the southern Levant. They belonged to the mysterious but very important Ghassulian culture.

Nissim Amzallag, who works at the Ben Gurion University and is an expert on the culture and origins of metalworking in the ancient world made the claim. He developed the theory after examining the famous hoard from Nahal Mishmar one of the most important archaeological discoveries from the Chalcolithic era, also known as the Copper Age. The Nahal Mishmar hoard was found in a cave in 1961 and is 6,300 years old.

The cache included hundreds of mace heads, scepters, and strange objects that are crown shaped. In total, some 421 objects were found. It is believed that they were secreted in the cave by priests from a nearby shrine, possibly during a time of danger, and they were never recovered.

Photo of discovery of Nahal Mishmar hoard in 1961. (Chamberi / CC BY-SA 3.0 )

The Ghassulian Culture

The bronze objects were probably made by members of the Ghassulian culture. This was a very influential and sophisticated Copper Age culture in the ancient Levant who had trading links with Anatolia and the Caucasus. They developed a complex society and they had a high level of “craft specialization” and were experts at metalworking, according to the Journal of Eastern Mediterranean Archaeology and Heritage Studies .

Amzallag, studied the objects, figures such as horned animals, geometric patterns and motifs, and concluded that they were symbolic. This is something shared by other experts who believe that the artifacts had some ceremonial or religious meaning. However, according to Haaretz he also argues that the “representations form a rudimentary three-dimensional code, in which each image symbolizes a word or phrase and communicates a certain concept”.

Discovered at Nahal Mishmar dozens of scepters and other objects made of copper. Do these represent an early writing system? (Nick Thompson / CC BY-SA 2.0 )

Early Writing System

The academics believe that the “Nahal Mishmar hoard should be seen as a precursor to the early writing systems that would emerge centuries later in Egypt and Mesopotamia” reports Haaretz. He believes the symbols were part of a secret code used by Ghassulian smiths. These metalworkers were very sophisticated for the time and had contacts with other cultures.

Amzallag analyzed several key pieces in particular and claims to have deciphered their symbols. These signifiers represented physical objects and are known as ‘ logograms’ and were the basis of later writing systems. In order to communicate complex ideas, the so-called rebus-principle was used by the Ghassulians. According to Haaretz, this principle used “a character, or phonogram, whose corresponding word sounds very similar to the complex idea that the writer is trying to communicate”.

Cooper items discovered at Nahal Mishmar. Researcher claims to have deciphered their symbols. (Matanya / CC BY-SA 3.0 )

The researchers believe that the many representations of horned animals are of ibex. Haaretz reports that the “West Semitic word used for young ungulates does sound very similar to the designation of ‘dust’ and ‘ore’”. This means that the representation of the horned animal was possibly related to how alloys were used and made. Amzallag also believes that there is a connection between birds and the early Semitic word for metalworking.

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The symbol of the horned ibex was possibly related to how alloys were used and made. (Teacoolish / CC BY-SA 3.0 )

A Secret Code Used by Metalworkers

The reason for the development of this script was based on the needs of the metalworkers. All of the symbols signify some aspect of working with copper and bronze. The smith's craft was one that was considered almost magical and their skills would have been closely guarded.

They probably developed the script so that they could share their secrets and instruct other smiths, without divulging them to the general population and to other groups. The writing was a secret code that was known only to the Ghassulian smiths and metalworkers.

However, there has been considerable pushback against this theory. Firstly, it is not known if the Ghassulians, spoke a Semitic language and secondly it is notoriously difficult to interpret ancient symbols and iconography. Then there is the argument that the symbols are only decorative.

It is generally agreed that the first systematic writing systems were developed in Egypt and Mesopotamia around 3,200 BC. However, the academic believes that the Ghassulians helped to develop the ‘rebus principle’ and this was a critical contribution to writing and its development. If the interpretation of the bronze objects is correct the Ghassulian may have developed an important proto-writing system that played a crucial part in the development of literacy in the ancient Near East.

Top image: Bronze scepter from the Nahal Mishmar. Source: Poliocretes / CC BY-SA 3.0 .

By Ed Whelan

https://www.ancient-origins.net/news-history-archaeology/writing-system-0012398

https://www.youtube.com/watch?v=QSm1VuPlndI (0:57)

6000 year old Copper-Bronze tools from Nahal Mishmar Judean Desert Israel

Ancient Near East Indus Script bull-man dhangra 'bull' with ḍã̄g 'mace' is ḍāṅro, ṭhākur ʻblacksmithʼ. 240 Nahal Mishmar maceheads signify guild of blacksmiths 

Mirror: http://tinyurl.com/huogrgr

Out of 442 artifacts discovered in Nahal Mishmar, 240 are maceheads. These should signify the major preoccupation of the people who left the artifacts in Nahal Mishmar. This is suggested because, a mace held in a person's hand on ancient sculptural friezes signifies his or her profession -- smithy. 

I posit that the maceheads are a signature tune of a guild of blacksmiths of the Bronze Age, giving meaning to the phrase: harosheth hagoyim 'smithy of nations'. (Book of Judges 5:10).

In RV 3.53.12, Rishi Visvamitra states that this mantra (brahma) shall protect the people: visvamitrasya rakshati brahmedam Bhāratam Janam. 

Translation: 3.053.12 I have made Indra glorified by these two, heaven and earth, and this prayer of Vis'va_mitra protects the people (janam) of Bharata. [Made Indra glorified: indram atus.t.avam-- the verb is the third preterite of the casual, I have caused to be praised; it may mean: I praise Indra, abiding between heaven and earth, i.e. in the firmament]. 

See: http://bharatkalyan97.blogspot.in/2015/11/tracing-roots-of-bharatam-janam-from.html Rishi  http://bharatkalyan97.blogspot.in/2015/08/bharatam-janam-of-rigveda-rv-353-mean.html

The word Bharata in the expression of identification by Visvamitra is derived from the metalwork lexis of Prakritam: ‘bhārata ‘a factitious alloy of copper, pewter, tin’; baran, bharat ‘mixed alloys (5 copper, 4 zinc and 1 tin)’. Thus, the expression Bhāratam Janam can be described semantically as ‘metalcaster folk’, thus firmly establishing the identity of the people of India, that is Bharat and the spoken form of their language ca. 3500 BCE.

This monograph tests the hypothesis to demonstrate that a person holding a mace in ancient Bronze Age signifies a blacksmith, a metalworker.

British Museum number103225 Baked clay plaque showing a bull-man holding a post. 

Old Babylonian 2000BC-1600BCE Length: 12.8 centimetres Width: 7 centimetres Barcelona 2002 cat.181, p.212 BM Return 1911 p. 66 

On this terracotta plaque, the mace is a phonetic determinant of the bovine (bull) ligatured to the body of the person holding the mace. The person signified is: dhangar ‘blacksmith’ (Maithili) ḍhangra ‘bull’. Rebus: ḍhangar ‘blacksmith’.
Mth. ṭhākur ʻ blacksmith ʼ (CDIAL 5488) N. ḍāṅro ʻ term of contempt for a blacksmith ʼ "... head and torso of a human but the horns, lower body and legs of a bull...Baked clay plaques like this were mass-produced using moulds in southern Mesopotamia from the second millennium BCE. British Museum. WCO2652. Bull-manTerracotta plaque. Bull-man holding a post. Mesopotamia, ca. 2000-1600 BCE." 

Terracotta. This plaque depicts a creature with the head and torso of a human but the horns, lower body and legs of a bull. Though similar figures are depicted earlier in Iran, they are first seen in Mesopotamian art around 2500 BC, most commonly on cylinder seals, and are associated with the sun-god Shamash. The bull-man was usually shown in profile, with a single visible horn projecting forward. However, here he is depicted in a less common form; his whole body above the waist, shown in frontal view, shows that he was intended to be double-horned. He may be supporting a divine emblem and thus acting as a protective deity.

Old Babylonian, about 2000-1600 BCE From Mesopotamia Length: 12.8 cm Width: 7cm ME 103225 Room 56: Mesopotamia Briish Museum

Baked clay plaques like this were mass-produced using moulds in southern Mesopotamia from the second millennium BCE. While many show informal scenes and reflect the private face of life, this example clearly has magical or religious significance.

Hieroglyph carried on a flagpost by the blacksmith (bull ligatured man: Dhangar 'bull' Rebus: blacksmith')

Ashurnasirpal II succeeded his father, Tukulti-Ninurta II, in 883 BCE carries a mace/
Shalmaneser III (859–824 BCE), son of Ashurbanipal II carries a mace
British Museum. Stele of Ashurnasirpal II. Neo-Assyrian, 883-859 BCE

Assyrian reliefs show persons with maces. Remarks about Some Assyrian Reliefs E. Porada Anatolian Studies

Vol. 33, Special Number in Honour of the Seventy-Fifth Birthday of Dr. Richard Barnett (1983), pp. 15-18

Unprovenienced. Person with a mace.
Bactria Margiana. Bronze macehead with snake hieroglyph

Bronze knobbed mace - Balkan Peninsula, Macedonia. Near East Bronze age: 3,300 - 1,200 BC. 4 cm tall x 6.5 cm wide.

laster cast of a Neo-Hittite relief; soldier or guardsman walking right with mace, long sword and spear; painted black in imitation of original basalt; mounted in wooden frame. Culture/period: Neo-Hittite - 10thC BCE

British Museum. 

An Assyrian soldier waving a mace escorts four prisoners, who carry their possessions in sacks over their shoulders. Their clothes and their turbans, rising to a slight point which flops backwards, are typical of the area; people from the Biblical kingdom of Israel, shown on other sculptures, wear the same dress, gypsum wall panel relief, South West Palace, Nimrud, Kalhu Iraq, neo-assyrian, 730BC-727BCE

 upper part of the stele of Hammurabi's code of laws. Does he carry a mace?

tela of Adad-Nirari III carries a mace (809-782 BCE) Tell El-Rimah

Maceheads. Votive?

Anzu depicted on a stone macehead from the mid-third millennium BCE

Mace Ti kulti Ninurta Louvre AO 2152.

The person accompanying Tukulti Ninurta I who kneels in front of the fire-altar carries a mace. The entire frame is flanked by two safflowers.

In the orthographic tradition of Ancient Near East, a professional is signified by the hieroglyph he or she carries. Thus, a coppersmith, seafaring merchant carries a goat proclaiming that he works with mlekh 'goat' rebus: milakkhu 'copper' (See cylinder seal with cuneiform Akkadian of Shu-ilishu)
Shu-ilishu cylinder seal of eme-bal, interpreter. Akkadian. Cylinder seal Impression. Inscription records that it belongs to ‘S’u-ilis’u, Meluhha interpreter’, i.e., translator of the Meluhhan language (EME.BAL.ME.LUH.HA.KI) The Meluhhan being introduced carries an goat on his arm. Musee du Louvre. Ao 22 310, Collection De Clercq 3^rd millennium BCE. The Meluhhan is accompanied by a lady carrying a kamaṇḍalu. The goat on the trader's hand is a phonetic determinant -- that he is Meluhha. This is decrypted based on the word for the goat: mlekh 'goat' (Brahui); mr..eka 'goat' (Telugu) Rebus: mleccha'copper' (Samskritam); milakkhu 'copper' (Pali) Thus the sea-faring merchant carrying the goat is a copper (and tin) trader from Meluhha. The jar carried by the accompanying person is a liquid measure:ranku 'liquid measure' Rebus: ranku 'tin'. A hieroglyph used to denote ranku may be seen on the two pure tin ingots found in a shipwreck in Haifa. That Pali uses the term ‘milakkhu’ is significant (cf. Uttarādhyayana Sūtra 10.16) and reinforces the concordance between ‘mleccha’ and ‘milakkhu’ (a pronunciation variant) and links the language with ‘meluhha’ as a reference to a language in Mesopotamian texts and in the cylinder seal of Shu-ilishu. [Possehl, Gregory, 2006, Shu-ilishu’s cylinder seal, Expedition, Vol.  48, No. 1http://www.penn.museum/documents/publications/expedition/PDFs/48-1/What%20in%20the%20World.pdf] This seal shows a sea-faring Meluhha merchant who needed a translator to translate meluhha speech into Akkadian. The translator’s name was Shu-ilishu as recorded in cuneiform script on the seal. This evidence rules out Akkadian as the Indus or Meluhha language and justifies the search for the proto-Indian speech from the region of the Sarasvati river basin which accounts for 80% (about 2000) archaeological sites of the civilization, including sites which have yielded inscribed objects such as Lothal, Dwaraka, Kanmer, Dholavira, Surkotada, Kalibangan, Farmana, Bhirrana, Kunal, Banawali, Chandigarh, Rupar, Rakhigarhi. The language-speakers in this basin are likely to have retained cultural memories of Indus language which can be gleaned from the semantic clusters of glosses of the ancient versions of their current lingua francaavailable in comparative lexicons and nighanṭu-s. http://bharatkalyan97.blogspot.in/2015/04/ox-hide-ingots-of-tin-and-one-third.html

