Itihāsa. Will DaMo help NaMo and Xi at Mahabalipuram? -- S. Gurumurthy. Yes, Dharma will.

October 10, 2019, 5:20 pm

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Fascinating civuilizational grand narrative from Gurumurthy.  NaMo should tell Xi that a Tin Route pre-dated Silk road by 2 millennia. An Ancient Maritime Tin Route linked Hanoi (Vietnam) and Haifa (Israel) through Indian Ocean and Himalayan navigable rivers of Mekong, Brahmaputra, Ganga-Yamuna-Sarasvati and Persian Gulf. See: http://bharatkalyan97.blogspot.com/2019/04/positing-ancient-maritime-tin-route.html See also: My monograph on this conclusion has been published in Journal of Indo-Judaic Studies, Vol. 1, Number 11 (2010), pp.47-74 — The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” By S. Kalyanaraman (Editor of JIJS: Prof. Nathan Katz) http://www.indojudaic.com/index.php?option=com_contact&view=contact&id=1&Itemid=8 

Will DaMo help NaMo and Xi at Mahabalipuram?

Modi's choice of distant Mahabalipuram for his informal meeting with Xi has an obvious, deep significance and even a deeper message, writes S. Gurumurthy.

Published: 11th October 2019 12:00 AM  |   Last Updated: 11th October 2019 12:45 AM  |  A+A A-

Prime Minister Narendra Modi with Chinese President Xi Jinping inside a house boat, in Wuhan. (File Photo | PTI)

By S Gurumurthy

It is strategic civilisational diplomacy at its symbolic best. Narendra Modi found that his second informal summit with Xi Jinping at Mahabalipuram in 2019 had been fixed 1,500 years ago by a prince of the Pallava dynasty, which ruled Mahabalipuram from Kanchipuram.

The Pallava prince from Kanchipuram renounced the throne, became a Buddhist monk, known as Bodhi Dharma in India and DaMo in China, almost like how prince Siddhartha became Buddha. His guru asked him to go to Zhen Dan- today’s China.

Bodhi Dharma, who became India’s first spiritual ambassador to China, also emerged as its chief mentor. Regarded as Buddhaabdara (Buddha’s Avatar), he expounded Zen Buddhism and founded the famous Shaolin Temple in China’s Henan province.

ALSO READ | Five meetings in two days: Here's the agenda for Modi-Xi summit at Mahabalipuram

Revered as the first Patriarch of China, the rest of the Buddhist world listed him as the 28th in line from Buddha.

Modi is now reviving memories of Bodhi Dharma to position him as the icon of India’s civilisational outreach to China, which is integral to his overarching strategic civilisational diplomacy.

Bodhi Dharma’s foray was not limited to China. Popular as DaMo in China, as Dalma in Korea, Daruma in Japan, Dharmottara in Tibet, with his name echoing in Vietnam too, he ended up as India’s cultural ambassador to most of Asia.

Just as Modi began gradually changing the secular narrative of India into a civilisational narrative within after his historic victory in 2014, he extended it to foreign relations as well. In 2015, he began writing a strategic Hindu-Buddhist civilisational narrative to give thrust to India’s Look East philosophy.

The Mahabalipuram summit, which recalls the 5th-century DaMo today, is an important chapter in Modi’s overarching civilisational narrative to handle the relationship with China that was seriously damaged in the late 1950s and early 1960s. So, the Namo-Xi summit should be seen in the backdrop of Modi’s national strategic narrative.

WATCH | Modi-Xi summit: Mahabalipuram gets a makeover but not everyone is thrilled

Post-Independence Secular India - a civilisational orphan

With the rise of radical Islamist terror, particularly the 9/11 attack, Samuel Huntington’s view that the world would become increasingly civilisation conscious virtually binned the utopian Francis Fukuyama’s prognosis of a world free of conflicts founded on free market and liberal democracy.

The politically diverse Western nations began to be seen more as civilisationally Christian, Japan as a civilisation state and China as a civilisation pretending to be a state. But secular India continued to remain orphaned without a civilisational name and a narrative of its own.

Post-Independence India did not attempt to reinstate the national narrative it had lost due to centuries of foreign domination even after it rediscovered it during the freedom movement. Instead, it enjoyed living on borrowed narratives like secularism and socialism.

ALSO READ | Traffic diversion in Chennai during Modi-Xi meet: Full list

Lost in fake secularism that increasingly rested on vote-bank politics and in the failed socialism, which proved to be a global disaster, India ignored its spiritual and civilisational foundations that would have helped it develop its own national civilisational narrative. India’s distorted secularism undermined its civilisational assets. Result: India, which had become part of the universal notions of secularism and socialism, had nothing special to talk about itself.

In a seminal essay (to mark the 25th anniversary of Huntington’s clash theory) on civilisational exchanges between China and India titled “Civilisational Perspectives in International Relations and Contemporary China-India Relations”, Ravi Dutt Bajpai (Deakin University, Melbourne, Australia) asserts that India and China were both civilisation states but adds, “Although India’s ancient civilisational legacy originates from its Hindu-Buddhist religious beliefs, the constitutional secularism in the Indian polity makes it difficult for the state to flaunt a religious identity.”

Indian intellectualism was even blind to the historical fact that each materialist ideology that succeeded one another and dominated the world for the last couple of centuries increasingly had a shorter shelf life.

Colonialism lasted for 200 years. Capitalism lasted100 years. Communism lasted 50 years. And globalisation has been pronounced dead by its chief proponent The Economist magazine in just 25 years.

Our nation of thousands of years of known history has seen these dominant thoughts sprouting, growing and, as Swami Vivekananda said, “vanishing like ripples on the face of waters, living a few hours of exultant and exuberant dominance”.

India’s fate as a civilisational orphan continued even after socialism proved to be a global fiasco and secularism turned fake at home. It continued to adopt the socialist narrative for half a century and later a globalist narrative for a quarter more.

ALSO READ | Trade deficit, market access issues to be discussed in Modi-Xi summit in Mamallapuram

In this period, India saw Confucian China re-emerging out of communist China that violently banished Confucius for half a century. India saw ex-communist China establishing over 1,200 Confucian centres and classrooms the world over to present itself as a Confucian civilisation. It saw communist Russia turning Orthodox Christian, socialist Poland turning Roman Catholic.

Yet, it continued with its outdated and borrowed narrative that negated its own spiritual and civilisational foundation, which Mahatma Gandhi in his seminal thesis Hind Swaraj had emphasised as its unifying force. Till Modi came to power, India did not even think of making a draft national narrative for bilateral and multilateral relationship building.

National narrative- an imperative

The world which became obsessed with globalism after the Cold War, recently began rediscovering the need for a national narrative. The idea of a national strategic narrative was felt in the US in 2009. In 2011, the US government and the Woodrow Wilson International Center jointly authored a paper on the national strategic doctrine in 2011.

The paper said: “A narrative is a story. A national strategic narrative must be a story that all Americans can understand and identify within their own lives. America’s national story has always see-sawed between exceptionalism and universalism. We think that we are an exceptional nation, but a core part of that exceptionalism is a commitment to universal values — to the equality of all human beings not just within the borders of the United States, but around the world.”

Later, in 2017, came a paper titled “Stories about ourselves: How national narratives influence the diffusion of large-scale energy technologies” by Joint Global Change Research Institute, United States Maryland School of Public Policy, University of Maryland.

The paper said, “A national narrative rationalises and is supported by the nation’s identity. The narrative gives citizens an awareness of their common values and characteristics as a nation; it also situates a nation among other nations as unique (at least in part). If successful, the national narrative (is) a source of pride domestically and respect from other nations…. Of course, no nation exhibits unanimity around a single story; instead, ‘we find a polyphony of voices, overlapping and crisscrossing; contradictory and ambiguous; opposing, affirming and negotiating their views of the nation.’”

National narrative is no outdated concept. It is very much a contemporary need. Yet the Indian discourse did not attempt a national civilisational and strategic narrative for India, even though the Supreme Court had held as early as in 1995 — which it refused to review even as late as 2016 — that secular India is compatible in cultural terms with Hindu India.

Narendra Modi writes India’s national strategic narrative

Modi’s tryst with Buddha started soon after he became the Prime Minister. He saw Buddha as the civilisational face of India and Buddhism as the most effective bridge to link the culturally Hindu India with the civilisationally Buddhist Asia.

Modi has endeavoured to integrate Buddha with India’s Look East doctrine. He saw that Dharma in Hindu, Buddhist, Sikh, Jain traditions in India and Dhamma in diverse Buddhist traditions in Asia linked people of both traditions more intimately than any single or multiple state policy or pact.

Cognate civilisations vault over state-erected walls to connect people with people. Modi saw the Hindu-Buddhist civilisational nexus as the most potent people-to-people link, which even the modern and ex-communist states like China could not ignore.

The Prime Minister’s strategic Hindu-Buddhist civilisational diplomacy started with his first visit to Japan in early 2015. Modi quickly roped in Japanese Prime Minister Shinzo Abe into a joint Indo-Japan initiative of “Samvad” — Sanskrit word meaning “dialogue” — through strategic think tanks in Japan, Tokyo Foundation and Japanese Foundation, and the Vivekananda International Foundation in Delhi.

And the first Samvad of Hindu-Buddhist nations on the theme of Conflict Avoidance and Environmental Consciousness took place in September 2015. In his video address to the Samvad, Japanese Prime Minister Shinzo Abe said that the idea of Dharma, which was the foundation of Japan’s rule of law, was India’s gift to Japan — a declaration emotionally more powerful than any economic or political pact.

The Samvad

The year 2015 ended with the Bodh Gaya Declaration to make it the global centre of enlightenment. The Samvad II was held in Myanmar in 2017 and Samvad III in Mongolia in September 2019. The Indian and Japanese prime ministers inaugurated each of the three Samvad meets by direct or video address.

The impact of the Modi-Abe civilisational outreach of Samvad on the Buddhist world is phenomenal. The most leading global Buddhist website, the Buddhist Door Global (BDG), which had said in 2017 that “India’s efforts at Buddhist diplomacy are not easy to accomplish”, did a U-turn in 2019 to accept Samvad as “a burgeoning, informal alliance of Buddhist Asian democracies”, adding that “Modi and his allies have been responsible for a resurgence of Buddhist diplomacy unseen in modern Indian history”.

The report concluded, “Words like conflict avoidance and environment consciousness (Samvad’s consistent conference themes) conjure a very specific mode of Buddhist action: one that always leads back to New Delhi’s very unique understanding of transnational Buddhist power.”

Undoubtedly Modi has innovated a national civilisational and strategic narrative for India not just for relating to Asia but for relating to the world, by globalising and positioning Indian-Asian Buddha as the icon of his presentation at the UN recently, contrasting Buddha (enlightenment) with Yuddha (war).

As Namo invokes DaMo at Mahabalipuram

Modi’s choice of distant Mahabalipuram for his informal meeting with Xi has an obvious, deep significance and even a deeper message. Can a China that has discarded communism and begun reinstating neo-Confucianism as its national narrative and an India that has discarded the failed socialism and fake secularism and begun re-writing the national narrative in civilisational terms find their common Hindu-Buddhist civilisational roots in Mahabalipuram? Will the spirit of DaMo help Namo and Xi accomplish that will be seen this weekend and in what unfolds thereafter.

