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Sumerian accounting tablets signify sanga Kushim read rebus in Meluhha substrate saṅg, 'caravan' kusi 'money-lender'

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The administrative official who signs the mathematical tablets of Sumer is SANGA Kushim or SANGA of Kushim.

I suggest that this expression is rooted in Meluhha expressions related to caravan or body of pilgrims led by a temple official and money-lending (or, credit operations) to support traders.

I suggest that both words Sanga and Kushim are subtrate words which have etyma in Ancient Indian dialects. sã̄go signifies a caravan; kusi signifies a money-lender. Thus, SANGA Kushim who signs some administrative accounting tablets may refer to a money-lender who is a temple official or a leader of a caravan of merchants.

Based on the insights provided by Hans J. Nissen, Peter Damerow and Robert K. Englund, 1993, Archaic Bookkeeping: Writing and Techniques of Economic Administration in the Ancient Near East, Chicago, London, The University of Chicago Press, 1993, p. 36ff., I suggest that the partial script of Indus Writing is a wealth-accounting system documenting metalwork, jewels and gems as wealth categories signified by animals, for e.g. karibha, ibha 'elephant' rebus: karba, ib 'iron', khonda singhin 'spiny-horned young animal' rebus: kunda singi 'fine gold, ornament gold', mlekh 'goat' rebus: milakkhu,mleccha 'copper', rango 'water-buffalo' rebus: rango 'pewter, tin', kola 'tiger' rebus: kol 'working in iron', karA 'crocodile' rebus: khar 'blacksmith', bica 'scorpion' rebus: bicha 'haematite ferrite ore', pola 'zebu' rebus: pola 'magnetite ferrite ore', meD 'ram, markhor' rebus: meDh 'merchant', meD 'iron', med 'copper' (Slavic languages), badhi 'castrated boar' rebus: badhi 'worker in iron and wood', barad, balad, 'ox' rebus: bharat, baran, 'alloy of pewter, copper, tin', ratni 'monkey dressed as a woman' rebus: ratnin, 'jewels, gems, treasure'.

Dudu plaque ca. 2400 BCE signifies sanga of Ningirsu. sanga 'priest' is a loanword in Sumerian/Akkadian. The presence of such a sanga may also explain Gudea as an Assur, in the tradition of ancient metalworkers speaking Proto-Prakritam of Indian sprachbund. saṅgu m. ʻ body of pilgrims ʼ (whence sã̄go m. ʻ caravan ʼ), L. P. saṅg m. (CDIAL 12854). 

The Sumerian/Akkadian word sanga, is a loan from Proto-Prakritam or Meluhha of Indian sprachbund. saṁghapati m. ʻ chief of a brotherhood ʼ Śatr. [saṁghá -- , páti -- ]G. saṅghvī m. ʻ leader of a body of pilgrims, a partic. surname ʼ.(CDIAL 12857) saṁghá m. ʻ association, a community ʼ Mn. [√han1]
Pa. saṅgha -- m. ʻ assembly, the priesthood ʼ; Aś. saṁgha -- m. ʻ the Buddhist community ʼ; Pk. saṁgha -- m. ʻ assembly, collection ʼ; OSi. (Brāhmī inscr.) saga, Si. san̆ga ʻ crowd, collection ʼ. -- Rather < saṅga -- : S. saṅgu m. ʻ body of pilgrims ʼ (whence sã̄go m. ʻ caravan ʼ), L. P. saṅg m. (CDIAL 12854). 
saṅgá m. ʻ battle ʼ RV., ʻ contact with ʼ TS., ʻ addiction to ʼ Mn. [√sañj]Pa. saṅga -- m. ʻ attachment, cleaving to ʼ, Dhp. ǵ (see sájati: → Khot. a -- ṣaṁga -- H. W. Bailey BSOAS xi 776), Pk. saṁga -- m.; K. sang m. ʻ union ʼ; S. saṅu m. ʻ connexion by marriage ʼ, saṅgu m. ʻ body of pilgrims ʼ; L. saṅg, (Ju.) sãg m. ʻ body of pilgrims or travellers ʼ; P. saṅg m. ʻ id., association ʼ; N. sã̄gi ʻ ritual defilement by contact ʼ (or < *sāṅgiya -- ?); OB. sāṅga ʻ union, coitus ʼ, B. sāṅāt ʻ companion ʼ; Or. sāṅga ʻ company, companion ʼ; H. sãgwānā ʻ to collect ʼ. -- In an obl. case as an adv. (LM 413 < sáṁgata -- ): Phal. saṅgīˊ ʻ with, to ʼ; P. saṅg ʻ along with ʼ, Ku.gng. śaṅ, N. saṅa; Or. sāṅgesaṅge ʻ near, with ʼ; Bhoj. saṅ ʻ with ʼ, H. saṅg, G. sãge, M. sãgẽ. -- In mng. ʻ company of travellers &c. ʼ, though there is no trace of aspirate, poss. < or at least infl. by saṁghá -- .saṅgin -- , *sāṅgaka -- ; niḥsaṅga -- .Addenda: saṅga -- : WPah.kṭg. (kc.) sɔ́ṅg m. ʻ union, companionship ʼ, kṭg. sɔ́ṅge ʻ together (with), simultaneously, with, by ʼ prob. ← H. Him.I 212.(CDIAL 13082) saṅgin ʻ attached to, fond of ʼ MBh. [saṅgá -- ]Pk. saṁgi -- , saṁgilla -- ʻ attached to ʼ; S. L. P. saṅgī m. ʻ comrade ʼ (P. also ʻ one of a party of pilgrims ʼ), N. saṅi, Or. sāṅga˚gī, H. saṅgī m., M. sãgyāsāgyā m.*saṅghati ʻ tells ʼ see *saṁhati.SAC ʻ follow ʼ: sáścati.Addenda: saṅgin -- : WPah.kṭg. (kc.) sɔ́ṅgi m. ʻ friend ʼ, kṭg. sɔ́ṅgəṇ, kc. sɔṅgiṇ f., J. saṅgīsaṅgu m. (prob. ← H. Him.I 212).(CDIAL 13084)

 *sāṅgaka ʻ relating to a company ʼ. [saṅgá -- ]S. sã̄go m. ʻ companionship, caravan ʼ.(CDIAL 13308)

कुसितः   kusitḥ कुसितः 1 An inhabited country. -2 One who lives on usury; see कुसीद below.कुसी si द   kusī सि d कुसी (सि) द a. Lazy, slothful. -दः (also written as कुशी-षी-द) A monkey-lender, usurer; Mbh.4.29. -दम् 1 Any loan or thing lent to be repaid with in- terest. -2 Lending money, usury, the profession of usury; कुसीदाद् दारिद्र्यं परकरगतग्रन्थिशमनात् Pt.1.11; Ms. 1.9;8.41; Y.1.119. -3 Red sandal wood. -Comp. -पथः usury, usurious interest; any interest exceeding 5 per cent; कृतानुसारादधिका व्यतिरिक्ता न सिध्यति कुसीदपथमा- हुस्तम् (पञ्चकं शतमर्हति) Ms.8.152. -वृद्धिः f. interest on money; कुसीदवृद्धिर्द्वैगुण्यं नात्येति सकृदाहृता Ms.8.151. कुसीदा   kusīdā कुसीदा A female usurer.कुसीदायी   kusīdāyī कुसीदायी The wife of a usurer.   कुसीदिकः कुसीदिन्   kusīdikḥ kusīdin कुसीदिकः कुसीदिन् m. A usurer. (Apte)

Hans J. Nissen, Peter Damerow and Robert K. Englund, 1993, Archaic Bookkeeping: Writing and Techniques of Economic Administration in the Ancient Near East, Chicago, London, The University of Chicago Press, 1993, p. 36ff.









































Excerpts from:
Yuval Noah Harari, 2011, Sapiens, A brief history of humankind, Vintage:







https://www.scribd.com/doc/192970508/Archaic-Bookkeeping

Bronze buffalo sculpture, Mohenjo-daro rango 'buffalo' rebus: rã̄g, rã̄gā ''pewter, tin'

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Bronze sculpture of a buffalo, from Mohenjo Daro, ~2500 BCE.No photo description available.
rāngo ‘water buffalo bull’ (Ku.N.)(CDIAL 10559) Rebus: rango ‘pewter’. ranga, rang pewter is an alloy of tin, lead, and antimony (anjana) (Santali).Appears alo on Cylinder Seal of Ibni-Sharrum 2250 BCE.Louvre, Department of Near Eastern Antiquities: Mesopotamia. Héros acolytes d'Ea abreuvant des buffles Diorite H. 3.9 cm; Diam. 2.6 cm Ancienne collection De Clercq , 1967 AO 22303Bronze image of a buffalo, from Mohenjo Daro, ~2500 BCE

https://tinyurl.com/y9l5hkn8

This is a continuation of the monograph: Overflowing pot on tens of Ancient Near East artifacts, an Indus Script hypertext signifies production of metal implements https://tinyurl.com/y8kq53kl which deciphered the rebus reading of overflowing pot: lokhãḍ 'tools,iron, ironware'. This decipherment is validated by the decipherment of Indus Script hypertexts of Ibni-sharrum cylinder seal (ca. 2200 BCE).
There are some seals with clear Indus themes among Dept. of Near Eastern Antiquities collections at the Louvre in Paris, France, among them the Cylinder Seal of Ibni-Sharrum, described as "one of the most striking examples of the perfection attained by carvers in the Agade period [2350–2170 BCE].
https://www.harappa.com/category/blog-subject/seals
Image result for ibni sharrum indus script
Ibni-Sharrum cylinder seal shows a kneeling person with six curls of hair.Cylinder seal of Ibni-sharrum, a scribe of Shar-kali-sharri (left) and impression (right), ca. 2183–2159 B.C.; Akkadian, reign of Shar-kali-sharri. Lower register signifies flow of water.

Numeral bhaṭa 'six' is an Indus Script cipher, rebus bhaṭa ‘furnace’; baṭa 'iron'. Rebus: bhaḍa -- m. ʻ soldier ʼ, bhuaga 'worshipper in a temple' (Note the worshipful pose of the person offering the overflowing pot).

bhr̥ta ʻ carried, brought ʼ MBh. 2. ʻ hired, paid ʼ Mn., m. ʻ hireling, mercenary ʼ Yājñ.com., bhr̥taka -- m. ʻ hired servant ʼ Mn.: > MIA. bhaṭa -- m. ʻ hired soldier, servant ʼ MBh. [√bhr̥] 1. Ash. 3 sg. pret. bəṛə, f. °ṛī ʻ brought ʼ, Kt. bŕå; Gaw. (LSI) bṛoet ʻ they begin ʼ.2. Pa. bhata -- ʻ supported, fed ʼ, bhataka -- m. ʻ hired servant ʼ, bhaṭa -- m. ʻ hireling, servant, soldier ʼ; Aś.shah. man. kāl. bhaṭa -- ʻ hired servant ʼ, kāl. bhaṭaka -- , gir. bhata -- , bhataka -- ; Pk. bhayaga -- m. ʻ servant ʼ, bhaḍa -- m. ʻ soldier ʼ, bhaḍaa -- m. ʻ member of a non -- Aryan tribe ʼ; Paš. buṛīˊ ʻ servant maid ʼ IIFL iii 3, 38; S. bhaṛu ʻ clever, proficient ʼ, m. ʻ an adept ʼ; Ku. bhaṛ m. ʻ hero, brave man ʼ, gng. adj. ʻ mighty ʼ; B. bhaṛ ʻ soldier, servant, nom. prop. ʼ, bhaṛil ʻ servant, hero ʼ; Bhoj. bhar ʻ name of a partic. low caste ʼ; G. bhaṛ m. ʻ warrior, hero, opulent person ʼ, adj. ʻ strong, opulent ʼ, ubhaṛ m. ʻ landless worker ʼ (G. cmpd. with u -- , ʻ without ʼ, i.e. ʻ one without servants ʼ?); Si. beḷē ʻ soldier ʼ < *baḷaya, st. baḷa -- ; -- Pk. bhuaga -- m. ʻ worshipper in a temple ʼ, G. bhuvɔ m. (rather than < bhūdēva -- ). *bhārta -- ; abhr̥ta -- ; subhaṭa -- .Addenda: bhr̥ta -- : S.kcch. bhaṛ ʻ brave ʼ; Garh. (Śrīnagrī dial.) bhɔṛ, (Salānī dial.) bhe ʻ warrior ʼ.(CDIAL 9588)
Hieroglyhph: buffalo: Ku. N. rã̄go ʻ buffalo bull ʼ (or < raṅku -- ?).(CDIAL 10538, 10559) Rebus: raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1] Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅrāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562) B. rāṅ(g) ʻ tinsel, copper -- foil ʼ.(CDIAL 10567) తుత్తము [ tuttamu ] or తుత్తరము tuttamu. [Tel.] n. sulphate of zinc. మైలతుత్తము sulphate of copper, blue-stone.తుత్తినాగము [ tuttināgamu ] tutti-nāgamu. [Chinese.] n. Pewter. Zinc. లోహవిశేషము (Telugu) (Spelter is commercial crude smelted zinc.
  • a solder or other alloy in which zinc is the main constituent.)

Note on spelter: "Spelter, while sometimes used merely as a synonym for zinc, is often used to identify a zinc alloy. In this sense it might be an alloy of equal parts copper and zinc, i.e. a brass, used for hard soldering and brazing, or as an alloy, containinglead, that is used instead of bronze. In this usage it was common for many 19th-century cheap, cast articles such as candlesticks and clock cases...The word "pewter" is thought to be derived from the word "spelter". Zinc ingots formed by smelting might also be termed spelter.Skeat, Walter William (1893), An etymological dictionary of the English language (2nd ed.), Clarendon Press, pp. 438–439. https://en.wikipedia.org/wiki/Spelter French Bronze is a form of bronze typically consisting of 91% copper, 2% tin, 6% zinc, and 1% lead.(Ripley, George; Dana, Charles Anderson (1861). The New American Cyclopaedia: A Popular Dictionary of General Knowledge 3. D. Appleton and Co. p. 729.) "The term French bronze was also used in connection with cheap zinc statuettes and other articles, which were finished to resemble real bronze, and some older texts call the faux-bronze finish itself "French bronze". Its composition was typically 5 parts hematite powder to 8 parts lead oxide, formed into a paste with spirits of wine. Variations in tint could be obtained by varying the proportions. The preparation was applied to the article to be bronzed with a soft brush, then polished with a hard brush after it had dried." https://en.wikipedia.org/wiki/French_Bronze ( Watt, Alexander (1887). Electro-Metallurgy Practically Treated. D. Van Nostrand. pp. 211–212.)

 "The term latten referred loosely to the copper alloys such as brass or bronze that appeared in the Middle Ages and through to the late 18th and early 19th centuries. It was used for monumental brasses, in decorative effects on borders, rivets or other details of metalwork (particularly armour), in livery and pilgrim badges or funerary effigies. Metalworkers commonly formed latten in thin sheets and used it to make church utensils. Brass of this period is made through the calamine brass process, from copper and zinc ore. Later brass was made with zinc metal from Champion's smelting process and is not generally referred to as latten. This calamine brass was generally manufactured as hammered sheet or "battery brass" (hammered by a "battery" of water-powered trip hammers) and cast brass was rare. "Latten" also refers to a type of tin plating on iron (or possibly some other base metal), which is known as white latten; and black latten refers to laten-brass, which is brass milled into thin plates or sheets. The term "latten" has also been used, rarely, to refer to lead alloys. In general, metal in thin sheets is said to be latten such as gold latten; and lattens (plural) refers to metal sheets between 1/64" and 1/32" in thickness." ( Funerary crozier of the Bishops of St Davids, on display at St David's Cathedral, West Wales) https://en.wikipedia.org/wiki/Latten

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

<lo->(B)  {V} ``(pot, etc.) to ^overflow''.  See <lo-> `to be left over'.  @B24310.  #20851. Re<lo->(B)  {V} ``(pot, etc.) to ^overflow''.  See <lo-> `to be left over'. (Munda ) Rebus: loh ‘copper’ (Hindi) Glyph of flowing water in the second register: காண்டம் kāṇṭam , n. < kāṇḍa. 1. Water; sacred water; நீர்; kāṇṭam ‘ewer, pot’ கமண்டலம். (Tamil) Thus the combined rebus reading: Ku. lokhaṛ  ʻiron tools ʼ; H. lokhaṇḍ  m. ʻ iron tools, pots and pans ʼ; G. lokhãḍ n. ʻtools, iron, ironwareʼ; M. lokhãḍ n. ʻ iron ʼ(CDIAL 11171). The kneeling person’s hairstyle has six curls. bhaṭa ‘six’; rebus: bhaṭa‘furnace’. मेढा mēḍhā A twist or tangle arising in thread or cord, a curl or snarl. (Marathi) Rebus: meḍ ‘iron’ (Ho.) Thus, the orthography denotes meḍ bhaṭa ‘iron furnace’.

Akkadian Cylinder Seal (c. 2200 B.C. showing Gilgamesh slaying the bull of heaven, with Enkidu? Also from Dury; both in British Museum.
Akkadian Cylinder Seal (c. 2200 B.C. showing Gilgamesh slaying the bull of heaven, with Enkidu? Also from Dury; both in British Museum)


Gilgamesh and Enkidu struggle of the celestial bull and the lion (cylinder seal-print Approx. 2,400 BC, Walters Art Gallery, Baltimore)

http://www.metmuseum.org/toah/works-of-art/1999.325.4 (Bos gaurus shown with greater clarity) http://art.thewalters.org/viewwoa.aspx?id=33263 In the two scenes on this cylinder seal, a heroic figure with heavy beard and long curls holds off two roaring lions, and another hero struggles with a water buffalo. The inscription in the panel identifies the owner of this seal as "Ur-Inanna, the farmer."

Clay sealing from private collection with water buffalo, crescent-star, apparently Akkadian period.

मेढ [ mēḍha ]The polar star. (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Munda.Ho.) 
मेंढसर [mēṇḍhasara] m A bracelet of gold thread. (Marathi) 

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


Santali glosses

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

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

Mohenjodaro seal m0304
This profile of face on m0304 compares with the three faces topped by a horn PLUS twigs, on another seal. Material: tan steatite; Dimensions: 2.65 x 2.7 cm, 0.83 to 0.86 thickness Mohenjo-daro, DK 12050 Islamabad Museum, NMP 50.296 Mackay 1938: 335, pl. LXXXVII, 222 Hypertext: three faces, mũh 'face' Rebus mũhã̄ 'iron furnace output' kolom 'three' (faces) rebus: kolimi 'smithy, forge' *tiger's mane on face: The face is depicted with bristles of hair, representing a tiger’s mane. ḍā, cūlā, cūliyā tiger’s mane (Pkt.)(CDIAL 4883) Rebus: cuḷḷai = potter’s kiln, furnace (Ta.); cūḷai furnace, kiln, funeral pile (Ta.); cuḷḷa potter’s furnace; cūḷa brick kiln (Ma.); cullī fireplace (Skt.); cullī, ullī id. (Pkt.)(CDIAL 4879; DEDR 2709). sulgao, salgao to light a fire; sen:gel, sokol fire (Santali.lex.) hollu, holu = fireplace (Kuwi); soḍu fireplace, stones set up as a fireplace (Mand.); ule furnace (Tu.)(DEDR 2857). 

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

Hypertext: wristlets on arms: karã̄ n. pl. wristlets, bangles (Gujarati) rebus: khār 'blacksmith'.



Image result for pasupati indus sealHseal (m0304). Image result for bharatkalyan97 haystackThe platform is a plank atop a pair of haystacks. Indus Script hypertexts of the bottom register: polā 'haystacks' rebus: polā 'magnetite, ferrite ore'. The plank or slab of the platform is pāṭa ʻ plain, throne ʼ (Oriya), paṭṭa rebus: फड phaḍa 'metals manufactory guild'. miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) PLUS dula 'pair' rebus: dul 'metal casting'. Thus, iron castings.

Hypertext: kũdā kol 'tiger jumping' rebus: kuṭhi 'smelter' kol 'working in iron' kolhe 'smelter'

Hypertext: कर्णक m. du. the two legs spread out AV. xx , 133 कर्णक kárṇaka, kannā 'legs spread' rebus: कर्णक kárṇaka, 'helmsman' kannā 'legs spread' rebus: 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)

Hieroglyph: karabha, ibha 'elephant' rebus: karba, ib 'iron' ibbo 'merchant'

Hieroglyph: kaṇḍa 'rhinoceros' gaṇḍá4 m. ʻ rhinoceros ʼ lex., °aka -- m. lex. 2. *ga- yaṇḍa -- . [Prob. of same non -- Aryan origin as khaḍgá -- 1: cf. gaṇōtsāha -- m. lex. as a Sanskritized form ← Mu. PMWS 138] 1. Pa. gaṇḍaka -- m., Pk. gaṁḍaya -- m., A. gãr, Or. gaṇḍā.2. K. gö̃ḍ m., S. geṇḍo m. (lw. with g -- ), P. gaĩḍā m., °ḍī f., N. gaĩṛo, H. gaĩṛā m., G. gẽḍɔ m., °ḍī f., M. gẽḍā m.
Addenda: gaṇḍa -- 4. 2. *gayaṇḍa -- : WPah.kṭg. geṇḍɔ mirg m. ʻ rhinoceros ʼ, Md. genḍā ← H.(CDIAL 4000) rebus: kāṇḍa 'implements'

Hieroglyph:  rã̄go 'water-buffalo' rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in earth ʼ  *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.(CDIAL 10562) ranga 'alloy of copper, zinc, tin'

Hypertext: penance; kamaḍha 'penance', rebus: kammaṭa = mint, gold furnace (Te.) 'mint, coiner, coinage' Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236)

Hypertext: ṭhaṭera ‘buffalo horns’ rebus: hã̄ṭhāro, ṭhaṭherā 'brassworker';  haṭṭhāra 'brass worker' (Prakritam) K. hö̃hur m., S. hã̄ṭhāro m., P. hahiār°rā m.2. P. ludh. haherā m., Ku. hahero m., N. haero, Bi. haherā, Mth. haheri, H. haherā m(CDIAL 5473).

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

See: 

 http://tinyurl.com/h4a3qwf


त्रि--शिरस् [p= 460,3] mfn. n. कुबेर L.; three-pointed MBh. xiii R. iv; three-headed (त्वाष्ट्र , author of RV. x , 8.) Ta1n2d2yaBr. xvii Br2ih. KaushUp. MBh. Ka1m. (Monier-Williams) Triśiras, son of tvaṣṭṛ त्वष्टृ m. [त्वक्ष्-तृच्] 1 A carpenter, builder, workman, त्वष्ट्रेव विहितं यन्त्रम् Mb.12.33.22. -2 Viśvakarman, the architect of the gods. [Tvaṣtṛi is the Vulcan of the Hindu mythology. He had a son named Triśiras and a daughter called संज्ञा, who was given in marriage to the sun. But she was unable to bear the severe light of her husband, and therefore Tvaṣtṛi mounted the sun upon his lathe, and carefully trimmed off a part of his bright disc; cf. आरोप्य चक्रभ्रमिमुष्णतेजास्त्वष्ट्रेव यत्नो- ल्लिखितो विभाति R.6.32. The part trimmed off is said to have been used by him in forming the discus of Viṣṇu, the Triśūla of Śiva, and some other weapons of the gods.] पर्वतं चापि जग्राह क्रुद्धस्त्वष्टा महाबलः Mb.1.227. 34. -3 Prajāpati (the creator); यां चकार स्वयं त्वष्टा रामस्य महिषीं प्रियाम् Mb.3.274.9. -4 Āditya, a form of the sun; निर्भिन्ने अक्षिणी त्वष्टा लोकपालो$विशद्विभोः Bhāg.3.6.15.

Thus, the messsage of the Mohenjo-daro seal is a proclamation by the scribe, of iron workings displayed on the bottom register of the seal with a slab atop haystacks.

Decipherment the text of the inscription on seal m0304:
Text 2420 on m0304


Line 2 (bottom): 'body' glyph. mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.)

Line 1 (top):

'Body' glyph plus ligature of 'splinter' shown between the legs: mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.) sal ‘splinter’; Rebus: sal ‘workshop’ (Santali) Thus, the ligatured glyph is read rebus as: meḍ sal 'iron (metal) workshop'.

Sign 216 (Mahadevan). ḍato ‘claws or pincers (chelae) of crabs’; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhatu ‘mineral’ (Santali) Vikalpa: erā ‘claws’; Rebus: era ‘copper’. Allograph: kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.) kamat.ha = fig leaf, religiosa (Skt.)

Sign 229. sannī, sannhī = pincers, smith’s vice (P.) śannī f. ʻ small room in a house to keep sheep in ‘ (WPah.) Bshk. šan, Phal.šān ‘roof’ (Bshk.)(CDIAL 12326). seṇi (f.) [Class. Sk. śreṇi in meaning "guild"; Vedic= row] 1. a guild Vin iv.226; J i.267, 314; iv.43; Dāvs ii.124; their number was eighteen J vi.22, 427; VbhA 466. ˚ -- pamukha the head of a guild J ii.12 (text seni -- ). -- 2. a division of an army J vi.583; ratha -- ˚ J vi.81, 49; seṇimokkha the chief of an army J vi.371 (cp. senā and seniya). (Pali)

Sign 342. kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar’(Skt.) Rebus: karṇaka ‘scribe, accountant’ (Te.); gaṇaka id. (Skt.) (Santali) copper fire-altar scribe (account)(Skt.) Rebus: kaṇḍ ‘fire-altar’ (Santali) Thus, the 'rim of jar' ligatured glyph is read rebus: fire-altar (furnace) scribe (account) karNI 'supercargo' (Marathi)

Sign 344. Ligatured glyph: 'rim of jar' ligature + splinter (infixed); 'rim of jar' ligature is read rebus: kaṇḍa karṇaka 'furnace scribe (account)'. 

sal stake, spike, splinter, thorn, difficulty (H.); Rebus: sal ‘workshop’ (Santali) *ஆலை³ ālai, n. < šālā. 1. Apartment, hall; சாலை. ஆலைசேர் வேள்வி (தேவா. 844. 7). 2. Elephant stable or stall; யானைக்கூடம். களிறு சேர்ந் தல்கிய வழுங்க லாலை (புறநா. 220, 3).ஆலைக்குழி ālai-k-kuḻi, n. < ஆலை¹ +. Receptacle for the juice underneath a sugar-cane press; கரும்பாலையிற் சாறேற்கும் அடிக்கலம்.*ஆலைத்தொட்டி ālai-t-toṭṭi, n. < id. +. Cauldron for boiling sugar-cane juice; கருப்பஞ் சாறு காய்ச்சும் சால்.ஆலைபாய்-தல் ālai-pāy-, v. intr. < id. +. 1. To work a sugar-cane mill; ஆலையாட்டுதல். ஆலைபாயோதை (சேதுபு. நாட்டு. 93). 2. To move, toss, as a ship; அலைவுறுதல். (R.) 3. To be undecided, vacillating; மனஞ் சுழலுதல். நெஞ்ச மாலைபாய்ந் துள்ள மழிகின்றேன் (அருட்பா,) Vikalpa: sal ‘splinter’; rebus: workshop (sal)’ ālai ‘workshop’ (Ta.) *ஆலை³ ālai, n. < šālā. 1. Apartment, hall; சாலை. ஆலைசேர் வேள்வி (தேவா. 844. 7). 2. Elephant stable or stall; யானைக்கூடம். களிறு சேர்ந் தல்கிய வழுங்க லாலை (புறநா. 220, 3).ஆலைக்குழி ālai-k-kuḻi, n. < ஆலை¹ +. Receptacle for the juice underneath a sugar-cane press; கரும்பாலையிற் சாறேற்கும் அடிக்கலம்.*ஆலைத்தொட்டி ālai-t-toṭṭi, n. < id. +. Cauldron for boiling sugar-cane juice; கருப்பஞ் சாறு காய்ச்சும் சால்.ஆலைபாய்-தல் ālai-pāy-, v. intr. < id. +. 1. To work a sugar-cane mill; ஆலையாட்டுதல். ஆலைபாயோதை (சேதுபு. நாட்டு. 93) Thus, together with the 'splinter' glyph, the entire ligature 'rim of jar + splinter/splice' is read rebus as: furnace scribe (account workshop). Sign 59. ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.) Sign 342. kaṇḍa karṇaka 'rim of jar'; rebus: 'furnace scribe (account)'. Thus the inscription reads rebus: iron, iron (metal) workshop, copper (mineral) guild, fire-altar (furnace) scribe (account workshop), metal furnace scribe (account) As the decoding of m0304 seal demonstrates, the Indus hieroglyphs are the professional repertoire of an artisan (miners'/metalworkers') guild detailing the stone/mineral/metal resources/furnaces/smelters of workshops (smithy/forge/turners' shops).

Indus Script lives on on Ancient Indian Mints

Guilds as śreṇi corporate form of organization in Ancient India, validated by Indus Script inscriptions

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https://tinyurl.com/y5bdkgaq

śreṇi capital form of organization is an important factor in the creation of the wealth of a nation, Ancient India. This factor, together with land, labour and capital explain how Ancient India became a Super Economic Power during the Tin-Bronze Revolution which started ca. 4th millennium and continued upto 0 CE when Ancient India accounted for 33% of Global GDP (Pace Angus Maddison):


Listen to Prof. Vaidanathan on release functions of his book: Caste as social capital.



Buy his book, he says, 'buy the back, I don't say, 'read the book'. It is the task of the 3-men on a boat to summarize and detail the skullduggery of the British caste census-es (or, is it censii?) indicated in the book. More important, he details how the guild supports guild members in cases of failed business ventures. There is of course, sreni dharma detailed in my essay in the Handbook of Hindu Economics and Business by Hrishikesh K.Vinod (ed.)

Harari (cf. Sapiens, 2011) provides a false assumed narrative about Caste System without presenting evidence for his thesis.

The best counter to such narratives is to document the Economic History of Bharatam. Start with Indus Script evidence on how the foundations were laid for Bharat as Super Economic Power of the Tin-Bronze Revolution.


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 sugest three potential candidates, Prof. R. Vaidyanathan, Dr. Pingali Gopal, Prof.Balagangadhara to write an Economic History of Ancient India with reference to 'caste' organization. The team can consult with  CM of Maharashtra and enquire from him on the history and historical traditions of his family nameफडनीस also called  फडनिविशी or सी phaḍaniviśī or sī; फडनिवीस Commonly 
फड- निशी फडनीस. This will be a valid survey to counter bogus accounts of the caste system of Ancient Bharat in accounts such as those of Yuval Noah Harari (2011).


One village officer signified is paṭel m. ʻvillage headman ʼ. This is NOT a caste. This is a professional title, just as karNI is a title of a scribe, accountant.. 

The fillets worn by the priest are Sindhi paṭo m. ʻ band of cloth ʼ, ˚ṭī f. ʻ bandage, fillet ʼ rebus: phada 'manufactory'फड   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 PLUS कटक a string, a link of a chain (Skt.) rebus: कटक 'caravan or capital'. Together read rebus as:  कटक 'caravan or capital' of a phaḍa 'manufactory'.  Synonym: फडनिशी or सी   phaḍaniśī or sī f The office or business of 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.Alternatively, together read as phaḍakarī m A man belonging to a company or band (of players, showmen &38;c.) 2 A superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain) or  pāṭel˚ṭīl m. ʻ village headman'.Inline image
 
कटक a string, a link of a chain (Skt.) is seen on Mari procession flagstaff together with khonDA 'holcus sorghum' hieroglyph; rebus: kunda 'fine gold' PLUS singhin 'spiny horned' rebus: singi 'ornament gold':
Inline imageकटक a ring serving for a bridle-bit
.

paṭṭakila
 m. ʻ tenant of royal land ʼ Vet. -- . [*paṭṭakinpaṭṭa -- 1Pk. paṭṭaïl(l)a -- m. ʻ village headman ʼ; G. paṭel m. ʻ hereditary headman ʼ (whence paṭlāṇi f. ʻ his wife ʼ); OM. pāṭaïlu, M. pāṭel˚ṭīl m. ʻ village headman ʼ.(CDIAL 7703)

paṭṭa2 m. ʻ cloth, woven silk ʼ Kāv., ʻ bandage, fillet turban, diadem ʼ MBh. [Prob. like paṭa -- and *phēṭṭa -- 1 from non -- Aryan source, of which *patta -- in Gy. and *patra -- in Sh. may represent aryanization of paṭṭa -- . Not < páttra -- nor, with P. Tedesco Archaeologica Orientalia in Memoriam Ernst Herzfeld 222, < *pr̥ṣṭa<-> ʻ woven ʼ, while an assumed borrowing from IA. in Bur. ph*llto -- čiṅ ʻ puttees ʼ is too flimsy a basis for *palta -- (~ Eng. fold, &c.) as the source NTS xiii 93]Pa. paṭṭa -- m. ʻ woven silk, fine cloth, cotton cloth, turban ʼ, ˚ṭaka -- ʻ made of a strip of cloth ʼ, n. ʻ bandage, girdle ʼ, ˚ṭikā -- f.; NiDoc. paṭa ʻ roll of silk ʼ Lüders Textilien 24; Pk. paṭṭa -- m. ʻ cloth, clothes, turban ʼ; Paš. paṭā ʻ strip of skin ʼ, ar. weg. paṭīˊ ʻ belt ʼ; Kal.rumb. pāˊṭi ʻ scarf ʼ; Phal. paṭṭaṛa ʻ bark ʼ; K. paṭh, dat. ˚ṭas m. ʻ long strip of cloth from loom ʼ, poṭu m. ʻ woollen cloth ʼ, pôṭu m. ʻ silk, silk cloth ʼ (← Ind.?); S. paṭū m. ʻ silk ʼ, paṭū̃ m. ʻ a kind of woollen cloth ʼ, paṭo m. ʻ band of cloth ʼ, ˚ṭī f. ʻ bandage, fillet ʼ; L. paṭṭ m. ʻ silk ʼ, awāṇ. paṭṭī f. ʻ woollen cloth ʼ; P. paṭṭ m. ʻ silk ʼ, paṭṭī f. ʻ coarse woollen cloth, bandage ʼ; WPah.bhal. peṭṭu m. sg. and pl. ʻ woman's woollen gown ʼ; Ku. pāṭ ʻ silk ʼ; N. pāṭ ʻ flax, hemp ʼ; A. B. pāṭ ʻ silk ʼ (B. also ʻ jute ʼ); Or. pāṭa ʻ silk, jute ʼ, paṭā ʻ red silk cloth, sheet, scarf ʼ, (Bastar) pāṭā ʻ loincloth ʼ; Bhoj. paṭuā ʻ jute ʼ; OAw. pāṭa m. ʻ silk cloth ʼ; H. paṭ m. ʻ cloth, turban ʼ, paṭṭū m. ʻ coarse woollen cloth ʼ, paṭṭī f. ʻ strip of cloth ʼ, paṭkā m. ʻ loincloth ʼ; G. pāṭ m. ʻ strip of cloth ʼ, ˚ṭɔ m. ʻ bandage ʼ, ˚ṭī f. ʻ tape ʼ; Ko. pāṭṭo ʻ strap ʼ; Si. paṭa ʻ silk, fine cloth ʼ, paṭiya ʻ ribbon, girdle, cloth screen round a tent ʼ. -- Gy. rum. pato ʻ clothing ʼ, gr. patavo ʻ napkin ʼ, wel. patavō ʻ sock ʼ, germ. phār ʻ silk, taffeta ʼ; Sh.koh. gur. pāc̣ṷ m. ʻ cloth ʼ, koh. poc̣e ʻ clothes ʼ.

kīˊlati ʻ fastens ʼ Dhātup., kīlita -- ʻ staked, impaled, fastened ʼ Kāv. 2. *kīllati. 3. *khīlati. 4. *khīllati. [kīla -- 1]
1. Pk. kīlia -- ʻ pegged ʼ, kīlaṇa -- n. ʻ fastening to or with a post ʼ; P. kīlaṇā ʻ to fasten with nails ʼ; WPah. cam. kīlṇā ʻ to nail ʼ; Or. kīḷibā ʻ to bolt, bar ʼ, kīlaṇī ʻ bolt ʼ; H. kīlnā ʻ to pin, fasten ʼ.2. P. killaṇā ʻ to nail ʼ.3. S. khīra f. ʻ loosely sewing two plain edges together ʼ; N. khilnu ʻ to stitch together ʼ; B. khilāna ʻ to fasten with a pin ʼ; M. khiḷṇẽ ʻ to nail down ʼ.4. Pk. khillēi ʻ stops, blocks ʼ; G. khilvũ˚lavvũ ʻ to sew ʼ.(CDIAL 3204)

Thus, the fillet worn is a bandage tied together, paTTakIla or paṭel  or paṭṭaïl(l)a (Prakrtam)


Let me add to पाटील, कुळकरणी  and the 12 balutedar and 12 alutedar of a village from the evidence of Indus Script which signifies foreman of a guild of blacksmiths and lapidaries working with fine gold, ornament gold. Inline imageSIgn 342 signifies rim of jar, i.e. kaNDA karaṇika read rebus: kaNDA 'equipment' PLUS करणी  in कुळकरणी rebus: कारणी or कारणीक kāraṇī or kāraṇīka a (कारण S) That causes, conducts, carries on, manages. Applied to the prime minister of a state, the supercargo of a ship &38;c.(Marathi) 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) कर्णिक 'steersman' (Skt.). This was the situation in the 4th millennioum BCE when Meluhha seafaring merchants had established a metals trade empire from Bharat. There are thousands of such indicators of the work of artisans and merchants who made Bharat the economic superpower of the Tin-Bronze revolution.