Gods, caves, and scholars: Chalcolithic Cult and Metallurgy in the Judean Desert by Yuval Goren Near Eastern Archaeology Vol. 77, No. 4 (December 2014), pp. 260-266Published by: The American Schools of Oriental Research http://www.jstor.org/stable/10.5615/neareastarch.77.4.0260

240 maceheads of Nahal Mishmar are indicative of the widely prevalent name for a blacksmith of the Harosheth Hagoyim. If taken in a procession on flagposts, these would have recollected the memories of the metalsmiths of yore and paying respects to the memories of ancestors. Hieroglyph: ḍã̄g m. ʻ club, mace ʼ(Kashmiri) Rebus: K. ḍangur (dat. °garas) m. ʻ fool ʼ; P. ḍaṅgar m. ʻ stupid man ʼ; N. ḍāṅro ʻ term of contempt for a blacksmith ʼ, ḍāṅre ʻ large and lazy ʼ; A.ḍaṅurā ʻ living alone without wife or children ʼ; H. ḍã̄gar, ḍã̄grā m. ʻ starveling ʼ.N. ḍiṅgar ʻ contemptuous term for an inhabitant of the Tarai ʼ; B. ḍiṅgar ʻ vile ʼ; Or. ḍiṅgara ʻ rogue ʼ, °rā ʻ wicked ʼ; H. ḍiṅgar m. ʻ rogue ʼ; M. ḍĩgar m. ʻ boy ʼ.(CDIAL 5524)

I ډانګ ḏḏāng, s.m. (2nd) A club, a stick, a bludgeon. Pl. ډانګونه ḏḏāngūnah. ډانګ لکئِي ḏḏāng lakaʿī, s.f. (6th) The name of a bird with a club-tail. Sing. and Pl. See توره آنا ډانګورئِي ḏḏāngoraʿī, s.f. (6th) A small walking- stick, a small club. Sing. and Pl. (The dimin. of the above). (Pashto) ḍã̄g डाँग् । स्थूलदण्डः m. a club, mace (Gr.Gr. 1); a blow with a stick or cudgel (Śiv. 13); a walking-stick. Cf. ḍã̄guvu. -- dini -- दिनि&below; । ताडनम् m. pl. inf. to give clubs; to give a drubbing, to flog a person as a punishment. (Kashmiri) ḍakka2 ʻ stick ʼ. 2. *ḍaṅga -- 1. [Cf. other variants for ʻ stick ʼ: ṭaṅka -- 3, *ṭiṅkara -- , *ṭhiṅga -- 1, *ḍikka -- 1 (*ḍiṅka -- )]1. S. ḍ̠aku m. ʻ stick put up to keep a door shut ʼ, ḍ̠akaru ʻ stick, straw ʼ; P. ḍakkā m. ʻ straw ʼ, ḍakkrā m. ʻ bit (of anything) ʼ; N. ḍã̄klo ʻ stalk, stem ʼ.2. Pk. ḍaṅgā -- f. ʻ stick ʼ; A. ḍāṅ ʻ thick stick ʼ; B. ḍāṅ ʻ pole for hanging things on ʼ; Or. ḍāṅga ʻ stick ʼ; H. ḍã̄g f. ʻ club ʼ (→ P. ḍã̄g f. ʻ stick ʼ; K. ḍã̄g m. ʻ club, mace ʼ); G. ḍã̄g f., °gɔ,ḍãgorɔ m., °rũ n. ʻ stick ʼ; M. ḍãgarṇẽ n. ʻ short thick stick ʼ, ḍã̄gḷī f. ʻ small branch ʼ, ḍã̄gśī f.Addenda: *ḍakka -- 2. 2. *ḍaṅga -- 1: WPah.kṭg. ḍāṅg f. (obl. -- a) ʻ stick ʼ, ḍaṅgṛɔ m. ʻ stalk (of a plant) ʼ; -- poss. kṭg. (kc.) ḍaṅgrɔ m. ʻ axe ʼ, poet. ḍaṅgru m., °re f.; J. ḍã̄grā m. ʻ small weapon like axe ʼ, P. ḍaṅgorī f. ʻ small staff or club ʼ (Him.I 84).(CDIAL 6520)

Allograph Hieroglyph:  ḍhaṅgaru, ḍhiṅgaru m. ʻlean emaciated beastʼ(Sindhi) 

Rebus: dhangar ‘blacksmith’ (Maithili) ḍhangra ‘bull’. Rebus: ḍhangar ‘blacksmith’.

Mth. ṭhākur ʻ blacksmith ʼ (CDIAL 5488) N. ḍāṅro ʻ term of contempt for a blacksmith ʼ S. ḍhaṅgaru m. ʻ lean emaciated beast ʼ ;  L. (Shahpur) ḍhag̠g̠ā ʻ small weak ox ʼ(CDIAL 5324) 

Plaque de pierre en relief illustrant une scène de banquet, les préparatifs et les divertissements, Khafajeh, époque dynastique archaïque II – III A (ca. 2700 – 2600 av. J.-C.), 20,4 x 20 x 4,2 cm. "Plaques such as this were part of a door-locking system for important buildings. The plaque was embedded in the doorjamb and a peg, inserted into the central perforation, was used to hold a hook or cord that secured the door and was covered with clay impressed by one or more seals." https://oi.uchicago.edu/collections/highlights/highlights-collection-mesopotamia The bottom register shows a harp player. Rightmost is a person perhaps carrying a mace. The harp is a hieroglyph: tambura 'harp'; rebus: tambra 'copper'.The mace carrying person is a blacksmith; rebus reading:   ḍã̄g m. ʻ club, mace ʼ(Kashmiri) Rebus: K. ḍangur (dat. °garas) m. ʻ fool ʼ; P. ḍaṅgar m. ʻ stupid man ʼ; N. ḍāṅro ʻ term of contempt for a blacksmith ʼ, ḍāṅre ʻ large and lazy ʼ; A.ḍaṅurā ʻ living alone without wife or children ʼ; H. ḍã̄gar, ḍã̄grā m. ʻ starveling ʼ.N. ḍiṅgar ʻ contemptuous term for an inhabitant of the Tarai ʼ; B. ḍiṅgar ʻ vile ʼ; Or. ḍiṅgara ʻ rogue ʼ, °rā ʻ wicked ʼ; H. ḍiṅgar m. ʻ rogue ʼ; M. ḍĩgar m. ʻ boy ʼ.(CDIAL 5524)

Three-faced person with armlets, bracelets seated on a stool with bovine legs. Material: tan steatite Dimensions: 2.65 x 2.7 cm, 0.83 to 0.86 thickness Mohenjo-daro, DK 12050

kūdī 'bunch of twigs' (Sanskrit)  Rebus: kuṭhi 'smelter furnace' (Santali) कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.ccord. to Kaus3. , Sch. = बदरी, "Christ's thorn".(Monier-Williams)

Hieroglyph: kamaḍha ‘penance’ (Pkt.) Rebus 1: kampaṭṭa  ‘mint’ (Ma.) kamaṭa = portable furnace for melting precious metals (Te.);Rebus 2: kaṇḍa ‘fire-altar' (Santali); kan ‘copper’ (Ta.)  

Hieroglyph: karã̄ n. pl. ʻwristlets, bangles ʼ (Gujarati); kara 'hand' (Rigveda) Rebus: khAr 'blacksmith' (Kashmiri) 

 

The bunch of twigs = ku_di_, ku_t.i_ (Skt.lex.) ku_di_ (also written as ku_t.i_ in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kaus’ika Su_tra (Bloomsfield’s ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk,98) denotes it as a twig. This is identified as that of Badari_, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).[Note the twig adoring the head-dress of a horned, standing person]

Islamabad Museum, NMP 50.296 Mackay 1938: 335, pl. LXXXVII, 222 

Procession of Elamite warriors, Susa, Iran, Elamit c. 1150 BCE Bronze relief, Louvre, Paris

Technical description

• Frise d'un panneau de mosaïque
  Vers 2500 - 2400 avant J.-C.
  Mari, temple d'Ishtar
• Coquille, schiste
• Fouilles Parrot, 1934 - 1936
  AO 19820
• Near Eastern Antiquities
  Richelieu wing
  Ground floor
  Ancient Mesopotamia
  Room 1 b
  Vitrine 7 : Epoque des dynasties archaïques de Sumer, vers 2900 - 2340 avant J.-C. Antiquités de Mari (Moyen-Euphrate)
• Life of Mari, Frise d'un panneau de mosaïque. 

 A person is a standard bearer of a banner holding aloft the one-horned young bull which is the signature glyph of Indus writing. The banner is comparable to the banner shown on two Mohenjo-daro tablets. 

Frieze of a mosaic panel Circa 2500-2400 BCE Temple of Ishtar, Mari (Tell Hariri), Syria Shell  and shale André Parrot excavations, 1934-36 AO 19820

These inlaid mosaics, composed of figures carved in mother-of-pearl, against a background of small blocks of lapis lazuli or pink limestone, set in bitumen, are among the most original and attractive examples of Mesopotamian art. It was at Mari that a large number of these mosaic pieces were discovered. Here they depict a victory scene: soldiers lead defeated enemy captives, naked and in chains, before four dignitaries....The leader appears to be a shaven-headed figure: stripped to the waist and wearing kaunakes, he carries a standard showing a bull standing on a pedestal. The lower register, on the right, features traces of a chariot drawn by onagers, a type of wild ass.

Bibliography

Contenau G., Manuel d'archéologie orientale depuis les origines jusqu'à Alexandre : les découvertes archéologiques de 1930 à 1939, IV, Paris : Picard, 1947, pp. 2049-2051, fig. 1138

Parrot A., Les fouilles de Mari, première campagne (hiver 1933-1934), Extr. de : Syria, 16, 1935, paris : P. Geuthner, pp. 132-137, pl. XXVIII

Parrot A., Mission archéologique de Mari : vol. I : le temple d'Ishtar, Bibliothèque archéologique et historique, LXV, Paris : Institut français d'archéologie du Proche-Orient, 1956, pp. 136-155, pls. LVI-LVII Author: Iselin Claire

http://www.louvre.fr/en/oeuvre-notices/frieze-mosaic-panel

See: 

http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-bronze-age-legacy_6.html Ancient Near East bronze-age legacy: Processions depicted on Narmer palette, Indus writing denote artisan guilds

21 plates of ḍaṅgorī 'mace, club' including maceheads of 9 millennia upto the 1st millennium. 

Images selected and compiled by Michael Serbane in his doctoral thesis under the supervision of Prof. Benjamin Sass of Tel Aviv University on ‘The Mace in Israel and the Ancient Near East from the Ninth millennium to the First – Typology and chronology, technology, military and ceremonial use, regional interconnections’ (2009). Linked and excerpts circulated with blogpost: 

http://bharatkalyan97.blogspot.in/2016/04/processions-of-hieroglyphs-are_12.html

This figure presented by Dr. Michael Serbane evokes the imagery of a Soma Yaga Yupa with a caSAla.

The figure on the top row with a safflower ligature is significant. 

I siggest that the safflower signified all over Ancient Near East and the Levant, करडी [ karaḍī ] f (See करडई) Safflower: also its seed. Rebus: karaḍa 'hard alloy' [of arka 'copper']. Rebus: fire-god: @B27990.  #16671. Remo <karandi>E155  {N} ``^fire-^god''.(Munda). 

If carried on processions, these standards or flagposts are comparable to the procession shown on two Mohenjo-daro tablets as proclamations of metallurgical competence.

Nahal Mishmar evidence of cire perdue metal casting, R̥gveda evidence of cupellation of mākṣika 'pyrites' to gain amśu, ancu 'iron' in Ancient Pyrotechnology 

https://tinyurl.com/ybd3lyux
See:

Gobekli Tepe pictograms signify heat treatment of mineral stones in Ancient Pyrotechnology; a hypothesis posited from Indus Script hypertexts https://tinyurl.com/y9bjhkpa
Gobekli Tepe (12k ya) and Nahal Mishmar (8k ya) Indus Scrript hypertexts relate to Ancient pyrotechnology https://tinyurl.com/y8ly57kh

Did the metallurgical techniques (in Ancient Pyrotechnology) of Gobekli Tepe artisans include cire perdue techniques and cupellation?

Some evidences from Nahal Mishmar artifacts and R̥gveda texts are discussed in this monograph. Both categories of evidence may be relevant to identify or hypothesise on techniques of Ancient Pyrotechnology of Gobekli Tepe Pre-pottery neolithic period (ca. 10th millennium BCE).

NahalMishmar evidences of cire perdue metal casting artifacts are dated to 6th millennium BCE. R̥gveda textual evidences relate to metalworking processes of a period earlier than 7th millennium BCE. This note claims that aspects of metalwork related to Ancient Pyrotechnology are: 1 cire perdue technique of metal casting and 2. use of cupellation to obtain purified metals from working with pyrites and mineral ores in furnaces, kilns or fire-altars.