Namo’s strategy is to find positive answers to such and other questions is manifest in his choice of the venue — DaMo’s Mahabalipuram.

The civilisational link between the peoples of India and China has always been stronger than any government-to-government policy declarations. Modi’s attempt seems to be to awaken the unleveraged civilisational impulses to relate to China whose aggression in 1962 damaged India’s trust in its neighbour.

How Modi handled the Doklam issue has obviously convinced the mighty neighbour that India is no more a pushover. Namo is invoking DaMo, the deeper spiritual chord between India and China, to restore mutual trust, which will be the foundation for a stable and trustworthy India-China relationship.

Postscript: Yet another Kanchi connection to China-India relations. The Sage of Kanchi (the Shankaracharya of Kanchi) who lived for 100 years told the writer of this article in the early 1990s that India should settle the border row with China, which the Sage saw as India’s cultural ally. The writer had mentioned this in 2003 to Atal Bihari Vajpayee when as India’s Prime Minister he was going to China. It was then that the NSA-level talks commenced with China for settlement of the border dispute. Whether recalling DaMo by Namo will fulfil the desire of the Kanchi saint remains to Be seen.

http://www.newindianexpress.com/opinions/columns/s-gurumurthy/2019/oct/11/will-damo-help-namo-and-xi-at-mahabalipuram-2045734.html

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Itihāsa. Dholavira signboard proclamation of agasāle, arkaśāla 'goldsmith metal workshop'

October 10, 2019, 7:16 pm

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https://tinyurl.com/y3qx66gc

The proclamation is the metallurgical competence of agaāle, arkaśāla 'goldsmith metal workshop':

Segment 1: moltencast brass, hard metal, copper, gold (metal) engraver; 

Segment 2: bright blazing moltencast bell-metal ingot, bronze, gold, equipment

Segment 3: metalcasting moltencast brass, gold, minerals.

 څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel (particularly a potter's, or of a water-mill or well); arka 'sun' rebus: arka 'gold, copper'. Sign 391 is the opening statement of each of the three segments of Dholavira signboard message. This is a ligatured hieroglyph. 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 arka) copper (metal);crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = anymetal 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.) = spokeof wheel  ஆரம்² āram , n. < āra. 1. Spoke of a wheel.See ஆரக்கால். ஆரஞ்சூழ்ந்தவயில்

வாய்நேமியொடு (சிறுபாண். 253). Rebus: ஆரம் brass; பித்தளை.(அக. நி.) pittal is cognate with 'pewter'.

Dholavira Indus Script signboard proclamation: brass, hard metal, copper (metal) engraver; bright blazing bronze ingots, metalware; metalcasting brass, minerals 

https://bharatkalyan97.blogspot.com/2018/03/dholavira-indus-script-signboard.html?fbclid=IwAR054GwHnhV99c_7kuTqE7kfBsbCfxT-q_qLx7GcU9DiU2XIjCdUakevouw

The Signboard was discovered lying on the ground,near the gateway of Dholavira.

The three-part proclamation message of the Dholavira Signboard transcribed:

There are three proclamations on the signboard with three segments of messages.

Sign 391 is the opening statement of each of the three segments of Dholavira signboard message. This is a ligatured hieroglyph. 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 arka) copper (metal);crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = anymetal 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.) = spokeof wheel  ஆரம்² āram , n. < āra. 1. Spokeof a wheel.See ஆரக்கால். ஆரஞ்சூழ்ந்தவயில்வாய்நேமியொடு (சிறுபாண். 253). Rebus: ஆரம் brass; பித்தளை.(அக. நி.) pittal is cognate with 'pewter'.

Segment 1

  a. eraka, arā  b. khuṇṭa  c. loa karaṇika 

eraka, arā 'nave of wheel, spoke' rebus: eraka moltencast,  arā 'brass'

khuṇṭa 'peg'; khũṭi = pin (Marathi.)  Rebus: kuṇṭha munda (loha) 'hard iron (native metal)' (Munda)

loa 'ficus gloomerata' (Santali) Rebus: loh 'copper (metal)' PLUS karaṇika 'ears' rebus: karaṇika engraver, 'writer' (Telugu)

Thus, segment 1 reads: moltencast brass, hard metal, copper (metal) engraver; 

Segment 2

Sign 261 is a variant of Sign 267 kanac (kana, kana kona) mũhã̄ 'corner ingot' rebus: kañcu mũhã̄ 'bell-metal ingot'. Pa. kuṭila— 'bent', n. 'bend'(CDIAL 3231) Rebus: kuṭila 'bronze'. कुटिल  kuṭila, katthīl (8 parts copper, 2 parts tin),

kana, kanac 'corner' (Santali); kañcu  'bronze' (Telugu) kan- 'copper work' (Tamil).

Sign 134 is ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'.

a. eraka, arā, b. kañcu mũhã̄  kuṭila c. dhakka d. khāṇḍā 

a. eraka, arā 'nave of wheel, spoke' rebus: eraka moltencast,  arā 'brass'

b. kanac 'corner', mũhã̄ 'bun ingot, lozenge shape',kuṭila— 'bent' Rebus: kañcu mũhã̄  kuṭila 'bell-metal ingot, bronze'

c. ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'.

d. खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). Rebus: khaṇḍa 'implements' 

Thus, segment 2 reads: bright blazing moltencast bell-metal ingot, bronze, equipment

Segment 3

First two signs a, b.dul eraka, arā c. dhatu

a, b: eraka, arā 'nave of wheel, spoke' rebus: eraka moltencast,  arā 'brass'

Reading of a pair of 'spoked wheel hieroglyphs as hypertext': dula 'two, pair' rebus: dul 'metal casting' PLUS eraka, arā 'nave of wheel, spoke' rebus: eraka moltencast,  arā 'brass'

c. ḍato 'claws or pincers (chelae) of crab Rebus: dhatu 'mineral' (Santali) 

Thus, segment 3 reads together: metalcasting moltencast brass, minerals.

https://www.facebook.com/photo.php?fbid=1370123609804224&set=pcb.693735874460548&type=3&theater&ifg=1 Photos posted by Dipak Sanjot

























Decipherment of Dholavira signboard proclamation: http://bharatkalyan97.blogspot.com/.../dholavira-indus... The proclamation is of agasala 'goldsmith workshop'. Spoked wheel, potter's wheel occurs 4 times on the signboard and signifies arka 'sun' rebus arka 'gold, copper' cognate in Pashto: څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel (particularly a potter's, or of a water-mill or well). 2. A grindstone. 3. Circular motion, turn, revolution, the act of turning. 4. Fortune, chance. 5. The heavens, the sphere, the celestial globe. 6. A kind of hawk or falcon, an eagle. 7. A stab, a puncture, a prick, a wound produced by a spear, an arrow, or the like. Pl. څرخرنه ṯs̱arḵẖ-ūnah; 8. adj. Punctured, pricked, pierced, stabbed; (Fem.) څرکه ṯs̱arkaʿh. څرخیدل ṯs̱arḵẖedal, verb intrans. To revolve, to turn round, to wheel. 2. To dance. Pres. څرخبږي ṯs̱arḵẖej̱ẕī (W.) or څرخیګي ṯs̱arḵẖegī (E.); past ؤ څرخیده wu-ṯs̱arḵẖedah or ؤ څرخیدَ wu-ṯs̱arḵẖeda; fut. ؤ به څرخیږي wu bah ṯs̱arḵẖej̱ẕī or ؤ به څرخیګي wu bah ṯs̱arḵẖegī; imp. ؤ څرخیږه wu-ṯs̱arḵẖej̱ẕah or ؤ څرخیګه wu-ṯs̱arḵẖegah; act. part. څرخیدونکيَ ṯs̱arḵẖedūnkaey
or څرخیدونيَ ṯs̱arḵẖedūnaey; past part. څرخید ليَ ṯs̱arḵẖedalaey; verb. n. څرخیدنه ṯs̱arḵẖedanaʿh. څرخول ṯs̱arḵẖawul, verb trans. To turn, to make revolve, to wheel round. 2. To sharpen. Pres. څرخوي ṯs̱arḵẖawī; past ؤ څرخاوه wu-ṯs̱arḵẖāwuh or ؤ څرخاوو wu-ṯs̱arḵẖāwo; fut. ؤ به څرخوي wu bah ṯs̱arḵẖawī; imp. ؤ څرخوه wu-ṯs̱arḵẖawah; act. part. څرخوونکيَ ṯs̱arḵẖawūnkaey or څرخوونيَ
ṯs̱arḵẖawūnaey; past part. څرخوليَ ṯs̱arḵẖawulaey; verb. n. څرخونه ṯs̱arḵẖawunaʿh. (P چرخ). څرخ کول ṯs̱arḵẖ kawul, verb trans. To pierce, to stab, to puncture. څرخ کیدل ṯs̱arḵẖ kedal, verb intrans. To enter (as a pointed instrument), to penetrate, to stab, to pierce. څرخه ṯs̱arḵẖaʿh, s.f. (3rd) A spinning-wheel, a large reel. Pl. يْ ey. (P چرخه).

The Signboard was discovered lying on the ground,near the gateway of Dholavira.

The three-part proclamation message of the Dholavira Signboard transcribed:

There are three proclamations on the signboard with three segments of messages.

Sign 391 is the opening statement of each of the three segments of Dholavira signboard message. This is a ligatured hieroglyph. 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 arka) copper (metal);crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = anymetal 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.) = spokeof wheel  ஆரம்² āram , n. < āra. 1. Spokeof a wheel.See ஆரக்கால். ஆரஞ்சூழ்ந்தவயில்வாய்நேமியொடு (சிறுபாண். 253). Rebus: ஆரம் brass; பித்தளை.(அக. நி.) pittal is cognate with 'pewter'.

Segment 1

  a. eraka, arā  b. khuṇṭa  c. loa karaṇika 

eraka, arā 'nave of wheel, spoke' rebus: eraka moltencast,  arā 'brass'

khuṇṭa 'peg'; khũṭi = pin (Marathi.)  Rebus: kuṇṭha munda (loha) 'hard iron (native metal)' (Munda)

loa 'ficus gloomerata' (Santali) Rebus: loh 'copper (metal)' PLUS karaṇika 'ears' rebus: karaṇika engraver, 'writer' (Telugu)

Thus, segment 1 reads: moltencast brass, hard metal, copper (metal) engraver; 

Segment 2

Sign 261 is a variant of Sign 267 kanac (kana, kana kona) mũhã̄ 'corner ingot' rebus: kañcu mũhã̄ 'bell-metal ingot'. Pa. kuṭila— 'bent', n. 'bend'(CDIAL 3231) Rebus: kuṭila 'bronze'. कुटिल  kuṭila, katthīl (8 parts copper, 2 parts tin),

kana, kanac 'corner' (Santali); kañcu  'bronze' (Telugu) kan- 'copper work' (Tamil).