Inline imageInline imageHieroglyph of Indus script compared with a palm-squirrel photo. Example seal from Nindowari damb which shows the hieroglyph as the signature hieroglyph read from r. to l.
Inline image

A functionary called foreman of a blacksmith guild is identifiedd by the hieroglyph: 'khāra, šē̃ṣṭrĭ̄''squirrel' rebus:  śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, ˚nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ]
Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., ˚iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ, seṭhaṇ˚ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., ˚ṭhan f.; G. śeṭhśeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh˚ṭhīśeṭ˚ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭuhi˚ ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?).

The spiny-horned young bull signifies a lapidary working with gemstones and fine gold, ornament gold. He is called kunda singi 'fine gold (24 ct.), ornament gold (22 ct).' signified by khonda 'young bull' and singhin 'spiny-horned'.

This pattern of the working class continued from 4th m. BCE without a break all over Bharat where Meluhha was the lingua franca. This is also called mleccha in the Great Epic representing almost 90% of the population of the MBh. times.

Brief note on jāti and śreṇi in the Rāṣṭram राष्ट्रं

A brief start with the metaphors of the Devi Suktam RV 10.125 which adores त्वष्टृ carpenter , maker of carriages (= त्/अष्टृAV. xii , 3 , 33; Vasu; Rudra and a prayer rendered to devatā ātmā by वागाम्भृणी; thesoliloquy is rendered by Devi Vāk. 

नारू nārū m A common term for village-personages otherwise named अलुतेदार or अलुते.
अलुता or त्या  alutā or tyā m (A formation alliteratively from बलुत्या in extension of the application of that word.) A common term for certain Village officers secondary to the बलुते. Thus बारा अलुते आणि बारा बलुते of whom see the full list under बलुतेदार.
बलुतेदार or बलुता  balutēdāra or balutā or त्या m (बलुतें &38;c.) A public servant of a village entitled to बलुतें. There are twelve distinct from the regular Governmentofficers पाटील, कुळकरणी &38;c.; viz. सुतार, लोहार, महार, मांग (These four constitute पहिली or थोरली कास or वळ the first division. Of three of them each is entitled to चार पाचुंदे, twenty bundles of Holcus or the thrashed corn, and the महार to आठ पाचुंदे); कुंभार, चाम्हार, परीट, न्हावी constitute दुसरी or मधली कास or वळ, and are entitled, each, to तीन पाचुंदे; भट, मुलाणा, गुरव, कोळी form तिसरी or धाकटी कास or वळ, and have, each, दोन पाचुंदे. Likewise there are twelve अलुते or supernumerary public claimants, viz. तेली, तांबोळी, साळी, माळी, जंगम, कळवांत, डवऱ्या, ठाकर, घडशी, तराळ, सोनार, चौगुला. Of these the allowance of corn is not settled. The learner must be prepared to meet with other enumerations of the बलुतेदार (e. g. पाटील, कुळ- करणी, चौधरी, पोतदार, देशपांड्या, न्हावी, परीट, गुरव, सुतार, कुंभार, वेसकर, जोशी; also सुतार, लोहार, चाम्हार, कुंभार as constituting the first-class and claiming the largest division of बलुतें; next न्हावी, परीट, कोळी, गुरव as constituting the middle class and claiming a subdivision of बलुतें; lastly, भट, मुलाणा, सोनार, मांग; and, in the Konkan̤, yet another list); and with other accounts of the assignments of corn; for this and many similar matters, originally determined diversely, have undergone the usual influence of time, place, and ignorance. Of the बलुतेदार in the Indápúr pergunnah the list and description stands thus:--First class, सुतार, लोहार, चाम्हार, महार; Second, परीट, कुंभार, न्हावी, मांग; Third, सोनार, मुलाणा, गुरव, जोशी, कोळी, रामोशी; in all fourteen, but in no one village are the whole fourteen to be found or traced. In the Panḍharpúr districts the order is:--पहिली or थोरली वळ (1st class); महार, सुतार, लोहार, चाम्हार, दुसरी or मधली वळ (2nd class); परीट, कुंभार, न्हावी, मांग, तिसरी or धाकटी वळ (3rd class); कुळकरणी, जोशी, गुरव, पोतदार; twelve बलुते and of अलुते there are eighteen. According to Grant Duff, the बलतेदार are सुतार, लोहार, चाम्हार, मांग, कुंभार, न्हावी, परीट, गुरव, जोशी, भाट, मुलाणा; and the अलुते are सोनार, जंगम, शिंपी, कोळी, तराळ or वेसकर, माळी, डवऱ्यागोसावी, घडशी, रामोशी, तेली, तांबोळी, गोंधळी. In many villages of Northern Dakhan̤ the महार receives the बलुतें of the first, second, and third classes; and, consequently, besides the महार, there are but nine बलुतेदार. The following are the only अलुतेदार or नारू now to be found;--सोनार, मांग, शिंपी, भट गोंधळी, कोर- गू, कोतवाल, तराळ, but of the अलुतेदार &38; बलुते- दार there is much confused intermixture, the अलुतेदार of one district being the बलुतेदार of another, and vice versâ. (The word कास used above, in पहिली कास, मध्यम कास, तिसरी कास requires explanation. It means Udder; and, as the बलुतेदार are, in the phraseology of endearment or fondling, termed वासरें (calves), their allotments or divisions are figured by successive bodies of calves drawing at the कास or under of the गांव under the figure of a गाय or cow.)

Pleasenote, that this is NOT a pyramid, nor are the 18 people 'castes'. They are simply, guilds, śreṇi in the Rāṣṭram राष्ट्रं.

Further research work has to unravel the fraud of caste census started in 1871. See: Memorandum on the Census of British India of 1871-72





"Memorandum on the Census of British India of 1871-72

FOCUS

The Memorandum on the Census of British India of 1871-72 was written by Henry Waterfield, a civil servant of that era. Waterfield worked for 44 years with the India Office, that is, the British government department that supervised the administration of the provinces directly under British governance.
The Memorandum – which is an introduction to the Census – says that it was the first attempt to gather data related to “whole of India” – British India and the “native feudatory states.” But the information from the native or princely states was only “fairly accurate” and the numbers were “mostly estimates,” so the Census limited itself to what was then British India.
Not all the provinces were represented in the Census and the information was gathered at different times, often using different methods. Some of the reports from the provinces were collected six years prior to 1871."

Viewpoint

‘So called caste’: S. N. Balagangadhara, the Ghent School andthe Politics of grievance**
** A very different version of this paper was presented at the British Association of South Asian Studies Conference in Nottingham in 2017. I would like to thank my co-panellist, Shalini Sharma, discussant, Ed Anderson, the two anonymous reviewers and John Zavos for their insights and suggestions.
View all notes

Pages 336-349 | Published online: 16 Jul 2018
This article is concerned with the small but coherent lobby of political scholarship that has emerged from a lineage of research supervision which centres on the charisma and ideas of S. N. Balagangadhara, a philosopher from the Centre for the Comparative Science of Cultures (Vergelijkende Cultuurwetenschap) at the University of Ghent. In particular, it examines the deployment of his ideas in a spate of recent scholarly and social media declarations that reject the existence of caste and, by extension, caste discrimination. This scholarship – characterised by circular reasoning, self-referencing and a poverty of rigour – has established a modest, if contentious and poorly reviewed, presence in academic spheres of dissemination. The ‘Ghent School’ describes a group of scholars who rely conspicuously on Balagangadhara’s concept of ‘colonial consciousness’, a crude derivative of Said’s thesis of Orientalism. The Ghent School maintain that all extant scholarship on Hinduism, secularism and caste represents an endurance of colonial distortions that act to defame India as a nation. This politics of affront finds considerable traction in diasporic contexts but has little, if any, resonance when mapped against the far more complex politics of caste in India.


Decipherment of seal m71 of fine gold mint, smelter, smithy, forge, implements

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See decipherment of m0071 seal at Select Harappa Script Inscriptions from ANE and Sarasvati-Sindhu river basins, are metalwork catalogues

Mirror: http://tinyurl.com/hg3kja6 Mirror: http://bharatkalyan97.blogspot.com/2016/10/select-harappa-script-inscriptions-from.html meD 'body' rebus: meD 'iron' PLUS notch: khāṇḍā m A jag, notch Rebus: khāṇḍa, khaṇḍa. 'implements'. kolom 'rice plant' rebus:kolimi 'smithy, forge' sal 'splinter' rebus:sal 'workshop' meD 'body' rebus:meD 'iron' PLUS koDa 'one' rebus: koD 'workshop'ṭāṅka 'thigh'rebus: ṭāṅka 'mint' kuTi 'water-carrier' rebus: kuThi 'smelter'. Thus, the message is: smelter, mint, smithy/forge workshop, implements. Field symbol: khonda singhin 'spiny-horned youngbull' rebus: kunda singi 'fine gold, ornament gold' konda 'fire-altar' PLUS kunda 'lathe' rebus: kunda 'fine gold' PLUS kammata 'portable furnace' rebus: kammaTa 'mint'. Thus, fine gold mint.

m0071

Text 3083 [The second sign from left is an orthographic representation of the thigh of a bovid, perhaps a bull].


Seal m 71 Mohenjo-daro. Hind leg hieroglyph: Pk. ṭaṁka -- m., °kā -- f. ʻ leg ʼ, S. ṭaṅga f., L. P. ṭaṅg f., Ku. ṭã̄g, N. ṭāṅ; Or. ṭāṅka ʻ leg, thigh ʼ, °ku ʻ thigh, buttock ʼ. 2. B. ṭāṅṭeṅri ʻ leg, thigh ʼ; Mth. ṭã̄gṭãgri ʻ leg, foot ʼ; Bhoj. ṭāṅṭaṅari ʻ leg ʼ, Aw. lakh. H. ṭã̄g f.; G. ṭã̄g f., °gɔ m. ʻ leg from hip to foot ʼ; M. ṭã̄g f. ʻ leg ʼ(CDIAL 5428) Rebus: stamped coin, mint: टंक (p. 335) [ ṭaṅka ] m S A stone-cutter's chisel. 2 A weight equal to four माष &c. टंकारी (p. 336) [ ṭakārī or ṭaṅkārī ] m (टंक) A caste or an indivi, dual of it. They are workers in stone, makers of handmills &c. ṭaṅkaśālā -- , ṭaṅkakaś° f. ʻ mint ʼ lex. [ṭaṅka -- 1, śāˊlā -- ] N. ṭaksāl°ār, B. ṭāksālṭã̄k°ṭek°, Bhoj. ṭaksār, H. ṭaksāl°ār f., G. ṭãksāḷ f., M. ṭã̄ksālṭāk°ṭãk°ṭak°. -- Deriv. G. ṭaksāḷī m. ʻ mint -- master ʼ, M. ṭāksāḷyā m. Addenda: ṭaṅkaśālā -- : Brj. ṭaksāḷī, °sārī m. ʻ mint -- master ʼ.(CDIAL 5433, 5434).

The stand of the last pagan -- DV Sridharan

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The Stand Of the Last Pagan

Sridharan DV

I have long wanted to visit the grand temple at Chidambaram as much as I had longed to go on a tour with Dr Chitra Madhavan. If the temple is a legend, so is she, the interpreter of temples and their universe.
Finally, I got to do both.
On Sepember 21, a busload of us rode out of Chennai before the sun rose. Chidambaram was top of the bill, but there were also a few others to visit that I had scarcely known of. And these, as I found out, made all the difference to my tour experience.
Temples were community centres of yore. People gathered here, experienced dance, music, chanting, crafts, and utsavs, feasted on food, gathered information, sheltered during disasters, built and reinforced relationships, instructed their children in tradition, celebrated festivals and went away feeling secure.
As a scholar of classical architecture, epigraphy, iconography, rites, history, literature and popular lore, Chitra was our eyes to treasures that temples conceal. And to brag a point, she’s also a cherished member of the Indic Academy. Though Chidambaram was not our first stop, let me begin there. That’lI help me share a pattern I got to discover.
Chidambaram - 12th Century
Chidambaram is not merely a temple; It’s a whole campus imperiously certain of its grandeur. It’s an unceasing surround-drama of action. Every way you turn - up, down, or around- you see something to hold you, learn from and often, gasp at.
We begin in a huddle under the East Gopuram.
Young Mahati Kannan, a member of the tour group is explaining the 108 square panels on either side of the grand entrance’s walls. She’s a Bharata Natyam dancer and a researcher.
Her guru? Dr Padma Subramaniam, the renowned dancer and scholar.
“My Guru has researched and discovered that each panel depicts a karana,” she says. “Each depiction is a frozen moment in a movement. A good student or teacher can easily figure out the moves -before and after the freeze- to perform the whole movement of the karana”. She picks a few and shows what moves came before the displayed freeze and what after.
Mahati: “This karana requires that the leg rises behind the dancer, the foot comes over her head and places a tilakam on the forehead.”
Someone: “Is that even possible?”
Mahati: “If it weren’t possible, it wouldn’t be here”
Then she adds softly: “I once trained for weeks under my Guru’s guidance and did it.”
Her faith in our ancestors’ instruction rang in her voice.
I stepped out on the wide promenade between the temple and the majestic wall that encloses it. Each of its four runs has a welcoming gopuram. The stone paving felt soft under my feet. Over a billion feet must have caressed these in the last 1000 years without a break.
That’s who we have been.
I am 78 and Mahati, in her twenties walks behind me.
This is the way we will always be.
I fairly strutted on.
Chitra always goes beyond explaining what we are seeing.
She teaches.
She tells us to view the architectural history of Tamil country in simple terms: “See it as a seamless stream of activity by Pallavas, Cholas, Pandias, the Invaders, Vijayanagar and Nayaks in succession.”
She adds wryly, “Yes, the invaders too contributed. Their onslaught taught us ways to cherish and defend our heritage. We neither surrendered nor ceased building.”
We enter the temple. It is not one space but many, with altars for many deities and saints.
Chidambaram is one of few temples where both Shiva and Vishnu are worshipped and sung to in adoration by both Nayanmars and Alwars. It is thus on the must-visit shortlist of all devotees.
We finally arrive at the court of world renowned Dancing Lord Nataraja. The garbhagriha is dark despite oil lamps. The iconic murti the entire world knows is covered in flowers and barely discernible.
I am on my toes, swaying from right to left for a glimpse.
People stand tightly packed, holding up their clasped hands or their children in the direction where He dances.
Giant brass bells clang aloud. Conches and trumpets blow. Drums beat. And He dances on.
I gaze at their faces. And, see in them the ecstasy of His dance. And that suffices me.
We had been on the temple campus for over three hours and we were not done yet.
We are walking out past panels that depict life of the times, to celebrate, instruct and to caution.
We see dancers, musicians, wrestlers, archers, elephants in parade, women in their finery, couples in love.
I returned more overwhelmed than exhausted.
Thiruvahendrapuram - 11th Century
About 45 kM from Chidambaram, is Thiruvahindrapuram or popularly Thiruvendipuram. It is one of 108 Divya Desams, which are temples to Vishnu visited and sung to by Alwars. It is the ultimate desire of a Vaishnava bhakta to offer worship in them all.
On the bus, Chitra mentioned that we would view the most beautiful Sri Rama we’ll ever see. Murmurs of protest rose at once, contesting her claim.
Someone from Vaduvur asserted no Ramar can be better than ‘ours’. There was another voice that claimed the title for their village’s Rama.
It was settled that we were to see ‘one of the most beautiful’ Sri Rama. It will never do to slight a Tamil’s kula deivam!
Thiruvendipuram exudes piety. There’s a hillock by the temple called Aushadagiri, said to have grown from a clump of Sanjeevani that fell as Anjaneya flew over the village on his mission to save Lakshmanan. It must have been a lush village 1000 years ago, when Kulothunga Chola (1070-1120) built a temple for Devanathaswamy.
The bronze ensemble of Sri Rama, Sita, Lakshman and Hanuman is beyond beautiful. Ramar is all grace and heroism.
Down the road from the temple, is a well-preserved house, where Sri Vedanta Desika (1268 -1360), the Sri Vaishnava scholar and polyglot lived for several years. While here, blessed and inspired by Hayagriva Swami in a temple atop Aushadagiri, he wrote Sri Raghuveera Gadyam.
A gadyam is a prose poem, in which words interlock without space. When delivered, it is a spellbinding torrent. In this gadyam Sri Desika narrates the qualities of valorous Sri Rama. As the bus leaves Tiruvendipuram, I listen to the Raghuveera Gadyam on my phone.
https://youtu.be/MDGzS50X2WI
Thurubhuvanai - 9th Century
It was twilight when the bus arrived at Thirubhuvanai. It was a slow ride through narrow streets. It had also been a long day. Hadn’t I seen the famous temples already?
Reading our minds, Chitra addressed the group: “You wonder don’t you, why I have brought you to this remote village with a little known temple. I will tell you."
“This little temple is cared for by the Archaeological Survey of India. Inscriptions on its walls are priceless. They speak to us from 1,100 ago. That there was Vedic College, that it had 260 students taught by 12 Gurus, who taught all the four Vedas and upaVedas."
“Inscriptions describe a hostel, a clinic and a hospital. They detail the salaries and duties of all the staff.” Chitra paused and seeing us stunned, smiled.
It moved me that this heritage of mine had Kings such as Paranthaka Chola with the foresight that the core knowledge -the Vedas- needed to be preserved and passed on to succeeding generations.
Chitra went on: “You’d be happy to know that it was the Queen Mahadevi who coaxed the King to create this College and settle a family of scholars well versed in Vedas.”
“This village’s formal name is Thirubhuvana Mahadevi Chaturvedi Mangalam,” she added.
I repeated it to myself to experience the grandeur of its sound.
“There were two other similar Vedic Institutions created in the same period: in villages of Thirumukkudal and Ennayiram”
We disperse and walk slowly around the dainty temple.
I approach the garbhagriham, and stop at a respectful distance as all temples require you to.
The friendly priest beckons me. It seems permissible here to go further in.
Suddenly, I am within embracing distance of Varadaraja Perumal. He is 5 feet tall, seated.
He looks directly at me. I am unnerved. I bow, overwhelmed.
The priest lets my moment linger for what seems a long time.
I slowly leave and rejoin the group.
As we were boarding the bus, the priest approaches me: “Did you notice Varadarajar smile at you?”
I had not.
I only know he had looked me in the eye and I could not endure it.
“I will return,” I muttered and left.
. . .
On the bus ride back, I slipped into a reverie.
I allowed myself to imagine a pattern, whether it was valid or not.
At Thirubhuvanai, I imagined the sparse cloistered world of scholars, keepers as it were, of the kernel of all knowledge, the Vedas.
At Tiruvendipuram, I imagined a more personal space for a bhakta’s poetic interpretation of the kernel of Vedas.
At Chidambaram I imagined our ancestors decide it was time to make the knowledge accessible to all. They created sprawling spaces to alter and relax you, tens of altars, deities, songs, stories, rites and festivals to experience and know that everything that is manifested is divine; conversely, by showing respect for all that’s around you, you can begin the journey to the godhead.
Thousands of temples, big and small across Tamil Country provide this access to the divine at various levels.
During my three day tour of six temples, I saw folks throng them in awe and devotion. They were taking in stories of extraordinary feats by gods, saints, poets and devotees. They worshipped trees designated as sthala vriksham. They bowed to gods in myriad forms, human and animal, who moved between earth and the heavens, across unimaginable scales of time. They heard of erring gods and reformed demons.They listened to tales and legends you’d call irrational or superstitious. They took them in instinctively realizing the stories were for conveying a truth. And, they went away secure that they each belonged in this rich culture.
As one who has lived close to eight decades, I allowed myself a smile.
Such is Tamil Nadu today, a land once battered by Islam, Europeans, ‘rationalists’, socialists, separatists and evangelists.
It refused to buckle. Investments made by our kings, philosophers and poets ensured that. And I am certain, it will go on doing so. And as with Tamil Nadu, so for the rest of Bharata Varsha.
Bharat is a still thriving Civilisation that halted a marauding cult intent on destroying its variety and that later lit a fire that destroyed colonialism across the world.
Bharat will yet be this Last Pagan Nation that will remain standing, holding up a lamp so bright as would expose limited cults pretending to be the whole Truth.
Pagan: One who sees divinity in everything in the universe while refusing to accept that there is only one way for all to experience that divinity.
Indic Academy had previously announced a Chidambaram temple tour program for this month. This piece is a reflection on the same.

Satavahana coins with bull, svastika, yupa Indus Script metalwork hieroglyphs, wealth-accounting ledgers

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https://tinyurl.com/y4dytmr5

The Indus Script hieroglyphs are read rebus in Meluhha:

पोळा [ pōḷā ] 'zebu, bos indicus taurus' rebus: पोळा [ pōḷā ] 'magnetite, ferrite ore'
satthiya 'svastika glyph' rebus: sattva, 'zinc'
Yupa 'skambha' rebus: kammaṭa 'mint'
śrivatsa is a hypertext formed of pair of fish-fins joined :  aya 'fish' rebus: ayas 'alloy metal' PLUS khambhaṛā 'fish-finrebus: kammaṭa 'mint'.

Thus, the ancient mints of Bharatam continued to use Indus Script hieroglyphs which signified wealth-accounting resources which were used iby ancient Indian artisan and seafaring merchant guilds.

"The punchmarked Satavahana copper coins from the Eran-Vidisha area are in type and technique closely linked to the local coins circulating there before the Satavahana conquest. The legend punch on these coins is inscribed either in the name of siri satasa or siri satakanisa. Siri Satakarni can confidently be identified with Shri-Satakarni, the third Satavahana king of the Purana lists, who usually is dated to the second part of the 1st century BC. The case of Siri Sata is not completely clear as we don't have other information on his identity. His coin types suggest that his rule must have been close to Satakarni. The issue of these Satavahana coins as close copies of pre-existing local coins is an important material evidence of the incorporation of eastern Malwa into the Satavahana realm at the time of Satakarni. It was among such local coins from  eastern Malwa where the Satavahanas found the locally popular modified 'Ujjain symbol' with a crescent or nandipada attached to one of its orbs which they adopted as their dynastic emblem."
http://coinindia.com/galleries-eran2.html
ImageImage

Vidisha, die-struck AE, 'horse/ chakra' type
Weight: 5.71 gm., Diameter:  mm
Obv.: Bridled horse (or Bull?) standing to left.
Rev.: Chakra symbol with a decorative outer border of alternating
         svastikas and srivatsa symbols.
Reference: Girish Sharma collection

http://coinindia.com/galleries-eran2.html

eran484
Eran, anonymous 1/2 AE karshapana,  four punch 'symbol type'
Weight:  4.39 gm., Dimensions: 19x18 mm.
Railed tree on top left, flower on top right; at the bottom 'Ujjain symbol' on the right
      and closed semicircle with two fish inside and two svastikas above on the left.
Blank reverse
Reference: BMC, pl. XVIII, no.12/ Pieper 484 (plate coin)

http://coinindia.com/galleries-eran1.html
eran481
Eran, anonymous 3/4 AE karshapana,  three punch 'symbol type'
Weight:  6.10 gm., Dimensions: 22x22 mm.
Obv.: Indradhvaja, railed tree and 'Ujjain symbol'.
Rev.: Worn traces of obverse design of Ujjain undertype depicting 'bull facing railed
Indradhvaja'.
Reference: BMC, pl.XVIII, no.16 / Pieper 481 (plate coin)

http://coinindia.com/galleries-eran1.html

Importance of Rgveda and Indus Script in the History of Humankind

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Let me start withYuval Noah Harari, the great pattern-recognizer of humankind. I am sorry he does not even mention a great document of humankind, the only 'book' which has survived -- thanks to an extraordinary oral super-hi-fidelity tradition of recording utterances with accuracy & built-in error-correction  -- despite the cultural onslaughts of millennia, the Rigveda (about which Shrikant Talageri has written another great book called Rigveda: a Historical Analysis). I am sure that Harari has not read both the books. 

Daimabad seal



 Santali glosses

How can he talk about 'primordial' language without even knowing that kanda kanka means 'rim of jar'? The word 'kanka' is a tadbhava of कर्णक ifc. f().) a prominence or handle or projection on the side or sides (of a vessel &c ) , a tendril (शतपथ-ब्राह्मण). I am citing this because, this is the signature tune of the Indus (Sarasvati) wealth-accountant, keeper of the daybook, ledgers or bills of lading of artisans/seafaring Meluhha merchants: Sign 342. This sign occurs on over 90% all 8000+ Indus Script inscriptions.
Inline image


Harari in his Part 3 The Unification of Humankind,  in his tour de force,  Sapiens – A Brief History of Humankind, presents a photo of Ka’a. (Fig.24 Pilgrims circling the Ka’aba in Mecca).

He presents a succinct summary of Indo-Aryan tourists arriving in India about 3000 years ago. See his follow-up inquiry cited on pages 337-338: “Biologists, anthropologists and even linguists provided scientific proof that Europeans are superior to all other races, and consequently have the right (if not perhaps the duty) to rule over them. After William Jones argued that all Indo-European languages descend from a single ancient language many scholars were eager to discover who the speakers of that language had been. They noticed that the earliest Sanskrit speakers of that language who had invaded India from Central Asia more than 3000 years ago, had called themselves Arya. The speakers of the earliest Persian language called themselves Airiia. Euroepean scholars consequently surmised that the people who spoke the primordial language that gave birth to both Sanskrit and Persian (as well as to Greek, Latin, Gothic and Celtic) must have called themselves Aryans. Could it be a coincidence that those who founded the magnificent Indian, Persian, Greek and Roman civilisations were all Aryans?”

Harari surprisingly does not refer to Rigveda, Avesta or Indus Script. He cites a Sumerian tablet signed by Kushim (pages 138, 139). “It is telling that the first recorded name in history belongs to an accountant, rather than a prophet, a poet or a great conqueror.” This quote cites the work of Hans J Nissen, Peter Damerow and Robert K. Englund, Archaic Bookkeeping: Writing and Techniques of Economic Administration in the Ancient Near East, Chicago, London, The University of Chicago Press, 1993, p.36.

Inline imageSumerian tablet, Signed Kushim, dated to ca. 3400 BCE.
Inline imagePotsherd. Harappa. ca. 3300 BCE. tagaraka 'tabernae montana' rebus: tagara 'tin' PLUS kolom 'three' rebus: kolimi 'smithy, forge'.
Where do I disagree with Harari?

I reject his theory of Indo-Aryan invasion of India.

I reject his theory of primordial ‘Aryan’ language.

I say that Meluhha was the spoken form of Chandas of Rigveda, a document that Harari does NOT mention even once in his tour de force. Of course, he does NOT also mention Indus Script which has now produced over 8000 inscriptions and we keep on parroting, say, in CBSE textbooks for children: ‘Indus Script has not been deciphered so far.’

So, how do we bring Harari, Hock and Witzel to a debate on OIT versus AIT (if you prefer Harari’s account or ATT (if you prefer Rajeev Srinivasa’s summary)?

So, what language did children of Sarasvati civilization speak? Were they illiterate? Or, did they communicate their economic transactions through their Indus Script inscriptions? By a miracle, Ancient India had become a Super Economic Power contributing to over 33% of Global GDP in 1CE (pace Angus Maddison).

I suggest that we should collectively crack the Indus Script code and prove Harari, Witzel and Hock wrong. Harari has to be told, in particular, that Rigveda and Indus Script (and the language of the Sarasvati Civilization) did contribute to the History of Humanmind with some important evidences from this history -- as important evidences as the Ka'aba of Mecca or Accountant Kushim's Sumerian tablet.

For those interested in pursuing arguments about the language spoken by Sarasvati civilization people, and their partial script, which preceded the full scripts of Brāhmī and Kharoṣṭhī,see: 

Indian Lexicon --Comparative dictionary of over 8000 semantic clusters in 25+ ancient Bharatiya languages (Over 8000 semantic clusters which may help us read the 1000+ hieroglyphs of Indus Script and their cognate homonyms in Meluhha, Indian sprachbund, 'language union')



Itihāsa, An extraordinary, humble request to muslims, by KK Muhammed -- Muslims should hand over the Ram temple place to Hindus

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"Before the Supreme Court gives its judgment, Muslims should hand over the place to Hindus and create an example. That is my humble request to them." -- KK Muhammed


Ram temple existed before Babri mosque in Ayodhya: Archaeologist KK Muhammed

Kumar Shakti Shekhar | TIMESOFINDIA.COM | Updated: Oct 1, 2019, 18:25 IST
TIMESOFINDIA.COM
KK Muhammed
The Supreme court is holding day-to-day hearings on the Ram Janmbhumi-Babri Masjid case and is likely to give a verdict by November 17. 
KK Muhammed
, former regional director, North, 
Archaeological Survey of India
 (ASI) was part of the team of archaeologists which had carried out the first excavation at the site in 1976-77. He maintains that there is enough archaeological proof of a grand temple below the Babri Mosque. He spoke to TOI on why he thinks Muslims should voluntarily hand over the land at Ayodhya.

Q: What do you have to say about the Ayodhya case being heard in the Supreme Court?
A: 
There are three important issues. First is archaeological evidence, second is literary evidence and the third is the social issues.

Q: What is the archaeological evidence to prove whether there was a pre-existing temple or not?
A:
 Archaeologically there are enough evidence to say that below the controversial Babri mosque, there were temple remains. In fact, there was a grand temple structure.

Two excavations were carried out at the site.

The first excavation was carried out in the year 1976-77 under eminent archaeologist BB Lal, who was the director general of the Archaeological Survey of India (ASI) from 1968 to 1972.

I was a member of the excavation team and the only Muslim who had participated in the excavation.

The excavation took place at a time when Saiyid Nurul Hassan, himself a historian, was the then Union minister of state (with independent charge) of education, social welfare and culture between 1971 and 1977.

Excavation has two important components. As per the procedures, we first conducted surface exploration to find out the remains on the surface. The controversial mosque was under the custody of the police and no common visitors were allowed inside. But as were part of the excavation team, we were allowed inside it.

Moreover, the Ayodhya issue was not as heated up as it became later.

When we went inside, I saw 12 pillars of the mosque which were made from temple remains.

Q: How do you say that the pillars belong to some temple? And did you take pictures of the pillars?
A:
 No, I did not take pictures at that time. But other pictures are available now.

In almost all the temples of the 12th and 13 th centuries, you get 'Purna Kalasha' at the base. It is the structure of a 'ghada' (water pitcher) from which foliage would be coming out. It is the symbol of prosperity in Hinduism and is known as 'Asht-Mangala Chinha' - one of the eight auspicious symbols.

If you want to see it further, you can go to Quwwatul Islam mosque near Qutub Minar. This mosque was also made out of the spoils of 27 temples. There is evidence for this as well. There is a book called Taj-ul-Masir written by Hassan Nizami, a contemporary historian. He says that temples were destroyed and a mosque was constructed out of it.

There is also an inscription in front of the Quwwatul mosque which says that it was made out of the spoils of 27 temples. When you go inside, you can see a number of 'Purna Kalashas' and a number of gods and goddesses.

Similar things were there in Babri mosque also. There were no gods and goddesses but 'Asht-Mangala Chinhas' were there. So, on the basis of these, any archaeologist would say that these are temple remains.

Subsequently, BB Lal undertook excavations on the western side of the mosque. The pillar bases were also excavated. A number of terracotta sculptures were found. If it is a mosque, you will never get depiction of human beings or animals because it is 'haraam' (forbidden or proscribed) in Islam. This means there was a temple.

But these findings were not highlighted by BB Lal because our excavation purpose was not to establish whether there was a temple or not. We just wanted to see the cultural sequence of the place.

Q: So, were BB Lal's findings ever highlighted? Wasn't there a critique of how the study findings were presented?
A:
 Unfortunately, a group of Left historians led by Romila Thapar, DN Jha and RS Sharma among others went to the media around 1990 and falsely claimed that no temple remains were found in the excavation. They also said the report did not mention anything about the temple remains.

BB Lal was forced to defend. He made it clear that we got a number of temple remains but we did not make it an issue.

At that time, I was a deputy superintending archaeologist posted at Chennai. I came out with a press statement through a letter to the editor in a national newspaper.

I said that I was the only Muslim who had participated in that excavation and we got a number of temple remains.

I further said that this is as important for Hindus as Mecca and Medina for Muslims. Therefore, Muslims should willingly hand it over to Hindus.

There was a senior IAS officer, I Mahadevan, a prominent archaeologist who had written a book on Indus script, came out with another statement. He said one group says there are temple remains and another group says there are no temple remains. Then why can't we undertake another excavation?

Q: So the second excavation was carried out under orders of the Allahabad High Court. What do you say about its findings?
A:
 The second excavation was carried out in 2003 as per the directions of the Lucknow bench of the Allahabad High Court. By that time, the mosque had been destroyed. Before the excavation, a ground penetrating radar (GPR) survey was conducted. It found that there were several structures within below the ground. Many anomalies were reported. Anomalies meaning that you will be getting structures below the 
Babri Masjid
.

The excavation was carried out under the supervision of archaeologists Hari Manjhi and BR Mani. Since this excavation was carried out as per the direction of the court, the report assumes the status of a Court Commissioner's report and it is fully authentic. The 
ASI excavation
 was neither for Nirmohi Akhara nor for Vishwa Hindu Parishad (VHP) nor for Sunni Waqf Board. It is an impartial and scientific report by ASI.

During the first excavation, the controversial structure was having 12 temple pillars reused in the mosque. Excavation also exposed bases on which many pillars were standing.

But in the second excavation, more than 90 pillar bases in 17 rows were exposed. It means that the structure was imposing and large.

The structure discovered was a temple below the Babri Mosque and dated back to the 12th century AD.

They also got temple 'pranala'. We have to bathe the deity and the 'abhishek jal' flows through 'pranali'. The pranali is mostly 'makara pranali', having a crocodile face.

Crocodile is a symbol of river Ganga. In some of the temples, before reaching the 'garbha griha' (sanctum sanctorum), on the one side there would be a lady standing on crocodile and on the other side there would be a lady standing on tortoise.

This means that you are taking a symbolic bath in rivers Ganga, Yamuna and the underground Saraswati. After cleansing yourself of all the previous sins, you are going to the main God.

This 'makara pranali' was excavated. Had it been some other architectural member, one could have argued that it belonged to the part of a house. But this 'makara pranali' is neither seen in a residential area nor in a bazar area but it is exclusively the property of a temple.

Also, on top of the temple just below the 'kalasha', there is another architectural member known as 'amalka'. It was also excavated.

Below the 'amalka' there is the 'grivah' and also the 'shikhara' portion of the temple in North India. Many architectural members of the 'shigara' was also excavated from there by the team.

Besides, 263 pieces of terracotta objects of various gods and goddesses, human figures and female figures were excavated from there.

The hired team by the Waqf Committee said the structure was another mosque before the Babri Mosque. While they call it a structure, ASI calls it a temple.

Had it been a mosque, how could you get these terracotta objects of various living beings? Depiction of any living being is prohibited in Islam.

Then how could you get sculptures of living beings had it been a mosque? So, it was not a mosque.

They also say that it might have been a Jain or a Buddhist temple if their argument that it was a pre-Babri mosque was rejected. But there are no remains of Jainism or Buddhism in that disputed area.

One of the directors of the excavation Hari Manjhi himself is a practising Buddhist and he has never come out with such a strange argument.

Apart from all these things, a 'Vishnu Hari Sheela Phalak' inscription was also found in two pieces from the site.

Of course, they were not part of the excavations but were found after the demolition of the mosque. But they form an important circumstantial evidence which clearly says the temple has been dedicated to that incarnation of Lord Vishnu who had killed Bali and a 10-headed person.

All this is evidence which we have in order to establish that there was a pre-existing Hindu temple and that too dedicated to Lord Vishnu at that place.

Q: What is the proof that this second ASI excavation in 2003 was impartial?
A:
 Firstly, the excavation was completely videographed. Apart from ASI officials there were court-appointed judicial members. There were the so-called experts of Babri mosque. Those who had filed the cases such as Zafaryab Jilani and their advocates were also overseeing the entire excavation process.

Besides, the excavation team comprised several Muslims who were senior archaeologists of the ASI.

They included Ghulam Syeddin Khwaja from ASI, who retired as director Arabic and Persian epigraphy at Nagpur. There also was Atiqur Rehman Siddiqui who retired as superintending archaeologist of Agra.

Zulfikar Ali, who presently is the superintending archaeologist of Chandigarh circle and AA Hashmi, who retired from Chanderi were there.

They not only carried the excavation but they also were co-authors of the report which was submitted to the Lucknow bench of the Allahabad High Court.