R̥gveda 1.119.9, 10 speaks of the 'mystic science' of using mākṣikā, bees' and Dadhyãc bones. I suggest that this is a pun on the word: Hieroglyph: माक्षिक [p= 805,2] mfn. (fr. मक्षिका mākṣikā) coming from or belonging to a bee Ma1rkP. Rebus: माक्षिक n. a kind of honey-like mineral substance or pyrites MBh.

The metaphor used in R̥gveda 1.119.9 to produce madhu, i.e. Soma is a reference to use of pyrites to produce electrum Soma which is also referred to in R̥gveda as amśu cognate ancu 'iron' (Tocharian) अंशु [p= 1,1] a kind of सोम libation S3Br. (Monier-Williams)

I suggest that the references to pyrites and horse bones (of Dadhyãc) in RV 1.119.9 is a narrative of metallurgical process of cupellation to remove lead ores from pyrite ores --मक्षिका mākṣikā-- to realize pure metals such as gold, silver or copper.

Many conjectures have been made on the role of the horse bones of Dadhyãc in Soma processing. I suggest that the use of bones is for cupellation process to oxidise lead iin pyrites, as 'litharge cakes of lead monoxide', thus removing lead from the mineral ores. A cupel which resembles a small egg cup, is made of ceramic or bone ash which was used to separate base metals from noble metals --  to separate noble metals, like gold and silver, from base metals like lead, copper, zinc, arsenic, antimony or bismuth, present in the ore. "The base of the hearth was dug in the form of a saucepan, and covered with an inert and porous material rich in calcium or magnesium such as shells, lime, or bone ash.The lining had to be calcareous because lead reacts with silica (clay compounds) to form viscous lead silicate that prevents the needed absorption of litharge, whereas calcareous materials do not react with lead.^[7]Some of the litharge evaporates, and the rest is absorbed by the porous earth lining to form "litharge cakes".
https://en.wikipedia.org/wiki/Cupellation
Brass moulds for making cupels.Mixture of bones and wood ashes are used, together with clay, to create the cupels for cupellation.

The ability to work with bees'wax to create metal artifacts by the cire perdue (lost-wax) method of metal castings is clearly evidenced in Nahal Mishmar artifacts (5th millennium BCE).
Akkadian head from Nineveh, 2300-2159 BCE (from Iraq 3 pl. 6) Lost-wax casting of large-scale statuary was well developed in Mesopotamia in the second half of the 3rd millennium BCE. The objec was mjade of copper. X-radiographs confirm tha the hair lines were chased onto the object after casting. Only the last stage of 'sloshing' was yet to be developed. (Davey, Christopher J., 2009, The early history of lost-wax casting, in J. Mei and Th. Rehren, eds., Metallurgy and civilisation: Eurasia and beyond archetype, London 2009, p.150)
http://www.aiarch.org.au/bios/cjd/147%20Davey%202009%20BUMA%20VI%20offprint.pdf
Mehergarh. Cire perdue method used to make spoked wheel of copper/bronze. 4th millennium BCE.https://www.harappa.com/blog/mehrgarh-wheel-amulet-analysis-yields-many-secrets

3rd millennium BCE. Cire perdue technique used for leopard weight. Shahi Tump. H.16.7cm; dia.13.5cm; base dia 6cm; handle on top.The shell has been manufactured by lost-wax foundry of a copper alloy (12.6%b, 2.6%As), then it has been filled up through lead (99.5%) foundry. 

Sayana/Wilson Trans.
1.119.09 That honey-seeking bee also murmured your praise; the son of Usij invokes you to the exhilaratin of Soma; you conciliated the mind of Dadhyãc, so that, provided with the head of a horse, he taught you (the mystic science). 
1.119.10 Aśvins, you gave to Pedu the white (horse) desired by many, the breaker-through of combatants, shining, unconquerable by foes in battle, fit for every work; like Indra, the conquerer of men.

Griffith Trans.
RV 1.119.09 To you in praise of sweetness sang the honeybee-: Ausija calleth you in Soma's rapturous joy.
Ye drew unto yourselves the spirit of Dadhyãc, and then the horses' head uttered his words to you.

RV 1.119.10 A horse did ye provide for Pedu, excellent, white, O ye Aśvins, conqueror of combatants,

Invincible in war by arrows, seeking heaven worthy of fame, like Indra, vanquisher of men.

Iris of the eye + markhor Indus Script hypertext on Kuwait gold disc signifies 'goldsmith's ironsmith's workshop' 

https://tinyurl.com/yc7ra4p2

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

A modified rebus reading is suggested for the 'eye', 'eyebrow' and 'iris of the eye' signified by the hypertext on Kuwait gold disc.


The iris of the is plal 'iris of the eye' (Gaw.)(CDIAL 8711) a pronuciation variant is provided by pā̆hār ʻsunshine' in Nepali. If this phonetic form pā̆hār explains the hieroglyph 'iris of the eye', the rebus reading is: pahārā m. ʻ goldsmith's workshop ʼ(Punjabi)(CDIAL 8835).. The 'iris of the eye' hieroglyph is adorned with the horns of a markhor. The markhor is read rebus: miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ(Tor.): mēṇḍha2 m. ʻ ram ʼ, °aka -- , mēṇḍa -- 4, miṇḍha -- 2, °aka -- , mēṭha -- 2, mēṇḍhra -- , mēḍhra -- 2, °aka -- m. lex. 2. *mēṇṭha- (mēṭha -- m. lex.). 3. *mējjha -- . [r -- forms (which are not attested in NIA.) are due to further sanskritization of a loan -- word prob. of Austro -- as. origin (EWA ii 682 with lit.) and perh. related to the group s.v. bhēḍra -- ]
1. Pa. meṇḍa -- m. ʻ ram ʼ, °aka -- ʻ made of a ram's horn (e.g. a bow) ʼ; Pk. meḍḍha -- , meṁḍha -- (°ḍhī -- f.), °ṁḍa -- , miṁḍha -- (°dhiā -- f.), °aga -- m. ʻ ram ʼ, Dm. Gaw. miṇ Kal.rumb. amŕn/aŕə ʻ sheep ʼ (a -- ?); Bshk. mināˊl ʻ ram ʼ; Tor. miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ; Chil. mindh*ll ʻ ram ʼ AO xviii 244 (dh!), Sv. yēṛo -- miṇ; Phal. miṇḍ, miṇ ʻ ram ʼ, miṇḍṓl m. ʻ yearling lamb, gimmer ʼ; P. mẽḍhā m., °ḍhī f., ludh. mīḍḍhā, mī˜ḍhā m.; N. meṛho, meṛo ʻ ram for sacrifice ʼ; A. mersāg ʻ ram ʼ ( -- sāg < *chāgya -- ?), B. meṛā m., °ṛi f., Or. meṇḍhā, °ḍā m., °ḍhi f., H. meṛh, meṛhā, mẽḍhā m., G. mẽḍhɔ, M. mẽḍhā m., Si. mäḍayā.
2. Pk. meṁṭhī -- f. ʻ sheep ʼ; H. meṭhā m. ʻ ram ʼ.3. H. mejhukā m. ʻ ram ʼ.*mēṇḍharūpa -- , mēḍhraśr̥ṅgī -- .Addenda: mēṇḍha -- 2: A. also mer (phonet. mer) ʻ ram ʼ(CDIAL 10310) Rebus:meḍ 'iron'. mẽṛhet 'iron' (Santali.Mu.Ho.).

Thus, the iris of the eye + markhor (horns) is a hypertext which signifies: meḍ mẽṛhet pahārā m. ʻgoldsmith's, ironsmith's workshopʼ 

*prabhāla ʻ light ʼ. [Cf. bhāla -- 3 n. ʻ splendour ʼ Inscr. -- prabhāˊ -- : √ bhā]Dm. pral ʻ light ʼ; Gaw. plal, plɔl ʻ light, iris of eye ʼ, adj. ʻ light, bright ʼ; Kal. (Leitner) pralik, rumb. prelík ʻ light ʼ, Bshk. čāl, čäl, Chil. čulo; Sv. plal adj. ʻ light, bright ʼ; Gau. čou sb., Phal. prāl; Sh. c̣alō m. ʻ lighted torch ʼ (on ac. of a and ō perh. rather < *pralōka -- ); N. pālā ʻ lamp ʼ AO xviii 230.(CDIAL 8711) N. pā̆hār ʻ sunshine, sunny place ʼ, A. pohar ʻ light ʼ; -- M. pahāṭ f. ʻ period before sunrise, dawn ʼ (+?).prabhāˊ f. ʻ light ʼ Mn. [√bhā]Pa. Pk. pabhā -- f. ʻ light ʼ, Pk. pahā -- f.; K. prawa f. pl. ʻ rays of light, sunshine ʼ; S. piriha f. ʻ dawn ʼ; L. pôh f. ʻ dawn ʼ, (Ju.) pau f., mult. parah f., P. pauh, paih, °hi f., ḍog. pao f.; OA. puhā, A. puwā ʻ sunrise, morning time ʼ; H. pah, poh, pau f. ʻ dawn ʼ; OM. pāhe f. ʻ dawn, next day ʼ; Si. paha ʻ fire ʼ, pähä ʻ light, brilliance ʼ (or < prakāśá -- ), paba ʻ light, brightness (← Pa.?); -- ext. -- ḍa<->(CDIA 8705)

M. pasārā; -- K. pasôru m. ʻ petty shopkeeper ʼ; P. pahārā m. ʻ goldsmith's workshop ʼ; A. pohār ʻ small shop ʼ; -- ← Centre: S. pasāru m. ʻ spices ʼ; P. pasār -- haṭṭā m. ʻ druggist's shop ʼ; -- X paṇyaśālā -- : Ku. pansārī f. ʻ grocer's shop ʼ.prasāra m. ʻ extension ʼ Suśr., ʻ trader's shop ʼ Nalac. [Cf. prasārayati ʻ spreads out for sale ʼ Mn. -- √sr̥]Paš. lāsar ʻ bench -- like flower beds outside the window ʼ IIFL iii 3, 113; K. pasār m. ʻ rest ʼ (semant. cf. prásarati in Ku. N. Aw.); P. puhārā m. ʻ breaking out (of fever, smallpox, &c.) ʼ; Ku. pasāro ʻ extension, bigness, extension of family or property, lineage, family, household ʼ; N. pasār ʻ extension ʼ; B. pasār ʻ extent of practice in business, popularity ʼ, Or. pasāra; H. pasārā m. ʻ stretching out, expansion ʼ (→ P. pasārā m.; S. pasārom. ʻ expansion, crowd ʼ), G. pasār, °rɔ m., (CDIAL 8835)

---

Science journalists report on DNA Rakhigarhi research study in Cell journal. Read on to understand the relevance of Indus Script decipherment...

September 5, 2019, 10:45 pm

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Context: Indus Script decipherment proclaimed at

Dr S Kalyanaraman decodes Harappan symbols and their link to Sarasvati Valley -- PGurus September 5, 2019 

https://tinyurl.com/y6fhe944     Mirror: 

http://bharatkalyan97.blogspot.com/2019/09/dr-s-kalyanaraman-decodes-harappan.html Youtube link:  https://www.youtube.com/watch?v=OAbIfgT0KR8 (42:48)

https://www.sciencecodex.com/first-ancient-dna-indus-valley-civilization-links-its-people-modern-south-asians-633306

First ancient DNA from Indus Valley civilization links its people to modern South Asians

Researchers have successfully sequenced the first genome of an individual from the Harappan civilization, also called the Indus Valley Civilization (IVC). The DNA, which belongs to an individual who lived four to five millennia ago, suggests that modern people in India are likely to be largely descended from people of this ancient culture. It also offers a surprising insight into how farming began in South Asia, showing that it was not brought by large-scale movement of people from the Fertile Crescent where farming first arose. Instead, farming started in South Asia through local hunter-gatherers adopting farming. The findings appear September 5 in the journal Cell.

"The Harappans were one of the earliest civilizations of the ancient world and a major source of Indian culture and traditions, and yet it has been a mystery how they related both to later people as well as to their contemporaries," says Vasant Shinde, an archaeologist at Deccan College, Deemed University in Pune, India, and the chief excavator of the site of Rakhigarhi, who is first author of the study.

The IVC, which at its height from 2600 to 1900 BCE covered a large swath of northwestern South Asia, was one of the world's first large-scale urban societies. Roughly contemporary to ancient Egypt and the ancient civilizations of China and Mesopotamia, it traded across long distances and developed systematic town planning, elaborate drainage systems, granaries, and standardization of weights and measures.

Hot, fluctuating climates like those found in many parts of lowland South Asia are detrimental to the preservation of DNA. So despite the importance of the IVC, it has been impossible until now to sequence DNA of individuals recovered in archaeological sites located in the region. "Even though there has been success with ancient DNA from many other places, the difficult preservation conditions mean that studies in South Asia have been a challenge," says senior author David Reich, a geneticist at Harvard Medical School, the Broad Institute, and the Howard Hughes Medical Institute.