Sign 134 is ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'.

a. eraka, arā, b. kañcu mũhã̄  kuṭila c. dhakka d. khāṇḍā 

a. eraka, arā 'nave of wheel, spoke' rebus: eraka moltencast,  arā 'brass'

b. kanac 'corner', mũhã̄ 'bun ingot, lozenge shape',kuṭila— 'bent' Rebus: kañcu mũhã̄  kuṭila 'bell-metal ingot, bronze'

c. ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'.

d. खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). Rebus: khaṇḍa 'implements' 

Thus, segment 2 reads: bright blazing moltencast bell-metal ingot, bronze, equipment

Segment 3

First two signs a, b.dul eraka, arā c. dhatu

a, b: eraka, arā 'nave of wheel, spoke' rebus: eraka moltencast,  arā 'brass'

Reading of a pair of 'spoked wheel hieroglyphs as hypertext': dula 'two, pair' rebus: dul 'metal casting' PLUS eraka, arā 'nave of wheel, spoke' rebus: eraka moltencast,  arā 'brass'

c. ḍato 'claws or pincers (chelae) of crab Rebus: dhatu 'mineral' (Santali) 

Thus, segment 3 reads together: metalcasting moltencast brass, minerals

https://tinyurl.com/yblannfg This is an addendum to: Wealth accounting classification ledgers & Arthaśāstra Economics 101 Indus Script dictionary https://tinyurl.com/yctvpzgk With the Indus Script Dictionary made available, some of the 10 'hieroglyphs/hypertexts' of the Dholavira signboard have been read rebus with variant expressions (plain texts).https://tinyurl.com/y8xt9qrk The message of the Signboard of Dholavira is a proclamation of metallurgical competence of the metalsmiths of Dholavira, who produce qualty metal castings, metalware and also engrave on copper (metal).

Dholavira Signboard inscription of gypsum inlays on wood measures 3 m. long. Each of the 10 signs is 37 cm. high and 25 to 27 cm. wide and made of pieces of white gypsum inlays; the signs were apparently inlaid in a wooden plank. The conjecture is that this wooden plank was mounted on the Northern Gateway as a Signboard. The message is intended to be a proclamation for seafaring merchants to see from across the PErsian Gulf as they approach the Dholavira citadel. 

Dholavira signboard is a three-part message, each segment starts with a spoked-wheel hieroglyph. 

Hence, Dholavira Signboard is read from left to right.

http://bharatkalyan97.blogspot.com/2019/03/unfolding-of-discovery-of-dholavira.html

Unfolding of the discovery of Dholavira sign board. Proclamation of Bronze, alloy metalwork competence. 

https://tinyurl.com/y59y7bvh

https://www.youtube.com/watch?v=Udu3_XCiQx4&feature=share&fbclid=IwAR24NZUaWIXGWzxDztAy1_F3iZscTAI5-6R8_PyQWo9XqLzxSZmYJOtt-jk (44:46)

Watched it again and again. Simply brilliant narration. The unfolding of the Dholavira sign board is revealed with breath-taking splendour. Its message? A proclamation of the competence of Bronze Age Artificers. Four spoked wheels appear together with six other hieroglyphs in a three part messwage. The refrain is:.eraka 'nave of wheel' rebus 'eṟaka, eraka any metal infusion; molten state' fusion (Kannada), eraka molten, cast (as metal); eraguni to melt (Tulu). dula 'two' rebus dul 'metal casting'. The key is lid hieroglyph ^ ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'. Proclamation of metal artifacts, par excellence. Another key is 'claws of crab' hieroglyph: ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; rebus: dhatu 'mineral (ore)'.kanac 'corner' rebus: kañcu 'bronze'; loa 'ficus' rebus: loh 'copper, metal' PLUS karna 'ear'rebus: karna 'scribe'Aha, smelters of ores, forgers of inscribed metal alloy wares.. What a proclamation of ca. 2500 BCE !!!

Now, watcch the unfolding of the Dholavira signboard from 26:52 to 31:25 of the historic moments, the discovery of a writing system...

P

Indus Script Cipher explains whya pair of spoked wheels is read rebus as arkaśāla 'goldsmith metal workshop'

October 10, 2019, 8:47 pm

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https://tinyurl.com/yydatjl8

This is an explanatory note on the reading of a pair of spoked wheels as 

arkaśāla 'goldsmith metal workshop'

Itihāsa. Dholavira signboard proclamation of agasāle, arkaśāla 'goldsmith metal workshop'  https://tinyurl.com/y3qx66gc

It is clear that "hieroglyph on Indus Script Corpora signifies sal'splinter' rebus: sal'workshop' This word, sal, is a cognate of śāla 'workshop'. śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xāl, xāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed, stable ʼ; Bi. sār f. ʻ cowshed ʼ; H. sāl f. ʻ hall, house, school ʼ, sār f. ʻ cowshed ʼ; M. sāḷ f. ʻ workshop, school ʼ; Si. sal -- a, ha˚ ʻ hall, market -- hall ʼ.(CDIAL 12414) Splinter hieroglyph: śalá1 m. ʻ staff ʼ TBr., ʻ dart, spear ʼ lex. [~ śará -- 1: cf. śilī -- ]S. sarī f. ʻ a stick forming part of a waterwheel ʼ; Or. saḷa ʻ pin, thorn ʼ; Bi. sar ʻ sticks used in setting up the warp ʼ, Mth. sarkā; H. sal m. ʻ stake, spike, splinter, thorn, difficulty ʼ; G. saḷī f. ʻ small thin stick ʼ, saḷiyɔ m. ʻ bar, rod, pricker ʼ; -- Kho. šoḷ ʻ reed ʼ(CDIAL 12343)

The " also signifies duplication in the Indus Script writing system. Thus, I submit that a pair of spoked wheels  Sign 391 is an alternative way of signifying"(double inverted commas) which is read rebus: sal 'splinter' rebus: sal 'workshop'.

It has been demonstrated that Sign 391  is read rebus as:  څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel (particularly a potter's, or of a water-mill or well); arka'sun' rebus: arka'gold, copper'. 

When the pair of Sign 391 is signified on an inscription, it is read in context as AN ALTERNATIVE (VIKALPA) REPRESENTATION of duplication signified by " (double inverted commas) which signifies sal'splinter' rebus: sal'workshop'. Together, the pair of Sign 391 are read as arka-sal (spoked wheel duplicated). The evidence of lexemes of Indian sprachbund, 'language union' provide examples of cognate pronunciations with the same semantics: 

 agasāle, arkaśāla 'goldsmith metal workshop'

Thus, the proclamation of Dholavira signboard is a proclamation of the metallurgical competence of agaāle, arkaśāla 'goldsmith metal workshop':

Ancient India had śreṇi or guild corporate form of organization for wealth-creation by functionaries and NO caste or jāti.

October 11, 2019, 1:17 am

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https://tinyurl.com/y4u682xj

This monograph provides evidence from archaeology (Indus Script). In one classification of 12 बलुतेदार, two functionaries are mentioned: 1. पोतदार and 2.कुळ- करणी. I submit that these two categories are traceable to the evidence gleaned from Rgveda and archaeology (Indus Script) of Sarasvati Civilization.

The trace of पोतदार to Rgveda is provided by the cognates पोतृ प्/ओतृ or पोतृ, m. " Purifier " , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; = यज्ञस्य शोधयिट्रि -- सायण ) (ऋग्-वेद, कात्यायन श्रौतसूत्र, ब्राह्मण, हरिवंश);

पोतदार   pōtadāra m ( P) An officer under the native governments. His business was to assay all money paid into the treasury. He was also the village-silversmith. पोतदारी   pōtadārī f ( P) The office or business of पोतदार: also his rights or fees. पोतनिशी   pōtaniśī f ( P) The office or business of पोतनीस. पोतनीस   pōtanīsa m ( P) The treasurer or cash-keeper.

I submit that the statue of Mohenjo-daro signifying a seated person adorned with fillet on his fore-head and right-shoulder is पोतृ. This is a functional designation in a śreṇi or guild corporate form, NOT a caste title.

The trace of कुळ- करणी  is to Veda times and to Indus Script of Sarasvati Civilization.

करण a helper , companion AV. vi , 46 , 2 ; xv , 5 , 1-6 ; xix , 57 , 3; writer , scribe (Skt.)

कर्णक m. (ifc. f(आ).) a prominence or handle or projection on the side or sides (of a vessel &c ) , a tendril (शतपथ-ब्राह्मण, कात्यायन-श्रौत-सूत्र). The orthography of the semantics is provided by the most frequent signature hieroglyph: 'rim-of-jar' Sign 342 This demonstrates that the first functionary of a village or janapada or community identified in an old writing system dated to ca. 3300 BCE is an accountant. 

Cognate semantics is attested in many languages of Ancient India (or the Indian linguistic area or Indian sprachbund, 'language union') with words in various phonetic forms:

 


kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; Wg. kaṇə ʻ ear -- ring ʼ NTS xvii 266; S. kano m. ʻ rim, border ʼ; P. kannā m. ʻ obtuse angle of a kite ʼ (→ H. kannā m. ʻ edge, rim, handle ʼ); N. kānu ʻ end of a rope for supporting a burden ʼ; B. kāṇā ʻ brim of a cup ʼ, G. kānɔ m.; M. kānā m. ʻ touch -- hole of a gun ʼ.(CDIAL 2811) 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)  कारणी or कारणीक   kāraṇī or kāraṇīka a (कारण S) That causes, conducts, carries on, manages. Applied to the prime minister of a state, the supercargo of a ship &c.(Marathi)  కరణము  karaṇamu. [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. కరణము n. Instrument, means. కొరముట్టు. An organ of sense. ఇంద్రియము. Marking or causing, as in ప్రియంకరణము endearing. స్థూలంకరణము fattening, శుభగంకరణము fortunate. కరణచతుష్టయము the mind, intellect, volition and self-consciousness. మనోబుద్ధిచిత్తాహంకారములు. కరణత్రయము thought, word and deed. మనస్సు. వాక్కు, కర్మము. త్రికరణశుద్ధిగా completely, absolutely, entirely. కరణీయము karaṇīyamu. adj. Fit to be performed, worthy to be done చేయదగిన. కరణికము or కరణీకము karanikamu. Clerkship: the office of a Karanam or clerk (Telugu) கருணீகம் 

karuṇīkam, n. < karaṇa. [T. karaṇikamu.] Office of village accountant or karṇam; கிராமக்கணக்குவேலை.கருணீகன் karuṇīkaṉ , n. < id. 1. Village accountant; கிராமக்கணக்கன். கடுகை யொருமலை யாகக் . . . காட்டுவோன் கருணீகனாம் (அறப். சத. 86). 2. A South Indian caste of accountants; கணக்குவேலைபார்க்கும் ஒருசாதி.(Tamil)

A unique social organization for life-activities of every janapada or village community in Bharat is a shared commonwealth. Each functionary is assigned specific functions in the social organization, which is a corporate form with rules (dharma) regulating the activities of each corporation or guilr or śreṇi. Everyone of the functionaries was ENTITLED to a specific share of the POOLED produce (typically share of corn or garden rpoduce) or the POOLED wealth produced in the village (again shared as subsistence for each functionary).