This is highly fool-proof.
Their conclusion was simple - that there was a pre-existing temple below the Babri Mosque and dedicated to Lord Vishnu.

Q: Was there no dissenting view?
A:
 No, there was no dissenting view. Nobody had resigned from the team either. Those who differed were the hired experts of the Waqf committee. But they tried to create some confusion.

But the Court Commissioner's report is crucial and final.

Read Also: Ram temple excavation report far from foolproof?
Q: Will these findings contribute in settling the issue by the Supreme Court?
A:
 Archaeological evidence is fully in favour of a Hindu temple. I only believe that the Supreme Court cannot come out with any other kind of judgment. Even if they do give another kind of judgment, though there is no chance at all, that would be a decision which would not be able to implement. I lived there for two months. I saw that throughout the day and night, people used to continuously visit there and worship. It has that kind of importance for the Hindus.

Q: Archaeological evidence is one aspect of the case. What are the other two which you wished to discuss?
A:
 There is ample literary evidence to prove that Hindus continued to worship at that place.

In Ain-e-Akbari Volume III, Abu Fazal says that Ayodhya was worshipped by Hindus in the month of Chaitra.

Then there was a traveller known as William Filch (1608-1611) who came to India during the time of Jehangir . In his travelogue, he says a lot of people assembled and worshipped at this place in Ayodhya.

In 1631, during the time of Jehangir and Shah Jahan, a Dutch geographer John Daeleat also speaks about the worship of the place by Hindus.

Thomas Herbert (1606-1682) mentions also speaks about the Hindu worship of the place.

Joseph Taissen Thaler, who wrote in 1766, also speaks about the erection of a cradle at the place. It was for the first time, he said that the temple was destroyed either by Babur or Aurangzeb.

Q: What is the third aspect of the Ayodhya issue?
A:
 The third and last aspect is the social issue. 
Ram Temple
 at Ayodhya is as important for Hindus as Mecca and Medina is for Muslims.

For Muslims, it is neither associated with Prophet Mohammed nor with any of his prominent companions in Islam nor with any Auliya like Khwaja Moinuddin Chisti of Ajmer, Nizamuddin Auliya of Delhi or Salim Chisti of Fatehpur Sikri or any Islamic divine personality.

Therefore, Muslims should have willingly handed it over to Hindus.

For that, Hindus should also come forward to construct a grand mosque for Muslims, somewhere in Lucknow or wherever they are in the majority.

In Ayodhya area, the Muslim population is sporadic. Therefore, there is no point in arguing for a mosque in that area.

If Muslims had shown willingness on their part, many of the problems that they facing might have been automatically solved. That would have generated goodwill among Hindus also.

Muslims were ready for this. But these Marxist historians led by Irfan Habib created the problem. It is they who told the Muslim community that they have excavated the place and they did not get anything by which they could say that they there was a temple beneath the mosque.

And none of these people except one or two were archaeologists.They were all simple historians. They were not technically qualified to be archaeologists. They had no excavation experience also. They came out in the open with their own ignorance and Muslims were taken for a ride by those people.

Muslims were in a cleft stick by these people.

Now at least they (Muslims) should show the political maturity to come out of the trap of the Marxist historians. Even now the time has not elapsed. Before the Supreme Court gives its judgment, Muslims should hand over the place to Hindus and create an example. That is my humble request to them.

Itihāsa. A tribute to Mahatma Gandhi -- Dr. Martin Luther King, Jr. (1958)

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Gandhi Jayanti: A tribute to Mahatma Gandhi by Dr Martin Luther King, Jr

On January 30, 1958, to mark the 10th anniversary of the Mahatma’s passing, a young clergyman who was using Gandhian methods in America wrote an article for Hindustan Times on why India’s Father of the Nation belonged ‘to the ages’.

INDIA Updated: Oct 02, 2019 04:02 IST
Dr Martin Luther King, Jr
Dr Martin Luther King, Jr
Hindustan Times

Dr Martin Luther King, Jr stands next to a portrait of Mahatma Gandhi in his office in 1966.Dr Martin Luther King, Jr stands next to a portrait of Mahatma Gandhi in his office in 1966.(Bob Fitch Photography Archive, Department of Special Collections, Stanford University Libraries)

Mahatma Gandhi has done more than any other person of history to reveal that social problems can be solved without resorting to primitive methods of violence. In this sense he is more than a saint of India. He belongs — as they said of Abraham Lincoln — to the ages. In our struggle against racial segregation in Montgomery, Alabama, I came to see at a very early stage that a synthesis of Gandhi’s method of non-violence and the Christian ethic of love is the best weapon available to Negroes for this struggle for freedom and human dignity. It may well be that the Gandhian approach will bring about a solution to the race problem in America. His spirit is a continual reminder to oppressed people that it is possible to resist evil and yet not resort to violence.

The Gandhian influence in some way still speaks to the conscience of the world as nations grapple with international problems. If we fail, on an international scale, to follow the Gandhian principle of non-violence, we may end up by destroying ourselves through the misuse of our own instruments. The choice is no longer between violence and non-violence. It is now either non-violence or non-existence.
Oppressed people can deal with oppression in three ways. They can accept or acquiesce. Under segregation they can adjust to it. Yet non-cooperation with evil is as much a moral obligation as is cooperation with good. The minute one accepts segregation, one cooperates with it. Oppressed people can, on the other hand, resort to physical violence, a method both whole nations and oppressed peoples have used. But violence merely brings about a temporary victory and not permanent peace. It creates ever new problems. Gandhi has come on the scene of history with still another way. He would resist evil as much as the man who uses violence, but he resists it without external violence or violence of the spirit. That is what Gandhism does. It is a method of the strong. If the only alternative is between cowardice and violence, it is better — as Gandhi said — to use violence, but there is another way.
I myself gained this insight from Gandhi. When I was in theological school, I thought the only way we could solve our problem of segregation was an armed revolt. I felt that the Christian ethic of love was confined to individual relationships. I could not see how it could work in social conflict. Then I read Gandhi’s ethic of love as revealed in Jesus but raised to a social strategy for social transformation. This lifts love from individual relationships to the place of social transformation. This Gandhi helped us to understand and for this we are grateful a decade after his death.

https://www.hindustantimes.com/india-news/gandhi-jayanti-a-tribute-to-mahatma-gandhi-by-dr-martin-luther-king-jr/story-hUxkTRCP12lbllCDniRMzJ.html

Itihāsa. Rajasekhara salutes the bold one who thieves the entire work in toto

Three tin ingots of Haifa shipwreck with Indus (Sarasvati) hieroglyphs reinforce the Meluhha rebus reading ranku dhatu mũh, ‘tin mineral-ore ingot’

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This is an addendum to my article: The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” By S. Kalyanaraman in: Journal of Indo-Judaic Studies Volume 1: Number 11 (2010), pp. 47-74.)

This article of 2010 had present rebus readings of inscriptions on the following two tin ingots


Tin ingots in the Museum of Ancient Art of the Municipality of Haifa, Israel (left #8251, right #8252). The ingots each bear two inscribed “Cypro-Minoan markings”. (Note: I have argued that the inscriptions were Meluhha hieroglyphs (Indus or Sarasvati writing) denoting ranku‘antelope’ (on left ingot) ranku‘liquid measure’ (on right ingot) datu‘cross’ read rebus as: ranku'tin'dhatu'ore'. 

Another tin ingot with comparable Indus writing has been reported by Artzy:

Fig. 4 Inscribed tin ingot with a moulded head, from Haifa (Artzy, 1983: 53). (Michal Artzy, 1983, Arethusa of the Tin Ingot, Bulletin of the American Schools of Oriental Research, BASOR 250, pp. 51-55) https://www.academia.edu/5476188/Artzy-1983-Tin-IgnotThis figure indicates the head of a woman as a hieroglyph. Some scholars have suggested that this signifies Arethusa.

The author Michal Artzy (opcit., p. 55) who showed these four signs on the four tin ingots to E. Masson who is the author of Cypro-Minoan Syllabary. Masson’s views are recorded in Foot Note 3: “E. Masson, who was shown all four ingots for the first time by the author, has suggested privately that the sign ‘d’ looks Cypro-Minoan, but not the otherthree signs.”

If all the signs are NOT Cypro-Minoan Syllabary, what did these four signs, together, incised on the tin ingots signify?

The two hieroglyphs incised which compare with the two pure tin ingots discovered from a shipwreck in Haifa, the moulded head can be explained also as a Meluhha hieroglyphs without assuming it to be the face of goddess Arethusa in Greek tradition: Hieroglyph:  mũhe ‘face’ (Santali) Rebus: mũh ‘ingot’ (Santali). The three hieroglyphs are: ranku 'antelope' Rebus: ranku 'tin' (Santali) ranku 'liquid measure' Rebus: ranku 'tin' (Santali). = cross (Te.); dhatu = mineral (Santali) Hindi. dhānā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). [The 'cross' or X hieroglyph is incised on both ingots.]

All these hieroglyphs on the three tin ingots of Haifa are read rebus in Meluhha:
Hieroglyph: ranku  = liquid measure (Santali)
Hieroglyph: raṅku m. ʻa species of deerʼ Vās.,  rankuka  id., Śrīkaṇṭh. (Samskrtam)(CDIAL 10559). raṅku m. ʻ a species of deer ʼ Vās., °uka -- m. Śrīkaṇṭh.Ku. N. rã̄go ʻ buffalo bull ʼ? -- more prob. < raṅká-<-> s.v. *rakka -- .*raṅkha -- ʻ defective ʼ see *rakka -- .RAṄG ʻ move to and fro ʼ: ráṅgati. -- Cf. √riṅg, √rikh2, √*righ.(CDIAL 10559)
Rebus: ranku ‘tin’ (Santali) raṅgan. ʻ tin ʼ lex. Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m.ʻpewter, tinʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅrāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ. (CDIAL 10562) 
Hieroglyph: dāṭu = cross (Telugu)
Rebus: dhatu = mineral ore (Santali) Rebus: dhāṭnā ‘to send out, pour out, cast (metal)’ (Hindi)(CDIAL 6771).
Hieroglyph: mũh 'a face' Rebus: mũh, 'ingot' or muhã 'quantity of metal produced at one time from the furnace’ (Santali)
Indus Script hypertexts thus read: Hieroglyphs: ranku 'liquid measure' or raṅku ʻa species of deerʼ PLUS dāṭu = cross  rebus: plain text: ranku 'tin' PLUS dhatu 'cast mineral' Thus, together, the plain text reads: tin mineral casting. The fourth ingot with the hieroglyph of a moulded head reads: mũh 'a face' Rebus: mũh, 'ingot' or muhã 'quantity of metal produced at one time from the furnace’ (Santali).
Thus, together, the message on the three tin ingots discovered in the Haifa shipwreck is: ranku dhatu mũh 'tin mineral-ore ingot'. 

Indus Script Hypertexts of animal & other compositions signify kundaṇa singi سنګر sangar kammaṭa fortified mints, army camps of trader/ sippi 'craftsman' guilds

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https://tinyurl.com/y2akem7q

-- Indus Script Hypertexts of animal & other compositions (such as standard device or spiny-horned young bull or composite animal hypertexts) signify army camp of armourers (in)سنګر  sangar fortified trade centre of lapidary mint of fine-gold, ornament gold worker artisan guilds.

Similarly, the standard device which is a सांगड sāṅgaḍa, a composition formed of lathe PLUS portable furnace signifies سنګر  sangar fortified trade centre of lapidary mint of fine-gold, ornament gold-smith, silver-smith guilds. Thus, the composition of field symbols of 'unicorn' PLUS 'standard device' are semantic reinforcer hypertext compositions of guilds working with fine gold, ornament gold and other treasures such as lapidary work with gems and jewels. The Meluhha expression is reconstructed as kundaṇa singi  سنګر  sangar kammaṭa 'fortified settlement, mint of fine-gold, ornament-gold artisans, kundaṇa (artisans) setting a precious stone in fine gold; fine gold. Two such settlements of historical periods, ca. 2nd cent.BCE are Bharhut and Sanchi settlements, proclaimed on the torana-s or gateways with srivatsa hypertexts. श्री--वत्स partic. mark or curl of hair on the breast of विष्णु or कृष्ण (and of other divine beings ; said to be white and represented in pictures by a symbol resembling a cruciform flower) MBh. Ka1v. &c; the emblem of the tenth जिन (or विष्णु's mark so used). In orthography, the signifiers of श्री--वत्स are a pair of fish-fins joined together atop a lotus. tamarasa 'lotus' rebus: tamra 'copper' PLUS aya 'fish' rebus: ayas 'alloy metal' PLUS khambhaṛā 'fish-fin' rebus: kambāra 'smithy, mint' kampat.t.tam coinage coin (Ta.);kammat.t.am kammit.t.am coinage, mint (Ma.); kammat.a id.; kammat.i a coiner (Ka.)(DEDR 1236) PLUS sippī ʻspathe of date palmʼ Rebus: sippi 'artificer, craftsman'. 
The trader status is signified by the hieroglyph, 'boar'. badhi 'castrated boar' rebus: badhi,badhoe 'worker in iron and wood'. See: బత్తుడు battuḍu báḍḍhi वर्धकि, vaḍlaṅgi, baṛhaï, baḍaga, baḍhi, bāṛaï, varāha, 'title of five artisans'phaḍa फड, paṭṭaḍa 'metals manufactory' venerated in Indus Script 











An exquisite seal provides the Indus Script hypertext of a pair of chain-links emerging out of a stylised standard device. I suggest that this pair of chain links signifies: kaṭaka 'link of a chain' (Skt.) rebus: kaṭaka 'cantonment, army camp' PLUS dula 'pair' rebus: dul 'metal casting'. Thus, metal casters' army camp or guild.

I submit that wherever combined animals are composed as hypertexts on Indus Script Corpora, the signifiers are: सांगड sāṅgaḍa f A body formed of two or more (fruits, animals, men) linked or joined together. Rebus:  S سنګر sangar, s.m. (2nd) A breastwork of stones, etc., erected to close a pass or road; lines, entrenchments. Pl. سنګرونه sangarūnah.  'fortified entrenchments or army cantonments'. Thus, the 'unicorn' with the standard device in front of it signifies pictorially: सांगड sāṅgaḍa 'fortified settlement of a guild'; read rebus:jangad 'invoices on approval basis' jangadiyo 'military guards accompanying treasure into the treasury'. A rebus reading for सांगड sāṅgaḍa is samgara 'catalogue'. All IndusScript Inscriptions are metalwork catalogues, wealth-accounting ledgers. Yet another rebus reading is: the ancient accounting system used for invoicing precious commodities on approval basis called: The jangad/Challan made out by the defendant and stated to be signed by the plaintiff as receiver of the goods shown therein evidences the written contract between the parties...
https://www.casemine.com/search/in?q=invoice+written+contract 

In Gujarati, the word jangadiyo means 'a military guard carryiing accompanying treasure stored in the treasury/warehouse of the state'.

Thus, the composite animal hypertexts signify fortified trade settlements of metalworker guilds.

The standard device out of which this pair of chain-links emerge is read rebus as: kunda kammaṭa 'lathe-worker or lapidary mint' PLUS  सांगड   sāṅgaḍa f A body formed of two or more (fruits, animals, men) linked or joined together. Rebus: sangar 'trade'.;   S سنګر sangar, s.m. (2nd) A breastwork of stones, etc., erected to close a pass or road; lines, entrenchments. Pl. سنګرونه sangarūnah. See باره 
 P باره bāraʿh, s.f. (3rd) A fortification, defence, rampart, a ditch, palisade, an entrenchment, a breastwork. Pl. يْ ey. See سنګر   S باړئِي bāṟṟaʿī, s.f. (6th) An inclosed piece of ground, a kitchen garden, a garden; a house with a garden, orchard, etc., attached to it. 2. A hedge of thorns round a village and the space inclosed therein. 3. A breastwork, a palisade, a fortification, etc. See باره and سنګر S. and Pl.

Thus, the composition of the standard device together with two chain-links reads rebus, the plain text,  kunda kammaṭa sangar  'a fortification (of) trade-center of lapidary mint.' Together with the pair of 'unicorns' the composition of field symbol on the seal signifies a fortified trade centre of lapidary mint of fine gold, ornament gold.

The metalwork carried out in the mint is further reinforced by the semantic determinatives of a precise count of 9 ficus glomerata leaves: loa 'ficus glomerata' rebus: loh 'copper, metal'.लोह made of copper S3Br. (Sch.); made of iron Kaus3.; m. n. red metal , copper VS. &c; m. (in later language) iron (either crude or wrought) or steel or gold or any metal; m. a weapon
m. (pl.N. of a people MBh. Thus, the rebus word loha signifies metal weapon makers, or armourers of kaṭaka 'cantonment, army camp'. 
m0296 seal impression

lo 'nine', loa 'ficus religiosa' Rebus: loh 'copper'; kunda 'young bull' Rebus: kundār, kũdār 'turner'; firs hieroglph from r. on the text: eraka 'nave of wheel' Rebus: eraka 'moltencast'; arA 'spoke' Rebus: Ara 'brass'; kanac 'corner' Rebus: kancu 'bronze'.

lo = nine (Santali) [Note the count of nine fig leaves on m0296]

loa = a species of fig tree, ficus glomerata, the fruit of ficus glomerata (Santali.lex.)
loha lut.i = iron utensils and implements (Santali.lex.)

lauha = made of copper or iron (Gr.S’r.); metal, iron (Skt.); lo_haka_ra = coppersmith, ironsmith (Pali); lo_ha_ra = blacksmith (Pt.); lohal.a (Or.); lo_ha = metal, esp. copper or bronze (Pali); copper (VS.); loho, lo_ = metal, ore, iron (Si.)

Ficus glomerata: loa, kamat.ha = ficus glomerata (Santali); rebus: loha = iron, metal (Skt.) kamat.amu, kammat.amu = portable furnace for melting precious metals (Te.) kammat.i_d.u = a goldsmith, a silversmith (Te.) kampat.t.tam coinage coin (Ta.);kammat.t.am kammit.t.am coinage, mint (Ma.); kammat.a id.; kammat.i a coiner (Ka.)(DEDR 1236)

m0296 Two heads of one-horned bulls with neck-rings, joined end to end (to a standard device with two rings coming out of the top part?), under a stylized tree-branch with nine leaves.

saṅghara 'chain link' rebus: sangara 'trade'; samgaha ‘catalogue, list’. 

खोंद [ khōnda ] n A hump (on the back): also a protuberance or an incurvation (of a wall, a hedge, a road). Rebus: kō̃da -कोँद  इष्टिकाभ्राष्ट्रः f. a brick-kiln. (Kashmiri) kõdār 'turner' (Bengali). Rebus: खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engrave. खोद खोदून विचारणें or -पुसणें To question minutely and searchingly, to probe.गोट [ gōṭa ] m ( H) A metal wristlet. An ornament of women. 2 Encircling or investing. v घाल, दे. 3 An encampment or camp: also a division of a camp. 4 The hem or an appended border (of a garment).गोटा [ gōṭā ] m A roundish stone or pebble. 2 A marble (of stone, lac, wood &c.) 3 fig. A grain of rice in the ear. Ex. पावसानें भाताचे गोटे झडले. An overripe and rattling cocoanut: also such dry kernel detached from the shell. 5 A narrow fillet of brocade.गोटाळ [ gōṭāḷa ] a (गोटा) Abounding in pebbles--ground.गोटी [ gōṭī ] f (Dim. of गोटा) A roundish stone or pebble. 2 A marble. 3 A large lifting stone. Used in trials of strength among the Athletæ. 4 A stone in temples described at length under उचला 5 fig. A term for a round, fleshy, well-filled body.
Rebus: गोटी [ gōṭī ] f (Dim. of गोटा)  A lump of silver: as obtained by melting down lace or fringe. 

Hieroglyph: lo = nine (Santali); no = nine (B.)  on-patu = nine (Ta.)

[Note the count of nine fig leaves on m0296] Rebus: loa = aspecies of fig tree, ficus glomerata, the fruit of ficus glomerata (Santali.lex.)
    Epigraph: 1387 
kana, kanac corner (Santali); Rebus: kan~cu
= bronze (Te.)  Ligatured glyph. ara 'spoke' rebus: ara 'brass'. era, er-a = eraka = ?nave; erako_lu = the iron axle of a carriage (Ka.M.); cf. irasu (Ka.lex.)
[Note Sign 391 and its ligatures Signs 392 and 393 may connote a spoked-wheel,
nave of the wheel through which the axle passes; cf. ara_, spoke]
erka = ekke (Tbh.
of arka) aka (Tbh. of arkacopper (metal); crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tu.lex.) Rebus: eraka = copper (Ka.)
eruvai = copper (Ta.); ere - a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a = syn. erka, copper, weapons (Ka.)Vikalpa: ara, arā (RV.) = spoke of wheel  ஆரம்² āram , n. < āra. 1. Spoke of a wheel.  See ஆரக்கால்ஆரஞ்
சூழ்ந்தவயில்வாய்நேமியொடு (சிறுபாண்253). Rebus: ஆரம் brass; பித்தளை.(அகநி.)kund opening in the nave or hub of a wheel to admit the axle (Santali) Rebus: kō̃da -कोँद  इष्टिकाभ्राष्ट्रः f. a brick-kiln. (Kashmiri) kõdār 'turner' (Bengali).
kui = a slice, a bit, a small piece (Santali.lex.Bodding) Rebus: kuṭhi ‘iron smelter furnace’ (Santali) kuhī factory (A.)(CDIAL 3546)
Thus, the sign sequence
connotes a copper, bronze, brass smelter furnace
Ayo ‘fish’; kaṇḍa ‘arrow’; rebus: ayaskāṇḍa. The sign sequence is ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.) kaṇḍa ‘fire-altar’ (Santali) DEDR 191 Ta. ayirai, acarai, acalai loach, sandy colour, Cobitis thermalis; ayilai a kind of fish. Ma. ayala a fish, mackerel, scomber; aila, ayila a fish; ayira a kind of small fish, loach.
kole.l 'temple, smithy' (Ko.); kolme ‘smithy' (Ka.) kol ‘working in iron, blacksmith (Ta.); kollan-blacksmith (Ta.); kollan blacksmith, artificer (Ma.)(DEDR 2133)  kolme = furnace (Ka.)  kol = pan~calo_ha (five metals); kol metal (Ta.lex.) pan~caloha =  a metallic alloy containing five metals: copper, brass, tin, lead and iron (Skt.); an
alternative list of five metals: gold, silver, copper, tin (lead), and iron (dhātu; Nānārtharatnākara. 82; Man:garāja’s Nighaṇṭu. 498)(Ka.) kol, kolhe, ‘the koles, an aboriginal tribe if iron smelters speaking a language akin to that of Santals’ (Santali)
Two Meluhha hypertexts are formed by two ligatured images: 1. standard device; 2. spiny-horned young bull (so-called 'unicorn') on Indus Script Corpora.


V326 (Orthographic variants of Sign 326) V327 (Orthographic variants of Sign 327) loa = a species of fig tree, ficus glomerata, the fruit of ficus glomerata (Santali.lex.) Vikalpa: kamaṛkom ‘ficus’ (Santali); rebus: kampaṭṭam ‘mint’ (Ta.) patra ‘leaf’ (Skt.); rebus: paṭṭarai ‘workshop’ (Ta.) Rebus: lo ‘iron’ (Assamese, Bengali); loa ‘iron’ (Gypsy) lauha = made of copper or iron (Gr.S'r.); metal, iron (Skt.); lo_haka_ra = coppersmith, ironsmith (Pali); lo_ha_ra = blacksmith (Pt.); lohal.a (Or.); lo_ha = metal, esp. copper or bronze (Pali); copper
(VS.); loho, lo_ = metal, ore, iron (Si.) loha lut.i = iron utensils and implements (Santali.lex.) koṭiyum = a wooden circle put round the neck of an animal; koṭ = neck
(G.lex.) kōṭu = horns (Ta.) kōḍiya, kōḍe = young bull (G.) Rebus: koḍ  = place where artisans work (Gujarati)
dol = likeness, picture, form (Santali) [e.g., two tigers, two bulls, duplicated signs] me~ṛhe~t iron; ispat m. = steel; dul m. = cast iron (Santali)
[Thus, the paired glyph of one-horned heifers connotes (metal) casting (dul)
workshop (koḍ)]

Association of ficus glomerata leaves with zebu is shown on this illustration on a pot:
Zebu and leaves. In front of the standard device and the stylized tree of 9 leaves, are the black buck antelopes. Black paint on red ware of Kulli style. Mehi. Second-half of 3rd millennium BCE. [After G.L. Possehl, 1986, Kulli: an exploration of an ancient civilization in South Asia, Centers of Civilization, I, Durham, NC: 46, fig. 18 (Mehi II.4.5), based on Stein 1931: pl. 30. 

The standard device
A variant may be seen. 1.Finely burnished gold fillet (headband)
with holes at both ends to hold a cord. Each end is decorated with a punctuated
design of standard device. 42 x 1.4 cm. Mohenjodaro Museum, MM 1366; Marshall
1931: 220.527. Pl. CXVIII, 14 (for punctuated design) 2. Detail of gold fillet with punctuated design of standard device at both ends of the gold fillet. (After Fig. 7.32, Kenoyer, 1998) 

Guild, caravan

Pali:Sanghaita [saŋ+ghaita, for ˚ghaṭṭita, pp. of ghaṭṭeti] 1. struck, sounded, resounding with (-- ˚) J v.9 (v. l. ṭṭ); Miln 2. -- 2. pierced together, pegged together, constructed Miln 161 (nāvā nānā -- dāru˚). Marathi: सांगड [ sāgaa ] m f (संघट्ट S) A float composed of
two canoes or boats bound together: also a link of two pompions &c. to swim or float by. 2 f A body formed of two or more (fruits, animals, men) linked or joined together. 3 That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.

सांगडणी [ sāgaaī ] f (Verbal of सांगडणें) Linking or joining together. 
सांगडणें [ sāgaaē ] v c (सांगड) To link, join, or unite together (boats, fruits, animals).
2 Freely. To tie or bind up or unto.

सांगडबाहुली [ sāgaabāhulī ] f A puppet. 

सांगडी [ sāgaī ] f (Commonly सांगड) A float &c. san:gaḍa ‘lathe, furnace’ san:ghāḍo, saghaḍī  (G.) = firepan; saghaḍī, śaghaḍi = a pot for holding fire (G.)[cula_ sagaḍi_
portable hearth (G.)] aguḍe = brazier (Tu.) san:gaḍa, ‘lathe, portable furnace’; rebus: battle; jangaḍ iyo ‘military guard who accompanies treasure into the treasury’; san:ghāḍiyo, a worker on a lathe (G.) The dotted circles on the bottom portion of the device connote ghangar ghongor; rebus: kangar ‘portable furnace’. Rebus: CDIAL 12858 saghara  living in the same house . [Cf. ságr̥ha<-> ĀpŚr. -- ghara -- ]Pa. saghara -- with one's own family (?); L. sagghrā accompanied by one's own family ; H. ̄ghar m. wife's son by former husband . CDIAL 12854 saghá m.
association, a community Mn. [√han1] Pa. sagha -- m. assembly, the priesthood ; Aś. sagha -- m.  the Buddhist community ; Pk. sagha -- m.  assembly, collection
; OSi. (Brāhmī inscr.)
 saga, Si. san̆ga ʻ crowd, collection . -- Rather < saga -- : S.sagu m. body of pilgrims (whence ̄go m. caravan ), L. P. sag m. CDIAL 12862 saghātá saghātá m. close union, mass TS., closing (a door)  VS.,  dashing together MBh. [Cf. sahata<-> with similar range of meanings. -- ghāta  -- Tamil: சங்கத்தார் 
cakattār, n. < id. 1. Members of an assembly, academy, a society, council or committee; சபையோர். 2. Buddhist and Jain fraternity of monks; பௌத்த சைன
சங்த்தார். (சீவக. 4, உரைசிலப். 30, 32, அரும்.) 3. The learned body of poets in Madura, in ancient times; மதுரைச் சங்கப்புலவர். சங்கத்தா ரெல்லாம் (திருவிளை. தருமிக்கு. 82) சங்கம்² cakam, n. < sagha. 1. Mustering, gathering; கூட்டம். சங்கமாகி வெங்கணை வீக்க மொடு (பெருங். மகத. 17, 38). 2. Society, assembly, council, senate, academy; சபை. புலம்பரிச் சங்கம் பொருளொடு முழங்க (மணி. 7, 114). 3. Literati, poets; புலவர். (திவா.) 4. Learned assemblies or academies of ancient times patronised by Pāṇḍya kings, three in number, viz., talai-c-cakam, iai-c-cakam, kaai-c-cakam; பாண்டி யர் ஆதரவுபெற்று விளங்கிய தலைச்சங்கம்இடைச் சங்கம்,கடைச்சங்கம் என்ற முச்சங்கங்கள். எம்மைப் பவந்தீர்ப்பவர் சங்கமிருந்தது (பெரியபு. மூர்த்திநா. 7). 5. Fraternity of monks among Buddhists and Jains; 
சங்கமர் cakamar , n. < சங்கமம்¹. A class of Vīrašaivas, Lingayats; ஒரு சார் வீரசைவர். 

சங்கநிதி¹ caka-niti, n. < id. +. One of the nine treasures of Kubēra; குபேரனது நவநிதி யுள் ஒன்று. சங்கநிதி பதுமநிதி  சங்காத்தம் cakāttam, n. < sa-gata. 1. Friendship, intimacy, familiar intercourse; இணக்கம்.பூனைக்கும்வீட்டெலிக்குஞ்
சங்காத்தமுண்டோ (தனிப்பாii, 13, 28). 2. Residence; வாசம்.துறையூரெனுந்தலத்திற்சங்காத்தங்கொண்டிருப்பாய் (தமிழ்நா62). சங்காதம்cakātam, n. < sa-ghāta. 1. Assembly, multitude, company, association,
combination; கூட்டம். (சி. சி. 1, 14, சிவாக்.) Marathi: संघात [ saghāta ] m S Assembly or
assemblage; multitude or heap; a collection together (of things animate or
inanimate). 2 A division of the infernal regions. संघट्टणें [ saghaṭṭaē ] v i (Poetry. संघट्टन) To come into contact or meeting; to meet or encounter. Ex. अर्ध योजन आसपास ॥ वास घ्राण देवीसीं संघटे ॥.संघट्टन [ saghaṭṭana ] n S संघट्टना f S  orruptly संघठणसंघट्टणसंघष्टणसंघष्टनसंघृष्टनसंघट्ठणें n Close connection and
intercourse; intimate and familiar communication. Ex. तुका
म्हणे जिणें ॥ भलें संत संघट्टणें ॥. 2 Coming into contact with, encountering,
meeting. 3 Close contact;--as the intertwining of wrestlers, the clinging and
cleaving of lovers in their embraces &c. 4 Rubbing together, confrication.

Pali: Sanghara=saghara [sa4+ghara] one's own house J v.222. Sangharaa (nt.) [=saŋharaa] accumulation J iii.319 (dhana˚).Sangharati [=saŋharati] 1. to bring together, collect, accumulate J iii.261; iv.36 (dhanaŋ), 371; v.383.
<-> 2. to crush, to pound Ji.493.

Pali: Sanghāa [fr. saŋ+ghaeti, lit. "binding together"; on etym. see Kern, Toev. ii.68]
1. a raft J ii.20, 332 (nāvā˚); iii.362 (id.), 371. Miln 376. dāru˚ (=nāvā˚) J v.194, 195. -- 2. junction, union VvA 233. -- 3. collection, aggregate J iv.15 (upāhana˚); Th 1, 519 (papañca˚). Freq. as aṭṭhi˚ (cp. sankhalā etc.) a string of bones, i. e. a skeleton Th 1, 570; DhA iii.112; J v.256. -- 4. a weft, tangle, mass (almost="robe," i. e. sanghāī), in tahā˚ -- paimukka M i.271; vāda˚ -- paimukka M i.383 (Neumann "defeat"); diṭṭhi˚ -- paimukka Miln 390. <-> 5. a post, in piṭṭha˚ door --post, lintel Vin ii.120.
The standard device depicted on m0296 is comparable to the
orthography on other seals, h098 and m1408. There are many variants used to
show this sangad.a ‘lathe, portable furnace’. 
h098 Text 4256 Pict-122
Standard device which is normally in front of a one-horned bull.  m1408At

The parts joined together creating the ligatures by joining hieroglyphs in these two hypertexts are:

1. Standard device: component hieroglyphs
a. Lathe (top register); b. Portable furnace (bottom register)

2. Spiny-horned young bull: component hiroglyphs
a. Spiny-horned; b. Young bull

The rebus readings of the component hieroglyphs of standard device composite are:

a. Lathe (top register): kunda 'lathe' कुन्द a turner's lathe (Skt.) rebus: kunda 'fine gold' (i.e. 24 ct. gold); कुन्द one of कुबेर's nine treasures (N. of a गुह्यक - Demetrius Galanos's Lexiko: sanskritikes, anglikes, hellenikes)  Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold.(DEDR 1725) Rebus: kundar 'turner (lapidary)' kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 1]A. kundār, B. kũdār˚ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, ˚rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297)

b. Portable furnace (bottom register): kammatamu 'portable furnace' rebus: kammaa 'mint, coiner, coinage'. Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236)

Thus, together, the plain texts read rebus from cipher texts are: kunda 'fine gold' PLUS kammaa 'mint'. Thus, fine-gold, 24 ct. gold mint.

The rebus readings of the component hieroglyphs of spiny-horned young bull 'unicorn' composite are:
a. Spiny-horned singhin 'spiny-horns projecting in front' rebus: singi 'ornament gold' (i.e., 22 ct. gold)
Santali gloss
शृङ्गिन्   śṛṅgin शृङ्गिन् a. (-णी f.) [शृङ्गमस्त्यस्य इनि] 1 Horned. (Apte)
Rebus: शृङ्गिः   śṛṅgiḥ शृङ्गिः Gold for ornaments; śṛṅgī शृङ्गी 1 Gold used for ornaments.  (Apte)


Image may contain: ultrasoundNo photo description available.No photo description available.
No photo description available.An ancient Indian coin depicting a horse in front of mysterious triangular standard, 1st century BCE or CE.

Hieroglyph: link of a chain

Ta. kaṭakam bracelet; kaṭai clasp, fastening of a neck ornament. Ma. kaṭakam bracelet, ring. Ka. kaḍaga, kaṭaka bracelet; kaḍe, kaḍeya id., ring. Koḍ. kaḍaga thick metal bangle. Tu. kaḍaga bracelet. 
Te. kaḍiyamu, kaḍemu id., bangle. / Turner, CDIAL, no. 2629, Skt. kaṭaka- bracelet, link of chain, bridle ring; cf. H. kaṛā, kaṛī ring, bracelet, etc (Item No. 21 on Page 510 of APPENDIX Supplement to DBIA, entries consisting of material of Indo-Aryan or other non-Dravidian origin; these entries were formerly in DED and DEDS, plus several others. In the indexes, these entries are referred to with the abbreviation App.káṭa1 m. ʻ twist of straw, mat ʼ TS., káṭaka -- m.n. ʻ twist of straw ʼ Kād., ʻ bridle ring ʼ Suśr., ʻ bracelet ʼ Kālid., kaṭikā -- f. ʻ straw mat ʼ KātyŚr. com. [Derivation as early MIA. form of *kr̥ta -- 2 ~ kr̥ṇátti EWA i 141 is supported by S. P. L. forms of the latter q.v. In NIA., except in G., káṭa -- 1 has developed as ʻ ring, bracelet, chain ʼ.]Pa. kaṭa -- m. ʻ mat ʼ, ˚aka -- m.n. ʻ ring, bracelet ʼ; Pk. kaḍaya -- m.n. ʻ ring ʼ, kaḍā -- f. ʻ chain ʼ; Gy. wel. kerō m. ʻ bracelet ʼ, gr. koró; Dm. kaŕaī; Paš. kāṛa ʻ snare (made of horsehair) ʼ IIFL iii 3, 98 with (?); Phal. kāṛa ʻ bracelet ʼ, Sh. kāvṷ m., (Lor.) kāo, K. karu m.; S. kaṛo m. ʻ ring, chain or hasp to fasten door, buttonhole ʼ, ˚ṛī f. ʻ metal ring, anklet ʼ; L. kaṛā m. ʻ bracelet, magic circle drawn round person or garden produce to keep off jinni ʼ, ˚ṛī f. ʻ anklet ʼ; P. kaṛā m. ʻ bracelet, tyre of wheel ʼ, ˚ṛī f. ʻ ring, manacle ʼ; WPah. bhal. kaṛu n. ʻ link of a chain ʼ; Ku. kāṛo ʻ bangle ʼ; N. karo, pl. ˚rā ʻ rings of a vessel by which it is lifted ʼ; B. kaṛ ʻ lac bracelet worn by women with living husbands ʼ, kaṛā ʻ metal ring ʼ, ˚ṛi ʻ ring, bracelet ʼ; Or. kaṛā ʻ metal ring, link ʼ; Bi. karā ʻ handle of a vessel ʼ; H. kaṛā m. ʻ ring, bracelet, anklet ʼ, ˚ṛī f. ʻ metal ring ʼ (→ Bi. Mth. kaṛī ʻ iron ring ʼ); Marw. kaṛo m. ʻ bracelet ʼ; G. kaṛo m. ʻ large mat ʼ, ˚ṛũ n. ʻ circular ring of gold or silver ʼ, ˚ṛī f. ʻ link, hook, chain ʼ; M. kaḍẽ n., ˚ḍī f. ʻ metal ring ʼ. -- Ext. with -- ḍa -- : G. karṛɔ m. ʻ toe ring ʼ, ˚ṛī f. ʻ ear -- ring ʼ; -- with -- la -- : N. kalli ʻ anklet ʼ; G. kaḍlũkallũ n. ʻ bracelet, anklet ʼ, kaḍlīkallī f. ʻ ring, armlet ʼ.(CDIAL 2629) *kaṭāṅka ʻ bracelet ʼ. [káṭa -- 1, aṅká -- ]Wg. křōk ʻ bracelet ʼ (NTS xvii 268 < káṭaka -- ); Paš. ar. kã̄ṛagṓ ʻ armring ʼ IIFL iii 3, 94.(CDIAL 2637) 

कटिक mfn. ifc. = हटि , the hip Sus3r.