Answering questions about the ancient people of the Indus Valley was in fact the primary reason Reich founded his own ancient DNA laboratory in 2013.

In this study, Reich, post-doctoral scientist Vagheesh Narasimhan, and Niraj Rai, who established a new ancient DNA laboratory at the Birbal Sahni Institute of Palaeosciences in Lucknow, India, and led the preparation of the samples, screened 61 skeletal samples from a site in Rakhigarhi, the largest city of the IVC. A single sample showed promise: it contained a very small amount of authentic ancient DNA. The team made over 100 attempts to sequence the sample. Reich says: "While each of the individual datasets did not produce enough DNA, pooling them resulted in sufficient genetic data to learn about population history."

There were many theories about the genetic origins of the people of the IVC. "They could resemble Southeast Asian hunter-gatherers or they could resemble Iranians, or they could even resemble Steppe pastoralists--all were plausible prior to the ancient DNA findings," he says.

The individual sequenced here fits with a set of 11 individuals from sites across Iran and Central Asia known to be in cultural contact with the IVC, discovered in a manuscript being published simultaneously (also led by Reich and Narasimhan) in the journal Science. Those individuals were genetic outliers among the people at the sites in which they were found. They represent a unique mixture of ancestry related to ancient Iranians and ancestry related to Southeast Asian hunter-gatherers. Their genetic similarity to the Rakhigarhi individual makes it likely that these were migrants from the IVC.

It's a mix of ancestry that is also present in modern South Asians, leading the researchers to believe that people from the IVC like the Rakhigarhi individuals were the single largest source population for the modern-day people of India. "Ancestry like that in the IVC individuals is the primary ancestry source in South Asia today," says Reich. "This finding ties people in South Asia today directly to the Indus Valley Civilization."

The findings also offer a surprising insight into how agriculture reached South Asia. A mainstream view in archaeology has been that people from the Fertile Crescent of the Middle East--home to the earliest evidence of farming--spread across the Iranian plateau and from there into South Asia, bringing with them a new and transformative economic system.

Genetic studies to date seemed to add weight to this theory by showing that Iranian-related ancestry was the single biggest contributor to the ancestry in South Asians.

But this new study shows that the lineage of Iranian-related ancestry in modern South Asians split from ancient Iranian farmers, herders, and hunter-gatherers before they separated from each other--that is, even before the invention of farming in the Fertile Crescent. Thus, farming was either reinvented locally in South Asia or reached it through the cultural transmission of ideas rather than through substantial movement of western Iranian farmers.

For Reich, Shinde, and their team, these findings are just the beginning. "The Harappans built a complex and cosmopolitan ancient civilization, and there was undoubtedly variation in it that we cannot detect by analyzing a single individual," Shinde says. "The insights that emerge from just this single individual demonstrate the enormous promise of ancient DNA studies of South Asia. They make it clear that future studies of much larger numbers of individuals from a variety of archaeological sites and locations have the potential to transform our understanding of the deep history of the subcontinent."

Credit: 

Cell Press

September 05, 2019

https://www.theatlantic.com/science/archive/2019/09/indus-valley-civilization-dna-has-long-eluded-researchers/597481/

A Burst of Clues to South Asians’ Genetic Ancestry

A tiny ear bone from more than 4,000 years ago is shaping the story of migration and heritage in India.

SARAH ZHANG

SEP 5, 2019

The climate of South Asia is not kind to ancient DNA. It is hot and it rains. In monsoon season, water seeps into ancient bones in the ground, degrading the old genetic material. So by the time archeologists and geneticists finally got DNA out of a tiny ear bone from a 4,000-plus-year-old skeleton, they had already tried dozens of samples—all from cemeteries of the mysterious Indus Valley civilization, all without any success.

The Indus Valley civilization, also known as the Harappan civilization, flourished 4,000 years ago in what is now India and Pakistan. It surpassed its contemporaries, Mesopotamia and ancient Egypt, in size. Its trade routes stretched thousands of miles. It had agriculture and planned cities and sewage systems. And then, it disappeared. “The Indus Valley civilization has been an enigma for South Asians. We read about it in our textbooks,” says Priya Moorjani, a computational biologist at the University of California at Berkeley. “The end of the civilization was quite mysterious.” No one alive today is sure who the people of the Indus Valley civilization were or where they went.

A pair of newly published papers use ancient DNA to shed light on the Indus Valley civilization and the entire history of people in South and Central Asia.The first study is a sweeping collection of 523 genomes—300 to 12,000 years old—from a region spanned by Iran, Russia, and India. By comparing the results with modern South Asians’ genomes, the study showed that South Asians today descended from a mix of local hunter-gatherers, Iranian-related groups, and steppe pastoralists who came by way of Central Asia. It’s the largest number of ancient genomes reported in a single paper, all made possible by an ancient DNA “factory” the geneticist David Reich has built at Harvard. (Moorjani completed her doctorate in Reich’s lab and is a co-author on this paper.)

The second study focuses on just a single genome from the Indus Valley civilization: I6113, a woman who died more than 4,000 years ago. Her skeleton was the only one—out of more than 100 samples the researchers tested from 10 different Indus Valley–civilization sites—that yielded ancient DNA, but even then it was contaminated and of poor quality. “We had to squeeze, squeeze, squeeze the sample really hard, more than we’ve done in any other sample we’ve ever tried,” says Reich, who is also a senior author of the second paper. The team ultimately tried to sequence DNA from I6113’s ear bone more than 100 times, each time yielding a tiny dribble of genetic data. That I6113 gets her own paper is a testament to both the technical difficulty of sequencing her DNA and the importance of the Indus Valley civilization. Even before publication, rumors were swirling in India about what the ancient DNA would show, and how it would play into the politics of the Hindu-nationalist ruling party.

Read: The mystery of ‘Skeleton Lake’ gets deeper

What’s intriguing about I6113’s DNA is what she lacks: any of the steppe ancestry that is widespread in contemporary South Asians. Instead, she appeared to have a mix of Southeast Asian hunter-gatherer and Iranian-related ancestry.

The two studies piece together a history of how the people of the Indus Valley civilization are related to South Asians today. After the decline of the civilization 4,000 years ago, people with a genetic makeup similar to I6113 mixed with people of Southeast Asian hunter-gatherer ancestry to form what has been called Ancestral South Indians. From 4,000 to 3,000 years ago, other people descended from the Indus Valley civilization mixed with people of steppe-pastoralist ancestry, who likely brought horses and the Indo-European languages now spoken on the subcontinent, to form a group that has been called Ancestral North Indians. These two ancestral groups then mixed as well, giving rise to the great diversity of ethnic groups in South Asia. Go back far enough, and both sides trace to the Indus Valley civilization, which appears to be the single largest source of ancestry for modern South Asians.

The team studying I6113 noticed something intriguing about the Iranian-related portion of her ancestry, too. It appears to date to before the advent of farming in the Fertile Crescent. This suggests that farming did not, as many have thought, spread to South Asia through the migration of people from the Near East. It may have arisen independently in South Asia or spread through cultural contact.

Read: Ancient DNA is rewriting human (and Neanderthal) history

Of course, this is a lot to rest on a single genome. “That would be like taking a single sample from Tokyo and trying to generalize about the whole ancestry of Japan,” Reich admits. But the team’s confidence in its results was bolstered when the researches found that I6113 was genetically similar to 11 people from the 523-genome paper who were buried not in South Asia, but in what is now Iran and Turkmenistan. These 11 people were also “outliers” in their own burial sites. The team thinks they may have been migrants or the children of migrants from the Indus Valley civilization. Archaeological evidence suggests people traveled between these regions as well.

The cities of the Indus Valley Civilization were cosmopolitan places, which also makes it harder to generalize from one genome. J. Mark Kenoyer, an anthropologist at the University of Wisconsin at Madison who was not an author of either study, cautions that only a small number of people who lived in these cities were buried in cemeteries—probably elites. The rest might have been cremated, or their bones simply left uncovered and thus scattered over time. “The cemeteries of the Indus civilization do not represent the people of the Indus civilization. They represent one community,” he says.

Still, more cemetery samples would be better than just one. The research team behind I6113 is trying to sequence more bones from the Indus Valley civilization. Vasant Shinde, an archeologist at Deccan College whose team excavated I6113, says the attempts to get ancient DNA from Indus Valley–civilization sites have been a years-long learning process. To prevent contamination with modern DNA, team members now wear gowns and masks even while excavating in the field. They do not reuse excavation instruments from burial to burial. Niraj Rai, a geneticist who was a visiting fellow in Reich’s lab, also set up an ancient-DNA lab at the Birbal Sahni Institute of Palaeosciences in Lucknow, India, where I6113’s DNA was extracted. “This is beginning,” Shinde says. “This is not the end.” He expects more ancient DNA to come.

In India, ancient DNA has generated intense interest, says Tony Joseph, the author of Early Indians: The Story of Our Ancestors and Where We Came From. He told me his book, published last December, is already in its seventh printing. After a preliminary version of the large Central and South Asian genomes study was posted on bioRxiv last March, it became the site’s most downloaded preprint of 2018. The preprint generated controversy, too, especially the finding that many Indians have ancestry from steppe pastoralists. Hindu nationalists, as Joseph has written, believe that Aryans—who originated in India and spread through Europe and Asia—are the source of Indian civilization. This is contradicted by ancient DNA that finds the population history in India itself contains far more mixing and migration. (Further complicating things, Nazis co-opted the term Aryans to mean something different, a master race of European origin.) A prominent MP even attacked Reich when the preprint came out, tweeting out an article titled, “There Are Lies, Damned Lies and (Harvard’s ‘Third’ Reich and Co’s) Statistics.” Reich, who has experienced how fraught talking about genetics and identity can be, acknowledged the political interest in his work, but declined to get into it.

Ancient DNA has captured the public imagination precisely because it promises an answer to questions like Where did we come from? and Who are we?—questions that also have deep political undercurrents. To sequence I6113’s DNA is to draw genetic connections between an ancient civilization and the people who live in the region today, to add fuel to arguments about who can lay claim to a cultural inheritance. All this, contained in a half-inch wisp of an ear bone.

We want to hear what you think about this article. Submit a letter to the editor or write to letters@theatlantic.com.

SARAH ZHANG is a staff writer at The Atlantic.

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First DNA From This Ancient Civilization Reveals Ancestry of Modern South Asians

TESSA KOUMOUNDOUROS

5 SEP 2019

Long before climate change drove them to abandon their thriving cities, a group of hunter-gatherers settled in the Indus River Valley as farmers, leading to the creation of one of the world's first large-scale urban societies, complete with booming economies and long-distance trade. 

The Harappan civilisation, which peaked around 2,600 to 1,900 BCE, boasted pioneering town planning, elaborate drainage systems and granaries. They were a multicultural society and even had their own standardised system of weights and measures. But what enticed these people to drastically change their roaming ways in the first place?

"A mainstream view is that farming came to South Asia through the large-scale westward movement of Iranian farmers," geneticist David Reich from Harvard University told ScienceAlert.

Hints of Iranian ancestry in modern South Asians led researchers to suspect that when these ancient Iranians migrated from the Fertile Crescent in the Middle East (where the earliest evidence of farming has been found), they took their new agricultural way of life with them.

But a team of researchers led by archaeologist Vasant Shinde from Deccan College in India has just up-ended that scenario's timeline.

For the first time, the team successfully sequenced a genome from an individual found buried in this ancient civilisation's remains, in a cemetery at the site of Rakhigarhi in Haryana, India.

 (Vasant Shinde/Deccan College Post Graduate Research Institute)

Above: Globular pot found near the head of the skeleton that yielded ancient DNA.

While this site has long been of interest, the hot South Asian climate provides the perfect conditions for degrading biological material, leaving little intact DNA to extract. But the team managed to find enough DNA from the 4,000 to 5,000 year old remains by re-sampling the skeleton over 100 times and pooling the results.

Their analysis showed that the genes associated with this individual's Iranian ancestry came from before the time when farmers and hunter-gatherers in the area separated from each other. This individual's Iranian ancestors left before farming spread through Iran, explained Reich.

"Our study says that farming arose in South Asia either through local invention or adoption of ideas from western neighbours (cultural communication) or some combination," he said.

Comparing this individual's genome with those from another study about to be published in Science, the team also provided some insights into the trade and movements between these ancient civilisations.

Eleven individuals out of 523 genetically sampled from Gonur in Turkmenistan and Shahr-i-Sokhta in Iran belonged to the same genetic group as the South Asian individual.

"This suggests that these 11 individuals were migrants or recent descendants of migrants from the Indus Valley Civilisation," Reich said, which is supported by the cultural connections seen between the sites.

Map of the Indus Valley Civilisation and other significant Harappan sites. (Shinde et al. Cell, 2019)

"The Harappans were one of the earliest civilisations of the ancient world and a major source of Indian culture and traditions, and yet it has been a mystery how they related both to later people as well as to their contemporaries," Shinde explained.

While we now know them through their urban remains and 4,000 year old relics, this newly sequenced genome revealed the ancient Harappan civilisation has a much greater legacy.