The metaphors used in the functionaries of the corporate form of social organization are कास, ‘udder’and वासरें‘calves’, thus, treating ALL the functions, both बलुतें and अलुतें as children of the Mother Earth, the primordial metaphor or ātmā, ‘life-principle’ for wealth-creation activities in the community or society. The key economic factor of production, called organization in Economics (in addition to three other factors of production: land, labour and capital) is governed by the dharma of SHARED WEALTH. Thus, even those functionaries NOT directly engaged in agriculture are entitled to a share of the corn or garden produce of a village. This śreṇi dharma or ‘Guild rule’ is a fundamental principle of dharma which governs village-life or life of a janapada or a community or society, in general.

बलुतें   balutēṃ n A share of the corn and garden-produce assigned for the subsistence of the twelve public servants of a village,

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. These village officers are also called nārū  नारू. 

These are in addition to 

अष्टाधिकार aṣṭādhikāra The eight main offices or posts of a village: viz. जलाधिकार Office of bringing or supplying water to public officers and travellers; स्थलाधिकार Office of determining and pointing out the several places of residence, i. e. the office of पाटील or Headman; ग्रामाधिकार Office of supervision of the village trade and general business; कुललेखन Office of keeping the accounts of the Ryots with Government, and of preserving the public records; ब्रह्मासन Office of a sort of bailiff, bailiwick (law enforcement officers of a court); दंडविधिनियोग Office of magistrate or justice; पौरोहित्य Office of the family or village-priest; ज्योतिषी Office of the village-astronomer. 

(The above lofty designations are according to the following authoritative Shlok--जलाधि- कारश्र्च स्थलाधिकारो ग्रामाधिकारः कुललेखनंच ॥ ब्र- ह्मासन दंडविधेर्नियोगो पौरोहितं ज्योतिषनष्टमेवं ॥ 1 ॥).

The popular or vulgar terms are 1 कोळीपणा (concrete is कोळी), 2 पाटिलकी (पाटील), 3 देशमुखी, महाजनकी, . (देशमुख with महाजन), 4 कुळकरण (कुळकरणी), 5 वर्त्तकी (वर्त्तक), 6 धर्माधिकार (धर्माधिकारी), 7 उपाधीक or भटपणा (उपाध्या or भट), 8 जोशीपणा (जोशी).

Two of these EIGHT functionaries have specific functions in a village: पाटील, कुळकरणी. (पाटील   pāṭīla m ( H) The head managing officer of a village, the Páṭíl.कुळकरणी   kuḷakaraṇī m (कुल & कारणी S) An officer of a village under the पांटील. His business is to keep the accounts of the cultivators with Government and all the public records).

1.     पहिली or थोरलीकास or वळ: सुतार, लोहार, महार, मांग

2.     दुसरी or मधलीकास or वळ: कुंभार, चाम्हार, परीट, न्हावी

3.     तिसरी or धाकटीकास or वळ: भट, मुलाणा, गुरव, कोळी

One enumerations of ancient Maharashtra lists 

12 बलुतेदार (e. g. पाटील, कुळ- करणी, चौधरी, पोतदार, देशपांड्या, न्हावी, परीट, गुरव, सुतार, कुंभार, वेसकर, जोशी; PLUS other functionaries called: लोहार, चाम्हार.

12 अलुतेदार or supernumerary public claimants, viz. तेली, तांबोळी, साळी, माळी, जंगम, कळवांत, डवऱ्या, ठाकर, घडशी, तराळ, सोनार, चौगुला.

The śreṇi social corporate form of organization has registered minor variations in particular janapada-s or in particular cultures of village communities in various parts of the nation. For e.g., Molesworth provided this elucidation characterizing functions in some parts of Maharashtra: बलुतेदार or बलुता   balutēdāra or balutā or त्या m (बलुतें&c.) A public servant of a village entitled to बलुतें. There are twelve distinct from the regular Governmentofficers पाटील, कुळकरणी&c.; viz. सुतार, लोहार, महार, मांग (These four constitute पहिली or थोरलीकास or वळ the first division. Of three of them each is entitled to चारपाचुंदे, twenty bundles of Holcus or the thrashed corn, and the महार to आठपाचुंदे); कुंभार, चाम्हार, परीट, न्हावी constitute दुसरी or मधलीकास or वळ, and are entitled, each, to तीनपाचुंदे; भट, मुलाणा, गुरव, कोळी form तिसरी or धाकटीकास or वळ, and have, each, दोनपाचुंदे. 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 थोरलीवळ (1st class); महार, सुतार, लोहार, चाम्हार, दुसरी or मधलीवळ (2nd class); परीट, कुंभार, न्हावी, मांग, तिसरी or धाकटीवळ (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, भटगोंधळी, कोर- गू, कोतवाल, तराळ, but of the अलुतेदार& 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 पहिलीकास, मध्यमकास, तिसरीकास 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 udder of the गांव under the figure of a गाय or cow.)

Itihāsa. Mamallapuram, a 1,700 year old Chinese connection!

October 11, 2019, 3:44 am

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A 1,700 year old Chinese connection!

Posted by vasuki on 09/04/2019 

Mamallapuram Was A Gateway For Trade With China, The Monk Bodhidharma Set Sail For China From The Ancient Port Town

Tipped to host the proposed second edition of the India-China informal summit between PM Narendra Modi and Chinese President Xi Jinping, Mamallapuram has had historical defence and trade ties with China that are more than 1,700 years old.

The ancient port town, 50 km south of Chennai, had a defence pact between Pallavas and the Chinese that was aimed at securing Chinese territory from Tibet. Mamallapuram also flourished as a massive business hub on the Bay of Bengal transforming into a gateway for exports and imports from China to Tamil Nadu for eight centuries till 1,000 years ago.

“The agreement between Chinese rulers and Pallava king Narasimhavarman II during the early 8th century was the first strategic pact on security between the two kingdoms. Chinese declared him as the general of South China to take on Tibet as the latter had emerged a strong power and a threat to China,” said Kayal Barabhavan, author of ‘Bodi Dharma’, a four-part Tamil novel based on the Pallava dynasty.

Barabhavan said references to trade and defence links between two dynasties found a place in the book on the history of South India by K A Nilakanta Sastri. “Buddhist monk Bodhidharma, an icon in China, was the third prince of a Pallava king. He travelled from Kancheepuram through Mamallapuram to China in 527AD and became the 28th patriarch of Buddhism succeeding Prajnatara,” he said.

The tourism industry has been stressing on a tourism circuit centred on Bodhidharma. “It will attract numerous Chinese, Japanese and Thai tourists to Tamil Nadu,” said TN Tour Travel and Hospitality Association president V K T Balan.

Historians said the Chinese ties that were expanded by Pallavas continued till the Chola period, though the latter chose ports in Nagapattinam and Tanjore for trade. Archaeologist and secretary of Madurai-based Pandya Nadu Centre for Historical Research C Santhalingam said Chinese traveller Hiuen Tsang visited Kancheepuram in 7th century.

The ancient trade centre is battling a range of woes today — from civic amenities to infrastructure. South India Hotels and Restaurants Association honorary secretary T Nataraajan said promoting tourism was a challenge. “Due to the atomic power station at Kalapakkam, water sports activities are banned. Sea erosion is eating into sand dunes that disappear for two months every year,” he said. Stone carving has taken a hit. V Balasundaram, a master sculptor, said the art was on the wane. “Youngsters are no more showing interest. There is shortage for manpower,” he said.

Courtesy : TOI, Chennai

https://worldtamilforum.com/english_news/a-1700-year-old-chinese-connection/

The second informal summit between Modi and Xi is being held in the ancient city of Mamallapuram (earlier known as Mahabalipuram) — a major seaport during the ancient Chola and Pallava dynasties — and home to World Heritage-listed rock-cut temples and caves.

Mamallapuram has ties with China that go back 2000 years. Celadon ware (pottery) of the first century and second century recovered on the eastern coast of Tamil Nadu, hint towards Chinese maritime activities as do recovery of Chinese coins of the time in Tamil Nadu.

Chinese monk Hiuen Tsang had also visited Kancheepuram — a flourishing Buddhist centre during the Sangam era — in the seventh century AD, most likely through Mamallapuram.

WHAT MAKES MAMALLAPURAM SPECIAL?

TOI takes a look at some of the myths, legends, history and less known trivia about the ancient port city that is in the spotlight owing to the Modi-Xi summit.

ARJUNA’S PENANCE: WHEN THE HIMALAYAS DESCENDED SOUTH

Arjuna’s Penance’, the bas relief panel carved on a rock at Mamallapuram more than 1,300 years ago, has intrigued historians, archaeologists, researchers and tourists for centuries. Some say it depicts the Pandava prince trying to propitiate Shiva to gain the Pashupata astra. Others say it depicts the penance of Bhagiratha to bring the Ganga to earth. Art historian S Balusami says the 36-foot-high and 75-foot-wide panel with 154 images presents an idyllic scene under a summer noon sun in the Himalayas.

This is a dynamic sculpture which had a cistern at the crest where water would have been stored during rains and flowed down the central cleft from an outlet. The water tank at the bottom suggests that it would have been carved to recreate the notion of a holy dip for the royals and their guests.

VIGNETTES FROM ARJUNA’S PENANCE

Bar-headed geese and the common langur rendered with amazing accuracy

A hunter carries a jackfruit, indicating it’s summer

Vishnu as disciple listens to teachings at the Vadari ashram. 

Note the ribcage carved to perfection

SEVEN PAGODAS MAY BE FACT, NOT FICTION

Just before the 2004 tsunami struck, some people claimed that they saw temple structures in the sea as the waters receded before flooding in. European explorers and mariners have described Mamallapuram as the town of the seven pagodas (temples), which they probably saw as they crossed the coastal city during their sea voyages. The legend was that the shore temple complex had seven temples. Archaeologists who undertook studies on and offshore now believe that there could have been seven temples, five of which are now submerged in the sea.

“Evidence indicates the Shore temple complex was extending further north, south and eastwards, to a very limited extent and some of the collapsed structures are under the sand or in the inter-tidal zone,” T. Sathyamurthy, former superintending archaeologist, Archaeological Survey of India

MYSTERY OF ABANDONED SCULPTURES

One striking feature at Mamallapuram is that most of the rock monuments are incomplete. Except three structural temples – Mukundanayanar shrine, Olakkaneshwarar temple and Shore temple – all other monuments, including Arjuna’s Penance panel and five rathas, have been left unfinished. Some researchers speculate that natural disaster abruptly stopped the work, others think the cave and rock-cut temples could have been training centres for sculptors. Researchers are also not sure if the monuments were built by a single king or many kings.

TIGER CAVE: A SHRINE MORE THAN AN AMPHITHEATRE

Tiger cave, the first ancient monument en route Mamallapuram is carved out of a single rock at Saluvankuppam, some five km north of the proper town. Though incomplete, the façade portrays 11 heads of the mythical Yali (a beast with lion’s face and twin horns) as embellishments on a rectangular stage, carved out of the rock, with two other smaller box-like stages on the sides. Though it looks like an amphitheatre with a stage, researchers say that it was a temple complex for Shiva and Durga, and an attempt at integrating several ancient forms of worship.

KRISHNA MANDAPAM SHOWS INFLUENCE OF SANGAM-ERA TEXTS

The carvings at the Krishna mandapa are inspired by passages from literary work of the Sangam-era. “Though the central theme of the bas relief structure is a depiction of Krishna holding up the Govardhana hill, the treatment and detailing has been influenced by Sangam literature,” says art historian S Balusami.