कटिका 'a straw mat' Comm. on Ka1tyS3r. कटक m. (Comm. on Un2. ii , 32 and v , 35) a twist of straw , a straw mat Comm. on Ka1tyS3r.; mn. a string; mn. a bracelet of gold or shell &c S3ak. Mr2icch. &c; mn. the link of a chain; mn. a ring serving for a bridle-bit Sus3r.; mn. a ring placed as ornament upon an elephant's tusk 

କଟକ 2। ବଳଯ; ହାତଖଡ଼ୁ—2. Wristlet; bracelet. 3। ଗୋଡ଼ଖଡ଼ୁ—3. An ornament for the leg. 4। ଚକ୍ର—4. A wheel; circle. 

Rebus: कटक mn. a valley , dale Ragh. Katha1s. Hit.; mn. a royal camp Katha1s. Hit. &c; an army; mn. a multitude , troop , caravan Das3.; mn. collection , compilation Ka1d. 40 , 11; mn. N. of the capital of the Orissa (Cuttack) କଟକ ସଂ. ବି. (କଟ=ବେଷ୍ଟନ କରିବା+କର୍ତ୍ତୃ. ଅକ)— 1। ସାନୁ; ପର୍ବତର ମଧ୍ଯଦେଶ ବା ନିତମ୍ବ— 1. A tableland midway on the mountain. ବିରକ୍ତ ଚିତ୍ରକୂଟରେ ବିହରେ ଚିତ୍ରକୁଟରେ କଟକୁ ତେଜି କଟକରେ। ଭଞ୍ଜ, ବୈଦେହୀଶବିଳାସ। 5। ନଗର; ରାଜଧାନୀ—5. Capital; royal camp. ବ୍ଯାପ୍ତ ଦିବ୍ଯ କଟକରେ ନେଇ କରି। ବସାନିବାସେ ରଖି ଜନକ ଠାରି। ଭଞ୍ଜ, ବୈଦେହୀଶବିଳାସ। 6। ସୈନ୍ଯ—6. An army. 7। ଛାଉଣୀ; ସେନାନିବାସ; ଶିବିର— 7. A camp; barracks. 8। ସୈନ୍ଯରକ୍ଷିତ ରାଜଧାନୀ—8. Cantonment.(Oriya. https://dsalsrv04.uchicago.edu/cgi-bin/app/praharaj_query.py?page=1234)

 


Utsava bēra 'display processions of sacred hieroglyphs' are bērīḍzu 'trade account', Indus Script Hypertext proclamations of metalwork wealth.
m0491
I suggest that the standard device shown as part of the procession on Mohenjo-daro tablet m0491 and often shown in front of the one-horned young bull on Indus Script Corpor are a hypertext sãgaḍ f. ʻ a body formed of two or more fruits or animals or men &c. linked together' (Marathi) with the following hieroglyphs: 

kárṇaka 'handle, ring on top' (Fig.1.1) rebus:  कर्णिक 'steersman' karṇī 'supercargo' karṇīka 'scribe'.
kunda 'lathe' rebus: kundaṇa 'fine gold' kunda 'a nidhi of Kubera'
सांगाडी sāṅgāḍī part to hold and steady the turned object Rebus: jangaḍiyo ‘military guard who accompanies treasure into the treasury’; jangaḍa 'invoiced on approval basis'
కమటము kamaṭamu kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals Rebus:  Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mintKa. kammaṭa id.; kammaṭi a coiner.  (DEDR 1236)
ढाल [ ḍhāla ]'The grand flag' Rebus: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati) 
Thus, together, the Meluhha rebus reading is: jangaḍiyo ‘military guard who accompanies treasure into the treasury’; jangaḍa 'invoiced on approval basis'; kunda 'lathe' rebus: kundaṇa 'fine gold' kunda 'a nidhi of Kubera'; dhatu 'scarf' Rebus: mineral ore dhāūdhāv m.f. ʻa partic. soft red stoneʼ (Marathi)  (whence dhā̆vaḍ m. ʻa caste of iron -- smeltersʼ, dhāvḍī ʻ composed of or relating to iron ʼ); ã̄g m. ʻ club, mace ʼ(Kashmiri) Rebus: Nepalese. āro ʻblacksmith.ʼ

Thus, the Utsava bēra, 'processional display of hieroglyphs' is a trade proclamation, bērīḍzu 'trade account', by Meluhha blacksmith artisans and bēra, m'erchants'.

 Note the piece numbered 6 on this drawing provided by Mahadevan. This part of the turner's apparatus is सांगाडी sāṅgāḍī to hold and steady the turned object. Could be a stone slab with a slight depression. The piece to steady turned objects, shown between the gimlet and the top of the portable furnace is सांगाडी (p. 495) sāṅgāḍī.  'f The machine within which a turner confines and steadies the piece he has to turn. ' (Marathi) The part of the turner's apparatus which holds the turned 'bead' and holds it steady is seen in the following seal of Mohenjo-daro(See the plate just below the gimlet of the lathe). This is सांगाडी sāṅgāḍī of  kunda 'lathe'.

The numbered parts are interpreted NOT as a filter but a lathe ligatured to a portable furnace: Hence, the parts 1 to 12 are explained in Meluhha words/expressions: 
1. Top hook (handle); 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)
2. gimlet; 
3. wavy lines signify turning lathe; 
4. slanted lines signify circular motion of the gimlet; bhaũra ʻ turning lathe ʼ, bhaãra ʻ auger, gimlet 
5. the sharp drill-point of the gimlet; बरमा or म्हा [ baramā or mhā ] 'gimlet'; turappaṇam carpenter's drill, gimlet
6. bead or other objects being drilled by lathe-action; सांगाडी sāṅgāḍī part to hold and steady the turned object. 
7. smoke emanating from the portable furnace bowl; 
8. bottom bow of rhe furnace; కమటము (p. 246) kamaṭamu kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి. "చ కమటము కట్లెసంచియొరగల్లును గత్తెర సుత్తె చీర్ణముల్ ధమనియుస్రావణంబు మొలత్రాసును బట్టెడ నీరుకారు సా నము పటుకారు మూస బలునాణె పరీక్షల మచ్చులాదిగా నమరగభద్రకారక సమాహ్వయు డొక్కరుడుండు నప్పురిన్"హంస. ii. కమ్మటము (p. 247) kammaṭamu Same as కమటము. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste.  Rebus:  Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mintKa. kammaṭa id.; kammaṭi a coiner.  (DEDR 1236)
9. Perforations as dotted circles are two signifiers: a. perforated beads; b.strands of fiber or rope. dhāī 'strands or fibers (of rope)' rebus: dhāūdhāv m.f. ʻ a partic. soft red stone ʼ*CDUA6773); 
10.  Small circles signifying globules of burning charcoal; 
11. stafff or flagpost; 12. base for the two hieroglyph-structure atop the flagpost.

Jasper Akkadian cylinder seal with four standard-bearers, each with six curls of hair.
  • 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. 

    • Hieroglyph: ढाल [ ḍhāla ] f (S through H) The grand flag of an army directing its march and encampments: also the standard or banner of a chieftain: also a flag flying on forts &c. ढालकाठी [ ḍhālakāṭhī ] f ढालखांब m A flagstaff; esp.the pole for a grand flag or standard. 2 fig. The leading and sustaining member of a household or other commonwealth. 5583 ḍhāla n. ʻ shield ʼ lex. 2. *ḍhāllā -- . 1. Tir. (Leech) "dàl"ʻ shield ʼ, Bshk. ḍāl, Ku. ḍhāl, gng. ḍhāw, N. A. B. ḍhāl, Or. ḍhāḷa, Mth. H. ḍhāl m.2. Sh. ḍal (pl. °le̯) f., K. ḍāl f., S. ḍhāla, L. ḍhāl (pl. °lã) f., P. ḍhāl f., G. M. ḍhāl f. WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f. (CDIAL 5583).
    • Rebus: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati) 
    • Top hook (handle) on each flagstaff: 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)
    koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse'

    If the hieroglyph on the leftmost is moon, a possible rebus reading: قمر ḳamar
    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'
  • फडphaa 'hood of cobra' rebus: फडphaa 'metalwork artisan guild in charge of manufactort,


Related imageRelated imageJohn Marshall wrote about this seal: "The animal most often represented on the seals is the apparently single-horned beast ... There is a possibility, I think, that the artist intended to represent one horn behind the other. In other animals, however, the two horns are shown quite distinctly. In some respects the body of this beast, which is always a male, resembles that of an antelope of heavy build, such as the eland or oryx, and in others that of an ox. The long tuffed tail may belong to either class. The horn is sometimes smooth ... sometimes it has transverse ridges. In the latter case, the possibility of the creature being an ox is ruled out. The long pointed ears are also characteristic of the antelope. Perhaps we have here a fabulous animal which is a composite of the ox and antelope. And yet to the casual eye there is nothing fantastic about it, as about some of the other animals represented on seals; nor does it in any way resemble the unicorn of heraldry, which is made up of different parts of a number of animals, though it must be noted that the traditional unicorn was supposed to have originated in India" (Sir John Marshall, Mohenjo-daro and The Indus Civilization, Vol. II., p. 382).


Robert Harding/Corbis Hypertext composed of hieroglyphs: drilled beads, portable furnace, gimlet of drill-lathe, yong bull, one horn, pannier, rings on neck. Four text signs on top register.

Parts of the 'standard device' which is a hypertext composed of two main parts: top part is a gimlet; the bottom bowl is sã̄gāḍ, 'a portable furnace] sanghāḍo, śagaḍī = lathe (Gujaratisā̃gāḍo, sãgaḍa (lathe/portable furnaceసంగడి sangaḍi  After Figure 38,3 in Mahadevan, The sacred filter standard facing the unicorn,in:Asko Parpola, ed., 1993, South Asian Archaeology, Vol. 2, Helsinki, pp. 435-445 http://45.113.136.87/wp-content/uploads/19-The-Sacred-filter-standard-facing-the-unicorn.-more-evidence.-In-South-Asian-Archaeology-1993..pdf


Hieroglyph: Utsava bēra are 'display processions of sacred pratimā of pañcaloha (five minerals alloy) during temple festivals'. பேரம்² pēram, n. < bēra. 1. Form, shape; வடிவம். (நன். 273, மயிலை.) 2. Body; உடம்பு. 3. Idol; விக்கிரகம். உத்ஸவபேரம். वि-ग्रह separate i.e. individual form or shape , form , figure , the body Up. MBh. &c (also applied to the shape of a rainbow ; acc. with √ ग्रह् , परि- √ग्रह् , √ कृ , उपा*-√दा , to assume a form); an ornament , decoration MBh. R. (Monier-Williams)
https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः/ explains the term utsava as 'niyatāhlādājanaka vyāpāra', i.e. 'put together (customary) business/trade/business festivity'. niyata, 'mfn. (न्/इ-) held back or in , fastened , tied to (loc.RV.'

Rebus: Utsava bēra processions are trade displays. பேரம்¹ pēramn. < Pkt. bēra. [T. bēramu, K. bēra.] 1. Sale, trade; விற்பனை. 2. Bargaining, higgling and haggling; ஒப்பந்தத்திற்குமுன் பேசும் விலைப்பேச்சு. பேரஞ்சொல்லாமற் கறாராகச் சொல்லு. 3. High value; கிராக்கி. (Tamil) బేరము bēramu bēramu. [Tel.] n. Trade, dealing, a bargain, బేరముసారము or బేరసారము trade, &c. (సారము being a mere expletive.) బేరకాడు bēra-kāḍu. n. One who makes a bargain, a purchaser, buyer. కొనువాడు, బేరమాడువాడు. బేరకత్తె bēra-katte. n. A woman who bargains or purchases. బేరమాడు or బేరముచేయు bēram-āḍu. v. n. To bargain. బేరముపోవు to go on a trading journey. బేరి bēri. n. A man of the Beri or merchant caste. 

वि-हार the shoulder L.; consecration for a sacrifice आपस्तम्ब-धर्म-सूत्र Āpast. (Monier-Williams) ఉత్సవము (p. 156) utsavamu ut-savamu. [Skt.] n. A feast, festivity, mernment. నేత్రోత్సవము a feast for the eyes. (Telugu) Ussava [Sk. utsava] feast, making merry, holiday Vin iii. 249; J i.475; ii.13, 248; VvA 7, 109 (˚divasa).(Pali) உச்சவம் uccavamn. < Pkt. ucchava. < ut-sava. 1. Festival, festivity; விழா. (திவா.) 2. Prosperity; சம்பத்து. மாவுச்சவ மாபத்தும் (ஞா னவா. உபசா. 12).(Tamil) उत्-सव m. enterprise , beginning RV. i , 100 , 8 ; 102 , 1; a festival , jubilee; wish , rising of a wish L. उत्- √ सू (उद्- √1. सू) P. -सुवति , to cause to go upwards Ka1t2h. xix , 5  ; (-सुनोति) , to stir up , agitate BhP. iii , 20 , 35.(Monier-Williams)
Rebus: बेरीज  bērīja f The total of an addition: also a sum or an amount. 2 A figure or a set of figures of a column or of a row. 3 Adding. v घे, कर.(Marathi) 
బేరిజు, బేరీజు bērizu bērīḍzu. [H.] n. An account. A total sum, మొత్తము. బేహారము bēhāramu or బేహరము bēhāramu. [from Skt. విహారము.] n. Trade, commerce, వాణిజ్యము, వర్తకవ్యాపారము, బేరము. "అంగళ్లునిలిపె బేహారముల్ మాన్చె." BD. iv. 61. బేహారి or బెహారి bēhāri. n. A merchant. వణిజుడు, వర్తకుడు.  విహారము vihāramu [Skt.] n. A walk for pleasure or exercise, a tour, trip, ramble, roaming, play, pastime, sport, excursion, వేడుకగాతిరుగుట, సంచారము, భ్రమణము, కేళి, లీల, యాత్ర. A Buddhist monastery, బౌధ్ధాలయము. విహారి or విహారుడు vihāri. n. One who takes a walk for pleasure, సంచరించువాడు. వారు ఉద్యానవనవిహారులై యున్న వేళ while they were walking in the park. విహరణము viharaṇamu [Skt.] n. Roaming, a ramble, excursion, a walk for pleasure or exercise. విహారము, సంచరించడము, పర్యటనము, పంభ్రమణము. విహరించు vi-harintsu. v.n. To take a walk or airing, to wander, to go about, to go about for pleasure or excercise, to roam, ramble, rove, సందరించు, పర్యటనముచేయు, పరిభ్రమణము చేయు. విహారముచేయు, తిరుగు. విహర్త vi-harta. n. One who takes a walk, a rambler, rover, విహరించువాడు. bāpār 1 बापार् । वाणिज्यम् m. traffic, trade, commerce; bāpöri बापा&above;रि&below; । वणिक् m. (sg. abl. bāpāri बापारि, gen. irreg. bāpāryuku बापार्युकु&below; K.Pr. 26), a merchant, tradesman (Gr.M.).. (Kashmiri) وپاري wapārī, s.m. (5th) A trader, a merchant. Pl. وپاریان wapārīān. (S بیپار, etc.) (Pashto) Satthaka2 (adj.) [fr. sattha3] belonging to a caravan, caravan people, merchant PvA 274.Sattha3 [sa3+attha; Sk. sārtha] a caravan D ii.130, 339; Vin i.152, 292; Nd1 446; Dh 123 (appa˚ with a small c.), Miln 351.
   -- gamanīya (magga) a caravan road Vin iv.63. -- vāsa encampment D ii.340, 344. -- vāsika & ˚vāsin caravan people J i.333. -- vāha a caravan leader, a merchant D ii.342; Vv 847 (cp. VvA 337); leader of a band, teacher; used as Ep. of the Buddha S i.192; It 80, 108; Vin i.6. In exegesis of term Satthā at Nd1 446=Nd2 630=Vism 208. (Pali)  वि-हार walking for pleasure or amusement , wandering , roaming MBh. Ka1v. &c; (with Buddhists or जैनs) a monastery or temple (originally a hall where the monks met or walked about ; afterwards these halls were used as temples) Lalit. Mr2icch. Katha1s. &c (cf. MWB. 68 ; 81 &c );N. of the country of मगध (called Bihar or Behar from the number of Buddhist monasteries » MWB. 68)(Monier-Williams) विहरण  viharaṇa n S विहार m (S) Walking for pleasure, roaming, roving, rambling, strolling. 2 Pleasure, sport, play, pastime generally. (Marathi) vyāpāra m. ʻ occupation, business ʼ MBh. 2. *viyā- pāra -- . [√pr̥]
1. Pk. vāvāra -- m. ʻ business ʼ; M. vāvar m. ʻ business, activity ʼ, Ko. vāvr. 2. Pa. vyāpāra -- m.; B. beorā ʻ affair ʼ ODBL 421.
Addenda: vyāpāra -- . 2. *viyāpāra -- : Ko. vyāru ʻ business ʼ.vyāpārayati ʻ employs ʼ MBh. [√pr̥] Pa. vyāpārita -- ʻ occupied with ʼ; M. vāvarṇẽ ʻ to perform, manage, do the business of (farm, house, &c.) ʼ.(CDIAL 12205, 12206) Vyappathi (f.) [cp. Sk. vyāpṛti] activity, occupation, duty (?) Sn 961. (Pali)
वेपार  vēpāra m (व्यापार S through H) Traffic, trade, commerce.व्यापार vyāpāra m (S) Work or action generally; any working or acting; any work, operation, business, or proceeding. 2 Trade, traffic, commerce, mercantile business.व्यापारी vyāpārī m (व्यापार) A tradesman or trader; a shopkeeper, dealer, merchant. 2 S Any one that works or puts in action or motion; a motor or an...   (Marathi)
व्यवहारी बस्तानी  vyavahārī bastānī f In arithmetic. The way of accounting at sixteen गंडे (or sixteen án̤ás at four pice each) the rupee, whatsoever may be the fluctuations in the pice-value of the rupee.  व्यवहार (p. 454) vyavahāra m (S) Operation or action generally; work, exercise. 2 Procedure, practice, course of action or being. 3 Trade, traffic, dealing, commerce, business: also a trade or business, an employment, occupation, profession, vocation. 4 The practice of the courts of law. 5 A lawsuit: also any matter actionable or cognizable in a court of law.  व्यवहर्त्ता (p. 454) vyavaharttā a S That conducts a business; that manages a concern; that carries on, transacts, executes, performs.  व्यवहृत (p. 455) vyavahṛta p S Employed, used, practised.

Indus Script Corpora include hypertexts of processions including standard device sāṅgāḍī or kunda, 'lathe'.

*apaghāṭa ʻ cover ʼ. [√ghaṭ]Pk. ōhāḍaṇa -- n. ʻ covering ʼ, °ṇī -- f. ʻ lid ʼ, ōhaḍaṇī -- f. ʻ bolt, door -- bar ʼ; Or. uhāṛa ʻ shelter, cover, shade, screen ʼ; Bi. ohār ʻ litter -- curtain, lid of brazier's crucible ʼ; Bhoj. ohār ʻ cover ʼ; H. ohāṛ m. ʻ cover, wrap, litter -- curtain ʼ.(CDIAL 418)
Related imageInscribed Tablets. Pict-91 (Mahadevan) m0490At m0490B Mohenjodaro Tablet showing four standards carried in a procession, comparable to Tablet m0491. 
Image result for one-horned bull sealMohenjo-daro seal. Source:http://www.sindhishaan.com/gallery/manuscripts.html Harappa Script inscription on seal signifies hypertext of one-horned young bull (with rings on neck, pannier and one horn) + standard device (kõdār ‘turner’ + samgara ‘manager’+ text of inscription: dāṭu ‘cross’ rebus: dhatu ‘red (copper) mineral ore’ + maṇḍā ‘raised platform, stool’ Rebus: maṇḍā‘warehouse’).

Standard device and gold fillet with standard device as hieroglyphs of Harappa Script. Lathe is part of the hypertext (together with a portable furnace, dotted circles) normally shown in front of a young bull on Harappa (Indus) inscriptions as a phonetic determinant of kunda ‘lathe’ rebus:kundār ‘lathe-worker’ AND kunda, kundaṇa ‘fine gold’).

kunda m. ʻ a turner’s lathe ʼ lex. [Cf. *cunda — 1]N. kũdnu ʻ to shape smoothly, smoothe, carve, hew ʼ, kũduwā ʻ smoothly shaped ʼ; A. kund ʻ lathe ʼ, kundiba ʻ to turn and smooth in a lathe ʼ, kundowā ʻ smoothed and rounded ʼ; B. kũd ʻ lathe ʼ, kũdākõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibākū̃d° ʻ to turn ʼ (→ Drav. Kur. kū̃d ʻ lathe ʼ); Bi. kund ʻ brassfounder’s lathe ʼ; H. kunnā ʻ to shape on a lathe ʼ, kuniyā m. ʻ turner ʼ, kunwām. kundakara — .(CDIAL 3295) kundakara m. ʻ turner ʼ W. [Cf. *cundakāra — : kunda — 1, kará — 1] A. kundār, B. kũdār°ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, °rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297)
కుందనము (p. 289) kundanamu kundanamu. [Tel.] n. Solid gold, fine gold. అపరంజి. అపరంజి(p. 62) aparañji aparanji. [Skt.] n. Fine refined gold. కుందనము, పదివన్నె బంగారు, ఉదిరి. అపరంజి (p. 1397) aparañji [H. from Arabic Afran -jiya which means ‘ foreign ‘ and perhaps originates in that word which is derived from ‘ foraneus, ‘ external.] n. Fine gold. అపరంజికాను lit. ‘ foreign coin.’ A Venetian sequin. ఉదిరి (p. 157) udiri  [Tel.] adj. Fine, pure. Refined. తప్తము, ఉదరి బంగారు fine gold అపరంజి R. vii. 184.  పదియార్వన్నె పసిండి fine gold. குந்தனம் kuntaṉam n. < T. kundanamu. 1. Interspace for enchasing or setting gems in a jewel; இரத்தினம் பதிக்கும் இடம். குந்தனத்தி லழுத்தின . . . ரத்தினங்கள் (திவ். திருநெடுந். 21, வ்யா. பக். 175). 2. Gold, fine gold; தங்கம். (சங். அக.) “Sequin (the French form of Ital. zecchinozecchino d’oro), the name of a Venetian gold coin, first minted about 1280, and in use until the fall of the Venetian Republic. It was worth about nine shillings. It bore on the obverse a figure of St Mark blessing the banner of the republic, held by a kneeling doge, and on the reverse a figure of Christ. Milan and Genoa also issued gold sequins. The word in Italian was formed from zecca, Span. zeca, a mint, an adaptation of Arabic sikka, a die for coins. In the sense of “newly-coined,” the Hindi or Persian sikka, anglicised sicca, was specifically used of a rupee, containing more silver than the East India Company’s rupee, coined in 1793 by the Bengal government. ” (1911 Encyclopaedia Britannica). Ta. kuntaṉaminterspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇpure gold. Te. kundanamufine gold used in very thin foils in setting precious stones; setting precious stones with fine gold.(DEDR 1725)
Ka. kunda a pillar of bricks, etc. Tu. kunda pillar, post. Te. kunda id. Malt. kunda block, log. ? Cf. Ta. kantu pillar, post.(DEDR 1723)
Ta. kuntam haystack. Ka. kuttaṟi a stack, rick.(DEDR 1724)
The wavy lines shown on the drill bit are the artist-artisan's way of denoting the use of the drill using a bow-drill.

The bottom part of the hieroglyph is a portable furnace with flames emerging from the surface and the bead drilled through after heating in the furnace coals or crucible.

sãgaḍ 'part of a turner's apparatus' (Marathi); sã̄gāḍī 'lathe' (Tulu); sãghāṛɔ m. ʻlatheʼ (Gujarati) -- a remarkable example of a gloss common in the Indian sprachbund (speech area) cutting across Aryan-Dravidian speech.

barma बर्म । आस्फोटनी m. (H. vii, 24, baram), an auger, drill, a kind of gimlet or borer worked with a string. -- karun -- करुन् m.inf. to bore holes (H. vii, 24). -tuji - or -tujü । आस्फोटनीतूलिका f. the metal point of an auger, a drill-point. -- tārun -- तारुन् । आस्फोटन्या वेधनम् m.inf. to bore with an auger. -trọ̆pu- । आस्फोटनीवेधद्वारा संयोजना m. joining together by auger-holes, as when two pieces of metal or leather have holes drilled along the edges, through which string or wire is passed to fasten them together. -trŏpal -त्र्वपल् । आस्फोटनीवेधयोजितः c.g. sewed through drill holes (of shoes or the like, in which holes for the thread are first drilled with an auger).برمه barmah, s.f. (3rd) A kind of gimlet or borer worked with a string, an auger or centre-bit. Pl. يْ ey. (HI برما) (Pashto) बरमा or म्हा [ baramā or mhā ] m ( H) A kind of auger, gimlet, or drill worked with a string. 2 The hole or eye of a rocket. (Marathi) 9650 bhramara1 ʻ *moving unsteadily, revolving ʼ (m. ʻ potter's wheel ʼ lex.), bhramaraka -- m. ʻ spinning top ʼ Bālar., ʻ whirlpool, lock of hair ʼ lex. [Cf.bhramá -- m. ʻ flame ʼ RV. -- √bhram]Pa. bhamarikā -- f. ʻ humming top ʼ; Pk. bhamarī -- , bhamalī -- , °liyā -- f. ʻ dizziness ʼ; K. bambur m. ʻ flurry ʼ; S. bhaũrī f. ʻ curl ʼ; L. bhãvar m. ʻ whirlpool ʼ, bhãvarī f. ʻ whirl of date -- palm leaves ʼ; P. bhãvar f. ʻ whirlpool ʼ, bhaũrībhaurī f. ʻ curl of hair ʼ; Ku. bhaũrbhaũro m., bhaũrī f. ʻ whirlpool, whirlwind, tempest ʼ; N. bhũwari,bhumaribhaũri ʻ whirlwind, whirl, whorl of hair, crown of head ʼ; Or. bhaũra ʻ turning lathe ʼ, bhaãra ʻ auger, gimlet ʼ, bhaũrābhaï˜rā ʻ spinning top ʼ, pāṇibhaũ̈ri ʻ whirlpool ʼ; Bi. bhaũr -- kalī ʻ iron link fastened to rope close to oilmill bullock's neck ʼ, bhaũriyā ʻ ploughing a field round and round ʼ; OAw. bhaṁvara m. ʻ whirlpool ʼ; H. bhãwarbhaũrbhaur m. ʻ whirlpool ʼ, bhaũrī f. ʻ revolution, lock of hair ʼ; G. bhamar f. ʻ whirlpool ʼ, bhamrɔ m. ʻ large do. ʼ, bhamrī f. ʻ giddiness ʼ, bhamarṛɔ m. ʻ spinning top ʼ; M. bhõvrā m. ʻ whorl of hair ʼ, bhõvrī f. ʻ whirling round ʼ; Ko. bhõvro ʻ spinning top ʼ; Si. bamarayabamarēbam̆baraya ʻ humming top ʼ, bam̆buru ʻ curled ʼ, bam̆buru -- kes ʻ curl ʼ; -- prob. Paš.ar. blämúr, kuṛ. lāmbəl -- bṛak ʻ lightning ʼ, Gaw. Sv. lāmaċúlik (IIFL iii 3, 110 < *bhramala -- ).Md. bumaru ʻ spinning top ʼ.

څورليَ ṯs̱wurlaey, s.m. (1st) A gimlet, an auger. Pl. يِ ī. (Pashto) Ta. tura (-pp-, -nt-) to tunnel, bore; turappu tunnel; turappaṇam auger, drill, tool for boring holes; turuvu (turuvi-) to bore, drill, perforate, scrape out as the pulp of a coconut; n. hole, scraping, scooping; turuval scrapings as of coconut pulp, boring, drilling. Ma. turakka to bury, undermine; turappaṇam carpenter's drill, gimlet; turappan a bandicoot rat; turavu burrowing, mine, hole; tura hole, burrow. Ka. turi, turuvu to hollow, bore, drill, make a hole, grate, scrape as fruits, scrape out as a kernel out of its shell; n. grating, scraping out, etc. Tu. turipini, turipuni, turupuni to bore, perforate, string as beads; turiyuni, turuvuni to be bored, perforated, be strung. Te. tuṟumu to scrape with a toothed instrument as the kernel of a coconut; ? truṅgu to break, fall in pieces, perish, die; ? t(r)uncu to cut to pieces, tear, break, kill (or truṅgu, truncu with 3305 Ta. tuṇi). Pa. turu soil dug out in a heap by rats. Konḍa (BB, 1972) tṟuk- (-t-) (pig) to root up earth with snout. Kui trupka (< truk-p-; trukt-) to bore, pierce; truspa (trust-), tuspa (tust-), to pierce a hole, breach; trūva (trūt-) to be pierced, holed; trunga (trungi-) to become a hole, be pierced. Kur. tūrnā to pierce through, perforate. Malt. túre to scratch out; turge to bury the ashes of the dead; ?tuṉga, tuṉgṛa hollow of a bamboo or bridge, tube, tunnel.(DEDR 3339).
Stone-smithy guild on a Meluhha standard


Harappa Tablet. Pict-91 (Mahadevan) m0490At m0490B Mohenjodaro Tablet showing Meluhha combined standard of three standards carried in a procession, comparable to Tablet m0491.
‘Raised hand’ hieroglyph on Pict-91 Harappa tablet: er-aka ‘upraised hand’ (Tamil) Rebus: eraka ‘copper’.
m0491 Tablet. Line drawing (right). This tablet may be called the Meluhha standard.Combined reading for the joined or ligatured glyphs 
Rebus reading is: āra dhatu kõdā sangaḍa  ‘brass, mineral, gold turner, stone-smithy guild’.

Dawn of the bronze age is best exemplified by this Mohenjo-daro tablet which shows a procession of three hieroglyphs carried on the shoulders of three persons. The hieroglyphs are: 1. Scarf carried on a pole (dhatu Rebus: mineral ore); 2. A young bull carried on a stand kõdā Rebus: turner; 3. Portable standard device (Top part: lathe-gimlet; Bottom part: portable furnace sã̄gāḍ Rebus: stone-cutter sangatarāśū ). sanghāḍo (Gujarati) cutting stone, gilding (Gujarati); sangsāru karaṇu = to stone (Sindhi) sanghāḍiyo, a worker on a lathe (Gujarati)  sangataras. संगतराश lit. ‘to collect stonesstone-cutter, mason.’ संगतराश संज्ञा पुं० [फ़ा०] पत्थर काटने या गढ़नेवाला मजदूर । पत्थरकट । २. एक औजार जो पत्थर काटने के काम में आता है । (Dasa, Syamasundara. Hindi sabdasagara. Navina samskarana. 2nd ed. Kasi : Nagari Pracarini Sabha, 1965-1975.) पत्थर या लकडी पर नकाशी करनेवाला, संगतराश, ‘mason’.
The procession is a celebration of the graduation of a stone-cutter as a metal-turner in a smithy/forge. A sangatarāśū ‘stone-cutter’ or lapidary of neolithic/chalolithic age had graduated into a metal turner’s workshop (koḍ), working with metallic minerals (dhatu) of the bronze age.
Three professions are described by four standards; three of these standards are three hieroglyphs: scarf, young bull, standard device dhatu kõdāsã̄gāḍī  Rebus words denote: ‘ mineral worker; metals turner-joiner (forge); worker on a lathe’ – associates (guild).
On this tablet, the standard which is also a hieroglyph on the very front is not clear. It is surmised that this standard, the first hieroglyph of four hieroglyphs carried on the procession may be comparable to the standard shown on Tukulti-Ninurta I altar discovered in the Ashur temple.
This fourth standard  could be compared with this hieroglyph of the Tukulti-Ninurta altar:
A spoked wheel is shown atop on the standard and the hieroglyph is also reinforced by depicting the hieroglyph on the top of the standard-bearer's head. This Meluhha hieroglyph is read rebus: eraka'knave of wheel' Rebus: 'moltencast copper'; āra 'spokes' Rebus:  āra 'brass'.
Image result for standard device eh309 bharatkalyan97 tāmrá 5779 tāmrá ʻ dark red, copper -- coloured ʼ VS., n. ʻ copper ʼ Kauś., tāmraka -- n. Yājñ. [Cf. tamrá -- . -- √tam?]
Pa. tamba -- ʻ red ʼ, n. ʻ copper ʼ, Pk. taṁba -- adj. and n.; Dm. trāmba -- ʻ red ʼ (in trāmba -- lac̣uk ʻ raspberry ʼ NTS xii 192); Bshk. lām ʻ copper, piece of bad pine -- wood (< ʻ *red wood ʼ?); Phal. tāmba ʻ copper ʼ (→ Sh.koh. tāmbā), K. trām m. (→ Sh.gil. gur. trām m.), S. ṭrāmo m., L. trāmā, (Ju.) tarāmã̄ m., P. tāmbā m., WPah. bhad. ṭḷām n., kiũth. cāmbā, sod. cambo, jaun. tã̄bō, Ku. N. tāmo (pl. ʻ young bamboo shoots ʼ), A. tām, B. tã̄bātāmā, Or. tambā, Bi tã̄bā, Mth. tāmtāmā, Bhoj. tāmā, H. tām in cmpds., tã̄bātāmā m., G. trã̄bũtã̄bũn.;M. tã̄bẽ n. ʻ copper ʼ, tã̄b f. ʻ rust, redness of sky ʼ; Ko. tāmbe n. ʻ copper ʼ; Si. tam̆ba adj. ʻ reddish ʼ, sb. ʻ copper ʼ, (SigGr) tamtama. -- Ext. -- ira -- : Pk. taṁbira -- ʻ coppercoloured, red ʼ, L. tāmrā ʻ copper -- coloured (of pigeons) ʼ; -- with -- ḍa -- : S. ṭrāmiṛo m. ʻ a kind of cooking pot ʼ, ṭrāmiṛī ʻ sunburnt, red with anger ʼ, f. ʻ copper pot ʼ; Bhoj. tāmrā ʻ copper vessel ʼ; H. tã̄bṛātāmṛā ʻ coppercoloured, dark red ʼ, m. ʻ stone resembling a ruby ʼ; G. tã̄baṛ n., trã̄bṛītã̄bṛī f. ʻ copper pot ʼ; OM. tāṁbaḍā ʻ red ʼ. -- X trápu -- q.v.
tāmrika -- ; tāmrakāra -- , tāmrakuṭṭa -- , *tāmraghaṭa -- , *tāmraghaṭaka -- , tāmracūḍa -- , *tāmradhāka -- , tāmrapaṭṭa -- , tāmrapattra -- , tāmrapātra -- , *tāmrabhāṇḍa -- , tāmravarṇa -- , tāmrākṣa -- .
Addenda: tāmrá -- [< IE. *tomró -- T. Burrow BSOAS xxxviii 65]
S.kcch. trāmotām(b)o m. ʻ copper ʼ, trāmbhyo m. ʻ an old copper coin ʼ; WPah.kc. cambo m. ʻ copper ʼ, J. cāmbā m., kṭg. (kc.) tambɔ m. (← P. or H. Him.I 89), Garh. tāmutã̄bu.
tāmrakāra 5780 tāmrakāra m. ʻ coppersmith ʼ lex. [tāmrá -- , kāra -- 1]
Or. tāmbarā ʻ id. ʼ.
tāmrakuṭṭa 5781 tāmrakuṭṭa m. ʻ coppersmith ʼ R. [tāmrá -- , kuṭṭa -- ]
N. tamauṭetamoṭe ʻ id. ʼ.
Addenda: tāmrakuṭṭa -- : Garh. ṭamoṭu ʻ coppersmith ʼ; Ko. tāmṭi.
tāraká -- 1 see tārā -- Add2.
tāmraghaṭa 5782 *tāmraghaṭa ʻ copper pot ʼ. [tāmrá -- , ghaṭa -- 1]
Bi. tamheṛī ʻ round copper vessel ʼ; -- tamheṛā ʻ brassfounder ʼ der. *tamheṛ ʻ copper pot ʼ or < next?
tāmraghaṭaka 5783 *tāmraghaṭaka ʻ copper -- worker ʼ. [tāmrá -- , ghaṭa -- 2]
Bi. tamheṛā ʻ brass -- founder ʼ or der. fr. *tamheṛ see prec.
tāmracūḍa 5784 tāmracūḍa ʻ red -- crested ʼ MBh., m. ʻ cock ʼ Suśr. [tāmrá -- , cūˊḍa -- 1]
Pa. tambacūḷa -- m. ʻ cock ʼ, Pk. taṁbacūla -- m.; -- Si. tam̆basiluvā ʻ cock ʼ (EGS 61) either a later cmpd. (as in Pk.) or ← Pa.
tāmradhāka 5785 *tāmradhāka ʻ copper receptacle ʼ. [tāmrá -- , dhāká -- ]
Bi. tama ʻ drinking vessel made of a red alloy ʼ.
tāmrapaṭṭa 5786 tāmrapaṭṭa m. ʻ copper plate (for inscribing) ʼ Yājñ. [Cf. tāmrapattra -- . -- tāmrá -- , paṭṭa -- 1]
M. tã̄boṭī f. ʻ piece of copper of shape and size of a brick ʼ.
tāmrapattra 5787 tāmrapattra n. ʻ copper plate (for inscribing) ʼ lex. [Cf. tāmrapaṭṭa -- . -- tāmrá -- , páttra -- ]
Ku.gng. tamoti ʻ copper plate ʼ.
tāmrapātra 5788 tāmrapātra n. ʻ copper vessel ʼ MBh. [tāmrá -- , pāˊtra -- ]
Ku.gng. tamoi ʻ copper vessel for water ʼ.
tāmrabhāṇḍa 5789 *tāmrabhāṇḍa ʻ copper vessel ʼ. [tāmrá -- , bhāṇḍa -- 1]
Bhoj. tāmaṛātāmṛā ʻ copper vessel ʼ; G. tarbhāṇũ n. ʻ copper dish used in religious ceremonies ʼ (< *taramhã̄ḍũ).
tāmravarṇa 5790 tāmravarṇa ʻ copper -- coloured ʼ TĀr. [tāmrá -- , várṇa -- 1]
Si. tam̆bavan ʻ copper -- coloured, dark red ʼ (EGS 61) prob. a Si. cmpd.
tāmrākṣa 5791 tāmrākṣa ʻ red -- eyed ʼ MBh. [tāmrá -- , ákṣi -- ]
Pa. tambakkhin -- ; P. tamak f. ʻ anger ʼ; Bhoj. tamakhal ʻ to be angry ʼ; H. tamaknā ʻ to become red in the face, be angry ʼ.
tāmrika 5792 tāmrika ʻ coppery ʼ Mn. [tāmrá -- ]
Pk. taṁbiya -- n. ʻ an article of an ascetic's equipment (a copper vessel?) ʼ; L. trāmī f. ʻ large open vessel for kneading bread ʼ, poṭh. trāmbī f. ʻ brass plate for kneading on ʼ; Ku.gng. tāmiʻ copper plate ʼ; A. tāmi ʻ copper vessel used in worship ʼ; B. tāmītamiyā ʻ large brass vessel for cooking pulses at marriages and other ceremonies ʼ; H. tambiyā m. ʻ copper or brass vessel ʼ.