"This individual buried in an Indus Valley Civilisation cemetery, was part of a population that is the single largest source of ancestry in nearly all South Asians today," explained Reich.

Of course there's only so much that can be learnt from one individual's genome, so the researchers hope the technique they used will allow them to study the genomes of many other individuals from the Harappa civilisation to create a bigger picture of this rich history.

"We also want to study individuals from other time periods and geographic locations in South Asia," Reich said, "particularly just before and after the advent of farming in order to understand the extent to which genetic change accompanied these economic transformations."

Their findings have been published in Cell.

https://researchmatters.in/news/where-did-we-indians-come

Where did we Indians come from?

Vimal Simha

Read time: 6 minsBengaluru Sep 6, 2019, (Research Matters):

• Skeletal remains analysed in the study. Image credits: Vasant Shinde

1 of 1

We have all heard of the Indus Valley Civilisation, an ancient Bronze Age civilisation that thrived in the northwestern regions of South Asia in the third millennium BCE. It is well known for its granaries, drainage systems and systematically planned cities like Harappa and Mohenjodaro. However, not much is known about its rise and fall; although there are various theories. Historians have not reached consensus on many aspects of this period as its script remains undeciphered, hiding the facts. The lives of the antecedents and successors of the Indus people also remain shrouded in mystery.

In a pair of new studies published in the journals Science and Cell, a consortium of international researchers, including those from India, have tried to decipher the origins of present-day Central and South Asian people. They have used recent advances in genetics to extract and analyse genetic material (DNA) from the remains of several ancient populations, including people from the Indus Valley Civilisation.

Figure 1: Geographical span of the Indus Valley Civilisation. [Image credits: Vasant Shinde]

In the study titled The formation of human populations in South and Central Asia, the researchers investigate where the people of the Indus Valley Civilisation came from, and the ancestry of the present-day Indians. The researchers used genetic data from 523 ancient humans from sites across South and Central Asia to piece together a comprehensive picture of the origins of the present-day population of South Asia.

The study found that the people of the Indus Valley Civilisation did not descend from the early farmers of the Fertile Crescent. However, they still had ancestry in another Iranian-related hunter-gatherer population. 

"We 'don't know where that population lived. It could have been in South Asia or some unsampled location in the Iranian plateau," says Dr Vagheesh Narasimhan in an interview with Research Matters. He is a researcher at the Department of Genetics, Harvard Medical School, USA and the lead author of the two studies.

If we look at the present-day South Asians, a majority of their ancestors are the people of the Indus Valley Civilisation. Following the decline of the Indus Valley Civilisation, around 2000 BCE, two distinct populations were formed when the Indus Valley people mixed with others.

Firstly, the Ancestral South Indian (ASI) population, which was formed by a mixture of the Indus Valley and the ancient ancestral South Indian population. On the other hand, the Ancestral North Indian (ANI) population was formed by a mixture of Indus Valley people with the Steppe pastoralists from the Eurasian Steppes. The Steppe pastoralists were nomads from the steppes, a temperate zone stretching from modern-day Bulgaria in the west through Manchuria in the east. Steppe ancestry arrived in South Asia between 1900 and 1500 BCE. The present-day Indian population is a mixture of these two source populations - Ancestral South Indian (ASI) and Ancestral North Indian (ANI).

The study also throws some insights into how the Steppe pastoralists made their way into South Asia. The researchers looked at the inheritance of the Y chromosome—a sex chromosome found only in males and passed on from father to son. They combined information from the Y chromosome and non-sex chromosomes to see that the Steppe ancestry was introduced into South Asia predominantly by males.

A significant implication of the findings is the understanding of the spread of the Indo-European language family. This family includes Latin-derived languages like Spanish, Sanskrit-derived languages like Hindi and English among several others.

"Our results provide evidence for a significant movement of people into Europe and South Asia in the Bronze Age in a manner that mirrors the shared features of certain Indo-European languages with others. Steppe pastoralist related ancestry spread across Eurasia in the Bronze Age in a manner that parallels specific shared features between different Indo-European language families", explains Dr Narasimhan.

Interestingly, the Steppe ancestry is very high among Brahmin and Bhumihar groups. Since Brahmins were the traditional custodians of liturgy in Sanskrit, the high Steppe ancestry indicates a Bronze Age Steppe origin for South Asia's Indo-European languages. 

Figure 2: A Red Slipped ware globular pot placed near the head of the skeleton that yielded ancient DNA. [Image Credit: Vasant Shinde]

The two studies provide a reasonably precise chronology thanks to radiocarbon dating. It is a technique of determining the age of an object by looking at the radioactive carbon isotopes. The proportion of radioactive carbon (C-14) to ordinary carbon (C-12) in organic matter tells us how long it has been dead. Because, once it is dead, it would have stopped exchanging carbon with the environment.

"One of the major results of our study is the reporting of 269 new radiocarbon dates directly on human bone, for which ancient DNA data and the archaeological context of the samples are available," remarks Dr Narasimhan.

The study is the first-of-its-kind to use ancient DNA samples to paint the history of today's Indians.

"In this part of the world, where there has been a paucity of such dates, this new information helps us to synchronise the chronology of different parts of this broad region and describe the interaction, archaeologically and genetically," opines Prof. Narasimhan.

In a companion study titled An Ancient Harappan Genome Lacks Ancestry from Steppe Pastoralists or Iranian Farmers, the researchers analysed DNA from the skeletal remains of an individual found in Rakhigarhi cemetery, situated in present-day Haryana. Rakhigarhi was one of the largest cities of the Indus Valley Civilization. Their findings provide insights into the origin of farming in South Asia.

One of the most definitive milestones in human history is our transition from nomadic hunter-gatherers to settled agriculturists. This change depended not only on technological advances but also how people lived and related to each other. Farming is known to have originated in the Fertile Crescent—a semicircular region in the Middle East from the Meditteranean Sea to the Persian Gulf. Historians have long wondered how it then spread to other parts of the world. Was it through large scale human migrations, or did it develop independently?

The DNA analysis of the Indus Valley individual indicates no ancestral relationship with the farmers in the Fertile Crescent.

"Our results suggest that the advent of farming in South Asia was not mediated by significant movements of people from the Near East or Western Iran," says Prof. Narasimhan. The study also does not show any evidence of Steppe pastoralist ancestry, providing further evidence that the Steppe pastoralists only arrived much later in South Asia.

Does this mean farming was independently invented in South Asia?

"While our data could be consistent with this scenario, they are also entirely consistent with people copying farming technology from their neighbours through a process of cultural diffusion," explains Prof Narasimhan.

He suggests the need for additional DNA analysis of humans and domesticated crops from these regions to conclusively prove how agriculture developed in the Indus Valley. 

---

This article has been run past the researchers, whose work is covered, to ensure accuracy.

https://www.sciencemag.org/news/2019/09/genome-nearly-5000-year-old-woman-links-modern-indians-ancient-civilization

Genome of nearly 5000-year-old woman links modern Indians to ancient civilization

By Michael PriceSep. 5, 2019 , 2:00 PM

At roughly the same time that ancient Egyptians were constructing their first great pyramids and Mesopotamians were building monumental temples and ziggurats, the Harappans of South Asia—also known as the Indus Valley Civilization—were erecting massive baked brick housing complexes and cutting elaborate canal systems. The civilization’s abrupt downfall remains one of the great mysteries of the ancient world. Now, for the first time, scientists have analyzed the genome of an ancient Harappan. The findings reveal little about why the society collapsed, but they illuminate both its past and its continuing genetic legacy in modern Indians.

“The Indus Valley Civilization has been an enigma for a long time,” says Priya Moorjani, a population geneticist at the University of California, Berkeley, who wasn’t involved with the study. “So it’s very exciting to … learn about [its] ancestry and history.”

The Indus Valley Civilization emerged sometime around 3000 B.C.E. and had collapsed by about 1700 B.C.E. During its height, it stretched across much of what is today northwestern India and parts of eastern Pakistan. It is alternatively known as the Harappan civilization, after the first of its sites to be excavated in Punjab province in Pakistan beginning in the 1820s. Along with ancient Egypt and Mesopotamia, it was among the world’s first large-scale urban agricultural societies, boasting somewhere between 1 million and 5 million inhabitants across five central cities.

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Although hundreds of skeletons from the Indus Valley have been uncovered, the region’s hot climate rapidly destroys the genetic material that has been instrumental in tracing the history of other early civilizations.

In recent years, however, scientists have learned that the petrous bone of the inner ear contains an unusually high quantity of DNA, allowing them to locate usable genetic material even in otherwise degraded skeletons. A team led by geneticist David Reich at Harvard University and archaeologist Vasant Shinde at Deccan College in Pune, India, decided to try the promising technique with Indus specimens. They sampled more than 60 skeletal pieces, including numerous petrous bones, before they were able to extract ancient DNA from one. Then they had to sequence the sample more than 100 times to piece together a relatively complete genome.

“There’s no doubt this is the most intensive effort we’ve ever made to get ancient DNA from a single sample,” Reich says.

The sampled individual, most likely a woman based on her DNA, was buried among dozens of ceramic bowls and vases in an Indus site known as Rakhigarhi, about 150 kilometers northwest of modern-day Delhi. Archaeological evidence suggests she lived sometime between 2800 and 2300 B.C.E. Her genome closely matched DNA from 11 other individuals who had been found at sites in Iran and Turkmenistan, where conditions favor better DNA preservation. (Those individuals belong to a set of 523 ancient DNA sequences used to chart the population history of South Asians and published today in Science.)

Knowing that the Indus civilization traded with those regions, and that those 11 individuals had little in common genetically with others buried in their regions, Reich and colleagues concluded they were likely Harappan migrants.

Now working with a bank of Indus genomes presumed to be 12 individuals strong, the researchers compared their genetic signatures to DNA from other ancient civilizations in Eurasia as well as modern populations. A resulting Indus family tree revealed that although the civilization collapsed nearly 4000 years ago, its genetic stock forms the basis of most people living in India today, the team reports today in Cell.

The Science paper, also led by Reich, notes that modern people from North India also bear the genetic marks of ancient interbreeding with herders from the Eurasian steppe, a vast grassland that stretches across northern Asia, moving southward around 2000 B.C.E. Those steppe herders carried European DNA from previous interbreeding events, the authors note, explaining the once-perplexing genetic link between Europeans and South Asians. Over the next few thousand years, the groups in north and south India intermixed, leading to the modern population’s complex ancestral mix.

One surprise concerns DNA related to ancient Iranians, which was previously found to be prevalent in modern South Asians. The finding seemed to back a popular belief among anthropologists that migrants from the Fertile Crescent—which comprises modern-day Iran and gave rise to the world’s first farmers who began to rove about 10,000 years ago—moved east at some point and mixed with South Asian hunter-gatherers, introducing agriculture to the Indian subcontinent. Yet the new study suggests the Iranian-related DNA in both the Indus individuals and modern Indians actually predates the rise of agriculture in Iran by some 2000 years. In other words, that Iranian-related DNA came from interbreeding with 12,000-year-old hunter-gatherers, not more recent farmers, Reich explains.

“It seems likely there were independent advents of farming,” says biological anthropologist Gyaneshwer Chaubey at Banaras Hindu University in Varanasi, India, who wasn’t involved with the study. One explanation, he notes, might be that ancient South Asians learned farming practices from their neighbors without interbreeding with them.

Figuring out exactly what happened will require more archaeological work and more ancient DNA samples from across the region, Chaubey says. “The findings from the study are extremely exciting, but this is just the beginning of the story.”

The Great Bead Story -- Kausalya Santhanam

September 5, 2019, 11:08 pm

≫ Next: Mysterious Indus Valley People Gave Rise to Modern-Day South Asians-- Stephanie Pappas

≪ Previous: Science journalists report on DNA Rakhigarhi research study in Cell journal. Read on to understand the relevance of Indus Script decipherment...

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The Great Bead Story

Kausalya Santhanam

SEPTEMBER 05, 2019 16:55 IST

UPDATED: SEPTEMBER 05, 2019 16:56 IST

A beaded necklace from late Harappan context from the site of Harappa  

A popular fashion accessory, beads play a significant role in archaeological studies, providing a window to cultures and civilizations

Beads are a fashion statement in today’s world. They are beautiful. And they can also tell us the story of a civilization. “The statue of the ‘Priest King’ from Mohenjo-daro is a remarkable discovery. The findings show that the headband depicted on the forehead of the Priest King consisted of a gold fillet with the centrepiece made up of a gold circlet and a steatite bead. The combination of all these elements clearly created an extraordinary, elite item” says Dr. V.N. Prabhakar, director (Exploration and Excavation, and Publication), Archaeological Survey of India. The archaeologist is guest professor at the Indian Institute of Technology, Gandhinagar. He has carried out investigations on the bead drilling technology of Dholavira Harappans, and conducted excavations at Harappan culture sites. In an interview with this writer he explains the significant role that beads play in revealing various aspects of the Harappan or Indus Valley civilization.