Among the interesting carvings to see are herdswomen taking palm-leaf mats and uri (pot-holder) while accompanying the herd.

...and Krishna holding up the Govardhana hill to save the people 

of Brindavan

OTHER MYTHS, LEGENDS AND HISTORY

The Shore temple which has the oldest surviving Vimana – the tower over the sanctum sanctorum – in Tamil Nadu. It belongs to the 8th century and is based on Dravida architecture style

A precariously balanced boulder on a steep rock slope in Mamallapuram is known as Krishna’s butterball and is one of the main attractions. A hunk of stolen butter dropped by gods, goes the local legendArchaeologists say the ancient port of the town could be near the backwaters of Punjeri village, 1km west of Mamallapuram, with an outlet into the Bay of Bengal at KalpakkamMurugan on his elephant ‘Pinimugam’, as mentioned in Sangam-era texts, on the eastern wall of Arjuna ratha, one of the five stone monolithsFive rathas are free standing monolithic temples carved out of solid rock. They assume the name of five rathas as they resemble processional chariots. Actually, they are the temples for Durga, Vishnu, Shiva and Murugan. By analysing vahanas of deities, researchers now claim that Nakula-Sahadeva ratha is a Murugan templeext: Raghu Raman; Photos: LR Shankar

Itihāsa. Mahabalipuram -- NaMo is Tour Guide to Xi Jinping 11th Oct. 2019. May Devi Sarasvati bless both Bharat and China.

October 11, 2019, 7:33 am

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PM Modi's gifts to Xi Jinping

Narendra Modi gifted a Nachiarkoil lamp and Thanjavur painting on dancing Saraswati to Xi Jinping

https://static.langimg.com/thumb/msid-71543701,width-400,resizemode-4/pic.jpg

PM, Xi took a tour of the historical monuments earlier today

MEA Spokesperson Raveesh Kumar shared pics of both the leaders standing together at Krishna's butterball, a gigantic granite boulder sitting firmly on the slope of a hillock in Mahabalipuram.

Raveesh Kumar

✔@MEAIndia

Standing together and tall!

PM @narendramodi and Chinese President Xi Jinping at Krishna's butterball, a gigantic granite boulder sitting firmly on the slope of a hillock. #ChennaiConnect

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7:04 PM - Oct 11, 2019

PM, Xi at Pancha Rathas complex in Mamallapuram

PM Modi and President Xi Jinping are at the Pancha Rathas complex in Mamallapuram. Both the leaders are on a tour of heritage sites now.

PMO India

✔@PMOIndia

PM @narendramodi and President Xi Jinping are at the Pancha Rathas complex in Mamallapuram.

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5:39 PM - Oct 11, 2019

PM Modi and Xi on tour of 3 monuments in Mahabalipuram

The Chinese President is receiving a guided tour of three monuments in Mahabalipuram including — Arjuna's Penance, Panch Rathas and Shore temple. Here, PM Modi is with Xi at Arjuna's Penance.

PMO India

✔@PMOIndia

The #ChennaiConnect!

PM @narendramodi welcomes President Xi Jinping at Arjuna's Penance in Mamallapuram, Tamil Nadu.

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Fact Check: How Mamallapuram became Mahabalipuram, regained old name

The venue of Prime Minister Narendra Modi’s meeting with China’s President Xi Jinping over Friday and Saturday has been referred to, interchangeably, Mamallapuram and Mahabalipuram. It is 56 km to the south of Chennai on the coast. The Ministry of External Affairs’ media advisory mentions ‘Mahabalipuram’, and officials have been using that name in informal communication. Read More

Stone carvings seen near the Arjuna’s Penance at the Mamallapuram heritage site. (PTI) 

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Horse domestication studies throw new light on IE, or PIE roots and may help resolve ATT/OIT polemics

October 11, 2019, 6:09 pm

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https://tinyurl.com/y2mxhru3

 --  Witzel's Ur-language could be Meluhha (Mleccha), parole of Indus Script     -- surprising results from DNA studies

 -- Surprising results from horse DNA studies. Witzel's IE horse is NOT Arabian but could be Przewalski or Botai or another unknown breed.

-- ATT (Aryan Tourist Theories), OIT (Out of India Theory)                              -- IE, Indo-European, PIE -Proto-Indo-European

Could such a breed have been called Sadom?

Could aśva of IE be derived from a Santali lexeme, aswar 'riding' (Meluhha, Santali) अश्व m. (2. rarely 3 RV. ) ( √1. अश् Un2. ) ifc. f. a horse , stallion RV. &c; अश्वा f. (g. अजा*दि q.v.) a mare RV. &c [Zd. aspa ; Lat.

equus (Monier-Williams) -ar suffix in  aswar could be from  आ-रूढ mfn. mounted , ascended , bestridden (as ahorse &c ) MBh. Hariv. BhP.; raised up , elevated on high VarBr2S. Pan5cat. Hit. Katha1s. &c (Monier-Williams)

Kathiawari horse: Note its in-turned ears. Raghvendra99674010ש / CC-BY-SA-vi / CC-BY-SA 

Iceland stallions Michael Probst, AP

Backing the Wrong Wild Horse: New Studies Demolish Equine Domestication Theory

Widespread beliefs about how Indo-European languages spread have also ridden into the sunset

By 

Ruth Schuster

 Jun 20, 2018

Horses: They may not look alike but they arise from one source 제주마육성팀 / CC-BY-SA-4.

Over 5,500 years ago, with the dog leashed, the goat cowed and the sheep rendered woolly in mind and body, nomads roaming the windswept steppes of Asia became the first to master the mighty horse.

The question is, which nomads? Another question is, which horse?

Surprising answers to both questions have birthed new theories not only about the domestication of the steed, but also about the spread of Indo-European languages.

Not those nomads

Until recently, descendants of goat and sheep herders who formed  the Yamnaya culture in the steppes of today’s Ukraine and western Russia about 5,000 years ago were thought to have domesticated the horse. They were believed to have ridden the subdued animal as they spread southeast, bringing the Indo-European group of languages to Anatolia (a vast region mostly in today’s Turkey).

Or not. Two papers published in May have new theories about horse domestication and the spread of Indo-European tongues.

The Yamnaya definitely rode horses into the European sunset. But one paper, published in Science by Peter de Barros Damgaard and colleagues, argues that the Yamnaya hadn’t been the first to tame the horse. Completely different nomads – a smaller group named the Botai, who arose about 500 years earlier east of there, in Kazakhstan – domesticated the horse before the Yamnaya.

But genetic analyses led to startling conclusions about the origin of today’s steeds.

Not that horse

The Eurasian steppe is a vast grassland stretching 8,000 kilometers (about 5,000 miles), from Hungary and Ukraine in the west through Kazakhstan to Mongolia and China in the east. The Botai lived in what is now Kazakhstan, from about 5,700 years to 5,100 years ago.

It is among the Botai that archaeologists located the oldest evidence of horse domestication (found so far, at least): Pottery with traces of mares’ milk, and horse teeth that seem worn down by bits.

Genetic analysis of Botai horse remains and what was thought to be the only surviving wild horse – the so-called wild Przewalski – by the French National Center for Scientific Research and Université Toulouse III–Paul Sabatier, resulted in some unexpected findings.

The first unexpected finding is that the “only wild horse still existing,” the wild Przewalski, is not actually wild. It descended from the Botai horses.

The second unexpected finding is that the Botai did not domesticate the Przewalski, but some other unknown wild horse. This unknown animal is the forefather of the Przewalksi.

The third unexpected finding is that none of today’s horses are descended from either the Przewalksi or its Botai-tamed descendent. We don’t know where today’s horses came from.

The fourth unexpected conclusion is that there are no more wild horses, anywhere. Wild horses are long extinct.

The fifth and final unexpected conclusion is that the horse was domesticated not once but twice. That’s according to Damgaard, the molecular biologist from the Natural History Museum of Denmark who led the project. One domestication event created the race the Botai rode, which is extinct; another created today’s horses, he says.

It is tempting to think the western pastoralists related to Yamnaya also domesticated a different breed of horses, Damgaard adds.

Horse appreciation going back millennia: Small terracotta horse head, Archaic period, from a Lydian settlement ÖAW-ÖAI/Jörg Gebauer

Not friends

Maybe the Botai did give the Yamnaya the idea of how to train horses. But to be clear, the Botai were not ancestral to, or even related to, the more western Yamnaya, report the researchers.

It is speculative, but likely that when the two groups did encounter each other, they fought.

Hostility with the Botai could explains why, when the Yamnaya-related groups meandered eastward, they didn’t strike roots mid-route, but continued all the way to the Altai Mountains of Southern Siberia – thousands of kilometers in distance, says Damgaard. There, these pastoralists who came from eastern Europe became the forefathers of the culture called the Afanasievo.

This far-flung wandering by the Yamnaya fits with Russian literature, which indicates that Botai descendants were warring with them, Damgaard observes. Why would they clash? “Probably because the descendants of the Botai people didn’t like their hunting territory being overrun,” he speculates.

As for the Botai themselves, following their Bronze Age heyday their homeland central steppe was totally overrun by groups coming in with wheeled vehicles, Damgaard explains. The descendents of the Botai hunter-gatherers retreated into the forest-steppe.

These relocated Botai may even have been the forefathers of the highly nomadic forest groups of Siberia, who left a pattern of burials from Finland to Mongolia from about 2100 B.C.E. to 1900 B.C.E. (known as the Seima-Turbino phenomenon), Damgaard says.

So, the Botai tamed the horse before the Yamnaya. But it seems that, wherever they rode their steeds, neither went south to Anatolia just when Indo-European languages began to arise there. Mass migration isn’t how Indo-European languages were spread southward from their point of origin.

The authors agree that Indo-European Anatolian was brought in from the outside, but the genetic data indicates that the population which adopted it was not genetically impacted by the groups from the steppes. Instead, apparently the local populations in the big cities of the time were multi-lingual and adopted the Indo-European tongue on top of their own.

Not speaking

Long lost in time, the Indo-European languages' point of origin is hypothetical. In theory, related tongues should have a predecessor. Wouldn’t the Indo-European languages – from Greek to Latin to Hittite to Hindi – have had an Ur-tongue?“We suspect proto-Indo-European emerged at the interface between the Caucasus and the eastern European steppe, perhaps through a ‘Caucasification’ of a Uralic language,” Damgaard says. He adds that, in any case, this hypothetical mother tongue probably took the form of local dialects.

Wherever it originated, the question is how this group of languages spread. As said, genetic analysis of 74 skeletons shows that the Yamnaya and Botai weren’t even related: The Botai arose from a hunter-gatherer population “deeply diverged” from the Yamnaya, the researchers say.

And they found no evidence of either Botai or Yamnaya in skeletal remains of Bronze Age Anatolians who lived when Indo-European languages are thought to have arrived there – over 5,000 years ago, based on ancient texts found in Ebla, Syria.

“Our genetic data basically tells us that whoever brought in the Indo-European languages (which we agree came from the outside) did not come in a massive population movement that affected the local gene pool,” Damgaard sums up.

Hittite is the oldest-known written Indo-European language, and may be the earliest to have split off from the proto-Indo-European tongue. Along the line, more tongues would branch off: the Iranian and Greek languages, for example, split off later than Hittite, in the late Bronze Age, Damgaard says.