 tāmarasá n. ʻ red lotus ʼ MBh., ʻ copper ʼ lex. [Cf. tāmrá -- ]
Pk. tāmarasa -- n. ʻ lotus ʼ; Si. tam̆bara ʻ red lotus ʼ, Md. taburu.(CDIAL 5774) 


h098 Text 4256 Pict.122 

Standard device which is normally in front of a one-horned bull.  m1408At


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)  A. kundār, B. kũdār, ri, Or.Kundāru; H. kũderā m. ‘one who works a lathe, one who scrapes’,  f., kũdernā ‘to scrape, plane, round on a lathe’; kundakara—m. ‘turner’ (Skt.)(CDIAL 3297). कोंदण [ kōndaṇa ] n (कोंदणें) Setting or infixing of gems.(Marathi) খোদকার [ khōdakāra ] n an engraver; a carver. খোদকারি n. engraving; carving; interference in other’s work. খোদাই [ khōdāi ] n engraving; carving. খোদাই করা v. to engrave; to carve. খোদানো v. & n. en graving; carving. খোদিত [ khōdita ] a engraved. (Bengali) खोदकाम [ khōdakāma ] n Sculpture; carved work or work for the carver. खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving: also sculptured or carved work. खोदणावळ [ khōdaṇāvaḷa ] f (खोदणें) The price or cost of sculpture or carving. खोदणी [ khōdaṇī ] f (Verbal of खोदणें) Digging, engraving &c. 2 fig. An exacting of money by importunity. V लावमांड. 3 An instrument to scoop out and cut flowers and figures from paper. 4 A goldsmith’s die. खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engrave. खोद खोदून विचारणें or –पुसणें To question minutely and searchingly, to probe. खोदाई [ khōdāī ] f (H.) Price or cost of digging or of sculpture or carving. खोदींव [ khōdīṃva ] p of खोदणें Dug. 2 Engraved, carved, sculptured. (Marathi)

Hieroglyphs: G. sãghāṛɔ m. ʻ lathe 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, han̆guḷaan̆g° ʻ double canoe, raft ʼ.(CDIAL 12859) Pa. saṅghāta -- m. ʻ killing, knocking together ʼ; Pk. saṁghāya -- m. ʻ closeness, collection ʼ; Or. saṅghāsaṅgā ʻ bamboo scaffolding inside triangular thatch, crossbeam of thatched house, copulation (of animals) ʼ; -- adj. ʻ bulled (of a cow) ʼ < *saṁghātā -- or saṁhatā -- ?(CDIAL 12862)


Rebus: Sangara [fr. saŋ+gṛ1 to sing, proclaim, cp. gāyati & gīta] 1. a promise, agreement J iv.105, 111, 473; v.25, 479


Rebus: saṁghāṭa m. ʻ fitting and joining of timber ʼ R. [√ghaṭ](CDIAL 12859) संगत saṅgata Assembled, collected, convened, met together.संगतिः saṅgatiḥ Company, society, association, intercourse (Samskritam. Apte) Sangata [pp. of sangacchati] 1. come together, met Sn 807, 1102 (=samāgata samohita sannipātita Nd2 621); nt. sangataŋ association Dh 207. -- 2. compact, tightly fastened or closed, well -- joined Vv 642 (=nibbivara VvA 275).Sangati (f.) [fr. sangacchati] 1. meeting, intercourse J iv.98; v.78, 483. In defn of yajati (=service?) at Dhtp 62 & Dhtm 79. -- 2. union, combination M i.111; Sii.72; iv.32 sq., 68 sq.; Vbh 138 (=VbhA 188). <-> 3. accidental occurrence D i.53; DA i.161. (Pali)

There are two parts in the Meluhha standard device. Bottom part: 1. portable furnace; Top part 2. lathe with gimlet. Orthographically, this is explained as sãgaḍ f. ʻ a body formed of two or more objects linked together (Marathi)(CDIAL 12859).
Image result for harappa seal portable furnace smokeComponents: top register: lathe with pointed gimlet in churning motion; bottom register: portable furnace/crucible with smoke emanating from the surface Carved ivory standard in the middle [From Richard H. Meadow and Jonathan Mark Kenoyer, Harappa Excavations 1993: the city wall and inscribed materials, in: South Asian Archaeology ; Fig. 40.11, p. 467. Harappa 1990 and 1993: representations of 'standard'; 40.11a: H90-1687/3103-1: faience token; 40.11bH93-2092/5029-1: carved ivory standard fragment (split in half, made on a lathe and was probably cylindrical in shape; note the incisions with a circle motif while a broken spot on the lower portion indicates where the stand shaft would have been (found in the area of the 'Mughal Sarai' located to the south of Mound E across the Old Lahore-Multan Road); 40.11c H93-2051/3808-2:faience token)

Hieroglyph: 'dotted circle': ḍāv m. ʻdice-throwʼ rebus: dhāu 'ore', smelted in a kand 'fire-altar':
Rebus reading of the kandi 'beads' (Pa.) is: kaND, kandu 'fire altar, smelting furnace of a blacksmith' (Santali.Kashmiri)Glyphs of dotted circles on the bottom portion of the 'standard device': kandi (pl. -l) beads, necklace (Pa.); kanti (pl. -l) bead, (pl.) necklace; kandit. bead (Ga.)(DEDR 1215). Rebus: लोहकारकन्दुः f. a blacksmith's smelting furnace (Grierson Kashmiri).
 Components: top register: lathe with pointed gimlet in churning motion; bottom register: portable furnace/crucible with smoke emanating from the surface PLUS flagpost
Image result for harappa seal portable furnace smokem0008 Mohenjo-daro seal. This shows the bottom bowl of the 'standard device' superimposed with dotted circles. Since the top portion of the 'device' is a drill-lathe, these dotted circles are orthographic representations of drilled beads which were the hallmark of lapidaries' work of the civilization.
Mohenjo-daro seal M006 with the pictorial motif combination: First image: 'one-horned young bull calf' + pannier + rings on neck + Second image: 'gimlet' + 'portable furnace' combined into a 'standard device' in front of the first image.

M. sãgaḍ f. ʻ a body formed of two or more fruits or animals or men &c. linked together (CDIAL 12859). जांगड [jāṅgaḍa] Linking together (of beasts): joining or attaching (as a scholar to a superior one, in order to learn). v घाल, कर. Also the state, linkedness, co-yokedness, attachment, association. (Marathi).The semantics explain why composite animal glyphs are created in Indus writing. The artisan conveyed the semantics of sãgaḍ for bronze-age accounting of 'entrustment articles' -- jangaḍ as the artisans moved such articles into the treasury or warehouse.

sangaḍa pictures, as a hypertext, a composite of 'gimlet, portable furnace' glyphs. This word sangaḍa could be read rebus as jangaḍ 'entrustment articles’. jangaiyo  is a Gujarati lexeme which meant ‘military guard who accompanies treasure into the treasury’.

The frequently-occuring pair of hieroglyphs of 'one-horned young bull calf' in front of 'gimlet, portable furnace could thus read together to connote a metals turner who was a courier of the'entrustment articles', jangaḍ. The jangaiyo was both a metals turner and a courier.

This method of cypher dealing with both pictorial motifs and signs as hieroglyphs read as part of a logo-semantic system of representation, led to the elucidation of almost the entire corpora of Indus writing -- characterised by a set of vivid, unambiguous hieroglyphs for e.g. of a crocodile holding a fish in its jaw or a wild animal in front of a trough etc. etc. -- as lists of metalware catalogs.

Tukulti-Ninurta standard
The first standard in the procession may be a spoked-wheel as in Tukulti-Ninurta hieroglyph:
Altar, offered by Tukulti-Ninurta I, 1243-1208 BC, in prayer before two deities carrying wooden standards, Assyria, Bronze AgeSource: http://www.dijitalimaj.com/alamyDetail.aspx?img=%7BA5C441A3-C178-489B-8989-887807B57344%7D  The two standards (staffs)  are topped by a spoked wheel. āra 'spokes' Rebus: āra 'bronze'. cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) Glyph: eraka
Glyphic element: erako nave; era = knave of wheel. Glyphic element: āra ‘spokes’. Rebus: āra ‘brass’ as in ārakūṭa (Skt.) Rebus: Tu. eraka molten, cast (as metal); eraguni to melt (DEDR 866) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tulu) The same spoked-wheel hieroglyph adorns the Dholavira Sign-board.

10.Mesapotomia Jasper cylinder procession of standards ca. 2200 BCE

See:

Kuwait standard
Image result for shahdad standard indus script

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

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

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

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

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

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

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

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

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


Phal. kāṅga ʻ combing ʼ in ṣiṣ k° dūm ʻI comb my hairʼ  khyḗṅgiakēṅgī f.;

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

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

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

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

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

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

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


mũh ‘face’; rebus: mũh ‘ingot’ (Mu.) 

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

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

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

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

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

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

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

Why are animals shown in pairs?

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

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

Old Babylonian, about 2000-1600 BCE From Mesopotamia Length: 12.8 cm Width: 7cm ME 103225 Room 56: Mesopotamia
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: ã̄g m. ʻ club, mace ʼ(Kashmiri) Rebus: K. angur (dat. °garas) m. ʻ fool ʼ; P. agar m. ʻ stupid man ʼ; N. āro ʻ term of contempt for a blacksmith ʼ, āre ʻ large and lazy ʼ; A.aurā ʻ living alone without wife or children ʼ; H. ã̄garã̄grā m. ʻ starveling ʼ.N. igar ʻ contemptuous term for an inhabitant of the Tarai ʼ; B. igar ʻ vile ʼ; Or. igara ʻ rogue ʼ, °rā ʻ wicked ʼ; H. igar m. ʻ rogue ʼ; M. ĩgar 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 (*ika -- )]1. S. ḍ̠aku m. ʻ stick put up to keep a door shut ʼ, ḍ̠akaru ʻ stick, straw ʼ; P. akkā m. ʻ straw ʼ, akkrā m. ʻ bit (of anything) ʼ; N. ã̄klo ʻ stalk, stem ʼ.2. Pk. agā -- f. ʻ stick ʼ; A. ā ʻ thick stick ʼ; B. ā ʻ pole for hanging things on ʼ; Or. āga ʻ stick ʼ; H. ã̄g f. ʻ club ʼ (→ P. ã̄g f. ʻ stick ʼ; K. ã̄g m. ʻ club, mace ʼ); G. ã̄g f., °gɔ,ãgorɔ m., °rũ n. ʻ stick ʼ; M. ãgar n. ʻ short thick stick ʼ, ã̄gī f. ʻ small branch ʼ, ã̄gśī f.Addenda: *ḍakka -- 2. 2. *ḍaṅga -- 1: WPah.kṭg. āg f. (obl. -- a) ʻ stick ʼ, agṛɔ m. ʻ stalk (of a plant) ʼ; -- poss. kṭg. (kc.) agrɔ m. ʻ axe ʼ, poet. agru m., °re f.; J. ã̄grā m. ʻ small weapon like axe ʼ, P. agorī f. ʻ small staff or club ʼ (Him.I 84).(CDIAL 6520) 

Allograph Hieroglyph:  hagaru, higaru m. ʻlean emaciated beastʼ(Sindhi) 

Rebus: dhangar ‘blacksmith’ (Maithili) hangra bull’. Rebus: hangarblacksmith’.Mth. hākur ʻ blacksmith ʼ (CDIAL 5488) N. āro ʻ term of contempt for a blacksmith ʼ S. hagaru m. ʻ lean emaciated beast ʼ ;  L. (Shahpur) hag̠g̠ā ʻ small weak ox ʼ(CDIAL 5324).
Hieroglyph carried on a flagpost by the blacksmith (bull ligatured man: Dhangar 'bull' Rebus: blacksmith'): karava 'pot with narrow neck' karNaka 'rim of jar' Rebus: kharva 'nidhi, wealth, karba 'iron'; karNI 'supercargo' karNIka 'scribe'.
Jasper cylinder seal is a stunning example of the power of hypertexts (using hieroglyph-multiplexes) to convey precise, detailed technical information.

The cylinder seal, 2.8 cm. high and 1.6 cm dia, signifies -- in an extraordinarily crisp hypertext, within limited writing space-- Indus script proclamations of iron, copper, gold-smithy, mint-work. ḍhangar bhaṭa पेढी  'blacksmith furnace shop' kamar कारणी arka lokhaṇḍa aya kammaṭa 'blacksmith supercargo, copper, gold, metal implements, mint' [কর্মকার ]  (p. 0208) [ karmakāra ] n a blacksmith, an ironsmith; (rare) an ironmonger. (Sailendra Biswas, Samsad Bengali-English Dictionary].

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

The four hieroglyphs are: from l. to r. 1. moon or crucible PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot with overflowing water, 4. fish (with fins emphasised). 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. 

kohāri 'crucible' Rebus: kohāri 'treasurer, warehouse'; kuhāru 'armourer' If the hieroglyph on the leftmost is moon, a possible rebus reading: قمر ḳamar قمر ḳamar, s.m. (9th) The moon. Sing. and Pl. See سپوږمي or سپوګمي (Pashto) Rebus: kamar 'blacksmith'


कारणी or कारणीक 'supercargo of a ship' (Marathi) of ingots are held in a conical jar (storage pot).
The leftmost hieroglyph shows ingots in a conical-bottom storage jar (similar to the jar shown on Warka vase (See Annex: Warka vase), delivering the ingots to the temple of Inanna). Third from left, the overflowing pot is similar to the hieroglyph shown on Gudea statues. Fourth from left, the fish hieroglyph is similar to the one shown on a Susa pot containing metal tools and weapons. (See Susa pot hieroglyphs of bird and fish: Louvre Museum) Hieroglyph: meṇḍā ʻlump, clotʼ (Oriya) On mED 'copper' in Eurasian languages see Annex A: Warka vase). mūhā mẽṛhẽt 'iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends.' (Note ingots in storage pot superfixed on the crucible hieroglyph).

The key hieroglyph is the hood of a snake seen as the left-most hieroglyph on this rolled out cylinder seal impression. I suggest that this denotes the following Meluhha gloss: 

Hierogyph: A. kulā 'hood of serpent' Rebus: kolle 'blacksmith'; kolhe 'smelter' kol 'working in iron'

Four flag-posts(reeds) with rings on top held by the kneeling persons define the four components of the iron smithy/forge.  


The four persons carry four maces with rings on top register. The maces are comparable in shape to the mace held by a bull-man on a terracotta plaque (British Museum number103225, see picture appended with decipherment). The mace is:  ḍã̄g (Punjabi) ḍhaṅgaru 'bull' (Sindhi) -- as a phonetic determinant; rebus: ḍhangar ‘blacksmith’.
Mth. ṭhākur ʻ blacksmith ʼ (CDIAL 5488).

The four persons (kamar) may be recognized as soldiers based on the Pashto gloss: kamar kīsaʿh, s.f. (3rd) A waist-belt with powder horn, and other furniture for a soldier. 


Hieroglyph: meṇḍa 'bending on one knee': మండి [ maṇḍi ] or మండీ manḍi. [Tel.] n. Kneeling down with one leg, an attitude in archery, ఒక కాలితో నేలమీద మోకరించుటఆలీఢపాదముमेट [ mēṭa ] n (मिटणें) The knee-joint or the bend of the knee. मेटेंखुंटीस बसणें To kneel down. Ta. maṇṭi kneeling, kneeling on one knee as an archerMa. maṇṭuka to be seated on the heels. Ka. maṇḍi what is bent, the knee. Tu. maṇḍi knee. Te. maṇḍĭ̄ kneeling on one knee. Pa. maḍtel knee; maḍi kuḍtel kneeling position. Go. (L.) meṇḍā, (G. Mu. Ma.) minḍa knee (Voc. 2827). Konḍa (BB) meḍa, meṇḍa id.  Pe. menḍa id.  Manḍ.  menḍe id.  Kui menḍa id.  Kuwi (F.) menda, (S. Su. P.) menḍa, (Isr.) meṇḍa id. Cf. 4645 Ta. maṭaṅku (maṇi-forms). / ? Cf. Skt. maṇḍūkī- part of an elephant's hind leg; Mar. meṭ knee-joint. (DEDR 4677) Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.)


The four persons are worshippers in a kneeling posture:  bhaTa 'worshipperPk. bhuaga -- m. ʻ worshipper in a temple ʼ, G. bhuvɔ m. (rather than < bhūdēva -- ). rebus: bhaTa 'furnace' bhaṭa -- m. ʻ hired soldier, servant ʼ MBh. Pali. bhaṭa -- m. ʻ hireling, servant, soldier ʼKu.bhaṛ m. ʻ hero, brave man ʼ, gng. adj. ʻ mighty ʼ; B. bhaṛ ʻ soldier, servant, nom. prop. ʼS.kcch. bhaṛ ʻ brave ʼ; Garh. (Śrīnagrī dial.) bhɔṛ, (Salānī dial.) bhe ʻ warrior ʼ.(CDIAL 9588) Ku. bhaṛau ʻ song about the prowess of ancient heroes ʼ.(CDIAL 9590)


The kamar is semantically reinforced by orthographic determinative of six curls of hair: baTa 'six' Rebus: baTa 'iron' (Gujarati) bhaTa 'furnace' PLUS PLUS meDh 'curl' Rebus: meD 'iron' to signify that the message conveyed is of four smelters for iron (metal).

The four hieroglyphs are: from l. to r. 1. moon 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. 

kamar 'moon' Rebus: kamar 'blacksmith'
arka 'sun' Rebus: arka, eraka 'copper, gold, moltencast'
lok
āṇḍa 'overflowing pot' Rebus: lokhaṇḍa 'metal implements, excellent implements'
aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda) khambhaṛā m. ʻ fin ʼ (Lahnda) kammaṭa 'coiner, coinage, mint' (Note on the emphasis on the fins of the fish)
Hieroglyph: मेढा (p. 665) [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi. Molesworth)Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.)
ba
a 'six' Rebus: bhaa 'furnace' PLUS meh 'curl' Rebus: me 'iron'

This is a proclamation of four shops, पेढी (Gujarati. Marathi). पेंढें rings Rebus: पेढी shop.āra ‘serpent’ Rebus; āra ‘brass’. kara'double-drum' Rebus: kara'hard alloy'.


Citation

"Cylinder seal with kneeling nude heroes [Mesopotamia]" (L.1992.23.5) In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/L.1992.23.5. (October 2006)
Four representations of a nude hero with six sidelocks of hair appear on this cylinder seal. Each wears a three-strand belt with a tassel. In all cases, the hero kneels on one knee and with both hands holds up a gatepost standard in front of his raised leg. Two vertical lines of inscription, one placed before a hero and another placed behind a second hero, give the name as Shatpum, son of Shallum, but do not provide an official title. Placed vertically in the field, a serpent appears behind one hero. In the spaces between the tops of the standards are four symbols: a sun disk, a lunar crescent, a fish, and a vase with flowing streams of water.
The nude hero is often shown with this very explicit type of gatepost, which perhaps is the emblem of a specific god or group of deities. The heroes with gateposts, the flowing vase, and the fish suggest that the iconography of this seal is somehow connected with Ea, god of sweet water and wisdom. However, the meaning of individual symbols could change in different contexts. The sun, moon, vase, and fish are undoubtedly astral or planetary symbols—the vase with streams and the fish are forerunners of what in much later times become zodiacal signs.
http://www.metmuseum.org/toah/works-of-art/L.1992.23.5
Archaeologically attested yupa. 

Girsu (Tlloh) archaeological find. 11 ft. tall copper plated flagpost. This may relate to a period when 
 
 Girsu (ca. 2900-2335 BCE) was the capital of Lagash at the time of Gudea.
ढाल [ ḍhāla ] f (S through H) The grand flag of an army directing its march and encampments: also the standard or banner of a chieftain: also a flag flying on forts &c. ढालकाठी [ ḍhālakāṭhī ] f ढालखांब m A flagstaff; esp.the pole for a grand flag or standard. 2 fig. The leading and sustaining member of a household or other commonwealth. 5583 ḍhāla n. ʻ shield ʼ lex. 2. *ḍhāllā -- . 1. Tir. (Leech) "dàl"ʻ shield ʼ, Bshk. ḍāl, Ku. ḍhāl, gng. ḍhāw, N. A. B. ḍhāl, Or. ḍhāḷa, Mth. H. ḍhāl m.2. Sh. ḍal (pl. °le̯) f., K. ḍāl f., S. ḍhāla, L. ḍhāl (pl. °lã) f., P. ḍhāl f., G. M. ḍhāl f. WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f. (CDIAL 5583). Rebus: ḍhālako 'ingot'
sangaḍa 'lathe, portabe furnace' Rebus: sanghAta 'adamantine glue', sangara 'proclamation, trade'; mēḍhā m A stake, esp. as forked. Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) med 'copper' (Slavic languages) 

kunda 'lathe' rebus: kunda 'a nidhi of Kubera; wealth' kundaṇa 'fine gold'

eraka 'upraised hand' rebus: eraka, arka 'moltencast copper, gold'.

Hieroglyph: ढाल (p. 356) [ ḍhāla ] The grand flag of an army directing its march and encampments: also the standard or banner of a chieftain: also a flag flying on forts &c. v दे. ढालकाठी (p. 356) [ ḍhālakāṭhī ] f ढालखांब m A flagstaff; esp.the pole for a grand flag or standard. 2 fig. The leading and sustaining member of a household or other commonwealthढालपट्टा (p. 356) [ ḍhālapaṭṭā ] m (Shield and sword.) A soldier's accoutrements comprehensively.ढालाईत (p. 356) [ ḍhālāīta ]  That bears the great flag with proceeds in front of an army in march.ढाळणें (p. 356) [ ḍhāḷaṇēṃ ] v c (Active of ढळणें) To wave over or around (a fan, brush &c.) Ex. सेवक वरि ढाळति चामरें ॥.ढालकरी (p. 356) [ ḍhālakarī ] m The bearer or or attendant upon the ढाल of an army or a cheiftain. 2 fig. The staff, support, or upholding person of a family or community. (Marathi) ḍhālā a tall banner (Kannada) 

Rebus: ḍhālu 'cast, mould' (Kannada) J. ḍhāḷṇu ʻ to cause to melt ʼ; P.ḍhalṇā ʻ to be poured out, fall, melt ʼ(CDIAL 5582) ढाळ (p. 356) [ ḍhāḷa ] Cast, mould, form (as ofmetal vessels, trinkets &c.(Marathi)

قمر ḳamar, s.m. (9th) The moon. Sing. and Pl. 

See سپوږمي or سپوګمي رښړه rabaṟṟṉaʿh, s.f. (3rd) Moonshine, the light of the moon, moonlight. Pl. يْ ey. See سپوږمي (Pashto) 
Rebus: karmāˊra m. ʻ blacksmith ʼ RV. [EWA i 176 < stem *karmar -- ~ karman -- , but perh. with ODBL 668 ← Drav. cf. Tam. karumā ʻ smith, smelter ʼ whence meaning ʻ smith ʼ was transferred also to karmakāra -- ] Pa. kammāra -- m. ʻ worker in metal ʼ; Pk. kammāra -- , °aya -- m. ʻ blacksmith ʼ, A. kamār, B. kāmār; Or. kamāra ʻ blacksmith, caste of non -- Aryans, caste of fishermen ʼ; Mth. kamār ʻ blacksmith ʼ, Si. kam̆burā.*karmāraśālā -- .Addenda: karmāˊra -- : Md. kan̆buru ʻ blacksmith ʼ.(CDIAL 2898) కమ్మటము [ kammaṭamu ] Same as కమటముకమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste.కమ్మరము [ kammaramu ] kammaramu. [Tel.] n. Smith's work, iron work. కమ్మరవాడుకమ్మరి or కమ్మరీడు kammara-vāḍu. n. An iron-smith or blacksmith. బైటికమ్మరవాడు an itinerant blacksmith. (Telugu) Kammāra [Vedic karmāra] a smith, a worker in metals generally D ii.126, A v.263; a silversmith Sn 962= Dh 239; J i.223; a goldsmith J iii.281; v.282. The smiths in old India do not seem to be divided into black -- , gold -- and silver -- smiths, but seem to have been able to work equally well in iron, gold, and silver, as can be seen e. g. from J iii.282 and VvA 250, where the smith is the maker of a needle. They were constituted into a guild, and some of them were well -- to -- do as appears from what is said of Cunda at D ii.126; owing to their usefulness they were held in great esteem by the people and king alike J iii.281.   -- uddhana a smith's furnace, a forge J vi.218; -- kula a smithy M i.25; kūṭa a smith's hammer Vism 254; -- gaggarī a smith's bellows S i.106; J vi.165; Vism 287 (in comparison); -- putta "son of a smith," i. e. a smith by birth and trade D ii.126; A v.263; as goldsmith J vi.237, Sn 48 (Nd2 ad loc.: k˚ vuccati suvaṇṇakāro); -- bhaṇḍu (bhaṇḍ, cp. Sk. bhāṇḍika a barber) a smith with a bald head Vin i.76; -- sālā a smithy Vism 413; Mhvs 5, 31.(Pali)

<kamar>(B),<karma>(B)  {N} ``^black^smith''.  Fem. <kamar-boi>'.  *Des.  @B05220.  #16371.  <kamar=gana>(B)  {N} ``^bellows of a ^black^smith''.  *Des.  |<gana> `'.  @B05230.  #10713.<kamar>(P)  {N} ``^blacksmith''.  *Sa., Mu.<kamar>, Sad.<kAmAr>, B.<kamarO>, O.<kOmarA>; cf. Ju.<kamar saRe>, ~<kOjOG>.  %16041.  #15931.  <kamar saRe>(P)  {N} ``blacksmith's shop''.  |<saRe> `shop'.  %16050.  #15940. (Munda etyma)

Meluhha standard
Image result for standard device indus scriptm0490At m0490Bt Tablet showing Meluhha combined standard of four standards carried in a procession, comparable to Tablet m0491. 

m0490At m0490B Mohenjodaro Tablet showing Meluhha combined standard of three standards carried in a procession, comparable to Tablet m0491.  The hieroglph multiplex: sãgaḍ 'lathe, portable furnace' PLUS a standing person with upraised arm: eraka 'upraised arm' rebus: eraka 'moltencast (metal)'.
m0491 This is a report on the transition from lapidary to bronze-age metalware in ancient Near East. 

Two Mohenjo-daro tablets showing a procession of four standard bearers; the four standards are: lathe, one-horned young bull; scarf; spoked-circle (knave + spokes). All four are hieroglyphs read rebus related to lapidary/smith turner work on metals and minerals (copper 'eraka', brass 'ara', dhatu 'ores')
eraka 'nave of wheel' Rebus: moltencast copper
dhatu 'scarf' Rebus: mineral ore dhāūdhāv m.f. ʻa partic. soft red stoneʼ (Marathi)  (whence dhā̆vaḍ m. ʻa caste of iron -- smeltersʼ, dhāvḍī ʻ composed of or relating to iron ʼ)
kōnda 'young bull' Rebus: turner
sãgaḍ 'lathe' Rebus: sangara proclamation
kanga 'portable brazier' Rebus: fireplace, furnace
Glyphic element: erako nave; era = knave of wheel. Glyphic element: āra ‘spokes’. Rebus: āra ‘brass’ as in ārakūṭa (Skt.) Rebus: Tu. eraka molten, cast (as metal); eraguni to melt (DEDR 866) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tulu) The same spoked-wheel hieroglyph adorns the Dholavira Sign-board.

āra 'spokes' Rebus: āra 'bronze'. cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) Glyph: eraka
Read with sãghāṛɔ, sãgaḍ 'lathe' PLUS māṇi 'broad-mouthed pot (bottom register), the hieroglyph multiplex reads rebus:  saṁghāṭa māna 'alloying, cementite (adamantine glue) standard' -- described by Varahamihira in archaeometallurgical tradition as vajrasaṁghāṭa. The lathe on the Indus Script Corpora of Sarasvati-Sindhu (Hindu) civilization is used by the lapidary-smith for fitting and joining of wood and metal:

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; Ku. sĩgāṛ m. ʻ doorframe ʼ; N. saṅār, siṅhār ʻ threshold ʼ; Or. saṅghāṛi ʻ pair of fish roes, two rolls of thread for twisting into the sacred thread, quantity of fuel sufficient to maintain the cremation fire ʼ; Bi. sĩghārā ʻ triangular packet of betel ʼ; H. sĩghāṛā m. ʻ piece of cloth folded in triangular shape ʼ; G. sãghāṛɔ m. ʻ lathe 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.Md. an̆goḷi ʻ junction ʼ?(CDIAL 12859)saṁghātá m. ʻ close union, mass ʼ TS., ʻ closing (a door) ʼ VS., ʻ dashing together ʼ MBh. [Cf. saṁhata<-> with similar range of meanings. -- ghāta -- ]Pa. saṅghāta -- m. ʻ killing, knocking together ʼ; Pk. saṁghāya -- m. ʻ closeness, collection ʼ; Or. saṅghā, saṅgā ʻ bamboo scaffolding inside triangular thatch, crossbeam of thatched house, copulation (of animals) ʼ; -- adj. ʻ bulled (of a cow) ʼ < *saṁghātā -- or saṁhatā -- ?(CDIAL 12862)

सं-घात  a company of fellow-travellers , caravan VP.

सं-घात (in gram.) a compound as a compact whole (opp. to its single parts) Ka1s3. on Pa1n2. 2-3 , 56; a vowel with its consonant (opp. to वर्ण , " a letter ") , Ka1ty.

सं-घात (in dram.) a partic. gait or mode of walking W.

सं-घात a [p= 1122,3] any aggregate of matter , body Bhag. Pur.; intensity R. Sus3r.; compressing , condensation , compactness , hardening Ya1jn5. Hariv. Sus3r. VarBr2S. close union or combination , collection , cluster , heap , mass , multitude TS. MBh. &c m. (rarely n. ; ifc. f(आ).) striking or dashing together , killing , crushing MBh. Sus3r. combat , war , battle VS. Ka1t2h. MBh. N. of a division of the infernal regions 

संहति [p= 1122,3] (cf. संहात) Ya1jn5. Buddh. f. striking together , closure Ka1v. S3a1rn3gS.compactness , solidity MBh. VarBr2S.thickening , swelling S3a1rn3gS.keeping together , saving , economy Ka1v.firm union or alliance , junction , joint effort , close contact or connection with (instr.) Ka1v. Pur. Ra1jat.a compact mass , bulk , heap , collection , multitude Ka1v. Katha1s. and C. सं-हत [p= 1122,3] mfn. struck together , closely joined or united with (instr.) , keeping together , contiguous , coherent , combined , compacted , forming one mass or body A1s3vS3r. Mn. MBh. &c accompanied or attended by (instr.) Mn. vii , 165become solid , compact , firm , hard MBh. Ka1v. &cstrong-limbed , athletic MBh.strong , intensive VarBr2S. (prob.) complex , composite , compound (said of a partic. tone and odour) MBh.n. a partic. position in dancing , Sam2gi1t.









The samAsa used by Varahamihira is vajrasanghAta, an adamantine glue. In archaeometallurgical terms, this is defined as a mixture consisting of eight parts of lead, two of bell-metal and one of iron dust.Varahamihira explains the phrase Vajra sanghAta as: 'adamantine glue' in archaeometallurgical terms which is consistent with the rendering of semantics of Bhāratam Janam as 'metalcaster folk' in Rigveda. 



When Gotama the Buddha spoke of the SanghAta Sutra, he was indeed referring to the standard device of lahe PLUS portable furnace, a frequent hieroglyphic multiplex on Indus Script Corpora: sangaDa.This is the same sanghAta mentioned by Varahamihira as an adamantine glue, describing th metallic form as vajra sanghAta, 'adamantine glue' -- a recognition in archaeometallurgy of nanotubes which constitute cementite bonding carbides to iron to create steel in a crucible. Now that it is evident that iron forging is dated to the 3rd millennium BCE, the use of hardened or carbide ferrous metal weapons cannot be ruled out. The ancient word which denoted such a metallic weapon is vajra in Rigveda, specifically described as Ayasam vajram, metallic weapon or metallic thunderbolt.
I suggest that the association of the gloss vajra with lightning becomes a metaphor to further define vajrasangAta 'adamantine glue' which creates a steel metallic form with nanotubes or cementite.

சங்குவடம் caṅkuvaṭam , n. < Port. jan- gada. [M. caṅṅāṭam.] Ferry-boat; தோணி வகை. Loc.
Marathi: सांगड [ sāgaa ] m f (संघट्ट S) A float composed of two canoes or boats bound together: also a link of two pompions &c. to swim or float by. 2 f A body formed of two or more (fruits, animals, men) linked or joined together. 3 That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.

సంకరము (p. 1269) saṅkaramu sankaramu [Skt.] n. Mixing, blending. సంకలనము (p. 1269) saṅkalanamu san-kalanamu. [Skt.] n. Addition in Arithmetic, సంఖ్యలనుకూర్చుట. సంకలితము ṣankalitamu. adj. That which is added. Added together, as a figure, కూర్పబడిన (సంఖ్య.) 

सांगडणी [ sāgaaī ] f (Verbal of सांगडणें) Linking or joining
together.

सांगडणें [ sāgaaē ] v c (सांगड) To link, join, or unite together (boats, fruits, animals). 2 Freely. To tie or bind up or unto.