V.N. Prabhakar, director (Exploration and Excavation, and Publication), Archaeological Survey of India   | Photo Credit: ASI

Excerpts:

What is the significance of beads in archaeological studies? How do you date the beads? What scientific methods are used?

Beads play an important role in helping us understand the cultures of the past — long-distance trade, technological features and parameters, provenance, artistic expression — and very important in archaeological studies, often from a period where no written evidence is available. Even during historical periods, beads were useful to help us understand archaeological cultures in terms of trade, technology and art.

In the earliest contexts of South Asia, beads were often very simple, and fashioned from animal bones or limestone. The production of various specimens of artistic expressions proliferated once humans started to settle down. The beads from the earliest levels were made of turquoise, shell, dentalium steatite, calcite and lapis lazuli.

Beads tell us about trade. The long barrel cylindrical beads and decorated carnelian beads found from several sites in Oman, Iraq and Syria (the last two corresponding to the areas of the Mesopotamian civilization) clearly indicate their export as elite items from the Harappan civilization.

Beads cannot be directly dated by scientific methods. The archaeological layers can be dated by scientific methods and if the beads and other artefacts are found in the same layer, they are placed in the same chronological horizon as that of the layers.

Statue of the ‘Priest King’ from Mohenjo-daro  

The archaeological finds of the Indus Valley civilization have thrown up rich and ample evidence of the use of beads in the daily life of the people. How much do they reveal about the economy, society, class, and the beliefs of the people?

The beads from the Harappan civilization — a better and most accepted terminology than the Indus Valley civilization — are of various materials such as terracotta, shell, steatite, agate-carnelian, lapis lazuli, turquoise, faience, jasper, onyx, and others. Analysis reveals that 41 new raw materials were added during the urban phase of the Harappan civilization (2600-1900 BCE).

This is a clear indication of the economic prosperity boosted by the integration of various regional Chalcolithic cultures across the Greater Indus Plains. The integration of these regional Chalcolithic cultures also enabled the procurement of raw materials from distant locations.

Often the burials of Harappan sites clearly indicate the social stratification based on the artefacts, including beads of exotic raw materials, their number and rarity.

The burials also clearly indicate the context in which the strands of bead necklaces and other ornaments were used. Often the ornaments are placed in their original context of the body and buried. Similarly, terracotta male and female figurines clearly indicate the context in which the beaded necklaces were worn by them.

For example, the long barrel cylindrical beads were worn as girdles across the hip portion of females as the female terracotta figurines from sites like Mohenjo- daro show. The placing of agate and faience eye beads across the upper arm from child burials of Sanauli is another clear indication of their usage — may be to ward off evil elements.

Carnelian beads   | Photo Credit: ASI

Which natural materials found in the region led to the beautiful craft of bead making ? What type of material was preferred by different classes and professions? Did their use indicate a certain hierarchy and rank?

Past human cultures used various raw materials found from the natural context, for example, shell species of Turbinella pyrum from the Gulf of Kachchh, agate-carnelian from Khandak near the Harappan site of Surkotada and other locations in Gujarat, lapis lazuli from the Badakshan mines of Afghanistan, high quality steatite from northern Rajasthan, and turquoise from Central Asia.

It is very difficult to understand the types of raw materials used in the absence of written evidences and contextual records from the burials. However, even commonly available materials could be fashioned in such a manner as to create elite items.

What do these finely fashioned beads tell us about the technological advancement of the Indus Valley society?

The investigation of the bead holes clearly tells us the various technological stages in which they were manufactured. The study from the Neolithic stages of Mehergarh to the early Historic period clearly show the transformation in the technological stages (as they tell us about the type of drill bits used).

Further, the bead manufacturing technology, as evidenced from the bead manufacturers of Khambhat today in Gujarat, and their study by various scholars have enabled the various stages involved in their production to be understood. Traditional bead manufacturers use the same kind of bow drilling to perforate the beads, clearly a survival of the traditional processes. However, modern bead manufacturers now use mechanical polishing and drilling equipment, which enables faster manufacture. The beads in various stages of manufacture from several sites such as Harappa, Chanhudaro and Dholavira reveal the stages involved in the production of these beads.

Is there any other civilization comparable to the Indus Valley in producing and patronising bead making?

The contemporary Egyptian and Mesopotamian civilizations had similar industries. However, the Harappans were masters in the manufacture of agate-carnelian and other hard beads, with the aid of ernestite drill bits.

How is it that beads continue to make a fashion statement in today’s world?

The form, shape and raw materials have varied from period to period. Once the production of glass came into being, the domination of semi-precious stones declined and beads of glass in various shapes, size, and colours could be manufactured. However, the advent of precious gem stones such as diamond, opal, ruby, emerald, sapphire and others, during the historical period and their rarity, clarity, reflective and refractive properties enabled their dominance, establishing them as elite items. Beads continue to make a fashion statement due to their properties such as vibrant colours and polish and also the shapes in which they can be manufactured.

Can many of today’s beads compare with the beauty, uniqueness and ingenuity shown in the beads of Mohenjo-daro,Harappa, Dholavira and other cities?

The present-day raw materials, shapes and finish are very different from those found on Harappan sites. However, the technology has its origin from Harappan times, or even earlier. The traditional technology of the Harappan bead manufacture has survived even up to the 20th century and is still practised by a small group of master craftsmen. However, present-day synthetic materials and mechanised manufacturing techniques clearly dominate the products of traditional bead manufacturers. In terms of shapes, sizes and artistic quality, I would definitely place the Harappan beads well above the present ones, even though the [present ones] are made of precious gemstones, and have vibrant reflective and refractive qualities.

Is there any bead museum in the world and is there any proposal to set up one in Khambat or any centre of the Indus Valley?

At present, there is no separate bead museum to highlight the beads of the Harappans. However, a small museum in the Department of Ancient History and Archaeology, M.S. University, Vadodara, preserves one of the extraordinary collections reflecting the entire bead manufacturing processes of the Harappans.

How did you get interested in this fascinating field of study? How much has this sphere of specialisation grown?

I was trained in Harappan archaeology at Dholavira under Dr. R.S. Bisht and since then I have developed a deep interest to study and understand various aspects of the Harappan civilization — their society and transformation from a regional culture to an urbanised civilization. My interest in bead studies is due to Prof. J.M. Kenoyer, under whose guidance I gained insights on the techniques to study the methodology, manufacturing processes and various other aspects. The study of beads has developed immensely due to the contribution of various scholars such as E. Mackay, S.R. Rao, G.L. Possehl, J.M. Kenoyer, M. Vidale and K. Bhan.
https://www.thehindu.com/society/history-and-culture/the-great-bead-story/article29341513.ece?fbclid=IwAR1_yNBPLrmlr-dt80RtU-Ze4PwCYFKWqELC797x_wvyiSy7zZ6_XEPWkYY

Mysterious Indus Valley People Gave Rise to Modern-Day South Asians-- Stephanie Pappas

September 6, 2019, 8:42 am

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Mysterious Indus Valley People Gave Rise to Modern-Day South Asians

By Stephanie Pappas - Live Science Contributor a day ago History 

Who were the ancient people from the mysterious Harappan Civilization?

The skeleton of an individual from the Indus Valley Civilization whose fragile, ancient DNA revealed links to modern-day South Asian populations. 

(Image: © Vasant Shinde)

Ancient DNA evidence reveals that the people of the mysterious and complex Indus Valley Civilization are genetically linked to modern South Asians today. 

The same gene sequences, drawn from a single individual who died nearly 5,000 years ago and was buried in a cemetery near Rakhigarhi, India, also suggest that the Indus Valley developed farming independently, without major migrations from neighboring farming regions. It's the first time an individual from the ancient Indus Valley Civilization has yielded any DNA information whatsoever, enabling researchers to link this civilization both to its neighbors and to modern humans. 

The Indus Valley, or Harappan, Civilization flourished between about 3300 B.C. and 1300 B.C. in the region that is now covered by parts of Afghanistan, Pakistan and northwestern India, contemporaneous with ancient Egypt and Mesopotamia. The people of the Indus Valley forged an impressively advanced civilization, with large urban centers, standardized systems of weights and measurements and even drainage and irrigation systems. Yet despite that sophistication, archaeologists know far less about the civilization than that of ancient Egypt or Mesopotamia, in part because the Indus Valley writing system hasn't yet been deciphered.

Cracking Codes: 5 Ancient Languages Yet to Be Deciphered

(Image credit: Vasant Shinde)

 Elusive DNA

Gathering ancient DNA from the Indus Valley is an enormous challenge, Vagheesh Narasimhan, one of the leading authors of the new research and a postdoctoral fellow in genetics at Harvard Medical School, Live Science, because the hot, humid climate tends to degrade DNA rapidly. Narasimhan and his colleagues attempted to extract DNA from 61 individuals from the Rakhigarhi cemetery and were successful with only one, skeleton likely belonging to a female which was found nestled in a grave amid round pots, her head to the north and feet to the south. 

(Image credit: Vasant Shinde)

The first revelation from the ancient gene sequences was that some of the inhabitants of the Indus Valley are connected by a genetic thread to modern-day South Asians. "About two-thirds to three-fourths of the ancestry of all modern South Asians comes from a population group related to that of this Indus Valley individual," Narasimhan said. 

Where the Indus Valley individual came from is a more difficult question, he said. But the genes do suggest that the highly agricultural Indus people were not closely related to their farming neighbors in the western part of what is now Iran. 

"We were able to examine different associations between the advent of farming in that part of the world with the movement of people in that part of the world," said Narasimhan.

Farming, Narasimhan said, first began in the Fertile Crescent of the Middle East around 10,000 years ago. No one knows precisely how it spread from there. Did agriculture pop up independently in areas around the globe, perhaps observed by travelers who brought the idea to plant and cultivate seeds back home? Or did farmers move, bringing their new agricultural lifestyle with them? 

In Europe, the genetic evidence suggests that the latter is true: Stone Age farmers introduced Southern Europe to agriculture, then moved north, spreading the practice as they went. But the new Indus Valley genetic evidence hints at a different story in South Asia. The Indus Valley individual's genes diverged from those of other farming cultures in Iran and the Fertile Crescent before 8000 B.C., the researchers found. 

"It diverges at a time prior to the advent of farming almost anywhere in the world," Narasimhan said. In other words, the Indus Valley individual wasn't the descendent of wandering Fertile Crescent farmers. She came from a civilization that either developed farming on its own, or simply imported the idea from neighbors — without importing the actual neighbors. 

Both immigration and ideas are plausible ways to spread farming, Narasimhan said, and the new research suggests that both happened: immigration in Europe, ideas in South Asia. The results appear today (Sept. 5) in the journal Cell. 

Complex populations

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The researchers also attempted to link the Indus Valley individual to his or her contemporaries. In a companion paper published today in the journal Science, the researchers reported on ancient and modern DNA data from 523 individuals who lived in South and Central Asia over the last 8,000 years. Intriguingly, 11 of these people — all from outside the Indus Valley — had genetic data that closely matched the Indus Valley Individual. These 11 people also had unusual burials for their locations, Narasimhan said. Together, the genetic and archaeological data hint that those 11 people were migrants from the Indus Valley Civilization to other places, he said. 

However, these conclusions should be viewed as tentative, warned Jonathan Mark Kenoyer, an archaeologist and expert on the Indus Valley Civilization at the University of Wisconsin, Madison, who was not involved in the new research. Archaeological evidence suggests that Indus Valley cities were cosmopolitan places populated by people from many different regions, so one person's genetic makeup might not match the rest of the population. Furthermore, Kenoyer said, burial was a less common way of dealing with the dead than cremation. 

"So whatever we do have from cemeteries is not representative of the ancient populations of the Indus cities, but only of one part of one community living in these cities," Kenoyer said.

And though the Indus individual and the 11 potential migrants found in other areas might have been related, more ancient DNA samples will be needed to show which way people, and their genes, were moving, he said.

Narasimhan echoed this need for more data, comparing the cities of the Indus Valley to modern-day Tokyo or New York City, where people gather from around the world. Ancient DNA is a tool for understanding these complex societies, he said. 

"Population mixture and movement at very large scales is just a fundamental fact of human history," he said. "Being able to document this with ancient DNA, I think, is very powerful."
https://www.livescience.com/south-asians-descend-from-harappan-civilization.html?fbclid=IwAR23lN_ZSHFoVBG8zUhDKDdaKhAcVKrLPHGNyHUKpIW6OR0mHp5YcpNvN84

Itihāsa. Kāśmīra, a crown jewel of Bhārat

September 7, 2019, 12:42 am

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Presented below, a series of articles and albums on Kashmir’s Indic Tradition and Connections (Thanks to Sanjeev Nayyar for the links).