Previously, the Anatolians would have spoken very distinct non-Indo-European languages: Assyrian, Hattian and Hurrian. If they didn’t get and maintain the use of Indo-European languages through mass migrations from the steppes, that leaves some sort of cultural seepage.

“We are pretty sure Indo-European languages were introduced to Anatolia – either through the Balkans or the Caucasus, by a minority,” Damgaard says. The languages would then have been sustained in Anatolia through cultural processes, he adds.

The Yamnaya survived. Their descendents moved into Europe, becoming the Afanasievo in the Altai Montains and possibly China. That last postulation is based on archaeology, including the 3,800-year-old mummies from western China (the Tarim mummies), and on linguistics – the sheer existence of the Indo-European language called Tocharian, which must have split off from the Indo-European language group before the Late Bronze Age chariot groups, says Damgaard.

The Botai survived for long centuries, but their descendents seem to have disappeared from the central steppe in the Late Bronze Age, Damgaard notes.

Wild horses did not survive; we do not know when they went extinct.

The Botai-domesticated horses did survive and became wild Przewalskis – which did not produce today’s racing steeds, just more wild Przewalksis. We still don’t know where or how today’s domestic horses originated, or if they understood Indo-European commands. But the hunt for clues in the genetic record continues.

Ruth Schuster

Ruth Schuster is Senior Editor at the Haaretz-TheMarker English Edition.

Schuster has worked in writing, editing and translation for English and Hebrew-language publications for more than two decades. She holds a BSc in biology from the Hebrew University of Jerusalem.

She lives in Tel Aviv with her daughter and multiple pets and in her spare time, promotes animal rights.

https://www.haaretz.com/archaeology/MAGAZINE-backing-the-wrong-wild-horse-1.6196288?fbclid=IwAR0yO-LSlHdR7pzgvWQOj8RRB8IOtC_cmImKRzIbek7nF8C45dkMPTSpx1I

Itihāsa. Keezhadi : Does it reflect a non-Vedic Dravidian civilization in ancient Tamil Nadu?

October 12, 2019, 7:17 am

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Keezhadi : Does it reflect a non-Vedic Dravidian civilization in ancient Tamil Nadu?

The early Tamil kingdoms were part of one unified civilization which included northern Janapadas as well, and the Tamil kingdoms and ancient sites like Keezhadi were not part of any separate pre-Vedic civilization like Dravidianists wants them to be.

Akshay Shankar

Indology | 12-10-2019

The ancient archaeological site at Keezhadi from Tamil Nadu was in the news recently for it’s latest discoveries on the antiquity of the site, early usage Tamil Brahmi script and graffiti symbols which supposedly has links to the script of the earlier Indus valley civilization. Many reports have gone as far to state that the urbanization in ancient Tamil Nadu started at the same time as in Gangetic regions of northern India, around 6th century BCE. They also state that the pre-Vedic Dravidian people of Indus valley civilization migrated southwards and settled in ancient Tamil lands or Tamilakam to give rise to another civilization which was free from the Vedic influences from north, and that Keezhadi finds reflects this pre-Vedic Tamil civilization. How true are these claims? This write up does an analysis of such claims with factual sources.

Usage of early Tamil Brahmi script

First let’s go through the issue regarding Tamil Brahmi script. What is Tamil Brahmi? One of the veteran epigraphist who spent his lifetime on Tamil inscriptions, late Shri Iravatham Mahadevan, states that Tamil Brahmi was regional script adapted from original Brahmi to suit the needs of Tamil [1]

“The early Tamil cave inscriptions are written in a special regional and linguistic variant of the Brahmi script adapted to the needs of Tamil phonetics. This script, now generally referred to as Tamil-Brahmi, is most probably the one named Damili in the Jaina canonical works Samavayanga Sutta and Pannavana Sutta (assigned to the Pre-Christian Era), and as Dravidahpi in the Buddhist work Lalitavistara (probably written in the early centuries A.D.). “

Mahadevan viewed earlier script of Indus valley civilization as representing Dravidian language, but even he had to admit that Tamil Brahmi is but a modified version of original Brahmi which was used in other parts of the Indian subcontinent. It only means Brahmi script was originally used to write dialects of Prakrit language, which were evolved from Old Vedic Sanskrit or it’s related dialects, which was also the popular language from regions of Afghanistan in north to Deccan in south during the early historic period.

The fact that Prakrit was the original language of Brahmi is further supported by occurrence of many Prakrit inscriptions from early Sangam age Tamilakam. It could only point towards northern origins of Brahmi from Prakrit speaking areas. Archaeologist K. Rajan in his book has written the following [2].

“There are several names of north Indian origin, which are in Prakrit proper. A few are in hybrid form too. The Prakrit names can be recognized by the occurrence of non-Tamil graphemes (aspirants. soft letters, and sibilants) and the genitive case endings like śa, sa, ha. ya. There are several names in pure Tamil like campaṉ , vaḷikaṉ , kannaṉ , antavaṉ n, cuḷantai, māttaṉ , pākaṉ, in Prakrit like nikama, and in Tamilized Pralkrit like kuviraṉ , silikaṉ and makatai. There are certain names like ātaṉ-asaṭaṉ and periyaṉ -sātaṉ , in which, one segment is in Tamil and another segment is in Prakrit or in Tamilized Prakrit. Another interesting feature is that certain names are written differently. For instance, the Prakrit names sāta and tisa are Tamilized by adding alveolar ṉ at the end making the word as sātaṉ and tissaṉ respectively. In another instance. the initial sa in the word sātaṉ is converted into Tamil ca. Likewise, the name tisa is written as tīssaṉ/tissaṉ as well as tissan (the alveolar ending ṉ is replaced with dental n).The writing in both ways like cātaṉ or sātaṉ, clearly suggests that the residents of Kodumanal were familiar with both the languages. ”

In fact multiple sites dating back to early Sangam age in Tamil Nadu has yielded inscribed Prakrit words. As per K. Rajan, the Prakrit words occurs from earliest layers in Tamil Nadu, going back to 6th century BCE [3]

“Thus, the influence of Prakrit-speaking at lexical and structural levels needs to be studied very closely. However, there is not much room for such structural analysis in Kodumanal inscribed potsherds as 99% of them are very short and mostly carry personal names. We hardly get any evidence of Prakritized Tamil, probably unwarranted in Tamil speaking area. The occurrence of Prakrit names from the lowermost layers of the habitation cuttings suggest that the adaptation process might have taken place well before 6th century BCE. “

Also, supposedly one of the earliest discovered Tamil Brahmi inscription from Tamil Nadu reads as ‘vayra’ which itself is a loan from Sanskrit or Prakrit vajra. So this proves that Tamil Brahmi had Prakrit loans since earliest period [4]

Another thing is that as per the excavation reports, the early Tamil Brahmi inscriptions from Keezhadi itself shows Tamilized loans from Prakrit or Sanskrit such as the name Kuviraṉ. It is ultimately from Sanskrit name Kubera, who is the ruler of Yakshas or nature spirits. [5]

From all these evidences, we can say that early Prakrit loans into Tamil inscriptions from earliest periods shows a crystal clear link with north, and probably that Prakrit loans came from north to south along with the Brahmi script. So in nutshell, the discovery of early Tamil Brahmi inscriptions only pushes back the antiquity of the original northern Brahmi as well.

The link between Indus script symbols and graffities discovered from southern sites.

Now we move on the Graffiti-Indus link. The finds of Indus script-like graffities from Tamil Nadu is nothing new. Over the years, there have been various reports of these Indus script-like finds. However none of them have been verified properly because the graffiti signs occur here and there, that too mostly in isolated cases without any proper sequence like we see in a proper writing system. These signs do occur along with Brahmi letters sometimes, but probably these were trademarks or other sort of marks representing regional marks, industry, clan or tribe etc. To claim that it represents a developed writing system like Indus script is too much, as we don’t have any proper inscriptions in such graffities apart from isolated occurrences. Such graffiti symbols also occurs in iron age cultures of north India. For example as seen in this seal from the ancient city of Vaishali in Bihar [6].

This seal is dated much later than Indus valley civilization. It was commented upon even by Iravatham Mahadevan, who usually endorsed Dravidian authorship of Indus valley civilization, as representing Indus script-like signs [7].

We do not know the exact significance of such symbols. It is true that some symbols does have resemblance to the Indus signs, and even if such graffiti symbols found from southern India indeed derive from Indus script, it doesn’t mean that Indus language was Dravidian. After all the seal from Vaishali is obviously from the era when the region was part of Vedic culture (archaeologists dated it to Mauryan era at the earliest, while Mahadevan comments that it is at least from 1100 BCE). Hence, we can also view that such graffiti symbols came from north to south via historical expansion of the Vedic culture into southern India which had it’s origins from Indus valley, if we identify Indus valley civilization as Vedic or even ancestral to the Vedic culture! Thus the assumption that the Indus-like symbols discovered from southern India indicates a Dravidian migration from Indus valley to southern India is entirely based on the preconceived notion that Indus valley civilization was Dravidian.

A non-Vedic civilization in early Tamilakam?

Finally we come to the most important issue. Since the Keezhadi finds, the Dravidianists have been claiming that Keezhadi represents an independent pre-Vedic secular Tamil civilization which was free of Vedic influences from north.

From the Prakrit loans highlighted previously, it is clear that Keezhadi, like other ancient sites of Tamilakam, had links with northern India since it’s earliest period and they were not part of any isolated separate pre-Vedic Tamil civilization.

True, the findings from Keezhadi would push back the date of urbanism in Tamilakam back to 6th century BCE. But to say that it was contemporary to Gangetic urbanization is not entirely correct.

Figure 2. Punch-marked coins of Pandyan kingdom.

By 600 BCE many urban Vedic Janapadas with grand cities were already established in Gangetic region as well as in Deccan. These Janapadas also minted their own punch-marked coins. In fact we also find early Tamil Pandyan kingdom minting the same type of coins with their royal fish symbol on reverse [8]

This only means that proper kingdoms & currency system was established in southern India during the time of Vedic Janapadas with the influences from north.

Thus, the early Tamil kingdoms were part of one unified civilization which included northern Janapadas as well, and the Tamil kingdoms & ancient sites like Keezhadi were not part of any separate pre-Vedic civilization like Dravidianists wants them to be.

Also it is plain wrong to state that urbanism in Tamilakam occurred same time as in Gangetic region. Urbanism in Gangetic region dates back to ‘proto-urban’ Pianted Grey Ware or PGW cultural phase, beyond 1000 BCE and well beyond 6th century BCE dates from Keezhadi. Some PGW sites also overlaps with late Indus culture. As noted historian Upinder Singh has written in her book [9]:

“The dates of the PGW culture range from c.1100 to c 500/400 BCE, and the sites in the north-west are probably earlier than those in the Ganga valley Given as wide geographical distribution and chronological range, it is not surprising that there are regional variations both in the pottery as well as in associated remains. In the archaeological sequence of the Ganga valley, the PGW phase is followed by the Northern Black Polished Ware (NBPW) phase, the beginning or which goes back to c, 700 BCE at Sringaverapura.The evidence from various PGW sites suggests a proto-urban phase. “

Important evidence of the PGW material culture is available from excavated slits such as Hastinapur, Alamgirpur, Ahichchatra, Allahpur, Mathura, Kampil, Noh, Jodhpura, Bhagwanpura, Jakhera, Kaushambi, and Shravasti. PGW occurs in four kinds of stratigraphic contexts. At some sites (e.g. Rupar and Sangho! in Punjab, Daulatpur in Haryana, and Alamgirpur and Hulas in western UP), it is preceded by a late Harappan level, with an intervening break in occupation. At other sites (e.g. Dadhert, Katpalon. and Nagar in the Punjab and Bhagwanpura in Haryana), there is an overlap between the PGW and late Harappan phase.”