Dwaraka 1h594. Harappa seal., m1171, m1175 sãgaḍ f. ʻ a body formed of two or more fruits or animals or men &c. linked together (Marathi)(CDIAL 12859). sã̄gāḍā m. ʻ frame of a building ʼ (M.)(CDIAL 12859)  سنګر sangar, s.m. (2nd) A breastwork of stones, etc., erected to close a pass or road; lines, entrenchments.(Pashto) sā̃gāḍo, sãgaḍa(lathe/portable furnaceసంగడి sangaḍi. n. A couple, pair (Telugu) Rebus: 1. sãngatarāsu ‘stone-cutter, stone-carver’. संगतराश lit. ‘to collect stones, stone-cutter, mason.’ (Hindi)  sanghāḍo (G.) cutting stone, gilding (Gujarati) 2. sangara [fr. saŋ+gṛ] promise, agreement J iv.105, 111, 473; v.25, 479 (Pali) 3. jangaḍ  id. (Hindi. Gujarati.Marathi)

Sangar 'fortification', Afghanistan (evoking the citadels and fortifications at hundreds of archaeological sites of Sarasvati-Sindhu civilization).

saṁghāḍa -- , °ḍaga -- m., °ḍī -- f. ʻ pair ʼ (Prakrit)(CDIAL 12859) సంగడి sangaḍi. n. A couple, pair (Telugu) cf. Pairing of two hieroglyphs into a composite ‘standard device’ (as shown in the diagram below).with two distinct components: lathe (gimlet) and (portable) furnace both denoted by lexeme:sangaḍ  The word is read rebus for jangaḍ ‘good entrusted on approval basis’.

सांगडी [ sāgaī ] f (Commonly सांगड) A float &c.
sãgaḍ ʻfloat made of two canoes joined togetherʼ (Marathi) (LM 417 compares saggarai at Limurike in the Periplus, Tamil. śaṅgaḍam, Tulu. jaṅgala ʻ double -- canoe ʼ) Si. san̆gaḷa ʻpairʼ, han̆guḷa, ang° ʻdouble canoe, raftʼ (CDIAL 12859). saṅghātanika -- in cmpd. ʻbinding togetherʼ (Pali)(CDIAL 12863).
సంగడి A raft or boat made of two canoes fastened side by side (Telugu)சங்கடம்² caṅkaṭam, n. < Port. jangada. Ferry-boat of two canoes with a platform thereon; இரட்டைத்தோணி. (J.) cf. Orthographic technic on ancient Near East artifacts such as seals: Paired hieroglyphs, example: of two bulls, two buffaloes, two tigers, two antelopes.






Ancient Near East jangaḍ accounting for mercantile transactions

Janga or Entrust Receipt is denoted by the 'standard device' hieroglyph read: sangaḍ 'lathe/gimlet, portable furnace'. Note: The meaning of ‘Janga’ is well-settled in Indian legal system. Janga means "Goods sent on approval or 'on sale or return'… It is well-known that the Janga transactions in this country are very common and often involve property of a considerable value." Bombay High Court Emperor vs Phirozshah Manekji Gandhi on 13 June, 1934 Equivalent citations: (1934) 36 BOMLR 731, 152 Ind Cas 706 Source: http://www.indiankanoon.org/doc/39008/ 


The terms jangad and karanika are represented as the most frequently used hieroglyphs on Indus writing. The hieroglyphs are: sangaḍa 'lathe, portable furnace' and kanka 'rim of jar' represented by the following glyphs: sangaḍa appears on the round as a ivory object together with other examples of specific glyphic features deployed on objects inscribed with Indus writing. kanka 'rim of jar' is shown on a circular Daimabad seal. The mercantile agents who were jangadiyo had received goods on jangad 'entrusted for approval'.

There are many examples, in Indus Script Corpora, of the depiction of 'human face' ligatured to an animal hieroglyph multiplex: 

A common ligaturing element is a human face which is a hieroglyph read rebus in mleccha (meluhha): mũhe ‘face’ (Santali) ; rebus:mũh metal ingot (Santali). 

m0301 Mohenjodaro seal Hieroglyph components: Human face, horns of zebu, trunk of elephant, scarves on neck, body of bovid, back of tiger, serpent (tail)
m1179. Mohenjo-daro seal. 
Human face, horns of a markhor, or ram (with goatee), scarves on neck, bovid, tail with three forks, body of bovid

m1177 Mohenjo-daro seal.
Human face, horns of a zebu, trunk of elephant, hand of a person seated in penance, scarves on neck, tail as serpent, body of bovid, hind-part of tiger.

This image is also interpreted in corpora (e.g. Mahadevan's Corpus of Indus script) describing a simpler model of hypertext that the hieroglyph multiplex has: body of a ram, horns of a bison, trunk of elephant, hindlegs of a tiger and an upraised serpent-like tail.

An interpretation by John C. Huntington presents a re-configured composite animal (bovid) on seal m0299: 

m0299. Mohenjo-daro seal.
Human face, horns of a zebu, trunk of elephant, scarves on neck, body of bovid http://huntington.wmc.ohio-state.edu/public/index.cfm

On m0300 seal, Dennys Frenez and Massimo Vidale, identify a number of hieroglyph 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'. bichi 'scorpion' rebus: bica 'sandstone mineral ore'.miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (Gujarati) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Munda) kara 'elephant's trunk' Rebus: khar 'blacksmith'; ibha 'elephant' rebus: ib 'iron'. Together: karaiba 'maker, builder'.

Dennys Frenez and Massimo Vidale identify a standing man. Two orthographic interpretations are possible for the hieroglyph component of 'human face' joined together with animal hieroglyphs: 1. as human; 2. as human face.

As human

meD 'body' rebus:  meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)

It is notable that the prefix kol- described many ancient people of Bharatam: Koli Dhor, Tokre Koli, Kolcha, Kolgha and listed with Gond, Arakh, Arrakh, Agaria, Asur:  Koliabhuta, Koliabhuti are listed as Bharatam Janam in scheduled tribe enumerations: http://bakulaji.typepad.com/blog/racial-integration/ The kole language is also called Ho, an Austro-asiatic family of languages. kōla1 m. ʻ name of a degraded tribe ʼ Hariv. Pk. kōla -- m.; B. kol ʻ name of a Muṇḍā tribe (CDIAL 3532) kaula ʻ relating to a family ʼ R., ʻ of noble family ʼ lex. [kúla -- ]
OSi. -- kol ʻ sprung from a noble family ʼ?(CDIAL 3565) kōlika m. ʻ weaver ʼ Yaśast., kaulika -- Pañcat. [EWA i 273 ← *kōḍika -- (in Tam. kōṭikar ʻ weaver ʼ) ~ Mu. word for ʻ spider ʼ in Pk. mak -- kōḍā -- s.v. markaṭa -- ] Pk. kōlia -- m. ʻ weaver, spider ʼ; S. korī m. ʻ weaver ʼ, koriaṛo m. ʻ spider ʼ; Ku. koli ʻ weaver ʼ, Or. (Sambhalpur) kuli, H. kolīkolhī m. ʻ Hindu weaver ʼ; G. koḷī m. ʻ a partic. Śūdra caste ʼ; M. koḷī m. ʻ a caste of watercarriers, a sort of spider ʼ; -G. karoḷiyɔkarāliyɔ m. ʻ spider ʼ is in form the same as karoḷiyɔ ʻ potter ʼ < kaulālá -- . WPah.kṭg. koḷi m. ʻ low -- caste man ʼ, koḷəṇ, kc. koḷi f. ʻ his wife ʼ (→ Eng. cooly HJ 249).(CDIAL 3535) Thus, the hieroglyh of 'man' may be a synonym of kola 'tiger' with related rebus renderings related to metalwork.
As human face

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

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


m0300. Mohenjo-daro seal.

Above: 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) A 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 http://a.harappa.com/content/harappan-chimaeras

Ligatured faces: some close-up images.

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

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

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

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

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

The composite animal glyph is one example to show that rebus method has to be applied to every glyphic element in the writing system. 

Explaining chimaera as expanded 'hypertext', Frenez and Vidale note: "In the course of time, more dynamic approaches stressed semantic interactions, rather than the presence of links, eventually suggesting that 'interaction with information build associations, and association builds knowledge'. The surprising notion that the same complex form of communication was invented 4500 years ago in the Bronze Age cities of the Indus valley requires a detailed analysis of each example of this animal icon, with the final goal of understanding the diachronic change of its basic model, together with its rules of composition."

Unraveling semantic interactions of the particular hieroglyph multiplex and the underlying spoken words is successful decipherment -- proving the cipher -- with only one unique -- falsifiable -- solution which represents the reality of the building of knowledge in Sarasvati-Sindhu Civilization through the hieroglyph multiplexes of about 7000 inscriptions presented as Indus Script Corpora which has been substantively deciphered as catalogum catalogorum of metalwork.



Indus script hieroglyphs: composite animal, smithy

Composite animal on Indus script is a composite hieroglyph composed of many glyphic elements. All glyphic elements are read rebus to complete the technical details of the bill of lading of artifacts created by artisans.



Mohenjodaro seal (m0302).

The composite animal glyph is one example to show that rebus method has to be applied to every glyphic element in the writing system.

This image is also interpreted in corpora (e.g. Mahadevan's Corpus of Indus script) as: body of a ram, horns of a bison, trunk of elephant, hindlegs of a tiger and an upraised serpent-like tail.

The glyphic elements of the composite animal shown together with the glyphs of fish, fish ligatured with lid, arrow (on Seal m0302) are:

--ram or sheep (forelegs denote a bovine)
--neck-band, ring
--bos indicus (zebu)(the high horns denote a bos indicus)
--elephant (the elephant's trunk ligatured to human face)
--tiger (hind legs denote a tiger)
--serpent (tail denotes a serpent)
--human face

All these glyphic elements are decoded rebus:

meḍho a ram, a sheep (G.)(CDIAL 10120) rebus: meD 'iron' (Ho.Munda)
adar ḍangra, poL ‘zebu’, 'bull dedicated to the gods' rebus: aduru 'native metal'; pola 'magnetite'
ibha ‘elephant’ (Skt.); rebus: ib ‘iron’ (Ko.); karabha 'elephant' (i.e. khar PLUS ibha: khar 'blacksmith'; ib 'iron', thus reconstructed as: kariba 'iron smith')
kolo ‘jackal’ (Kon.) rebus: kole.l 'smithy'; kolle 'blacksmith'; kol 'working in iron'; kolimi 'smithy'

dhatu 'scarf' (WPah.): *dhaṭa2, dhaṭī -- f. ʻ old cloth, loincloth ʼ lex. [Drav., Kan. daṭṭi ʻ waistband ʼ etc., DED 2465]Ku. dhaṛo ʻ piece of cloth ʼ, N. dharo, B. dhaṛā; Or. dhaṛā ʻ rag, loincloth ʼ, dhaṛi ʻ rag ʼ; Mth. dhariā ʻ child's narrow loincloth ʼ. †*dhaṭṭa -- : WPah.kṭg. dhàṭṭu m. ʻ woman's headgear, kerchief ʼ, kc. dhaṭu m. (also dhaṭhu m. ʻ scarf ʼ, J. dhāṭ(h)u m. Him.I 105).(CDIAL 6707) Ta. taṭṭi drawers. Ka. daṭṭi waist-band, sash, zone. Tu. daṭṭi waist-band. Te. daṭṭi waist-band or girdle of cloth, sash. Kui ḍaṭa a long cloth. / ? Cf. Skt. dhaṭī- piece of cloth worn over the privities; (Vaijayantī) dhaṭinī- string round the loins; Mar. dhaḍī dhotee (DEDR 3038)

Rebus: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā 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) هژدات haj̱ẕ-dāt, s.m. (6th) (corrup. of S اژدهات) The name of a mixed metal, bell-metal, brass. Sing. and Pl. د هژداتو غر da haj̱ẕ-dāto g̠ẖar, A mountain of brass, a brazen mountain.

karabhá m. ʻ camel ʼ MBh., ʻ young camel ʼ Pañcat., ʻ young elephant ʼ BhP. 2. kalabhá -- ʻ young elephant or camel ʼ Pañcat. [Poss. a non -- aryan kar -- ʻ elephant ʼ also in karḗṇu -- , karin -- EWA i 165]1. Pk. karabha -- m., °bhī -- f., karaha -- m. ʻ camel ʼ, S. karahu°ho m., P. H. karhā m., Marw. karhau JRAS 1937, 116, OG. karahu m., OM. karahā m.; Si.karaba ʻ young elephant or camel ʼ.2. Pa. kalabha -- m. ʻ young elephant ʼ, Pk. kalabha -- m., °bhiā -- f., kalaha -- m.; Ku. kalṛo ʻ young calf ʼ; Or. kālhuṛi ʻ young bullock, heifer ʼ; Si. kalam̆bayā ʻ young elephant ʼ.OMarw. karaha ʻ camel ʼ.(CDIAL 2797)

moṇḍ the tail of a serpent (Santali) Rebus: Md. moḍenī ʻ massages, mixes ʼ. Kal.rumb. moṇḍ -- ʻ to thresh ʼ, urt. maṇḍ -- ʻ to soften ʼ (CDIAL 9890) Thus, the ligature of the serpent as a tail of the composite animal glyph is decoded as: polished metal (artifact).

mũhe ‘face’ (Santali); mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali)

கோடு kōṭu : •நடுநிலை நீங்குகை. கோடிறீக் கூற் றம் (நாலடி, 5). 3. [K. kōḍu.] Tusk; யானை பன்றிகளின் தந்தம். மத்த யானையின் கோடும் (தேவா. 39, 1). 4. Horn; விலங்கின் கொம்பு. கோட்டிடை யாடினை கூத்து (திவ். இயற். திருவிருத். 21). 
Ta. kōṭu (in cpds. kōṭṭu-) horn, tusk, branch of tree, cluster, bunch, coil of hair, line, diagram, bank of stream or pool; kuvaṭu branch of a tree; kōṭṭāṉ, kōṭṭuvāṉ rock horned-owl (cf. 1657 Ta. kuṭiñai). Ko. kṛ (obl. kṭ-) horns (one horn is kob), half of hair on each side of parting, side in game, log, section of bamboo used as fuel, line marked out. To. kwṛ (obl. kwṭ-) horn, branch, path across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn (DEDR 2200)

meḍ ‘iron’ (Ho.)
khāḍ ‘trench, firepit’
aduru ‘native metal’ (Ka.) ḍhangar ‘blacksmith’ (H.)
kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’ (Ta.)
mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)
mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali)
koḍ = the place where artisans work (G.) 

Orthographically, the glytic compositions add on the characteristic short tail as a hieroglyph (on both ligatured signs and on pictorial motifs)

xolā = tail (Kur.); qoli id. (Malt.)(DEDr 2135). Rebus: kol ‘pañcalōha’ (Ta.)கொல் kol, n. 1. Iron; இரும்பு. மின் வெள்ளி பொன் கொல்லெனச் சொல்லும் (தக்கயாகப். 550). 2. Metal; உலோகம். (நாமதீப. 318.) கொல்லன் kollaṉ, n. < T. golla. Custodian of treasure; கஜானாக்காரன். (P. T. L.) கொல்லிச்சி kollicci, n. Fem. of கொல்லன். Woman of the blacksmith caste; கொல்லச் சாதிப் பெண். (யாழ். அக.) The gloss kollicci is notable. It clearly evidences that kol was a blacksmith. kola ‘blacksmith’ (Ka.); Koḍ. kollë blacksmith (DEDR 2133). Vikalpa: dumbaदुम्ब or (El.) duma दुम । पशुपुच्छः m. the tail of an animal. (Kashmiri) Rebus: ḍōmba ?Gypsy (CDIAL 5570). 
m1180 Mohenjo-daro seal. Human-faced markhor.

m0301 Mohenjo-daro seal.

m0303 Mohenjo-daro seal.
h594. Harappa seal. Composite animal (with elephant trunk and rings (scarves) on shoulder visible).koṭiyum = a wooden circle put round the neck of an animal; koṭ = neck (G.) Vikalpa: kaḍum ‘neck-band, ring’; rebus: khāḍ ‘trench, firepit’ (G.) Vikalpa: khaḍḍā f. hole, mine, cave (CDIAL 3790). kanduka, kandaka ditch, trench (Tu.); kandakamu id. (Te.); kanda trench made as a fireplace during weddings (Konda); kanda small trench for fireplace (Kui); kandri a pit (Malt)(DEDR 1214) khaḍḍa— ‘hole, pit’. [Cf. *gaḍḍa— and list s.v. kartá—1] Pk. khaḍḍā— f. ‘hole, mine, cave’, ḍaga— m. ‘one who digs a hole’, ḍōlaya— m. ‘hole’; Bshk. (Biddulph) "kād" (= khaḍ?) ‘valley’; K. khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’, khoḍu m. ‘vulva’; S. khaḍ̱a f. ‘pit’; L. khaḍḍ f. ‘pit, cavern, ravine’; P. khaḍḍ f. ‘pit, ravine’, ḍī f. ‘hole for a weaver's feet’ (→ Ku. khaḍḍ, N. khaḍ; H. khaḍ, khaḍḍā m. ‘pit, low ground, notch’; Or. khãḍi ‘edge of a deep pit’; M. khaḍḍā m. ‘rough hole, pit’); WPah. khaś. khaḍḍā ‘stream’; N. khāṛo ‘pit, bog’, khāṛi ‘creek’, khāṛal ‘hole (in ground or stone)’. — Altern. < *khāḍa—: Gy. gr. xar f. ‘hole’; Ku. khāṛ ‘pit’; B. khāṛī ‘creek, inlet’, khāṛal ‘pit, ditch’; H. khāṛī f. ‘creek, inlet’, khaṛ—har, al m. ‘hole’; Marw. khāṛo m. ‘hole’; M. khāḍ f. ‘hole, creek’, ḍā m. ‘hole’, ḍī f. ‘creek, inlet’. 3863 khā́tra— n. ‘hole’ HPariś., ‘pond, spade’ Uṇ. [√khan] Pk. khatta— n. ‘hole, manure’, aya— m. ‘one who digs in a field’; S. khāṭru m. ‘mine made by burglars’, ṭro m. ‘fissure, pit, gutter made by rain’; P. khāt m. ‘pit, manure’, khāttā m. ‘grain pit’, ludh. khattā m. (→ H. khattā m., khatiyā f.); N. khāt ‘heap (of stones, wood or corn)’; B. khāt, khātṛū ‘pit, pond’; Or. khāta ‘pit’, tā ‘artificial pond’; Bi. khātā ‘hole, gutter, grain pit, notch (on beam and yoke of plough)’, khattā ‘grain pit, boundary ditch’; Mth. khātā, khattā ‘hole, ditch’; H. khāt m. ‘ditch, well’, f. ‘manure’, khātā m. ‘grain pit’; G. khātar n. ‘housebreaking, house sweeping, manure’, khātriyũ n. ‘tool used in housebreaking’ (→ M. khātar f. ‘hole in a wall’, khātrā m. ‘hole, manure’, khātryā m. ‘housebreaker’); M. khā̆t n.m. ‘manure’ (deriv. khatāviṇẽ ‘to manure’, khāterẽ n. ‘muck pit’). — Un- expl. ṭ in L. khāṭvā̃ m. ‘excavated pond’, khāṭī f. ‘digging to clear or excavate a canal’ (~ S. khātī f. ‘id.’, but khāṭyāro m. ‘one employed to measure canal work’) and khaṭṭaṇ ‘to dig’. (CDIAL 3790) •gaḍa— 1 m. ‘ditch’ lex. [Cf. *gaḍḍa—1 and list s.v. kartá—1] Pk. gaḍa— n. ‘hole’; Paš. gaṛu ‘dike’; Kho. (Lor.) gōḷ ‘hole, small dry ravine’; A. garā ‘high bank’; B. gaṛ ‘ditch, hole in a husking machine’; Or. gaṛa ‘ditch, moat’; M. gaḷ f. ‘hole in the game of marbles’. 3981 *gaḍḍa— 1 ‘hole, pit’. [G. < *garda—? — Cf. *gaḍḍ—1 and list s.v. kartá—1] Pk. gaḍḍa— m. ‘hole’; WPah. bhal. cur. gaḍḍ f., paṅ. gaḍḍṛī, pāḍ. gaḍōṛ ‘river, stream’; N. gaṛ—tir ‘bank of a river’; A. gārā ‘deep hole’; B. gāṛ, ṛā ‘hollow, pit’; Or. gāṛa ‘hole, cave’, gāṛiā ‘pond’; Mth. gāṛi ‘piercing’; H. gāṛā m. ‘hole’; G. garāḍ, ḍɔ m. ‘pit, ditch’ (< *graḍḍa— < *garda—?); Si. gaḍaya ‘ditch’. — Cf. S. giḍ̱i f. ‘hole in the ground for fire during Muharram’. — X khānī̆—: K. gān m. ‘underground room’; S. (LM 323) gāṇ f. ‘mine, hole for keeping water’; L. gāṇ m. ‘small embanked field within a field to keep water in’; G. gāṇ f. ‘mine, cellar’; M. gāṇ f. ‘cavity containing water on a raised piece of land’ WPah.kṭg. gāṛ ‘hole (e.g. after a knot in wood)’. (CDIAL 3947) 3860 *khāḍa— ‘a hollow’. [Cf. *khaḍḍa— and list s.v. kartá—1] S. khāṛī f. ‘gulf, creek’; P. khāṛ ‘level country at the foot of a mountain’, ṛī f. ‘deep watercourse, creek’; Bi. khārī ‘creek, inlet’; G. khāṛi , ṛī f., ṛɔ m. ‘hole’. — Altern. < *khaḍḍa—: Gy. gr. xar f. ‘hole’; Ku. khāṛ ‘pit’; B. khāṛī ‘creek, inlet’, khāṛal ‘pit, ditch’; H. khāṛī ‘creek, inlet’, khaṛ—har, al m. ‘hole’; Marw. khāṛo m. ‘hole’; M. khāḍ f. ‘hole, creek’, ḍā m. ‘hole’, ḍī f. ‘creek, inlet’. The neck-bands hung above the shoulder of the composite animal may thus read rebus: trench or fire-pit (i.e. furnace) for the minerals/metals described by the glyphic elements connoting animals: elephant, ram (or zebu, bos indicus).
m1175 Composite animal with a two-glyph inscription (water-carrier, rebus: kuti 'furnace'; road, bata; rebus: bata 'furnace'). m1186A Composite animal hieroglyph. Text of inscription (3 lines). 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]

paṭa ‘hood of snake’. Rebus: padm ‘tempered, sharpness (metal)’. nāga 'serpent' Rebus: nāga 'lead (alloy)'
mũh 'face' Rebus: mũhe 'ingot'. khū̃ṭ  ‘zebu’.khū̃ṭ ‘community, guild’ (Munda)
ibha 'elephant' Rebus: ib 'iron'. Ibbo ‘merchant’ (Gujarati).
ḍhangar ‘bull’ Rebus: dhangar ‘blacksmith’ (Maithili) ḍangar ‘blacksmith’ (Hindi)
kol ‘tiger’ Rebus: kol ‘working in iron’.
dhaṭu  m.  (also dhaṭhu)  m. ‘scarf’  (WPah.) Rebus: dhatu ‘mineral (ore)’ 

Rebus reading of the ‘face’ glyph: mũhe ‘face’ (Santali) mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.) kaula mengro ‘blacksmith’ (Gypsy) mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) The Sanskrit loss mleccha-mukha should literally mean: copper-ingot absorbing the Santali gloss, mũh, as a suffix
The animal is a quadruped: pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Te.) Rebus: pasra ‘smithy’ (Santali) Allograph: panǰā́r ‘ladder, stairs’(Bshk.)(CDIAL 7760) Thus the composite animal connotes a smithy. Details of the smithy are described orthographically by the glyphic elements of the composition.

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

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

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


Hieroglphs on text of inscription read rebus:


Smithy (temple), Copper (mineral) guild workshop, metal furnace (account) 


Sign 216 (Mahadevan). ḍato ‘claws or pincers (chelae) of crabs’; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhatu ‘mineral’ (Santali) Vikalpa: erā ‘claws’; Rebus: era ‘copper’. Allograph: kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.) kamat.ha = fig leaf, religiosa (Skt.)


Sign 342. kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar’(Skt.) Rebus: karṇaka ‘scribe, accountant’ (Te.); gaṇaka id. (Skt.) (Santali) copper fire-altar scribe (account)(Skt.) Rebus: kaṇḍ ‘fire-altar’ (Santali) Thus, the 'rim of jar' ligatured glyph is read rebus: fire-altar (furnace) scribe (account)

Sign 229. sannī, sannhī = pincers, smith’s vice (P.) śannī f. ʻ small room in a house to keep sheep in ‘ (WPah.) Bshk. šan, Phal.šān ‘roof’ (Bshk.)(CDIAL 12326). seṇi (f.) [Class. Sk. śreṇi in meaning "guild"; Vedic= row] 1. a guild Vin iv.226; J i.267, 314; iv.43; Dāvs ii.124; their number was eighteen J vi.22, 427; VbhA 466. ˚ -- pamukha the head of a guild J ii.12 (text seni -- ). -- 2. a division of an army J vi.583; ratha -- ˚ J vi.81, 49; seṇimokkha the chief of an army J vi.371 (cp. senā and seniya). (Pali)

'body' glyph. mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.)

aya 'fish' (Mu.); rebus: aya 'iron' (G.); ayas 'metal' (Skt.)

sal stake, spike, splinter, thorn, difficulty (H.); Rebus: sal ‘workshop’ (Santali) *ஆலை³ ālai, n. < šālā.




Varint of 'room' glyph with embedded rimless pot glyph (Sign 243 - Mahadevan corpus).

'Room' glyph. Rebus: kole.l = smithy, temple in Kota village (Ko.) kolme smithy' (Ka.) kol ‘working in iron, blacksmith (Ta.)(DEDR 2133) The ligature glyphic element within 'room' glyph (Variant Sign 243): baṭi 'broad-mouthed, rimless metal vessel'; rebus: baṭi 'smelting furnace'. Thus, the composite ligatured Sign 243 denotes: furnace smithy.


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

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

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

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

er-agu = a bow, an obeisance; er-aguha = bowing, coming down (Ka.lex.) er-agisu = to bow, to be bent; tomake obeisance to; to crouch; to come down; to alight (Ka.lex.) cf. arghas = respectful reception of a guest (by the offering of rice, du_rva grass, flowers or often only of water)(S’Br.14)(Skt.lex.) erugu = to bow, to salute or make obeisance (Te.) Rebus: eraka ‘copper’ (Ka.)erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) eraka, er-aka = any metal infusion (Ka.Tu.) eruvai ‘copper’ (Ta.); ere dark red (Ka.)(DEDR 446). er-r-a = red; (arka-) agasāle, agasāli, agasālavāḍu = a goldsmith (Telugu)
Harappa seal (h350B)


Harappa seal (h330)
Seal. National Museum: 135.

The rebus readings of the hieroglyphs are: mẽḍha ‘antelope’; rebus: meḍ ‘iron’ (Ho.) aya 'fish'; rebus: aya 'cast metal' (G.).

Some lexemes from Indian sprachbund:

जांगड [jāṅgaḍa] ad Without definitive settlement of purchase--goods taken from a shop. जांगड [ jāṅgaḍa ] f ( H) Goods taken from a shop, to be retained or returned as may suit: also articles of apparel taken from a tailor or clothier to sell for him. 2 or जांगड वही The account or account-book of goods so taken.

कारणी or कारणीक [kāraṇī or kāraṇīka] a (कारण S) That causes, conducts, carries on, manages. Applied to the prime minister of a state, the supercargo of a ship &c करणी [ karaṇī ] f (करणें) Presenting (in marriages) of cloths, ornaments &c. to the bridegroom and his party. v कर. (Marathi) కరణము [karaamu] karaamu. [Skt.] n. A village clerk, a writer, an accountant. వాడు కూత కరణముగాని వ్రాతకరణముకాడు he has talents for speaking but not for writing. స్థలకరణము the registrar of a district. కరణికము or కరణీకము karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu)

கரணிகம் karaikam [Telugu. karaikamu.] Office of accountant. See கருணீகம். Loc. கருணீகம் karuṇīkam , n. < karaa. [T. karaikamu.] Office of village accountant or karṇam; கிராமக்கணக்குவேலை. கரணன் karaa , n. < karaa. Accountant; கணக்கன். கரணர்கள் வந்தனர் கழல் வணங்கினார் (கந்தபு. மார்க்கண். 210).கரணம் karaam, n. < karaa. Accountant, karnam; கணக்கன். (S.I.I. i, 65.) கரணம்பலம் karaampalam, n. < id. + அம் பலம். Ancient name for the office of village headman; வரிதண்டும் உத்தியோகம். Rd. கரணியமேனிக்கல் karaiya-mēi-k-kal, n. A kind of metal-ore; கரும்புள்ளிக்கல். (W.) (Tamil) ஒற்றிக்கரணம் oṟṟi-k-karaṇam n. < ஒற்றி +. See ஒற்றிச்சீட்டு. ஒற்றிச்சீட்டு oṟṟi-c-cīṭṭu , n. < ஒற்றி +. Usufructuary mortgage deed; ஒற்றிப்பத்திரம். கரணகளேபரம் karaṇa-kaḷēparam, n. < karaகரணத்தான் karaattā , n. < id. Accountant; கணக்கன்.  ந்நகரக்கரணத்தான் (S.I.I. iii, 23). கரணத்தியலவர் karaattiyalavar, n. < id. + இயலவர். Account officers working under a king, one of eperu-n-tuaivar, q.v.; அரசர்க்குரிய எண்பெருந்துணைவருள் ஒருவராகிய கணக்கர். (திவா.)

It is significant that the word கரணம் is used. This word in old Tamil denotes the work of karaṇikaṉ ‘village accountant’.

For describing goods transacted under jangaḍ accounting, it was enough to detail the technical specifications of the goods. The quantities involved, the prices to be settled at the time of final sale and final settlement between the consignor and the consignee are subject to separate, later day transactions AFTER the final delivery on the entrustment note -- jangaḍ -- takes place to the final purchaser or owner of the goods.

The foundatio of jangaḍ accounting is trust in mercantile transactions and an honour system for processing the transactions between the producer and the final consumer.

The ancient, traditional mercantile transactions using jangaḍ accounting was adjudicated in Bombay High Court in 1938 where violations of the founding principles of jangaḍ were the principal causes for the litigation. A write-up on the case is appended. The judgement of Kania, J. notes the quote of an earlier judge in another case: "Assuming that jangad in Gujerati ordinarily means 'approval' there is no reason to assume that the goods entrusted jangad are goods to be sold on approval, rather than goods to be shown for approval." -- Madgavkar J. But, jangad also meant 'sale or return' in addition to the dictionary meaning 'approval'. The Judge adjudicated on the issues of 'good faith' involving diamonds/pearls adjudicating that the relation of a dealer and a broker or mercantie agent is that of a principal and agent and not of a seller and a buyer. The obiter dicta was: "If the person who takes [the property] on jangad, sells the property at a price in excess of that which he has agreed to pay to the seller, he keeps the difference and he does not have to account to the seller as an agent. On the other hand, if the purchaser from him does not pay, he is still liable to pay on his own contract with his seller."

The point made in this note is that jangaḍ accounting transactions for high-value goods like diamonds/pearls/metalsware were in vogue as evidenced on Indus writing and the tradition continued into historical times and are in vogue even today in a remarkable civilizational continuum.

A remarkable contract is recorded in Mesopotamian archives, attesting to the good-faith doctrine in financial or property transactions:
Contract for the Sale of Real Estate, Sumer, c. 2000 B.C.
This is a transaction from the last days of Sumerian history. It exhibits a form of transfer and title which has a flavor of modern business method about it.
Sini-Ishtar, the son of Ilu-eribu, and Apil-Ili, his brother, have bought one third Shar of land with a house constructed, next the house of Sini-Ishtar, and next the house of Minani; one third Shar of arable land next the house of Sini-Ishtar, which fronts on the street; the property of Minani, the son of Migrat-Sin, from Minani, the son of Migrat-Sin. They have paid four and a half shekels of silver, the price agreed. Never shall further claim be made, on account of the house of Minani. By their king they swore. (The names of fourteen witnesses and a scribe then follow.) Month Tebet, year of the great wall of Karra-Shamash. http://www.fordham.edu/halsall/ancient/mesopotamia-contracts.asp
Sanghata Sutra (Ārya Sanghāta Sūtra; Devanagari, आर्य सङ्घाट सूत्र) is a Mahāyāna Buddhist scripture widely circulated in northwest India and Central Asia. Manuscripts of the Sanghāta have been recovered in Gilgit (in 1931 and 1938), Khotan, Dunhuang, and other sites in Central Asia along the silk route. Translations appear in Khotanese, Sogdian, Chinese, Tibetan and English. "In standard Sanskrit, sanghāta is a term meaning the ‘fitting and joining of timbers’ or ‘the work done by a carpenter in joining two pieces of wood,’ and can refer to carpentry in general. It has a specialized use in a few Buddhist Sanskrit texts, where it means ‘vessel’ or ‘jar,’ and this image of ‘something that contains’ is evoked several times within the sutra, when Buddha calls the Sanghāta a ‘treasury of Dharma.’
Whether we take sanghāta as having the sense of joining or connecting that it has in standard Sanskrit, or the sense of holding or containing that it can have in Buddhist Sanskrit, the question remains as to just what is connected or held. One possible interpretation is that what is connected are sentient beings, and they are joined or connected by the Sanghāta to enlightenment. This suggestion—that what the Sanghāta joins is sentient beings to enlightenment—was offered by Kirti Tsenshab Rinpoche during an oral transmission of the text in 2003. In this, we find an idea that we readers and reciters are the material that the Sanghāta is working on, as it shapes us, and connects us to our enlightenment in such a way that we will never turn back. This, indeed, is what Sarvashura initially requests the Buddha to give: a teaching that can ensure that the young ones are never disconnected from their path to enlightenment.https://en.wikipedia.org/wiki/Sanghata_Sutra
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)  A. kundār, B. kũdār, ri, Or.Kundāru; H. kũderā m. ‘one who works a lathe, one who scrapes’,  f., kũdernā ‘to scrape, plane, round on a lathe’; kundakara—m. ‘turner’ (Skt.)(CDIAL 3297). कोंदण [ kōndaṇa ] n (कोंदणें) Setting or infixing of gems.(Marathi) খোদকার [ khōdakāra ] n an engraver; a carver. খোদকারি n. engraving; carving; interference in other’s work. খোদাই [ khōdāi ] n engraving; carving. খোদাই করা v. to engrave; to carve. খোদানো v. & n. en graving; carving. খোদিত [ khōdita ] a engraved. (Bengali) खोदकाम [ khōdakāma ] n Sculpture; carved work or work for the carver. खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving: also sculptured or carved work. खोदणावळ [ khōdaṇāvaḷa ] f (खोदणें) The price or cost of sculpture or carving. खोदणी [ khōdaṇī ] f (Verbal of खोदणें) Digging, engraving &c. 2 fig. An exacting of money by importunity. V लावमांड. 3 An instrument to scoop out and cut flowers and figures from paper. 4 A goldsmith’s die. खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engrave. खोद खोदून विचारणें or –पुसणें To question minutely and searchingly, to probe. खोदाई [ khōdāī ] f (H.) Price or cost of digging or of sculpture or carving. खोदींव [ khōdīṃva ] p of खोदणें Dug. 2 Engraved, carved, sculptured. (Marathi)

Rebus reading is: dhatu kõdā sã̄gāḍī eraka āra   ‘mineral, turner, stone-smithy guild, copper, brass’ PLUS khambh 'shoulder' rebus: kammaTa 'mint, coiner, coinage'.

Standard device: (Top part: lathe-gimlet; Bottom part: portable furnace sã̄gāḍ Rebus: stone-cutter sangatarāśū ). sanghāḍo (Gujarati) cutting stone, gilding (Gujarati); sangsāru kara= to stone (Sindhi) sanghāḍiyo, a worker on a lathe (Gujarati)

The procession is a celebration of the graduation of a stone-cutter as a metal-turner in a smithy/forge. A sangatarāśū ‘stone-cutter’ or lapidary of neolithic/chalolithic age had graduated into a metal turner’s workshop (ko), working with metallic minerals (dhatu) of the bronze age.