 

1 Kashmir’s Radian Knowledge Tradition by B S Harishankar https://www.esamskriti.com/e/Culture/Indian-Culture/Kashmir-colon-s-radiant-knowledge-tradition-1.aspx

 

2 The Dharmic Past of Kashmir by Dr Nidhi M https://www.esamskriti.com/e/History/Indian-History/The-Dharmic-Past-of-Kashmir-1.aspx

 

3 Ancient Legacy of Kashmir by Benoy K Behl https://www.esamskriti.com/e/History/Indian-History/Ancient-Legacy-of-Kashmir-1.aspx

 

4 D K Hari on Kashmir’s 7000 year old civilization https://www.pgurus.com/d-k-hari-discusses-the-7000-year-history-of-kashmir-and-kashmira-pura-vasini/dkh1981-1/

 

5 Surya Martand Mandir Pics by Sanjeev N https://www.esamskriti.com/a/Jammu-and-Kashmir/Martand-Sun-Temple.aspx

 

6 Verinag has an ancient Shiv Mandir where the river Jhelum starts by Sanjeev https://www.esamskriti.com/a/Jammu-and-Kashmir/Verinag.aspx

 

7 Light on Abhinavgupta contribution to Advaita Shaiva Philosophy of Kashmir by Dr D B Sharma https://www.esamskriti.com/e/Spirituality/Tantra/Light-on-Abhinavagupta-colon-s-Contribution-to-the-Advaita-Shaiva-Spiritual-Philosophy-of-Kashmir-1.aspx

 

8 Tantra and Teachings of Kashmir’s Abhinavgupta by Lindan Johnsen https://www.esamskriti.com/e/Spirituality/Tantra/Tantra-and-Teachings-of-Kashmir-colon-s-Abhinavgupta-1.aspx

Seal of an "interpreter of Meluhha language" Shu-Ilishu EME.BAL.ME.LUH.HA.KI and 17 other seals with seafaring Meluhhan merchants

September 7, 2019, 3:11 am

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https://tinyurl.com/y55p2gnp

The Shu-ilishu cylinder seal is a clear evidence of the Meluhhan merchants trading in copper and tin, signified by the field symbols vividly portrayed on the cylinder seal. The Meluhha merchant carries melh, mr̤eka 'goat or antelope' rebus: milakkhu 'copper' and the lady accompanying the Meluhhan carries a ranku 'liquid measure' rebus: ranku 'tin'; On the field is shown a crucbile: 

kuṭhāru 'crucible' rebus: kuṭhāru 'armourer'. The seated person of high rank may be such a  kuṭhāru 'armourer' signified by the hieroglyph kuṭhāru 

'crucible' on the top register of the cylinder seal. 

Thus, the cylinder seal signifies a trade transaction between a Mesopotamian armourer (Akkadian speaker) and Meluhhans settling a trade contract for their copper and tin. The transaction is mediated by Shu-ilishu, the Akkadian interpreter of Meluhha language.

“This shows a seated person of high rank, royal or divine, receiving two standing visitors. A bearded dwarf perches on the seated person’s lap, his head turned to face the dignitary. The first visitor seems to be addressing the seated dignitay with the help of a hand gesture, as is the dwarf. The seal’s accompanying cuneiform inscription reads as follows: ‘su-i-li-su/eme-bal me-luh-ha’, which translates as: ‘Su-ilisu, interpreter of the Meluhhan language’—possibly the name of the dwarf (opinions differ). Sadly, no more is known about Su-ilisu. ‘We can imagine that, like the other Meluhhans, he had established some close ties within Mesopotamia’, speculates Wright. Perhaps he began as a merchant from the Indus area, learned how to speak Akkadian and then ‘forged a new profession as a translator’ for his fellow merchants. Alternatively, he could have been an Akkadian-speaking native who saw a business opportunity through learning the language of Meluhha. Either way, this unique seal offers some slight encouragement that Mesopotamian excavation may one day yield the Holy Grail of Indus Script decipherment: a bilingual inscription written in both cuneiform and the Indus Script.” (Andrew Robinson, 2015, The Indus: Lost Civilizations, Reaktion Books, pp.101-102)
Richelieu
Rez-de-chaussée
Mésopotamie, 2350 à 2000 avant J.-C. environ
Salle 228 Vitrine 1 : Glyptique de l'époque d'Akkad, 2340 - 2200 avant J.-C.

http://cartelfr.louvre.fr/cartelfr/visite?srv=car_not&idNotice=12071

The seal reads: 'su-i-li-su / eme-bal me-luh-ha', which translates as: 'Su-ilisu, interpreter of the Meluhhan language' 

Akkadian cylinder seal with inscription Shu-ilishu, interpreter of the Meluhhan language, Louvre Museum AO 22310

Meluhha was the Akkadian name for Indus Sarasvati Valleys.

Shu-ilishu's Cylinder seal. Courtesy Department des Antiquities Orientales, Musee du Louvre, Paris. The cuneiform text reads: 

Shu-Ilishu EME.BAL.ME.LUH.HA.KI 

(interpreter of Meluhha language).

Copper from Gujarat used in Mesopotmia, 3rd millennium BCE, evidenced by lead isotope analyses of tin-bronze objects; report by Begemann F. et al.

1.   Title: Über das frühe Kupfer Mesopotamiens

2.   Author(s): BEGEMANN, F. , SCHMITT-STRECKER, S. 
Journal: Iranica Antiqua
Volume: 44    Date: 2009   
Pages: 1-45
DOI: 10.2143/IA.44.0.2034374

2.   Abstract :
A lIranica Antiqua

Geographical locations of sites of Mesopotamia from which artifacts were analyzed in this work (After Fig. 1 in Begemann, F. et al, 2009 loc.cit.) The conclusion is:                                             

"Unsere bleiisotopische evidenz legt nahe, das in Mesopotamien fur legierung mit zinn verwendete kupfer urudu-luh-ha stamme aus Indien, was ebenfalls vertraglich ist mit einem import via dilmun." (Trans. Our lead isotope evidence suggests that the urudu-luh-ha copper used in Mesopotamia for tin alloying is from India, which is also contracted with an import via Dilmun.)" (opcit., p.28)

3.   A lead isotope study »On the Early copper of Mesopotamia« reports on copper-base artefacts ranging in age from the 4th millennium BC (Uruk period) to the Akkadian at the end of the 3rd millennium BC. Arguments are presented that, in the (tin)bronzes, the lead associated with the tin used for alloying did not contribute to the total in any detectable way. Hence, the lead isotopy traces the copper and cannot address the problem of the provenance of tin. The data suggest as possible source region of the copper a variety of ore occurrences in Anatolia, Iran, Oman, Palestine and, rather unexpectedly (by us), from India. During the earliest period the isotopic signature of ores from Central and North Anatolia is dominant; during the next millennium this region loses its importance and is hardly present any more at all. Instead, southeast Anatolia, central Iran, Oman, Feinan-Timna in the rift valley between Dead Sea and Red Sea, and sources in the Caucasus are now potential suppliers of the copper. Generally, an unambiguous assignment of an artefact to any of the ores is not possible because the isotopic fingerprints of ore occurrences are not unique. In our suite of samples bronze objects become important during ED III (middle of the 3rd millennium BC) but they never make up more than 50 % of the total. They are distinguished in their lead isotopy by very high 206Pb-normalized abundance ratios. As source of such copper we suggest Gujarat/Southern Rajasthan which, on general grounds, has been proposed before to have been the most important supplier of copper in Ancient India. We propose this Indian copper to have been arsenic-poor and to be the urudu-luh-ha variety which is one of the two sorts of purified copper mentioned in contemporaneous written texts from Mesopotamia to have been in circulation there concurrently.

I am grateful to Prof. Nilesh Oak for identifying a brilliant piece of  archaeometallurgical provenance study which links Khetri copper mines --through Dholavira/Lothal and Persian Gulf -- with Mesopotamia. 

Trade contacts with Meluhha artisans in Mari for tin-bronze production in Mesopotamia proven by provenance studies and cuneiform texts http://tinyurl.com/yxhfgnll

I posit that, as argued in the above-cited monograph that the largest tin belt of the globe was in the river basins of Himalayan rivers Mekong, Irrawaddy and Salween which powered the Tin-Bronze Revolution of 3rd millennium BCE, evidenced in Mesopotamia. These rivers ground down granite rocks to accumulate placer deposits of cassiterite (tin ore) in these river basins thus facilitating an Ancient Maritime Tin Route which linked AFEwith ANE.

Cuneiform texts record long distance copper trade

"Cuneiform texts from the Late Uruk/Jemdet Nasr Period to the Old Babylonian Period (c. 3100-1750 B.C.) record the importation by sea of copper from Meluhha (probably northwest India), Magan (likely southeastern Arabia), and Dilmun (probably modern Bahrain) by Mesopotamian merchants, probably working either as agents for the city temple or rulers.(1) Some trade by private individuals took place as well, though on a smaller scale. (2) The archives of one merchant from Old Babylonian period Ur were excavated by Woolley; these record the importation of copper from Tilmun (probably in Iran) via the Persian Gulf, as well as various disputes with customers over the quality of his copper and the speed of his deliveries. (3) Production of finished copper and bronze products seems to have followed a similar pattern as Pylos, Alalakh, and Ugarit in Third Dynasty Ur (c. 2100 B.C.E.); at all of these sites, clay tablets record the allotment of copper to smiths for the production of weapons and other  tems.(4)" (Michael Rice Jones, 2007, Oxhide ingots, coper production, and the mediterranean trade in copper and other metals in the Bronze Age, Thsesis submitted to the Office of Graduate Studies of Texas A&M University, 418 pages: p.62).

"Metal ores, particularly the ores of copper and tin that became so important in the Bronze Age, take an enormous amount of labor and technological expertise to extract from the natural environment and process into useful finished products. Metal ores also occur in geographically localized areas, which would have limited access of prehistoric communities to metals and encouraged long distance trade between them. By the second millennium B.C.,Mediterranean societies had developed complex trade networks to transport and exchange metals and other bulk goods over long distances. Copper, particularly as the main component of bronze, became one the most important materials for tools, weapons, and statusenhancing luxury goods during the Bronze Age." (5)(ibid., p.1)

Cuneiform texts record long distance trade in tin

The largest tin belt of the globe is in Ancient Far East

"Texts from the palace of Zimri-lin (c.1780-1760 B.C.) of Mari in northern Syria attest to a thriving trade in tin operated by Assyrian merchants, who exported tin to Anatolia for twice the price at which they had purchased it.(6) These records indicate that copper and bronze were imported to Mari from Alashia, and that tin was imported to Mari from the Mesopotamian city of Esnunna; it was then transported to various cities in Syria and Palestine, ultimately reaching Ugarit.(7) The source of the tin from Mari is unknown, but it may have been transported overland from eastern Afghanistan.(8) One document records the purchase of tin by individuals called “the Caphtorite” (usually translated as ‘the Cretan’), who received 20 minas of tin “for the second time,” and “the Carian,” who received an unknown amount of tin.(9) The foreigners in Mari were likely agents for purchasing tin and other goods in the city.(10) Various objects from “Kaptara”, usually identified as Keftiu or Crete, are mentioned in the Mari texts as well; therefore, it seems likely that the tin route continued further west to

Crete and Anatolia.(11) References to objects and materials connected with Caphtor or Keftiu are also known from several Bronze-Age texts from Mari. Since references to metal objects of ‘Keftian’ origin, workmanship, or style are the most prominent associations with the name, Keftiu seems to have been known especially for its metalwork.(12) Scattered references to the name Keftiu appear in New Kingdom Egyptian texts as well, dating from perhaps as early as c. 2300 B.C., through the second and first millennia B.C.E, to the most recent references in the Roman period.(13) Keftiu is most commonly identified with Crete, although locations such as Cyprus,Cilicia, and the Cyclades have also been proposed.(14) The sophisticated Minoan metallurgy industry would have required large amounts of imported tin and copper in order to function, since there are no tin and only insignificant copper deposits known on the island.(15)"(ibid., p.58)

Source: http://nautarch.tamu.edu/Theses/pdf-files/JonesM-MA2007.pdf 

Volume 48, Number 1, EXPEDITION, pp. 42, 43

Source: http://nautarch.tamu.edu/Theses/pdf-files/JonesM-MA2007.pdf

Notes:

1. (Weeks, L. R. 2003. Early Metallurgy of the Persian Gulf. Boston, MA: Brill AcademicPublishers.Weeks, 14-5; Leemans W.F., 1960. Foreign Trade in the Old Babylonian Period, as Revealed by Textsfrom Southern Mesopotamia. Leiden, Holland: E. J. Brill. 5, 11, 19, 21, 34, 50-1, 54; Larsen, M. T. 1976. The Old Assyrian City-State and Its Colonies. Copenhagen Studies in Assyriology Volume 4. Copenhagen, Denmark: Akademisk Forlag.Larsen, 227-8.)

2. Leemans W.F., 1960. Foreign Trade in the Old Babylonian Period, as Revealed by Textsfrom Southern Mesopotamia. Leiden, Holland: E. J. Brill.,50, 56.