In fact Keezhadi is just one site showing early signs of urbanism in Tamilakam, while most other ancient sites in ancient Tamilakam were overwhelmingly in non-urban megalithic phase during the iron age until urbanism came in during later centuries. In Gangetic zone we have signs of urbanism or proto-urbanism from multiple sites which later evolved into grand cities as stated above.

The urbanization of Gangetic region was a gradual process, tracing the roots to iron age PGW culture which itself overlapped with late Indus culture. It is certainly older than any urban site from Tamilakam discovered so far. So it is not correct to claim that process of urbanism in early Tamilakam was contemporary with that of north.

Vedic civilization unified north & south India

Finally, I quote the words of one of the greatest south Indian historian Shri KAN Sastri. According to him the Vedic ‘Aryanization’ process of southern India started with early phase from around 1000 BCE onwards [10]

“The Aryanization of the South was no doubt a slow process spread over several centuries. Beginning probably about 1000 BC, it had reached its completion before the time of Katyayana, the grammarian of the fourth century BC, who mentions the names of the Tamil countries of the extreme South. “

During 1000 BCE most parts of Tamilakam was in megalithic phase. While we have no clue about the language or religion of these iron age megalithic people, from their association with punch-marked coins & prevalence of megalithic culture even into later centuries (by then Tamil kingdoms already followed Vedic culture), we can probably infer that it could indeed have been associated with expansion of Vedic culture from north. The proper urban civilization in Tamilakam gradually evolved from megalithic phase by later centuries BCE & it didn’t form any separate civilization from north. Once the expansion of Vedic culture into south happened, both north & south India had one unified Vedic civilization since earliest attested historic era.

All likely the Vedic cultural expansions from out of Aryavarta (regions of northern India which was the land of Vedic Aryans) during late Vedic era onwards also included movement of people as well. Hence, vast majority of the modern speakers of Dravidian linguistic group, including the Tamils, also share the heritage & ancestry of ancient Vedic civilization.

References

[1] Recent Discoveries of Jaina Cave Inscriptions in Tamilnadu by Iravatham Mahadevan

[2] Early Writing System: A Journey from Graffiti to Brahmi by K. Rajan p.421.

[3] Ibid, p.422.

[4] Palani excavation triggers fresh debate – The Hinduhttps://www.thehindu.com/news/national/tamil-nadu/palani-excavation-triggers-fresh-debate/article2408091.ece

[5] Keeladi An Urban Settlement Of Sangam Age by TN Archeological Society p.14

[6] Vaisali excavations, 1958-1962, by B. P. Sinha, and Sita Ram Roy Plate XXX, seal 24.

[7] Iravatham Mahadevanas cited in The Lost River: On The Trail of the Sarasvati, by Michel Danino p.218

[8] Sangam Age Tamil Coins by R.Krishnamurthy Plate 1, 1-6.

[9] A History of Ancient and Early Medieval India: From the Stone Age to the 12th Century by Upinder Singh p.246. [10] A History of South India: From Prehistoric Times to the Fall of Vijayanagar by KAN Sastri p.17.

http://indiafacts.org/keezhadi-does-it-reflect-a-non-vedic-dravidian-civilization-in-ancient-tamil-nadu/?fbclid=IwAR27t2fDpaLYQwAyn8E87UN0m2qOecDedJa1RB_OljuxuW6ffPIZTPF3Xcc

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Wealth classifier hypertexts. What do Harappa miniature tablets signify through their messages? Metallurgy of kasērā ʻmetal workerʼ

October 14, 2019, 6:41 pm

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" Sign sal 'splinter' rebus: sal 'workshop'. Sign 123  signifies kuṭi'a slice, a bit, a small piece'(Santali) Rebus: kuṭhi 'iron smelter furnace' (Santali) kuṭhī factory (Assamese)

These two signs associated with specific hieroglyphs of the script yield hypertexts are wealth classifier hypertexts.

Sign 123  and Sign "Sign 99 are uniquely associated with specific signs of Indus Script Corpora. These associates signs relate to metalwork in smelters or metal workshops by smiths, metalwork artisans and lapidaries -- signs such as .

"Bell-metal workshop.

"Goldsmith workshop

Sign 287 or Sign 287 or 293 which signifies kuṭila 'bell-metal' ( Smelter for...)

 Sign 216 dhatu 'mineral ore' (Smelter for...)

 dhatu 'mineral ore' (Smelter for...)

 Sign 391 arka 'gold, copper' (Smelter for...)

Hieroglyph: Pupil of eye: Ma. kuṭṭi pupil of eye; Ta. kuṭṭam smallness; young of a monkey; kuṭṭaṉ laddie, lassie, as a term of endearment; kid or lamb; kuṭṭi young of a dog, pig, tiger, etc.; little girl; smallness; kuṭṭai shortness, dwarfishness; kuṭṭ-ēṟu a small bull; kuṇṭai shortness, that which is short and stout. Ma. kuṭṭan boy, lamb, calf; kuṭṭi young of any animal, child (chiefly girl) (DEDR 1670) Rebus: kuṭhi 'smelter'

Sign 293 is a hypertext composed of 'curve' and 'pupil of eye' hieroglyphs: Curve is signified by kuṭi 'curve'; rebus: कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin); cf. āra-kūṭa, 'brass' Old English ār 'brass'; Pupil of eye is kuṭi rebus: kuṭhi 'smelter'. Thus, Sign 293 signifies smelter for कुटिल kuṭila, katthī 'brass'. This Sign 293 is followed by Sign 123  which signifies smelter (as a semantic determinative):

I submit that the hieroglyphs which are associated with "are wealth classifiers. Each of these wealth classifiers included on Indus Script phrases are descriptors of artisanal/metallurgical/lapidary processes of guild workshops involved in creating wealth.

Sign 296 is a variant ofSign 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. Sign 293 may be seen as a duplication (dula 'pair' rebus; dul 'metal casting') of Sign 287  The reading of Sign 293 is thus: dul kuṭila  metal casting of 'pewter'.

 (Thanks to Behata Ansumati Mukhopadhyay for these clustered images from the Indus Script Corpora.
https://www.nature.com/articles/s41599-019-0274-1).
 Smelter  Sign 123 signifies kuṭi 'a slice, a bit, a small piece'(Santali) Rebus: kuṭhi'iron smelter furnace' (Santali) kuṭhī factory (Assamese)(CDIAL 3546) Thus, Sign 123 is a semantic determinative of the associated Sign293  which signifies pupil of the eye: kuṭṭi pupil of eye rebus: kuṭhi 'iron smelter furnace' (Santali) kuṭhī factory (Assamese)

Smelter  Sign 123 is also associated with Sign 216 pincers hieroglyph and variants:

ḍato 'claws or pincers (chelae) of crabs'; rebus: dhatu 'mineral.

 Thus, the pair of signs Sign 123 and Sign 216 signify dhatu kuṭi , 'mineral ore smelter'.

Similarly,  the pair of signs Sign 123 and Sign 391 signify arka kuṭi 'smelter of goldsmith workshop' (portable crucible used also to process crucible steel).

The word which signifies Sign 391 spoked or potter's wheel is cognate with:

   څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel (particularly a potter's, or of a water-mill or well). 2. A grindstone. 3. Circular motion, turn, revolution, the act of turning. 4. Fortune, chance. 5. The heavens, the sphere, the celestial globe. 6. A kind of hawk or falcon, an eagle. 7. A stab, a puncture, a prick, a wound produced by a spear, an arrow, or the like. Pl. څرخرنه ṯs̱arḵẖ-ūnah; 8. adj. Punctured, pricked, pierced, stabbed; (Fem.) څرکه ṯs̱arkaʿh. څرخیدل ṯs̱arḵẖedal, verb intrans. To revolve, to turn round, to wheel. 2. To dance. Pres. څرخبږي ṯs̱arḵẖej̱ẕī (W.) or څرخیګي ṯs̱arḵẖegī (E.); past ؤ څرخیده wu-ṯs̱arḵẖedah or ؤ څرخیدَ wu-ṯs̱arḵẖeda; fut. ؤ به څرخیږي wu bah ṯs̱arḵẖej̱ẕī or ؤ به څرخیګي wu bah ṯs̱arḵẖegī; imp. ؤ څرخیږه wu-ṯs̱arḵẖej̱ẕah or ؤ څرخیګه wu-ṯs̱arḵẖegah; act. part. څرخیدونکيَ ṯs̱arḵẖedūnkaey

 or څرخیدونيَ ṯs̱arḵẖedūnaey; past part. څرخید ليَ ṯs̱arḵẖedalaey; verb. n. څرخیدنه ṯs̱arḵẖedanaʿh. څرخول ṯs̱arḵẖawul, verb trans. To turn, to make revolve, to wheel round. 2. To sharpen. Pres. څرخوي ṯs̱arḵẖawī; past ؤ څرخاوه wu-ṯs̱arḵẖāwuh or ؤ څرخاوو wu-ṯs̱arḵẖāwo; fut. ؤ به څرخوي wu bah ṯs̱arḵẖawī; imp. ؤ څرخوه wu-ṯs̱arḵẖawah; act. part. څرخوونکيَ ṯs̱arḵẖawūnkaey orڅرخوونيَ ṯs̱arḵẖawūnaey;

 past part. څرخوليَ ṯs̱arḵẖawulaey; verb. n. څرخونه ṯs̱arḵẖawunaʿh. (P چرخ). څرخ کول ṯs̱arḵẖ kawul, verb trans. To pierce, to stab, to puncture. څرخ کیدل ṯs̱arḵẖ kedal, verb intrans. To enter (as a pointed instrument), to penetrate, to stab, to pierce.    څرخه ṯs̱arḵẖaʿh, s.f. (3rd) A spinning-wheel, a large reel. Pl. يْ ey. (P چرخه). 

arka'gold, copper'; arka'sun'

Smelter  Sign 123 is also associated with Sign 137 or Sign 149 and variants which signify mineral ore; thus, the pair of signs Sign 123 and Sign 137 or Sign 149 signify mineral ore smelter:

dã̄ṭu = cross over; daṭ- (da.ṭ-t-) to cross (Kol.)(DEDR 3158) Rebus: dhātu ‘mineral’; rebus: dhatu = a mineral, metal (Santali)   

Ta. koṭiṟu pincers. Ma. koṭil tongs. Ko. koṛ hook of tongs. / Cf. Skt. (P. 4.4.18) kuṭilikā- smith's tongs.(DEDR 2052)