Three professions are described by the three hieroglyphs: scarf, young bull, standard device dhatu kõdāsã̄gāḍī  Rebus words denote: ‘ mineral worker; metals turner-joiner (forge); worker on a lathe’ – associates (guild).
Image result for indus standard deviceReconstruction of a drill based on analogical comparisons with the drills used nowadays at Nagara, Gujarat, India: Upper pivot in copper is centered with the drill-head and inserted into a coconut shell. Wooden haft is used with a bow-string to churn. The phtanite drill-head is secured in the haft-hole with a thin coiling thread. The tip of the drill's working end shows the characteristic feature of the shallow hemispherical depression: a 'dotted circle'. (After Vidale, M., 1987. Some aspects of lapidary craft at Moenjodaro in the light of the surface record of Moneer South east Area. In M. Jansen and G. Urban (eds.), Interim Reports, Vol. 2, 113-150. Aachen).
Piperno, Marcello, Micro-drilling at Shahr-i Sokhta; the making and use of the lithic drill-heads, in: Hammond, Norman Ed., South Asian Archaeology, 1973, Pl. 9.2 and 9.3  "granite drill heads used to perforate beads, prepare stone seals... use of the "bow drill" or the "pump drill" which revolved the point of the drill in an alternating rotary motion...the level of technical performance reached in this micro-drilling work was peculiar to a class of highly-specialized craftsmen who must have enjoyed a considerable social and economic position in the life of Shahr-i Sokhta." (p.128) [ca. 2700-2300 B.C.]
Line Drawing of the two-sided tablet with inscription (from Madhu Swarup Vats, 1940, Excavations at Harappa, Being an Account of Archaeological Excavations at Harappa carried out between the Years 1920-1921 and 1933-34 Results from early excavations at Harappa

Inscribed Tablets. Pict-91 (Mahadevan) eraka 'upraised hand' (Tamil)Rebus: eraka 'moltencast, metal infusion, copper'.khamba 'shoulder' rebus: kammaTa 'goldsmith, mint, coiner, coinage'
Image result for standard indus scriptHieroglyph:er-aka 'upraised hand' (Tamil) erhali to hold out the hand;(Kui) erke, erkelů rising (Tulu)(DEDR 905) Rebus: eṟaka, eraka any metal infusion (Kannada); moltencast, cast (as metal) (Tulu)(DEDR 86) ; molten state, fusion. 

1. Meluhha of Indus Script standard

A variant may be seen. 1.Finely burnished gold fillet (headband)
with holes at both ends to hold a cord. Each end is decorated with a punctuated
design of standard device. 42 x 1.4 cm. Mohenjodaro Museum, MM 1366; Marshall
1931: 220.527. Pl. CXVIII, 14 (for punctuated design)
2. Detail of gold fillet with punctuated design of standard device
at both ends of the gold fillet. (After Fig. 7.32, Kenoyer, 1998)

Guild,caravan
Pali:Sanghaita [saŋ+ghaita, for ˚ghaṭṭita, pp. of ghaṭṭeti] 1. struck, sounded, resounding with (
-- ˚) J
 v.9 (v. l. ṭṭ); Miln 2. -- 2. pierced together, pegged
together, constructed Miln 161 (nāvā nānā -- dāru˚).

Marathi: सांगड [ sāgaa ] m f (संघट्ट S) A float composed of

two canoes or boats bound together: also a link of two pompions &c. to swim

or float by. 2 f A body formed of two or more (fruits,

animals, men) linked or joined together. 3 That member of a turner's apparatus

by which the piece to be turned is confined and steadied. सांगडीस

धरणें To take into linkedness or close connection with,

lit. fig.



सांगडणी [ sāgaaī ] f (Verbal of सांगडणें) Linking or joining

together.

सांगडणें [ sāgaaē ] v c (सांगड) To link, join, or unite together (boats, fruits, animals).
2 Freely. To tie or bind up or unto.

सांगडबाहुली [ sāgaabāhulī ] f A puppet.

सांगडी [ sāgaī ] f (Commonly सांगड) A float &c.
san:gaḍa ‘lathe, furnace’ san:ghāḍo, saghaḍī  (G.) = firepan; saghaḍī,
śaghaḍi = a pot for holding fire (G.)[cula_ sagaḍi_
portable hearth (G.)] aguḍe = brazier (Tu.)
san:gaḍa, ‘lathe, portable furnace’; rebus: battle; jangaḍ iyo
‘military guard who accompanies treasure into the treasury’; san:ghāḍiyo, a
worker on a lathe (G.) The dotted circles on the bottom portion of the device
connote ghangar ghongor; rebus: kangar ‘portable furnace’.
Rebus: CDIAL 12858 saghara  living
in the same house . [Cf.
 ságr̥ha<->
ĀpŚr. --
 ghara -- ]Pa. saghara -- with one's own family (?); L. sagghrā accompanied
by one's own family ; H.
 ̄ghar m. wife's son by former husband . CDIAL 12854 saghá m.
association, a community Mn. [√han1] Pa.
 sagha -- m.
assembly, the priesthood ; Aś.
 sagha -- m.  the Buddhist
community ; Pk.
 sagha -- m.  assembly, collection
; OSi. (Brāhmī inscr.)
 saga, Si. san̆ga ʻ crowd, collection . -- Rather < saga -- : S.sagu m. body
of pilgrims (whence
 ̄go m. caravan ), L. P. sag m. CDIAL 12862 saghātá saghātá m. close union, mass TS.,
closing (a door)  VS.,  dashing together MBh. [Cf.
 sahata<-> with similar range of meanings. -- ghāta
--
 ]
Tamil: சங்கத்தார் cakattār, n. < id. 1. Members of an assembly,
academy, a society, council or committee; 
சபையோர். 2.
Buddhist and Jain fraternity of monks; 
பௌத்த சைன
சங்த்தார். (சீவக. 
4, உரைசிலப். 30,
32, 
அரும்.) 3. The learned body of poets in Madura, in ancient times; மதுரைச் சங்கப்புலவர். சங்கத்தா ரெல்லாம்
(திருவிளை. தருமிக்கு. 
82) சங்கம்² cakam, n. < sagha. 1. Mustering, gathering; கூட்டம். சங்கமாகி வெங்கணை வீக்க மொடு (பெருங். மகத. 17, 38). 2. Society, assembly, council, senate, academy; சபை. புலம்பரிச் சங்கம்
பொருளொடு முழங்க (மணி. 
7, 114). 3. Literati, poets; 
புலவர். (திவா.) 4. Learned assemblies or academies of ancient times patronised by Pāṇḍya kings, three in number, viz., talai-c-cakam, iai-c-cakam, kaai-c-cakam; பாண்டி யர் ஆதரவுபெற்று விளங்கிய தலைச்சங்கம்இடைச் சங்கம்,கடைச்சங்கம் என்ற முச்சங்கங்கள். எம்மைப் பவந்தீர்ப்பவர் சங்கமிருந்தது (பெரியபு. மூர்த்திநா. 7). 5. Fraternity of monks among Buddhists and Jains; 
சங்கமர் cakamar , n. < சங்கமம்¹. A class of Vīrašaivas, Lingayats; ஒரு சார் வீரசைவர். 

சங்கநிதி¹ caka-niti, n. < id. +. One of the nine treasures of Kubēra; குபேரனது நவநிதி யுள் ஒன்று. சங்கநிதி பதுமநிதி 
சங்காத்தம் cakāttam, n. < sa-gata. 1. Friendship, intimacy, familiar intercourse; இணக்கம்.பூனைக்கும்வீட்டெலிக்குஞ்சங்காத்தமுண்டோ (தனிப்பாii, 13, 28). 2. Residence; வாசம்.துறையூரெனுந்தலத்திற்சங்காத்தங்கொண்டிருப்பாய் (தமிழ்நா62). சங்காதம்cakātam, n. < sa-ghāta. 1. Assembly, multitude, company, association,
combination; கூட்டம். (சி. சி. 1, 14, சிவாக்.)

Marathi: संघात [ saghāta ] m S Assembly or

assemblage; multitude or heap; a collection together (of things animate or

inanimate). 2 A division of the infernal regions. संघट्टणें [ saghaṭṭaē ] v i (Poetry. संघट्टन) To come into contact or

meeting; to meet or encounter. Ex. अर्ध योजन आसपास ॥ वास घ्राण देवीसीं संघटे ॥.संघट्टन [ saghaṭṭana ] n S संघट्टना f S corruptly संघठणसंघट्टणसंघष्टणसंघष्टनसंघृष्टनसंघट्ठणें n Close connection and

intercourse; intimate and familiar communication. Ex. तुका

म्हणे जिणें ॥ भलें संत संघट्टणें ॥. 2 Coming into contact with, encountering,

meeting. 3 Close contact;--as the intertwining of wrestlers, the clinging and

cleaving of lovers in their embraces &c. 4 Rubbing together, confrication.



Pali: Sanghara=saghara
[sa4+ghara] one's own house J v.222.
Sangharaa (nt.)
[=saŋharaa]
accumulation J iii.319
(dhana˚).Sangharati [=saŋharati] 1. to bring
together, collect, accumulate J iii.261; iv.36
(dhanaŋ), 371; v.383.
<-> 2. to crush, to pound Ji.493.

Pali: Sanghāa [fr. saŋ+ghaeti, lit. "binding together"; on etym. see Kern, Toev. ii.68]
1. a raft J ii.20, 332 (nāvā˚); iii.362
(id.), 371. Miln 376. dāru˚ (=nāvā˚) J v.194, 195. -- 2. junction, union VvA 233. -- 3. collection,
aggregate J iv.15 (upāhana˚); Th 1, 519 (papañca˚). Freq. as aṭṭhi˚ (cp.
sankhalā etc.) a string of bones, i. e. a skeleton Th 1, 570; DhA iii.112;
J v.256. -- 4. a weft, tangle, mass (almost="robe," i. e.
sanghāī), in tahā˚ -- paimukka M i.271; vāda˚ -- paimukka M i.383 (Neumann "defeat"); diṭṭhi˚ --
paimukka Miln 390. <-> 5. a post, in piṭṭha˚ door --
post, lintel Vin ii.120.
The standard device depicted on m0296 is comparable to the
orthography on other seals, h098 and m1408. There are many variants used to
show this sangad.a ‘lathe, portable furnace’.

On a Harappa tablet where a standing person contests with two young bulls: dula 'pair' rebus: dul 'metal casting' PLUS कोंद kōnda ‘young bull' Rebus: कोंद kōnda ‘engraver, कोंदण kōndaṇa n (कोंदणें) Setting or infixing of gems, lapidary setting or infixing gems’ (Marathi) Rebus 2: kundaṇa pure gold (Tulu) Rebus 3: kũdār, 'turner' (Bengali)

sãgaḍ ' part of a turner's apparatus.' (Gujarati) In Kashmiri, Grierson's lexicon has the following entry: sangāṭh संगाठ् । सामग्री m. (sg. dat. sangāṭas संगाटस्), a collection (of implements, tools, materials, for any object), apparatus, furniture, a collection of the things wanted on a journey, luggage, and so on. -- karun -- करुन् । सामग्रीसंग्रहः m.inf. to collect the ab. (L.V. 17).(Kashmiri). 

śagaḍī  = lathe (Gujarati) Rebus: Vajra Sanghāta 'binding together': Mixture of 8 lead, 2 bell-metal, 1 iron rust constitute adamantine glue (mentioned by Varāhamihira in Bhatsamhitā
sãgaḍ ' part of a turner's apparatus.' (Gujarati) In Kashmiri, Grierson's lexicon has the following entry: sangāṭh संगाठ् । सामग्री m. (sg. dat. sangāṭas संगाटस्), a collection (of implements, tools, materials, for any object), apparatus, furniture, a collection of the things wanted on a journey, luggage, and so on. -- karun -- करुन् । सामग्रीसंग्रहः m.inf. to collect the ab. (L.V. 17).(Kashmiri). 

śagaḍī  = lathe (Gujarati) Rebus: Vajra Sanghāta 'binding together': Mixture of 8 lead, 2 bell-metal, 1 iron rust constitute adamantine glue (mentioned by Varāhamihira in Bhatsamhitā





The dotted circles adorning the portable furnace are hypertexts: dhāī˜ (Lahnda) signifies a single strand of rope or thread. I have suggested that a dotted circle hieroglyph is a cross-section of a strand of rope: S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. Rebus: dhāˊtu n. ʻsubstance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour)ʼ; dhāūdhāv m.f. ʻ a partic. soft red stone ʼ(Marathi) தாயம் tāyamn. < dāya Number one in the game of dice; கவறுருட்ட விழும் ஒன்று என்னும் எண். Rebus: धवड (p. 436) smelter of iron, [ dhavaḍa ] m (Or धावड) A class or an individual of it. They are smelters of iron (Marathi).


Mirror: http://tinyurl.com/jkabfq6


Indus Script Copora metalwork catalogues can be called 'Proclamations by 

dhā̆vaḍ 'iron smelters' of sangara, 'maritime people of Hindoostan (Kutch)' in sangata language.'


Many homonyms, for e.g.: saṅgata संगत Association sã̄go ʻcaravanʼ संगर sangar 'trade, fortification', sangara 'proclamation', jaṅgala ʻdouble - canoeʼ, sã̄gāḍā m. ʻframe of a buildingʼ, sangara [fr. saŋ+gṛ] promise, agreement J iv.105, 111, 473; v.25, 479 (Pali) 3. jangaḍ  id. (Hindi. Gujarati.Marathi) can be related and read rebus for the hieroglyph-hypertext: sãgaḍa 'lathe, brazier'. 


Since sãgaḍa 'lathe, brazier' is one of the frequently signified hieroglyph-hypertext on Indus Script Corpora, two more homonyms are presented which appear to be the appropriate (as  signifiers of 1. the language of a people; and 2. the self-designation of the people in the maritime region of Sarasvati-Sindhu civilization. The धम्म र्संज्ञा dhamma saṁjñā 'duty signifiers' of these people by dotted circle signifies dāya 'dotted circle', dām 'rope (single strand or string?) to signify dhā̆vaḍ 'iron-smelter'.


The two homonyms read rebus are: 1. caṅkatam=saṃskṛta 2. sangara ‘people of Kutch,Hindoostan’, sangada ‘maritime country of India’.


Hieroglyph-hypertext: sãgaḍa 'lathe, brazier' rebus: sangata 'language', 

sangada 'maritime counry of India'. Thus, the Indus Script Corpora can be proclaimed as धम्म र्संज्ञा dhamma saṁjñā 'duty signifiers' of the maritime people of Hindoostan who spoke a language called sangata saṃskṛta.


The dotted circles shown on hypertext compositions of sãgaḍa 'lathe, brazier' are: dāya 'dotted circle', dām 'rope (single strand or string?) to signify 

dhā̆vaḍ  'iron-smelters'.


சங்கதம்¹ caṅkatam, n. < saṃskṛta. Sanskrit; வடமொழிசங்கத பங்கமாப்

பாகதத்தொடிரைத் துரைத்த (தேவா. 858, 2). (University of Madras. Tamil lexicon. [Madras], University of Madras, 1924-1936.) saṅgatiḥ संगतिः f. Visiting, frequenting. knowledge. Questioning for further knowledge (Apte) సంగతి san-gati. n. A circumstance, matter, case, subject, affair, business, event, occurrence: the contents of a writing. Association, junction, union, company, society. Fitness, decorum, propriety. కార్యము, వ్యవహారము. పని, విషయము, సహవాసము, సాంగత్యము, యుక్తము, యోగ్యము, సంపర్కము. అతడు చెప్పిన సంగతి ఏమంటే he stated as follows. ఈ సంగతి నాకు తెలిసి on knowing this. ఆ సంగతి నేను వినలేదు I did not hear of it. అతడు బ్రతికియుండే సంగతి చనిపోయిన సంగతి తెలియలేదు I do not know whether he is alive or dead. సంగతిని or సంగతిగా san-gati-ni. adv. Properly, fitly. యుక్తముగా, తగినట్టుగా. "పట్టు వస్త్రములు భూషణముల్ గల చందనంబులున్, సంగతిగట్టియుందొడిగి సయ్యనజూచె."ప్రసన్న రాఘవశతకము. సంగతించు san-gatinṭsu. v. n. To happen, occur. సంభవించు. ప్రసక్తించు. సంగతుడు san-gatuḍu. n. (In composition,) one who is accompanied by, or beset by. కూడుకొన్నవాడు. "అపరాహ్ణసంగతుండగుత పనుంగని ప్రొద్దుగ్రుంక దడవేగుదురీరిపులన." M. VI. ii. 341 (Telugu). 


45 Full leather Volumes, (comprising 39 text volumes, 5 plate volumes and atlas). 4to. (26.5 x 21 cm). 1107 Plates, and Atlas with 61 folded maps 16" by 10" in size.
Rees's 1819 CYCLOPAEDIA 39Vols. 6 Plate Vols.Abraham Rees, ed., 1819, The Cyclopædia: Or, Universal Dictionary of Arts, Sciences, and Literature, Volume 31, Longman, Hurst, Rees, Orme & Brown 




Image result for indus standard deviceImage result for indus cult object
The standard device depicted on m0296 is comparable to the
orthography on other seals, h098 and m1408. There are many variants used to
show this sangad.a ‘lathe, portable furnace’.


h098 Text 4256 Pict-122
Standard device which is normally in front of a one-horned bull.  m1408At
Image result for indus standard deviceFillet with Indus script hieroglyphs of dotted circles, lathe, brazier 1.Finely burnished gold fillet (headband) with holes at both ends to hold a cord. Each end is decorated with a punctuated design of standard device. 42 x 1.4 cm. Mohenjodaro Museum, MM 1366; Marshall 1931: 220.527. Pl. CXVIII, 14 (for punctuated design)
2. Detail of gold fillet with punctuated design of standard device
at both ends of the gold fillet. (After Fig. 7.32, Kenoyer, 1998)

Components: top register: lathe with pointed gimlet in churning motion; bottom register: portable furnace/crucible with smoke emanating from the surface PLUS flagpost  Line Drawing of the two-sided tablet with inscription (from Madhu Swarup Vats, 1940, Excavations at Harappa, Being an Account of Archaeological Excavations at Harappa carried out between the Years 1920-1921 and 1933-34 Results from early excavations at Harappa. )

The pictorial motif shows a standing person lifting up on his shoulder a flagstaff. eraka 'raised arm' rebus: eraka 'moltencast, copper'

Three lines of text of inscription shown on the line drawing are read rebus:

Line 1: ranku 'liquid measure' rebus: ranku 'tin'
kaṇḍa kanka 'rim of jar' rebus:  kaṇḍa 'implements' karṇīka 'steersman, supercargo, scribe'
meḍ 'body' rebus: meḍ 'iron' (Mu.Ho.) med 'copper' (Slavic)

Line 2: ketu 'thunderbolt' dula 'pair' rebus: dul 'metalcasting' kuṭilika 'bent,curved' dula 'pair' rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin). Thus, bronze metalcasting.
bhaṭa 'rimless pot' rebu: bhaṭa 'furnace' PLUS muka 'ladle' rebus; mū̃h 'ingot', quantity of metal got out of a smelter furnace (Santali)

Line 3: dula 'two' rebus: dul 'metal casting' PLUS bhaṭa 'rimless pot' rebu: bhaṭa 'furnace'; thus, metalcasting furnace.
dāṭu ‘cross’ rebus: dhatu ‘red (copper) mineral ore’ 
dula 'two' rebus: dul 'metalcasting'.

Thus, the message on the two-sided tablet with the pictorial motif of a standard deice carried aloft on a flagpost signifies: metalcasters working with tin, copper and iron (ferrite) ores, smelters, furnaces producing implements.

The Utsava bēra procession including the standard device is thus a proclamation of trade of metal artifacts.

Inscribed Tablets. Pict-91 (Mahadevan) eraka 'upraised hand' (Tamil)Rebus: eraka 'moltencast, metal infusion, copper'.khamba 'shoulder' rebus: kammaTa 'goldsmith, mint, coiner, coinage'

m0490At m0490B Mohenjodaro Tablet showing Meluhha combined standard of three standards carried in a procession, comparable to Tablet m0491.  The hieroglph multiplex: sãgaḍ 'lathe, portable furnace' PLUS a standing person with upraised arm: eraka 'upraised arm' rebus: eraka 'moltencast (metal)'.
m0490At m0490Bt Tablet showing Meluhha combined standard of four standards carried in a procession, comparable to Tablet m0491. m0491 This is a report on the transition from lapidary to bronze-age metalware in ancient Near East. 
Image result for indus cult object
Two Mohenjo-daro tablets showing a procession of four standard bearers; the four standards are: lathe, one-horned young bull; scarf; spoked-circle (knave + spokes). All four are hieroglyphs read rebus related to lapidary/smith turner work on metals and minerals (copper 'eraka', brass 'ara', dhatu 'ores')

eraka 'nave of wheel' Rebus: moltencast copper
dhatu 'scarf' Rebus: mineral ore dhāūdhāv m.f. ʻa partic. soft red stoneʼ (Marathi)  (whence dhā̆vaḍ m. ʻa caste of iron -- smeltersʼ, dhāvḍī ʻ composed of or relating to iron ʼ)
kōnda 'young bull' Rebus: turner
sãgaḍ 'lathe' Rebus: sangara proclamation
kanga 'portable brazier' Rebus: fireplace, furnace
Glyphic element: erako nave; era = knave of wheel. Glyphic element: āra ‘spokes’. Rebus: āra ‘brass’ as in ārakūṭa (Skt.) Rebus: Tu. eraka molten, cast (as metal); eraguni to melt (DEDR 866) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tulu) The same spoked-wheel hieroglyph adorns the Dholavira Sign-board.

āra 'spokes' Rebus: āra 'bronze'. cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) Glyph: eraka


Read with sãghāṛɔ, sãgaḍ 'lathe' PLUS māṇi 'broad-mouthed pot (bottom register), the hieroglyph multiplex reads rebus:  saṁghāṭa māna 'alloying, cementite (adamantine glue) standard' -- described by Varahamihira in archaeometallurgical tradition as vajrasaṁghāṭa. The lathe on the Indus Script Corpora of Sarasvati-Sindhu (Hindu) civilization is used by the lapidary-smith for fitting and joining of wood and metal:

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; Ku. sĩgāṛ m. ʻ doorframe ʼ; N. saṅār, siṅhār ʻ threshold ʼ; Or. saṅghāṛi ʻ pair of fish roes, two rolls of thread for twisting into the sacred thread, quantity of fuel sufficient to maintain the cremation fire ʼ; Bi. sĩghārā ʻ triangular packet of betel ʼ; H. sĩghāṛā m. ʻ piece of cloth folded in triangular shape ʼ; G. sãghāṛɔ m. ʻ lathe 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.Md. an̆goḷi ʻ junction ʼ?(CDIAL 12859)saṁghātá m. ʻ close union, mass ʼ TS., ʻ closing (a door) ʼ VS., ʻ dashing together ʼ MBh. [Cf. saṁhata<-> with similar range of meanings. -- ghāta -- ]Pa. saṅghāta -- m. ʻ killing, knocking together ʼ; Pk. saṁghāya -- m. ʻ closeness, collection ʼ; Or. saṅghā, saṅgā ʻ bamboo scaffolding inside triangular thatch, crossbeam of thatched house, copulation (of animals) ʼ; -- adj. ʻ bulled (of a cow) ʼ < *saṁghātā -- or saṁhatā -- ?(CDIAL 12862)

सं-घात  a company of fellow-travellers , caravan VP.
सं-घात (in gram.) a compound as a compact whole (opp. to its single parts) Ka1s3. on Pa1n2. 2-3 , 56; a vowel with its consonant (opp. to वर्ण , " a letter ") , Ka1ty.
सं-घात (in dram.) a partic. gait or mode of walking W.
सं-घात a [p= 1122,3] any aggregate of matter , body Bhag. Pur.; intensity R. Sus3r.; compressing , condensation , compactness , hardening Ya1jn5. Hariv. Sus3r. VarBr2S. close union or combination , collection , cluster , heap , mass , multitude TS. MBh. &c m. (rarely n. ; ifc. f(आ).) striking or dashing together , killing , crushing MBh. Sus3r. combat , war , battle VS. Ka1t2h. MBh. N. of a division of the infernal regions 

संहति [p= 1122,3] (cf. संहात) Ya1jn5. Buddh. f. striking together , closure Ka1v. S3a1rn3gS.compactness , solidity MBh. VarBr2S.thickening , swelling S3a1rn3gS.keeping together , saving , economy Ka1v.firm union or alliance , junction , joint effort , close contact or connection with (instr.) Ka1v. Pur. Ra1jat.a compact mass , bulk , heap , collection , multitude Ka1v. Katha1s. and C. सं-हत [p= 1122,3] mfn. struck together , closely joined or united with (instr.) , keeping together , contiguous , coherent , combined , compacted , forming one mass or body A1s3vS3r. Mn. MBh. &c accompanied or attended by (instr.) Mn. vii , 165become solid , compact , firm , hard MBh. Ka1v. &cstrong-limbed , athletic MBh.strong , intensive VarBr2S. (prob.) complex , composite , compound (said of a partic. tone and odour) MBh.n. a partic. position in dancing , Sam2gi1t.


Three Mohenjo-daro inscritpions signify warehouse of iron metalcasting mint workshop of a goldsmith

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m91m1101
https://tinyurl.com/y3a4q9nq













 m393 

The field symbol of seal m91 is spiny-horned young bull PLUS standard device. The field symbol is read rebus as khonda singi 'young bull, spiny-horned' rebus: kunda, konda 'fire-altar'; kunda 'fine gold' PLUS singi 'ornament gold' PLUS सांगड   sāṅgaḍa m f (संघट्ट S) f A body formed of two or more (fruits, animals, men) linked or joined together. rebus: sangarh 'fortification' PLUS the joined together parts as hieroglyphs: kunda 'lathe' rebus: kuna 'fine gold' PLUS kammata 'portable furnace' rebus: kammaTa 'mint, coiner, coinage'.  Thus, the field symbol of m91 is a fortified mint of fine gold, ornament gold..

From these Indus Script inscriptions (m91, m1101 and m393, the folllwing hypertexts are given as examples of multiple arms of deva (in Sullivan's readings of the inscriptions).:

Sullivan tries to explain the hieroglyphs as deva with multiple arms. An alternative reading in Meluhha rebus metalwork categories is presented in this monograph.

m393 has a hypertext  which is composed of Sign 150 ligatured with harrow hieroglyph and two splinters on top and bottom registers of Sign 150.

This composition is read rebus: dATu 'cross' rebus: dhatu 'mineral ore' PLUS 
Hieroglyph: harrow: maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ 'iron'. Thus, iron ore workshop (for iron casting) is signified with the addition of " splinter sal 'splinter' rebus: sal 'workshop' PLUS dula 'duplicated splinter' rebus: dul 'metal casting'. Thus, iron casting workshop is signified.

m1101. This seal shows a hypertext Sign 393.
  The Sign 393 is composed of the hieroglyphs: " splinter hieroglyph; arch hieroglyph' spoked wheel hieroglyph.
Sign 391 Spoked wheel hieroglyph.

Arch hieroglyph: manḍa 'arbour,canopy' Rebus:  maNDA 'warehouse, workshop' (Konkani)\

M. mã̄ḍav m. ʻ pavilion' maṇḍa6 ʻ some sort of framework (?) ʼ. [In nau -- maṇḍḗ n. du. ʻ the two sets of poles rising from the thwarts or the two bamboo covers of a boat (?) ʼ ŚBr. (as illustrated in BPL p. 42); and in BHSk. and Pa. bōdhi -- maṇḍa -- n. perh. ʻ thatched cover ʼ rather than ʻ raised platform ʼ (BHS ii 402). If so, it may belong to maṇḍapá -- and maṭha -- ] Ku. mã̄ṛā m. pl. ʻ shed, resthouse ʼ (if not < *mã̄ṛhā < *maṇḍhaka -- s.v. maṇḍapá -- ).(CDIAL 9737) maṇḍapa m.n. ʻ open temporary shed, pavilion ʼ Hariv., ˚pikā -- f. ʻ small pavilion, customs house ʼ Kād. 2. maṇṭapa -- m.n. lex. 3. *maṇḍhaka -- . [Variation of ṇḍ with ṇṭ supports supposition of non -- Aryan origin in Wackernagel AiGr ii 2, 212: see EWA ii 557. -- Prob. of same origin as maṭha -- 1 and maṇḍa -- 6 with which NIA. words largely collide in meaning and form]1. Pa. maṇḍapa -- m. ʻ temporary shed for festive occasions ʼ; Pk. maṁḍava -- m. ʻ temporary erection, booth covered with creepers ʼ, ˚viā -- f. ʻ small do. ʼ; Phal. maṇḍau m. ʻ wooden gallery outside a house ʼ; K. manḍav m. ʻ a kind of house found in forest villages ʼ; S. manahũ m. ʻ shed, thatched roof ʼ; Ku. mãṛyāmanyā ʻ resthouse ʼ; N. kāṭhmã̄ṛau ʻ the city of Kathmandu ʼ (kāṭh -- < kāṣṭhá -- ); Or. maṇḍuā̆ ʻ raised and shaded pavilion ʼ, paṭā -- maṇḍoi ʻ pavilion laid over with planks below roof ʼ, muṇḍoi˚ḍei ʻ raised unroofed platform ʼ; Bi. mã̄ṛo ʻ roof of betel plantation ʼ, mãṛuāmaṛ˚malwā ʻ lean -- to thatch against a wall ʼ, maṛaī ʻ watcher's shed on ground without platform ʼ; Mth. māṛab ʻ roof of betel plantation ʼ, maṛwā ʻ open erection in courtyard for festive occasions ʼ; OAw. māṁḍava m. ʻ wedding canopy ʼ; H. mãṛwā m., ˚wī f., maṇḍwā m., ˚wī f. ʻ arbour, temporary erection, pavilion ʼ, OMarw. maṁḍavomāḍhivo m.; G. mã̄ḍav m. ʻ thatched open shed ʼ, mã̄ḍvɔ m. ʻ booth ʼ, mã̄ḍvī f. ʻ slightly raised platform before door of a house, customs house ʼ, mã̄ḍaviyɔ m. ʻ member of bride's party ʼ; M. mã̄ḍav m. ʻ pavilion for festivals ʼ, mã̄ḍvī f. ʻ small canopy over an idol ʼ; Si. maḍu -- va ʻ hut ʼ, maḍa ʻ open hall ʼ SigGr ii 452.

2. Ko. māṁṭav ʻ open pavilion ʼ.3. H. mã̄ḍhāmāṛhāmãḍhā m. ʻ temporary shed, arbour ʼ (cf. OMarw. māḍhivo in 1); -- Ku. mã̄ṛā m.pl. ʻ shed, resthouse ʼ (or < maṇḍa -- 6?]
*chāyāmaṇḍapa -- .Addenda: maṇḍapa -- : S.kcch. māṇḍhvo m. ʻ booth, canopy ʼ.(CDIAL 9740)

ara 'spokes' rebus: ara 'brass';cf. erka = ekke (Tbh of arka), aka (Tbh. of arka 'copper (metal), crystal' (Kannada); expanded in expression agasale as goldsmith workshop. erako 'moltencast copper' Splinter as duplicate: dula 'pair' rebus: dul 'metal casting'. THus, copper, brass casting, work in gold. The field symbol zebu signifies: पोळा [ pōḷā ] 'zebu, bos indicus taurus' rebus: पोळा [ pōḷā ] 'magnetite, ferrite ore'. Thus, the inscription m1101 is a metalwork catalogue of a goldsmith working with magnetite ferrite ore, metal castings of copper, brass and indicating a goldsmith's workshop.

Earliest depiction of a multiple limbed deva: two heads, four arms, four legs. Decipherment according to Sue Sullivan's book "Indus Script Dictionary".First posted by Wim Borsboom in 2011.
Image may contain: text
Hieroglyph: harrow: maĩdʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ 'iron'
 This sign 172 is read rebus as: dula 'pair' rebus: dul 'metal casting' PLUS maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ 'iron'. Thus, together, read rebus as: dul mẽṛhẽt cast iron -- attested as a Santali expression meaning 'cast iron'..

Sign 403 is a duplication of Sign 373;
 Sign 407 is a duplication Sign 373 with an inlaid slanted
dula 'pair' rebus: dul 'metal casting' PLUS  mũhã̄ 'bun ingot' Sign 373 has the shape of oval or lozenge is the shape of a bun ingot. mũhã̄ = the quantity of iron produced at one time in a furnace. PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot'. Thus, Sign 407 is read as: mũhã̄ dhāḷako 'bun- or oval-shaped ingot'.
aya 'fish' rebus: ayas 'alloy metal' PLUS dhal 'slanted' rebus: dhalako 'large metal ingot'.. Thus the Sign 59 with an infix of slant signifies large alloy metal ingot.
pajhaṛ = to sprout from a root (Santali); Rebus:pasra'smithy, forge' (Santali)
Duplicated Sign 171 is Sign 172 PLUS lozenge shape: muh rebus: muh 'ingot'. Thus the ligatured hypertext, 5th sign from right reads: ingot smithy. The last sign reads pajhar 'sprout' rebus: pasra 'smithy, forge'.
Text 310 m0391

m0391  List of workshop supercargo items:  smithy/forge metal ingots, metal castings, bronze castings, metal castings with minerals, Supercargo, scribe, account. Bronze metal castings, bronze and alloy metal ingots,  Ingot smithy, guild.

kolom 'sprout, rice plant' Rebus: kolimi 'smithy, forge' pajhar 'sprout' rebus: pasra 'smithy'

  mū̃h ‘ingot’ (Santali) dula 'pair' Rebus: dul 'cast metal' Thus, cast metal ingot.

Notes: dula 'pair' Rebus: dul 'cast metal' Ellipse is split into two curves of parenthesis:  (  ) Thus, dula 'cast metal' signified by the curves joined into an ellipse. 
dula ‘pair’ Rebus: dul ‘cast (metal)’ PLUS kana, kanac = corner (Santali); Rebus: kañcu = bronze (Telugu) Thus, cast bronze or bronze casting.

dATu 'cross' rebus: dhatu 'mineral' PLUS  N. dã̄t (< *dã̄d in N. dã̄de ʻ harrow' rebus: dhatu 'mineral' (Thus, a phonetic determinative) PLUS dula 'two' rebus: dul 'metal casting'. Together, the hypertext reds; dul dhatu 'metal casting with minerals'.

kanka, karNaka 'rim of jar' rebus: karNI 'supercargo, scribe, account' 

dula 'pair' rebus: dul 'metal casting' PLUS kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) PLUS mū̃h ‘ingot’ (Santali) Thus, cast bronze ingots.

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

ayo 'fish' rebus: aya 'iron' ayas 'metal' PLUS DhAL 'slanted' rebus ḍhāḷako 'large ingot' .Thus, alloy metal ingot.


  mū̃h ‘ingot’ (Santali) PLUS (infixed) kolom 'sprout, rice plant' Rebus: kolimi 'smithy, forge' Thus, ingot smithy 

kanac 'corner' rebus: kancu 'bronze' PLUS sal 'splinter' rebus: sal 'workshop' Thus, bronze workshop.
kAru 'pincer' rebus: kAru 'artisan'
Or. khura ʻ hoof, foot ʼ, °rā ʻ hoof, leg ʼ; Mth. khūr, khurī ʻ hoof ʼ, Bhoj. khur; H. khur m. Rebus:khũṭ 
‘community, guild’ (Santali)

 

https://tinyurl.com/y6thjmw8

This is an addendum to:
Khirsara provides archaeometallurgical evidence of 
1. rudimentary, practical knowledge of litharge, 2. metaphor of Samudramanthanam narrative and 3. an evolutionary History of Hindu Chemistry


Thanks to Nirjhar Mukhopadhyaya for identifying the continuity of an Indus Script hieroglyph on punch-marked coins on this Facebook post:

Harappan seal from Khirsara with Indus script symbols. Note the symbol in the circle, now the same symbol occurs in later punch-marked coins of Magadha Janapada. Keezhadi isn't the only site with symbols resembling Indus signs. Via A.S.
See also: https://www.facebook.com/groups/416065382227600/permalink/694801307687338/


Posted  by                                                                                            Rebus Meluhha readings of Khirasaratablet:                                                                                                                                     
Hieroglyph: harrow: maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ 'iron'
pajhaṛ = to sprout from a root (Santali); Rebus:pasra 'smithy, forge' (Santali)
Sign 403 is a duplication of Sign 373; Sign 407 is a duplication Sign 373 with an inlaid slanted stroke.dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot'
dula 'pair' rebus: dul 'metal casting' PLUS  mũhã̄ 'bun ingot' Sign 373 has the shape of oval or lozenge is the shape of a bun ingot. mũhã̄ = the quantity of iron produced at one time in a furnace. PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot'. Thus, Sign 407 is read as: mũhã̄ dhāḷako 'bun- or oval-shaped ingot'.
 Variant of Sign 247 This is explained as 'four divisions' with inlaid 'notch' hieroglyph. खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā 'tools, pots and pans' This is a semantic determinative of four divisions of a square: khaṇḍa 'division', gaṇḍa 'four' rebus: hāṇḍā 'tools, pots and pans' 

Duplicated harrow: Duplicated Sign 171 is Sign 172
 This sign 172 is read rebus as: dula 'pair' rebus: dul 'metal casting' PLUS maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ 'iron'. Thus, together, read rebus as: dul mẽṛhẽt cast iron -- attested as a Santali expression meaning 'cast iron'..


aya 'fish' rebus: ayas 'alloy metal'
harrow: maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ 'iron'

ato 'claws or pincers (chelae) of crabs'; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; Rebus: dhatu 'mineral ore'.

Thus, the Khirasara tablet signifies a metalwork catalogue of a smithy/forge:

dhatu 'mineral ore'
mẽṛhẽt, meḍ 'iron'
ayas 'alloy metal'
dul med 'cast iron'.
खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā 'tools, pots and pans' This is a semantic determinative of four divisions of a square: khaṇḍa 'division', gaṇḍa 'four'rebus: hāṇḍā 'tools, pots and pans' 
mũhã̄ dhāḷako 'bun- or oval-shaped ingot'.
pasra 'smithy, forge' 

This explains why the square divided into four segments with an inlaid 'notch' hieroglyph continues to be used on punch-marked coins of mints.