3. Muhly, J.D., "The Bronze Age Setting." In The Coming of the Age of Iron, 25-68. New Haven: Yale University Press, 38. 

4. Wiseman, D. J. 1953. The Alalakh Tablets. Liverpool, England: C. Tinling & Co., 2, 105-6; Ventris, M., and J. Chadwick. 1973. Documents in Mycenaean Greek. Cambridge, UK:Cambridge University Press, 352.

5. Sherratt, A. and S. Sherratt, 1961, "From Luxuries to Commodities: the Nature of Mediterranean Bronze Age Trading Systems." In Bronze Age Trade in the Mediterranean, edited by N. H. Gale, 1-15. Studies in Mediterranean

Archaeology, vol. XC. Jonsered, Sweden: Paul Åströms Förlag., pp. 361-362)

6. Muhly, J. D. 1973a. Copper and Tin: The Distribution of Mineral Resources and the Nature of the Metals Trade in the Bronze Age. Transactions of the Connecticut Academy of Arts and Sciences, v. 43, 155-535. Hamden, CT: Archon Books, 292

7. Muly, J.D., opcit., 293; Georgiou, H. 1979. “Relations Between Cyprus and the Near East in the Middle and Late Bronze Age.” Levant 11:84-100., 86.

8.Muhly, J.D., opcit., 292; Leemans W.F., 1960. Foreign Trade in the Old Babylonian Period, as Revealed by Textsfrom Southern Mesopotamia. Leiden, Holland: E. J. Brill., 138.

9. Strange, J. 1980. Caphtor/Keftiu: A New Investigation. Leiden, Holland: E. J. Brill., 90; Malamat, A. 1971. “Syro-Palestinian Destinations in a Mari Tin Inventory.” IEJ 21:31-8., 34.

10. Strange, J. 1980. Caphtor/Keftiu: A New Investigation. Leiden, Holland: E. J. Brill., 91.

11. Muhly, J. D. 1973a. Copper and Tin: The Distribution of Mineral Resources and the Nature of the Metals Trade in the Bronze Age. Transactions of the Connecticut Academy of Arts and Sciences, v. 43, 155-535. Hamden, CT: Archon Books., 293-4;  Leemans W.F., 1960. Foreign Trade in the Old Babylonian Period, as Revealed by Textsfrom Southern Mesopotamia. Leiden, Holland: E. J. Brill., 138; Strange, J. 1980. Caphtor/Keftiu: A New Investigation. Leiden, Holland: E. J. Brill., 91-2.

12. Strange, J. 1980. Caphtor/Keftiu: A New Investigation. Leiden, Holland: E. J. Brill.,, 91-3, 96; Wiener, M. H. 1990. "The Isles of Crete? The Minoan Thalassocracy Revisited." In Thera and the Aegean World III: Volume I: Archaeology, edited by D. A. Hardy,128-61. Proceedings of the Third International Congress, Santorini, Greece, 3-9 September, 1989. London: The Thera Foundation., 146.

13. Strange, J. 1980. Caphtor/Keftiu: A New Investigation. Leiden, Holland: E. J. Brill.,, 108-9.

14. Strange, J. 1980. Caphtor/Keftiu: A New Investigation. Leiden, Holland: E. J. Brill.,, 113-84.

15. Branigan, K. 1968. Copper and Bronze Working in Early Bronze Age Crete. Studies in Mediterranean Archaeology v. XIX. Lund, Sweden: Carl Bloms Boktryckeri A.-B., 51-2, 57; 1974, 57-65, 105-6; Wiener, M. H. 1990. "The Isles of Crete? The Minoan Thalassocracy Revisited." In Thera and the Aegean World III: Volume I: Archaeology, edited by D. A. Hardy,128-61. Proceedings of the Third International Congress, Santorini, Greece, 3-9 September, 1989. London: The Thera Foundation., 146.

https://www.harappa.com/sites/default/files/201402/Shu-ilishus-Cylinder-Seal.pdf

Meluhha on eighteen ANE cylinder seals from ca. 24th cent. to 12th cent. BCE are merchants of metals http://tinyurl.com/hv38j9k

A Meluhha is signified on Ancient Near East cylinder seals by an antelope carried on his hands. The antelope signifies mlekh 'goat' (Br.); mr̤eka (Te.); mēṭam (Ta.); meṣam (Skt.) rebus: milakkhu 'copper' (Pali), mleccha-mukha 'copper' (Samskrtam)

On some cylinder seals additional hieroglyphs are signified to signify the nature of trade transactions and resources involved. For example, on Lajard, M. Pl. xxxv.7 cylinder seal, three additional hieroglyphs are read rebud: bica 'scorpion' rebus: bica 'haematite, stone ore' kulA 'serpent hood' rebus: kol 'working in iron' mēḍha  'polar star' Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Ho.Munda)

On VA/243, additional hieroglyph shown is:  miṇḍāl 'markhor' (Tōrwālī) Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.) med 'copper' (Slavic languages)

Hieroglyphs shown on other cylinder seals: 

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

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

koṭhAri 'crucible' Rebus: koṭhAri 'storekeeper'

arka 'sun' rebus: araka, erako 'moltencast, copper'

These eighteen cylinder seals include one with a cuneifom text which notes: Shu-Ilishu EME.BAL.ME.LUH.HA.KI (interpreter of Meluhha language.

The seal also includes an accompanying woman carrying a liquid measure: ranku 'liquid measure' rebus: ranku 'tin'. Thus, the man and woman signify traders in copper and tin.

Lajard, M. PI. xxxv. 7 (Sup. p. 32), and liii. 4. In

PI. liii. 3

 Near Eastern Section of the State Museum in East Berlin, catalogued under number VA/243.

Cylinder seal described as Akkadian circa 2334-2154 BC, cf. figure 428, p. 30. "The Surena Collection of Ancient Near Eastern Cylinder Seals." Christies Auction Catalogue. New York City. Sale of 11 June 2001). A person carrying an antelope may be a Meluhhan (as in the Shu-ilishu Meluhhan interpreter cylinder seal).

Cylinder seal of Shu-ilishu, interpreter for Meluhha. Cuneiform inscription in Old Akkadian. Serpentine. Mesopotamia ca 2220-2159 BCE H. 2.9 cm, Dia 1.8 cm Musee du Louvre, Departement des Antiquites, Orientales, Paris AO 22310 “Based on cuneiform documents from Mesopotamia we know that there was at least one Meluhhan village in Akkad at that time, with people called ‘Son of Meluhha‘ living there. The cuneiform inscription (ca. 2020 BCE) says that the cylinder seal belonged to Shu-ilishu, who was a translator of the Meluhhan language. “The presence in Akkad of a translator of the Meluhhan language suggests that he may have been literate and could read the undeciphered Indus script. This in turn suggests that there may be bilingual Akkadian/Meluhhan tablets somewhere in Mesopotamia. Although such documents may not exist, Shu-ilishu’s cylinder seal offers a glimmer of hope for the future in unraveling the mystery of the Indus script.”

(Gregory L. Possehl,Shu-ilishu’s cylinder seal, Expedition, Vol. 48, Number 1, pp. 42-43).

http://www.penn.museum/documents/publications/expedition/PDFs/48-1/What%20in%20the%20World.pdf

Source: William Hayes Ward, 1910, The cylinder seals of western Asia, Carnegie Institute of Washington, Publication No. 100

https://ia600209.us.archive.org/8/items/cu31924029803172/cu31924029803172.pdf

12th cent. BCE. An Elamite silver statuette showed a person (king?) carrying an antelope on his hands, the same way a Meluhhan carried an antelope on his hands (as shown on a cylinder seal). Antelope carried by the Meluhhan is a hieroglyph: mlekh ‘goat’ (Br.); mr̤eka (Te.); mēṭam (Ta.); meṣam (Skt.) Thus, the goat conveys the message that the carrier is a Meluhha speaker.

Scorpion with a Plant Cylinder seal and impression Mesopotamia, Late Uruk period/Jamdat Nasr period (ca. 3500–2900 B.C.E.) Marble 36.5 x 21 mm Seal no. 31

bica 'scorpion' rebus: bica 'haematite,stone ore'

కండె [ kaṇḍe ] kaṇḍe. [Tel.] n. A head or ear of millet or maize. జొన్నకంకి. Mth. kã̄ṛ ʻstack of stalks of large milletʼ(CDIAL 3023). rebus: khaNDa 'implements'.

[quote] Writings in the Ur-III period describe Meluhha as the 'land of the black mountains'. Almost all scholars suggest that Meluhha was the Sumerian name for the Indus Valley Civilization. Finnish scholars Asko and Simo Parpola identify Meluhha (earlier variant Me-lah-ha) from earlier Sumerian documents with Dravidian mel akam "high abode" or "high country". Many items of trade such as wood, minerals, and gemstones were indeed extracted from the hilly regions near the Indus settlements. They further claim that Meluhha is the origin of the Sanskrit mleccha, meaning "barbarian, foreigner".(Parpola, Asko; Parpola, Simo (1975). "On the relationship of the Sumerian Toponym Meluhha and Sanskrit Mleccha". Studia Orientalia. 46: 205–238.)

The expression "Country of Me-lu-ha" (Me-luh-ha Ki) on Akkadian inscriptions.("The Indus Civilization and Dilmun, the Sumerian Paradise Land". www.penn.museum.)

Early texts (c. 2200 BC) seem to indicate that Meluhha is to the east, suggesting either the Indus valley or India. However, much later texts documenting the exploits of King Assurbanipal of Assyria (668–627 BC), long after the Indus Valley civilization had ceased to exist, seem to imply that Meluhha is to be found either in south India or in Africa, somewhere near Egypt.(Hansman, John (1973). "A "Periplus" of Magan and Meluhha". Bulletin of the School of Oriental and African Studies, University of London. 36 (3): 554–587.)

There is sufficient archaeological evidence for the trade between Mesopotamia and the Indian subcontinent. Impressions of clay seals from the Indus Valley city of Harappa were evidently used to seal bundles of merchandise, as clay seal impressions with cord or sack marks on the reverse side testify. A number of these Indian seals have been found at Ur and other Mesopotamian sites.("urseals". hindunet.org. Archived from the original on 2000-12-11; John Keay (2000). India: A History. p. 16.)

The Persian-Gulf style of circular stamped rather than rolled seals, also known from Dilmun, that appear at Lothal in Gujarat, India, and Failaka Island (Kuwait), as well as in Mesopotamia, are convincing corroboration of the long-distance sea trade network, which G.L. Possehl has called a "Middle Asian Interaction Sphere".(Middle Asian Interaction Sphere”, Expedition 49/1)) What the commerce consisted of is less sure: timber and precious woods, ivory, lapis lazuli, gold, and luxury goods such as carnelian and glazed stone beads, pearls from the Persian Gulf, and shell and bone inlays, were among the goods sent to Mesopotamia in exchange for silver, tin, woolen textiles, perhaps oil and grains and other foods. Copper ingots, certainly, bitumen, which occurred naturally in Mesopotamia, may have been exchanged for cotton textiles and chickens, major products of the Indus region that are not native to Mesopotamia—all these have been instanced.

Later era

Sculpture of a Mesopotamian boat, 2700-2600 BCE.

In the Assyrian and Hellenistic eras, cuneiform texts continued to use (or revive) old place names, giving a perhaps artificial sense of continuity between contemporary events and events of the distant past.(Van De Mieroop, Marc (1997). The Ancient Mesopotamian City. Oxford: Clarendon Press. p. 44.) For example, Media is referred to as "the land of the Gutians", (Sachs & Hunger (1988). Astronomical Diaries & Related Texts from Babylonia, vol.1. Vienna: Verlag der Österreichischen Akademie der Wissenschaften. pp. –330 Obv.18.) a people who had been prominent around 2000 BCE.

Meluhha also appears in these texts, in contexts suggesting that "Meluhha" and "Magan" were kingdoms adjacent to Egypt. Assurbanipal writes about his first march against Egypt, "In my first campaign I marched against Magan, Meluhha, Tarka, king of Egypt and Ethiopia, whom Esarhaddon, king of Assyria, the father who begot me, had defeated, and whose land he brought under his sway." In the Hellenistic period, the term is sometimes used to refer to Ptolemaic Egypt, as in its account of a festival celebrating the conclusion of the Sixth Syrian War. (Sachs & Hunger (1988). Astronomical Diaries & Related Texts from Babylonia, vol.2. Vienna: Verlag der Österreichischen Akademie der Wissenschaften. pp. –168 A Obv.14–15.)

These references do not necessarily mean that early references to Meluhha also referred to Egypt. Direct contacts between Sumer and the Indus Valley had ceased even during the Mature Harappan phase when Oman and Bahrain (Magan and Dilmun) became intermediaries. After the sack of Ur by the Elamites and subsequent invasions in Sumer, its trade and contacts shifted west and Meluhha passed almost into mythological memory. The resurfacing of the name could simply reflect cultural memory of a rich and distant land, its use in records of Achaemenid and Seleucid military expeditions serving to aggrandize those kings. [unquote]

https://www.wikiwand.com/en/Meluhha