Tablet Indus Script inscription details helmsman's kauṭilikḥ कौटिलिकः cargo of furnace brass metalwork

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Body, spread legs

mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.)  कर्णक kárṇaka, kannā 'legs spread', karaṇī 'scribe, supercargo', kañi-āra 'helmsman'. कर्णक m. du. the two legs spread out AV. xx , 133 , 3

gaṇḍa ‘four’ (Santali); Rebus: kaṇḍa ‘furnace’ (Santali)




baṭa 'rimless pot' rebus: baṭa 'iron' bhaṭa 'furnace'




Sign 287       88 Sign 287 'curve' hieroglyph and 'angle' hieroglyph (as seen on lozenge/rhombus/ovalshaped hieroglyphs). The basic orthograph of Sign 287 is signifiedby the semantics of: kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass'  Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl°lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ.(CDIAL 2984) कौटिलिकः kauṭilikḥ कौटिलिकः 1 A hunter.-2 A blacksmith

 I suggest that Sign 293 is a variant of Sign 287 with emphasis on the curved nature of the line which signifies kuṭila ‘bent’. 

Sign 307       69 Arrow PLUS bow: kaṇḍa ‘arrow’ (Skt.) H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers (CDIAL 3024). Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ) Rebus: khaṇḍa, khāṇḍā ‘tools, pots and pans, metal-ware’. kanda 'fire-altar' PLUS  kamaṭha m. ʻ bamboo ʼ lex. 2. *kāmaṭha -- . 3. *kāmāṭṭha -- . 4. *kammaṭha -- . 5. *kammaṭṭha -- . 6. *kambāṭha -- . 7. *kambiṭṭha -- . [Cf. kambi -- ʻ shoot of bamboo ʼ, kārmuka -- 2 n. ʻ bow ʼ Mn., ʻ bamboo ʼ lex. which may therefore belong here rather than to kr̥múka -- . Certainly ← Austro -- as. PMWS 33 with lit. -- See kāca -- 3] 1. Pk. kamaḍha -- , °aya -- m. ʻ bamboo ʼ; Bhoj. kōro ʻ bamboo poles ʼ.2. N. kāmro ʻ bamboo, lath, piece of wood ʼ, OAw. kāṁvari ʻ bamboo pole with slings at each end for carrying things ʼ, H. kã̄waṛ°arkāwaṛ°ar f., G. kāvaṛ f., M. kāvaḍ f.; -- deriv. Pk. kāvaḍia -- , kavvāḍia -- m. ʻ one who carries a yoke ʼ, H. kã̄waṛī°ṛiyā m., G. kāvaṛiyɔ m.3. S. kāvāṭhī f. ʻ carrying pole ʼ, kāvāṭhyo m. ʻ the man who carries it ʼ.
4. Or. kāmaṛā°muṛā ʻ rafters of a thatched house ʼ;G. kāmṛũ n., °ṛī f. ʻ chip of bamboo ʼ, kāmaṛ -- koṭiyũ n. ʻ bamboo hut ʼ.
5. B. kāmṭhā ʻ bow ʼ, G. kāmṭhũ n., °ṭhī f. ʻ bow ʼ; M. kamṭhā°ṭā m. ʻ bow of bamboo or horn ʼ; -- deriv. G. kāmṭhiyɔ m. ʻ archer ʼ.
6. A. kabāri ʻ flat piece of bamboo used in smoothing an earthen image ʼ.7. M. kã̄bīṭ°baṭ°bṭīkāmīṭ°maṭ°mṭīkāmṭhīkāmāṭhī f. ʻ split piece of bamboo &c., lath ʼ.(CDIAL 2760)This evokes another word:  kamaḍha 'archer' Rebus: kammaṭa 'mint, coiner' . Thus, Sign 307 is read as bow and arrow rebus: khaṇḍa kammaṭa 'equipment mint' (See Sign 281)



Sign 28         50 This is a composite of Sign 307 khaṇḍa kammaṭa 'equipment mint' PLUS

Sign 1  Together, read as 'Archer':kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Skt.lex.) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)

Notch 
खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā 'tools, pots and pans, metal-ware'.


Four short linear strokes repeated thrice:

Sign 121       70 Read as a variant of Sign 112: Four count, three times: gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware' PLUS

||| Number three reads: kolom 'three' rebus: kolami 'smithy, forge'. Thus,the hypertext of Sign 104 reads: kolami khaṇḍa 'smithy/forge (for) implements.'

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

 
  examples of 'warrior' hieroglyphs.




bhaṭa'warrior' rebus: bhaṭa'furnace'..

Itihāsa. Urdu is an Indian language -- Anju Agnihotri Chaba

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Explained: Why Urdu is an Indian language, not a foreign language

Urdu (/ˈʊərd/; Urduاُردُو‎ ALA-LC: Urdū [ˈʊrduː] (About this soundlisten)) (also known as Lashkari,[14][15] locally written لشکری [lʌʃkɜ:i:])  https://en.wikipedia.org/wiki/Urdu

According to the Urdu Language experts, the origin of the language had taken place in India several centuries back and the names of three places-all in India- are quoted in the historical references where this language had developed and got flourished with different names.

Written by Anju Agnihotri Chaba |Edited by Explained Desk |Jalandhar |Updated: October 4, 2019 5:11:24 pm
Explained: Why Urdu is an Indian language, not a foreign languageThe Indian Express tries to Explain that why ‘Urdu’ language is an Indian and not a foreign language. (Illustration by Suvajit Dey)

Recently Punjab University, Chandigarh, had proposed to merge Department of Urdu language with school of foreign languages to be set up after merging departments of French, Russian, German, Chinese and Tibetan. The move earned huge criticism from the department of Urdu of the same university and Punjab Chief Minister Captain Amarinder Singh also objected to this move of PU and said that Urdu is an Indian language like any other Indian language. The Indian Express tries to explain why ‘Urdu’ language is an Indian and not a foreign language:
What is the origin of Urdu Language?
According to the Urdu Language experts, the origin of Urdu language had taken place in India several centuries back and the names of three places-all in India- are quoted in the historical references where this language had developed and got flourished with different names.
Assistant Professor and Coordinator of Department of Urdu Punjab University, Chandigarh, Prof. Ali Abbas, said that all the historical references indicate that origin of Urdu had taken place in Punjab state of India and the great poet Ameer Khusro, in his book ‘Ghurrat-ul- Kamal’ had written that Masood Lahori (Masood Saad Salman), a renowned poet who was born in Lahore in 11th century) had composed poetry in Hindvi (Urdu), which is also called Dehlavi. This shows that Urdu was very much originated from Punjab as Lahore was the part of greater Punjab only before partition. The subject, object, auxiliary, verb, grammar, tenses of Urdu are very much Indian and like the Hindi language. “Even if it has derived some root words from Persian and Arabic languages then they were changed into Urdu language in India,” he stressed.
He said before it is called Urdu, it was familiar with other names including Hindustani, Hindavi, Dehlavi and Rekhta.
He also mentioned that we write it from right to left but the same was the case of Punjabi Shahmukhi language which was also written right to left.


“Despite its Persian script, Urdu is an Indian language because there are several examples of great Indian languages which are written in scripts derived from outside the country,” informed he. For instance, Punjabi Shahmukhi language is also written in Persian Script.
How it got developed and flourished and where?

Experts said that as per the historical references after its origin in Punjab, Urdu got developed and flourished in Delhi along with part of Haryana state and some states in South where it was developed in the form of ‘Dakhni (Deccani) language’.
Historians said that it had developed and flourished in Delhi during the period of ‘Delhi Sultanate’ from 12th to 16th century and then during the period of ‘Mughal Empire’ in Delhi from 16th century to 19th century when several court poets used this language in their great poetry and writings. And then it was also developed in Deccan states.

What is its connection with Deccan India?

When Delhi Sultanate and then Mughal Empire spread its wings towards the Deccan, Urdu speaking people of Delhi spread the language in South where it got developed and flourished in Dakhan (Deccan) states mainly in Karnataka, nowadays Telangana, part of Kerala and Tamil Nadu and Maharashtra. “The language derived even local words of the local languages of those states and developed it as a ‘Dakhni’ language which was a bit distinctive of Urdu language in North,” said experts, who added that when Delhi Sultanate emperor Muhammad –bin-Tughlaq had decided to move his capital from Delhi to Daulatabad or Devagiri or Deogiri ( a present-day Aurangabad) in 1327 in Maharasthra along with the migration of Delhi’s people, the several Urdu speaking people of Delhi spread its usage in Maharasthra for seven years till the capital of Delhi Sultanate was not reversed to Delhi in 1334. Also, the language got evolved gradually and several new words, which were not used in Northside, became part of Urdu.

“During Bahamani Sultanate in Deccan from 14th to 16th century mainly in Maharasthra, Karnataka and Telangana, Urdu got flourished a lot as several scholars, who were the part of Deccan Sultanate used Urdu and local words which further got spread in other parts like Ahmednagar, Bijapur, Bidar and Golkonda (now in Telangana),” said Prof. Abbas, adding that there is no reference of origin of Urdu in any other part outside India.

“Even Golkonda ruler Muhammad Quli Qutub Shah, a great scholar of Urdu, Persian and Telugu, has a credit of Being first Saheb-e-Dewan (Urdu Poet) and credited to develop ‘Hindustani’ into a new version,” he added.

What is Urdu’s official status in India?

It is one of the officials’ languages under the Constitution of India, it is among the 15 Indian Languages written on the Indian Currency notes. It is one of the official languages in states like Kashmir, Telangana, UP, Bihar, New Delhi and West Bengal.
In Punjab, all old records in the Revenue Department are available in Urdu language only.
Several million in Indian speak this language besides it has great impact on around four dozen cities and regions where it is spoken widely.

Post-independence much attention was not given to the language and several states where Urdu was a compulsory subject in school curriculum was no more a compulsory subject now.

What are the famous Urdu words we speak daily?

Kanoon (Law) Darwaza (Door), Kismat (Destiny), Akhbar (News Paper), Taarikh (Date),Azadi (freedom), Imaarat (Building), Hukum (Command), Bahadur (Bold), Havaa (Air), Kitaab (Book), Gunah (Crime), Aurat (Woman), Dil (Heart), Dosat (Friend), Shukriya (Thank You) etc.

https://indianexpress.com/article/explained/explained-why-urdu-is-an-indian-language-not-a-foreign-language-6053664/

Itihāsa. No DNA evidence in India of Central Asia people -- Niraj Rai

"Tin artefacts from Israel largely match tin from Cornwall and Devon (Great Britain)"-- How did they get inscribed/embossed with Indus Script inscriptions?

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I have posted the following comment on PLOS One: Deeply impressed by the painstaking efforts of the research team. Hearty congratulations for path-breaking research work.
Begemann, Friedrich & SCHMITT-STRECKER, S. (2009). Über das frühe Kupfer Mesopotamiens. Iranica Antiqua. 44. 1-45. 10.2143/IA.44.0.2034374. A lead isotope study »On the Early copper of Mesopotamia have reached the following conclusion: "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 3 rd millennium BC) but they never make up more than 50% of the total. They are distinguished in their lead isotopy by very high 206 Pb-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 distinguished in their lead isotopy by very high 206 Pb-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 have shown that the pair of Meluhha merchants shown on Shu-ilishu Cylinder seal were merchants of copper and tin.This is consistent with the findings of Friedrich Begemann's finding that the source of copper in Ancient Near East (Mesopotamia) was Gujarat and Rajasthan (Khetri mines). Citation: Three tin ingots of Haifa shipwreck with Indus (Sarasvati) hieroglyphs reinforce the Meluhha rebus reading ranku dhatu mũh, ‘tin mineral-ore ingot’ https://tinyurl.com/yxckubfd Mirror: https://bharatkalyan97.blogspot.com/2019/10/three-tin-ingots-of-haifa-shipwreck.html This will appear as an addendum to my earlier article and as a communication in Journal of Indo-Judaic Studies 17 (Florida International University).The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” By S. Kalyanaraman in: Journal of Indo-JudaicStudies Volume 1: Number 11 (2010), pp. 47-74.)

Is it possible that tin was mediated by Meluhha merchants who inscribed/embossed Indus Script on pure tin ingots obtained from Ancient Far East? (This is the largest tin belt of the globe).

Inscribed tin ingot with a moulded head, from Haifa (Artzy, 1983: 53). (Michal Artzy, 1983, Arethusa of the Tin Ingot, Bulletin of the American Schools of Oriental Research, BASOR 250, pp. 51-55) https://www.academia.edu/5476188/Artzy-1983-Tin-Ignot This figure indicates the head of a woman as a hieroglyph. Some scholars have suggested that this signifies Arethusa. (See the image on the links I have provided). Some scholars have suggested that this signifies Arethusa. (See the image on the links I have provided).

I have suggested the head of a woman is read in Meluhha as muh 'face' rebus: muh 'ingot'.

In this context, an aspect for further researches is the possibility of the major tin source for Ancient Near East was from Ancient Far East.. Mekong, Irrawaddy/Salween Himalayan river basins which have accumulated cassiterite placer deposits grinding down granite rocks.

Shouldn't the ancient samples of cassiterite placer deposits from these river basins be analysed for lead isotopes and other ingredients/indicators which may indicate provenance of Bronze Age tin of Ancient Near East AND also explain the presence of Indus Script inscriptions on the three tin ingots of Haifa shipwreck. placer deposits grinding down granite rocks?

Shouldn't the ancient samples of cassiterite placer deposits from these river basins been analysed for lead isotopes and other ingredients/indicators which may indicate provenance of Bronze Age tin of Ancient Near East AND also explain the presence of Indus Script inscriptions on the three tin ingots of Haifa shipwreck.

S. Kalyanaraman, Ph.D., D.Litt. Sarasvati Research Center.

Groundbreaking study: Ancient tin ingots found in Israel were mined in England

Enigma of origins of Bronze Age Levant’s tin supply solved through isotope and chemical composition analysis that shows 13th–12th century BCE tin bars likely came from Cornwall

Itihāsa. Dravidian Connections with the Harappan Civilization and the Rigveda -- SG Talageri

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Friday, 4 October 2019

Dravidian Connections with the Harappan Civilization and the Rigveda.

Is there any Dravidian connection with the Rigveda or with the Harappan civilization in the northwest of India? This is an extremely contentious and controversial issue which arouses passion and rhetoric on all sides. It has been a central political claim of the Dravidianist movement in India that the Harappan Civilization was a Dravidian speaking civilization. This claim was not however initiated by them. It was initiated by western academic scholars and Indologists as a natural corollary of the Aryan Invasion Theory (AIT) which had "Aryans" (Indo-European speakers) invading  or migrating into India around 1500 BCE. Anything found in India before that date could only be "non-Aryan", and when the Harappan sites were discovered at the beginning of the 20th century and found to be datable to as far back as the fourth millennium BCE with roots going much further back in the area, it automatically became "non-Aryan"; and for many reasons, the Dravidian language family seemed the most logical "non-Aryan" candidate.

The AIT itself was based on what the linguists and Indologists claimed or believed to be a logical interpretation of the linguistic data: that the Indo-European languages had originated in the Steppes. It was not however a genuine interpretation of the actual linguistic data, but an extremely myopic and predetermined analysis and interpretation which selected convenient pieces of data and ignored inconvenient ones, and then force-fitted conclusions which actually went directly opposite to what was shown by even that conveniently selected data! That is an issue which will have to be handled in a separate article to bring together in one place all the linguistic evidence, most of which is scattered over my various books and articles and will require to be brought together (with some new inputs) to show the true linguistic position.

The AIT is now as dead as a dodo, regardless of whether its proponents accept it or not - in time (except for the most die-hard cranks among them) they will be left with no option but to accept it. There are basically only three  scientific disciplines which can help in analyzing and solving the problem of the Original Homeland of the Indo-European language family: Linguistics, Archeology (and related disciplines) and Textual Analysis. The data and evidence in all these three disciplines now irrefutably establishes that the Indo-European Homeland was in North India, and that the migrations of the speakers of the eleven other Indo-European dialects from India took those dialects, which became the eleven known branches, to their historical habitats. All this evidence is given in my books and other articles. Recent desperate attempts to abandon these three scientific disciplines and claim evidence for the AIT on the basis of "genetic" data and evidence has been blown to bits in my recent book "Genetics and the Aryan debate" and my recent blog article "Rakhigarhi and After". So I will not go into or repeat all that again here in this article.

I have proved in full detail in my books and articles that the Mature Harappan civilization is identical with the New Rigvedic civilization, roughly datable from 2600-1700 BCEHere in this article I will only go into the question of whether or not there is any connection between the Dravidian languages on the one hand and the Harappan Civilization and the Rigveda on the other.
There are allegations of a Dravidian "substrate" in the Rigveda, indicating that the Harappan people of the area originally spoke Dravidian languages until they were supplanted by "Aryan" invaders (who borrowed some words from the Dravidian languages) or were themselves converted to Indo-European speech (retaining some Dravidian words in their adopted language). Here we will only investigate whether there are indeed any Dravidian words in the Rigveda, and if so exactly what they actually indicate.

Three points to keep in mind:

1. When there are two similar-sounding words, with the same or a closely related meaning, in two languages which are not related to each other (and therefore the two words cannot be cognate or related words from a common ancestral source) and which have not borrowed from a common third source or related third sources (e.g. from English or Sanskrit or Arabic, or one from Spanish and the other from Italian), it can mean that the word was originally found in one of the two languages and the other language has received that word from the first language. In such cases, the word is usually an adstrate word (an extraneously  borrowed word).
It can be called a substrate word only in a special circumstance: when the speaker of the second language is known to have come from some other place, and either all the local people who were originally speakers of the first language have completely switched over to the second language and this word is a carryover from the original (i.e. the first) language. When Indians intersperse some  English words in speaking their mother-tongues, or some words from their living mother-tongue in speaking English, these cannot be called substrate words.

2. Sometimes, the similarity in sound and meaning can be deceptive. Take the three following words in Tamil and English as examples:
eṭṭu = eight.
maṇ = mud.
veṭṭri = victory.
Here the concerned Tamil and English words are not related to each other, nor is one borrowed from the other.
Similarity situations of this kind give much scope for manipulation and fake claims, and for extremely selective and convenient acceptance and rejection of the linguistic-cognate principle: thus, for example, Mallory and Adams tell us that one of the four words which prove Semitic influence on Proto-Indo-European in the formative period is the word for the number "seven": "Proto-Indo-European *septṁ 'seven': Proto-Semitic *sab'atum", and that this shows geographical proximity between the two proto-languages in or near West Asia. However, the linguists firmly refuse to even consider the evidence of the similarity of the first four numbers in Proto-Indo-European (*sem, *dwōu/*dwai, *tri and *qwetworand Proto-Austronesian (*esa, *dewha, *telu and *pati/*epati) in locating the PIE Homeland in the east: the first four numbers in Malay are sa/satu 'one', dua 'two', tiga 'three', epat 'four'. The dua and tiga need no explanation for an Indo-European speaker; for the other two, we have Tocharian sas/se 'one', Romanian patru 'four', Welsh pedwar 'four'.

3. But the manipulation goes much further. Finding "non-Aryan" names in the Rigveda is vital for perpetuating the narrative of "non-Aryan" natives vs. "Aryan invaders", and therefore hunting out "non-Aryan names" and words in the Rigveda has become a massive cottage industry in the field of Indo-European studies.
In my first two books, in 1993 (pp.266-291) and 2000 (pp.345-362), I have shown the extremely and unbelievably absurd extent to which various AIT-promoting writers can go to in discovering "non-Aryans" (i.e. non-Indo-Europeans) in the Rigveda:
To begin with, the most popular candidates for the "non-Aryan" identity are dāsasdasyusasuraspaṇisyakṣaspiśācas and gandharvas, and the individual demons of the air (VṛtraŚuṣṇaŚambaraValaPipruNamūciCumuriDhuniVarcinAurṇavābhaAhīśuvaArbudaIlībiśaKuyavaMṛgayaUraṇaPaḍgṛbhiSṛbindaDṛbhīkaRauhiṇaRudhikrāsŚvaśna, etc.).
But Malati Shendge practically goes berserk in identifying "non-Aryans" in the Rigveda. According to her, they include almost all the Vedic Gods except Indra and Viṣṇu (i.e. including VaruṇaMitraRudraSūryaSavitṛPūṣanBhagaAṁśa, etc.), all tribes whose names end in -u (including IkṣvākusAnusDruhyusYadus, and Pūrus!!), most of the Vedic rishis themselves (including Gṛtsamada, the SaptaṛṣiMātariśvanAṅgirasAtharvanAtriKaṇvaBhṛguTanū NapātApām Napāt, etc.!!). If this sounds incredible, note that three different "scholars", D. D. Kosambi and F.E. Pargiter besides Malati Shendge, classify all the Vedic rishis except the Viśvāmitras as "non-Aryans"! In all this, clearly linguistics has no role to play!              
But it is not just half-baked Indian AIT scholars who go berserk in identifying "non-Aryans" in the Rigveda. Anyone who is able to wade through the muck in Michael Witzel's article "Aryan and non-Aryan names in Vedic India", which claims to be based on linguistic studies, will see how western academic scholars can run amok in a like manner. Suffice it to say, the "non-Aryan" names given by Witzel include, among countless others, KuśikaTurvaśaAnuYaduIkṣvāku and Pūru!
Witzel gets away with recklessly postulating not only Dravidian and Austric (Munda) linguistic identities for most of the words and names, but even confidently ascribes many of them to some mysterious hypothetical Language X and Language Y, of unknown (though of course non-Indo-European) linguistic affiliation, which he claims must have existed in India in the "pre-Aryan" past!

It requires only a genuinely honest disposition and genuine viveka-buddhi to examine this whole issue of "Aryan" vs. "non-Aryan" linguistic identity in the Rigveda dispassionately. As this article is only a preliminary step in this examination, I will try to keep it as brief as possible.

We will examine this issue from two points of view:
1. Dravidian words as an old substrate in the Rigveda.
2. Dravidian words as a new adstrate in the Rigveda.


I. Dravidian words as an old substrate in the Rigveda.

If the scenario postulated by the proponents is right, and the Rigveda was composed after the replacement of an earlier Dravidian population in the Harappan area with speakers of newly arrived Indo-European language speaking "Aryans", then we should find a prominent Dravidian substratum in the oldest parts of the Rigveda. However, as I have shown in detail in my books and blogs, there is absolutely no Dravidian "substratum" in the Old Rigveda (books 6,3,7,4 and 2, minus the Redacted Hymns). And the geographical names (names of Indian rivers, lakes, mountains, places and animals) in the text are all purely Indo-Aryan (= Indo-European). Even scholars like Witzel, who claim that a few geographical names and names of people in the Rigveda are "non-Aryan" cannot locate specifically Dravidian names in the Old Rigveda - which is the only thing we are concerned with in this article - we are not concerned here with the names and words alleged to be Munda or Language X or Language Y.


II. Dravidian words as a new adstrate in the Rigveda.

Are there any Dravidian words at all in the Rigveda? Seeing the geographical location of the Harappan civilization and the known geographical location of the Dravidian languages in the South, it would be rather difficult to see how such interaction could take place in those remote times. The presence of the Brahui language in Baluchistan was originally the most prominent factor cited in claiming that the Harappan area was originally inhabited by Dravidian speaking people, but now it has been accepted that the Brahui language actually migrated to Baluchistan from the South comparatively recently: as Witzel points out, “its presence has now been explained by a late migration that took place within this millennium (Elfenbeim 1987)” (WITZEL 2000a:§1). Likewise, Southworth, even while urging a Dravidian presence in the Harappan areas, admits that: “Hock (1975:87-8), among others, has noted that the current locations of Brahui, Kurux and Malto may be recent” (SOUTHWORTH 1995:272, fn22).

But there are two words in the Rigveda which, however unpalatable it may be to Sanskrit-centric opponents of the AIT, are very definitely linguistically Dravidian words:
1. The verbal root pūj- "to revere, worship, respect, honour (usually an idol, with flowers)", derived from the Dravidian, e.g. Tamil -, "flower", representing a form of worship totally unknown to the Vedic culture, and representing the religion of the South.
2. The word kāṇa, "one-eyed" or "cross-eyed", very clearly derived from the Dravidian, e.g. Tamil kaṇ, "eye".

Secondly, while the culture of the Old Rigveda was a very localized one centered around Haryana, the New Rigveda, which represents the Mature Harappan period, was not an isolated one, isolated from the rest of the world.  It represented a technologically highly evolved civilization and had trade contacts with other civilizations to the west. The main known links of the Mature Harappans with western civilizations are those with the Mesopotamians or Babylonians. It is known that the Harappans traded with Mesopotamia: two words identified as Babylonian words are found in the Rigveda, both in book 8 which is the heart of the New Rigveda, and both have connections with traders. They are:
1. bekanāṭa (money-lender to traders, the Paṇi, who are referred to in the same verse) in VIII.66.10, and
2. manā (a unit of measure which is still used to this day) in VIII.78.2.

Harappan ships travelled not only to the ports of the Gulf, but probably into the Mediterranean Sea as well (see my blog article "The Elephant and the Proto-Indo-European Homeland"). Can it be possible that the areas of the south and east within India itself remained unknown to them, or remained out of the sphere of their contacts?
As we saw, Indian tradition squarely places the Harappan civilization in the areas of the Anus, the western and central Pūrus, and the (north-)western Yadus. But it recognizes the relationship of these people with the people and cultures of the other parts of India: the eastern Indo-European speaking people (the Ikṣvākus) as well as the Dravidian speaking people of the South and the Austric speaking people of the East, all of whom are classified as descendants of a mythical common ancestor, whom the Puranas call Manu.
So why is there no reference to these other people to the South or East?

As we saw, the only evidence in the New Rigveda of the rich trade relationship with Mesopotamia is in the shape of just two words, bekanāṭa and manā. So we cannot expect detailed accounts of the South and East in the hymns of the Rigveda in that early period. But surely there must have been some relationship, and this must have left some evidence in the text?

In reaction to the invasionist tendency to hunt for linguistic evidence of "pre-Aryan natives", there is usually a tendency on the part of Indians, as a reflex reaction,  to reject the presence of non-Indo-Aryan, especially Dravidian, elements in the Rigveda. This is also correct in the sense that civilization and culture developed differently in different parts of the country, and the Rigvedic culture of the northwest in its initial stages (i.e. in the Old Rigveda, restricted to Haryana and its immediate environs) need not necessarily show elements from other parts of India. But what about in the period of the Mature Harappan = New Rigvedic civilization with its far-reaching trade contacts and relations?

Eleven years ago, in my 2008 book "The Rigveda and the Avesta - The Final Evidence", I noted the situation as follows: "Witzel’s first linguistic arguments, in section 11.5 (WITZEL 2005:344-346) have to do with what he calls 'Linguistic substrates'. This issue has been discussed in great detail in TALAGERI 2000:293-308 (and earlier in TALAGERI 1993:197-215). We will not repeat all the arguments and counter-arguments here, except for stressing the difference between 'substrate' words and 'adstrate' words (see section 6B of chapter 6 earlier in this book). In fact, let us accept that there may be some adstrate words of Dravidian or Austric origin in 'Indo-Aryan'― perhaps we protested a bit too much in our earlier books, due to the implications sought to be drawn from such alleged 'non-Indo-Aryan' words in Classical or even Vedic Sanskrit. The word kāṇa 'one-eyed', in the RV, for example, is obviously derived from the Dravidian word kaṇ 'eye'. Other, not implausible suggestions include the words daṇḍa and kuṭa". (p.292).

As a matter of fact, an examination of the actual Rigvedic data shows us that the Rigvedic culture did include some Dravidian elements. These elements were not residual elements of an original Dravidian Harappan civilization invaded and taken over by invading "Aryans", as often suggested, they are new elements imported from the Dravidian South. This is proved by the fact that:
1. They are not found in the Old Rigveda, and the geographical names in the Old Rigveda show that Dravidian speaking people never lived in the Harappan area before or during that period.
2. They are found as incidental elements in the New Rigveda, in a period which shows massive oversea trade contacts even with foreign places like Mesopotamia, and which is the period preceding the Avestan and Mitanni eras: the common elements with the Avesta and the Mitanni are abundantly found in the same texts and hymns which show these incidental Dravidian elements.
3. The Indian traditions and linguistics  unambiguously and very clearly connect the people associated with these elements - actually Rigvedic rishis of Dravidian identity -  with the SouthAnd these people are not inimical to the Rigvedic culture but a part of it.

There seem to be at least two distinct streams of originally Dravidian speaking rishis:

1. As we saw, the Rigveda contains two important words - very important and common in later Sanskrit as well as in modern Indo-Aryan, but found only once each in the Rigveda - of undoubtedly Dravidian origin. These are:
a) The verbal root pūj-.
b) The word kāṇa.
These two words are found (both in the New Rigveda) as follows:
a) pūj- in VIII.17.12, attributed to Irimbiṭhi Kāṇva,
b) kāṇa in X.155.1, attributed to Śirimbiṭha Bhāradvāja.
It cannot be a coincidence that both the words are composed by two different rishis with such strikingly similar, unusual and non-Indo-Aryan names. The rishi-ascriptions in book 10 are very often garbled  -  in my 2000 book "The Rigveda - A historical Analysis", pp.25-26, I had written "Maṇḍala X is a very late Maṇḍala and stands out from the other nine Maṇḍalas in many respects. One of these is the general ambiguity in the ascriptions of the hymns to their composers. In respect of 44 hymns, and 2 other verses, it is virtually impossible to even identify the family of the composer" -  and it is perfectly possible the composer of X.155 is also the same as the composer of VIII.17, i.e. Irimbiṭhi Kāṇva.
The name is clearly Dravidian: in fact, we still have a place in Kerala named Irimbiḷiyam: it is not impossible that this, or a nearby area, is the home-area of this Rigvedic composer - more than 4000 years old!  Note that there are two more words in the same hymn, VIII.17, which have also been identified as Dravidian:
a) -khaṇḍ- in VIII.17.12,
b) kuṇḍa in VIII.17.13,
and, to crown it all, the word muni, found in only 4 hymns in the whole of the Rigveda, and referring to holy men from the non-Vedic areas of the East and South within India, is also found in the next verse: in VIII.17.14. That we should have so many indications in three consecutive verses is incredible but extremely significant.
Very clearly, this rishi Irimbiṭhi is a person from the Dravidian South who, like members of different religious orders in present-day India who are found in parts of India other than their area of origin, migrated to the busy cosmopolitan Mature Harappan = New Rigvedic civilization area from the South and subsequently became a Rigvedic rishi.

2. But Indian tradition has one more, and a very important, rishi who is unanimously and resoundingly associated, in the traditions of both the North and the South, with the SouthAgastya. Puranic and Epic tradition tells us that Agastya migrated to the South and settled down there. But here is what Wikipedia has to say:

"Agastya was a revered Vedic sage of Hinduism.[2][3] In the Indian tradition, he is a noted recluse and an influential scholar in diverse languages of the Indian subcontinent. He and his wife Lopamudra are the celebrated authors of hymns 1.165 to 1.191 in the Sanskrit text Rigveda and other Vedic literature.[3][4][5]
Agastya appears in numerous itihasas and puranas including the major Ramayana and Mahabharata.[5][6] He is one of the seven or eight most revered rishis in the Vedic texts,[7] and is revered as one of the Tamil Siddhar in the Shaivism tradition, who invented an early grammar of the Tamil languageAgattiyam, playing a pioneering role in the development of Tampraparniyan medicine and spirituality at Saiva centres in proto-era Sri Lanka and South India. He is also revered in the Puranic literature of Shaktism and Vaishnavism.[8] He is one of the Indian sages found in ancient sculpture and reliefs in Hindu temples of South Asia, and Southeast Asia such as in the early medieval era Shaiva temples on Java Indonesia. He is the principal figure and Guru in the ancient Javanese language text Agastyaparva, whose 11th century version survives.[9][10]
Agastya is traditionally attributed to be the author of many Sanskrit texts such as the Agastya Gita found in Varaha PuranaAgastya Samhita found embedded in Skanda Purana, and the Dvaidha-Nirnaya Tantra text.[5] He is also referred to as Mana, Kalasaja, Kumbhaja, Kumbhayoni and Maitravaruni after his mythical origins."
Even more to the point: "The etymological origin of Agastya has several theories. One theory states that the root […] is derived from a flowering tree called Agati gandiflora, which is endemic to the Indian subcontinent and is called Akatti in Tamil. This theory suggests that Agati evolved into Agastih, and favors Dravidian origins of the Vedic sage".
He is a "non-Aryan Dravidian whose ideas influenced the north […] In Southern sources and the North Indian Devi-Bhagavata Purana, his ashram is based in Tamil Nadu, variously placed in TirunelveliPothiyal hills, or Thanjavur".

Therefore, despite later legends taking him from the North to the South, historically he was probably a Dravidian sage from the South who, or rather whose descendants, migrated northwards and became an important part of the Rigvedic priesthood, being recognized as a separate and independent family of Rigvedic rishis:
a) Tradition shows him to be different from the other Vedic rishis, more of a recluse and a forest-dweller, who prefers to stay away from the glamour and lucre of urban settings and royal patronage.
b) He is totally absent from the major part of the Rigveda, and his descendants have hymns only in the New Rigveda (mainly in book 1, where most of the Dravidian words are found) but tradition not only outside the Rigveda but even within the Rigveda (VII.33.10) consistently portrays him as an ancient Rishi contemporaneous to Vasiṣṭha.
c) The only reference to him, outside the New books 1 and 8 (I.117.11; 170.3; 179.6; 180.8; 184.5; VIII.5.26), is an incidental one in a Redacted Hymn, probably redacted by a descendant, in VII.33.10. And this hymn has a Dravidian word daṇḍa in the next verse VII.33.11.      

3. The arrival of the Irimbiṭhas and Agastyas into the Rigvedic area in the Mature Harappan period seems to have brought in a small stream of Dravidian words, which stream became a small flood in later post-Vedic Classical Sanskrit.
The following is a list of other words allegedly of Dravidian origin, found in the Rigveda: vailakiyāmbuvriścal-, bilalip-, kaṭukakuṇḍṛṇācī (?), piṇḍamukhakuṭakūṭakhalaulūkhalakāṇukasīranaḍa/naḷakulphaukhakuṇārukulāyalāṅgala. They are found only in the New Rigveda and in the Redacted Hymns, except for the occurrence of mukha in IV.39.6, kulāya in VII.50.1, and kulpha in VII.50.2. But note that Arnold (whom Hock cites as an expert on these matters) has classified both these hymns IV.39 and VII.50 also as Redacted Hymns on metrical grounds: so we do not find a single one of these Dravidian words in the Old Rigveda! The references (other than those already mentioned) are found as follows:
Redacted Hymns:
VI15.10; 47.23; 75.15.
III30.8.
IV57.4.
New Rigveda:
I.  11.5; 28.1,6; 29.6; 32.11; 33.1,3,346.4; 97.6,7; 144.5; 162.2,13,15,19; 164.8; 174.10; 191.1,3,4.
VIII1.33; 43.10; 77.4.
X16.13; 48.7; 81.3; 85.34; 90.11; 97.6; 102.4.

Remember, these Dravidian rishis and words are found in the New Rigveda before 2000 BCE, nearly two millenniums before the Tamil Sangam Era! And also long before the first appearance of the Mitanni in Syria-Iraq and the Indo-European Iranians (Persians, Parthians, Medians) in Iran! So the Vedic-Dravidian relationship is an old and friendly one.

[A few other words, often gratuitously and unwarrantedly - and controversially - sought to be branded as Dravidian words, such as mayūraphalabalagardabhapuṣpapuṣkara, are rejected by most linguists as Dravidian words:
a) Witzel (although he continues to insist it is a "non-Aryan" word borrowed by Sanskrit, inspite of the fact that the name is a purely onomatopoeic name derived from the Sanskrit root ) rejects mayūra as a Dravidian word in his article "Aryan and non-Aryan names in the Vedic India" (although this is particularly an article in which he goes berserk identifying as non-Aryan even words like Yadu and Pūru!!!).
b) Rendich Franco (in his "comparative Etymological Dictionary of Classical Indo-European languages") gives the PIE roots and cognate forms in Greek and Latin for the word phala, and likewise the PIE root for the words puṣpa and puṣkara.
c) Mallory and Adams (in their "Encyclopaedia of Indo-European culture") point out that bala is derived from PIE *belos, calling it "the strongest etymology containing the very rare PIE *b-", and give cognate forms in Greek, Latin and Old Church Slavic.
d) The word gardabha, though a late word found only in the New Rigveda and Redacted hymns, has a cognate form in Tocharian kercapo, in Central Asia, and in any case, the donkey is native to the northwest and not the south, and cannot be derived from the Tamil kazhutha under any circumstance].
 
In short, the Vedic-Dravidian relationship goes back to pre-2000 BCE times, and the reverence for Vedic culture in the oldest Dravidian Sangam literature has a long tradition behind it.

Materialising Harappan identities -- Brad Chase et al. 2014

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