FS 72 Fig. 108 Chanhudaro seal. Person kneeling under a tree facing a tiger. [Chanhudaro Excavations, Pl. LI, 18] 6118  Seal T-A-T ID 1743

Decipherment of Chanhudaro seal

Kneeling adorant: భక్తుడు. 'adorant, worshipper' rebus:  బత్తుడు battuḍu The caste title of all the five castes of artificers as వడ్లబత్తుడు a carpenter. కడుపుబత్తుడు one who makes a god of his belly. L. xvi. 230.  Five categories of artificers: పాంచాలము pāñcālamu pānchālamu. [Skt.] पंचाळ  pañcāḷa m (पांचाल S q. v.) A common term for five castes--सोनार, सुतार, लोहार, कांसार, पाथरवट. These all wear the जानवें.  (Marathi) பஞ்சகம்மாளர் pañca-kammāḷar, n. < pañcantaṭṭāṉ, kaṉṉāṉ, ciṟpaṉ, taccaṉ, kollaṉ; தட்டான், கன்னான், சிற்பன், தச்சன் கொல்லன் என்ற ஐவகைப் பட்ட கம்மாளர். (சங். அக.) அஞ்சுபஞ்சலத்தார் añcu-pañcalattār, n. < அஞ்சு + பஞ்சாளத்தார். Pañca-kammāḷar, the five artisan classes; பஞ்சகம்மாளர். (I. M. P. Cg. 371.) Rebus:phaḍa फड 'manufactory, company, guild' 

Feeding trough in front of cattle (even wild animals)  pattar 'feeding trough' rebus: pattar, బత్తుడు battuḍu 'a guild, title of goldsmiths'. Ta. paṭṭai painted stripe (as on a temple wall), piebald colour, dapple.Ma. paṭṭa stripe. Ka. paṭṭe, paṭṭi id. Koḍ. paṭṭe striped or spotted (as tiger or leopard); paṭṭati n.pr. of dappled cow. Tu. paṭṭè stripe. Te. paṭṭe stripe or streak of paint; paḍita stripe, streak, wale.(DEDR 3877) Ta. pātti bathing tub, watering trough or basin, spout, drain; pattal wooden bucket; pattar id., wooden trough for feeding animals. Ka. pāti basin for water round the foot of a tree. Tu. pāti trough or bathing tub, spout, drain. Te. pādi, pādu basin for water round the foot of a tree(DEDR 4079)

Rebus 1: pāṭaṇ maritime town, port: పట్ర paṭra paṭra. [Tel.] n. A village, a hamlet. పల్లెపట్ర villages and hamlets. H. iv. 108. paṭṭana n. ʻ town ʼ Kauṭ., °nī -- f. lex. 2. páttana -- n. MBh. [Prob. ← Drav. T. Burrow BSOAS xii 383 and EWA ii 192 with ṭṭ replaced by IA. tt. But its specific meaning as ʻ ferry ʼ in S. L. P. B. H. does lend support to its derivation by R. A. Hall in Language 12, 133 from *partana -- (√pr̥ ~ Lat. portus, &c.). Poss. MIA. pattana -- , paṭṭana -- ʻ *ferry ʼ has collided with Drav. loanword for ʻ town ʼ] 1. Pa. paṭṭana -- n. ʻ city ʼ, °aka -- n. ʻ a kind of village ʼ; Pk. paṭṭaṇa -- n. ʻ city ʼ; K. paṭan m. ʻ quarter of a town, name of a village 14 miles NW of Śrinagar ʼ; N. pāṭan ʻ name of a town in the Nepal Valley ʼ; B. pāṭan ʻ town, market ʼ; Or. pā̆ṭaṇā, °anā ʻ town, village, hamlet on outskirts of a big village ʼ; Bi. paṭnā ʻ name of a town ʼ; H. pāṭan m. ʻ town ʼ, G. pāṭaṇ n.; M. pāṭaṇ ʻ name of a town ʼ; Si. paṭuna ʻ town ʼ. -- Pa. paṭṭana -- n. ʻ harbour, port ʼ, Pk. paṭṭaṇa -- n.; H. paṭnī, pā̆ṭaunī, pāṭūnī m. ʻ ferryman ʼ; Si. paṭuna ʻ harbour, seaport ʼ.2. Pk. pattaṇa -- n. ʻ town ʼ, Si. patana. -- S. pataṇu m. ʻ ferry ʼ (whence pātaṇī m. ʻ ferryman ʼ, f. ʻ ferry boat ʼ); L. pattan, (Ju.) pataṇ m. ʻ ferry ʼ; P. pattaṇ ʻ ferry, landing -- place ʼ, pattaṇī, °tuṇī m. ʻ ferryman, one who lives near a ferry ʼ; B. pātanī ʻ ferryman ʼ.(CDIAL 7705)

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

kola, kolum = a jackal (G.) kolhuyo (Dh.Des.); kulho, kolhuo (Hem.Des.); kroṣṭṛ (Skt.) kul seren = the tiger’s son, a species of lizard (Santali) kolo, koleā jackal (Kon.lex.) Rebus: kol metal (Ta.) kol = pan~calokam (five metals) (Ta.lex.) kol = pan~calokam (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 Nighan.t.u. 498)(Ka.) kol, kolhe, ‘the koles, an aboriginal tribe if iron smelters speaking a language akin to that of Santals’ (Santali) kol = kollan-, kamma_l.an- (blacksmith or smith in general)(Ta.lex.) kollar = those who guard the treasure (Ta.lex.) cf. golla (Telugu) khol, kholi_ = a metal covering; a loose covering of metal or cloth (G.) [The semant. expansions to kollāpuri or kolhāpur and also to 'kollāppan.t.i' a type of cart have to be investigated further]. kol ‘working in iron, blacksmith (Ta.); kollan- 

blacksmith (Ta.);kollan blacksmith, artificer (Ma.)(DEDR 2133)

dã̄ṭu = cross over; daṭ- (da.ṭ-t-) to cross (Kol.)(DEDR 3158) Rebus: dhātu ‘mineral’; rebus: dhatu = a mineral, metal (Santali)   

gaṇḍe ‘to place at a right angle to something else, cross, transverse’; gaṇḍ gaṇḍ

‘across, at right angles, transversely’ (Santali) [Note: A slanted line Lahn.d.a writing of accounts connotes a quarter; a straight line connotes ‘one’.] Rebus: kaṇḍa ‘fire-altar’ (Santali) kāṇḍa ‘iron’ as in ayaskāṇḍa ‘excellent iron’ (Pan.Skt.) kolmo ‘three’ (Mu.); rebus: kolimi ‘smithy’ (Te.)

kuṭī 'tree', 'water carrier' (Semantic determinative) rebus: kuṭhī 'smelter'

The evidence relates to the semantics of worker in wood and iron. He is called बढई baḍhī.

 

बढई baḍhī m ( H) A carpenter. (Marathi)  పట్టడ paṭṭaḍa paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు. వడ్రంగి, వడ్లంగి,వడ్లవాడు vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్రంగిపిట్ట or వడ్లంగిపిట్ట vaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటము. వడ్లకంకణము vaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదము. వడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste. vardhaki m. ʻ carpenter ʼ MBh. [√vardh] Pa. vaḍḍhaki -- m. ʻ carpenter, building mason ʼ; Pk. vaḍḍhaï -- m. ʻ carpenter ʼ, °aïa -- m. ʻ shoemaker ʼ; WPah. jaun. bāḍhōī ʻ carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaï, baṛahi, A. bārai, B. bāṛaï, °ṛui, Or. baṛhaï, °ṛhāi, (Gaṛjād) bāṛhoi, Bi. baṛahī, Bhoj. H. baṛhaī m., M. vāḍhāyā m., Si. vaḍu -- vā.*vārdhaka -- .Addenda: vardhaki -- : WPah.kṭg. báḍḍhi m. ʻ carpenter ʼ; kṭg. bəṛhe\i, báṛhi, kc. baṛhe ← H. beside genuine báḍḍhi Him.I 135), J. bāḍhi, Garh. baṛhai, A. also bāṛhai AFD 94; Md. vaḍīn, vaḍin pl.(CDIAL 11375)  

" Sign sal 'splinter' rebus: sal 'workshop'.

"Bell-metal workshop. 

"Goldsmith workshop

-- Indus Script messages are phrases of metal-, lapidary-work wealth-accounting ledgers

-- Clusters of Indus Script inscriptions presented by Bahata Ansumati Mukhopadhyay (2019) deciphered as metal-, lapidary-work wealth-accounting ledgers;

-- Bahata Ansumati says Indus Script is logographic NOT syllabic. My 1700+ monographs demonstrate hundreds of evidences for this conclusion:
https://independent.academia.edu/SriniKalyanaraman

-- Harappa miniature tablets signify the message bharat gaṇḍa kaṇḍa kanka kharada 'scribe's daybook of bharat gaṇḍa 
-- copper-zin-tin alloy equipment'
-- processed on the follwing types of furnaces:

 || 'metalcasting furnace'||| 'smithy furnace'|||| 'equipment furnace'

 Seal excavated in 2009 at Kanmer in the Kutch. 
khareḍo = a currycomb (Gujarati) खरारा [ kharārā ] m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: 1. करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 2. kharādī ‘ turner’ (Gujarati)Seal m 290 Mohenjo-daroIndus Script epigraph deciphered: kol 'working in iron' + pattar 'goldsmith guild' + ṭāṅka ʻleg, thighʼ (Oriya) PLUS khar 'ass, onager' (Kashmiri) PLUS  kharedo = a currycomb (Gujarati) deciphered as: ṭaṅka 'mint' PLUS khār खार् 'blacksmith' PLUS kharādī ‘ turner’ (Gujarati) Tiger PLUS (trough -- broken seal): kola 'tiger' Rebus; kolle 'blacksmith' kol 'working in iron' kole.l 'smithy, temple' kolimi 'smithy, forge' PLUS pattar 'trough' Rebus: pattar 'guild of goldsmiths'.

ṭaṅkaśālā -- , ṭaṅkakaś˚ f. ʻ mint ʼ lex. [ṭaṅka -- 1, śāˊlā -- ]N. ṭaksāl, ˚ār, B. ṭāksāl, ṭã̄k˚, ṭek˚, Bhoj. ṭaksār, H. ṭaksāl, ˚ār f., G. ṭãksāḷ f., M. ṭã̄ksāl, ṭāk˚, ṭãk˚, ṭak˚. -- Deriv. G. ṭaksāḷī m. ʻ mint -- master ʼ, M. ṭāksāḷyā m.Addenda: ṭaṅkaśālā -- : Brj. ṭaksāḷī, ˚sārī m. ʻ mint -- master ʼ.(CDIAL 3424)  टंकशाला   ṭaṅkaśālā f (S) pop. टंकसाळ or टकसाळ f A mint. टंकसाळचा फुटका or फुटलेला   ṭaṅkasāḷacā phuṭakā or phuṭalēlā a (Broken in the mint.) Spoiled or mutilated in birth, or in the parents' home, or in early training &c. The phrase is from H. टंकसाळ्या   ṭaṅkasāḷyā a (टंकसाळ) Epithet of that सोनार or goldsmith who is employed in coining: opp. to अंगसाळ्या. 2 A person generally employed at the mint. (Marathi)

What do Harappa miniature tablets signify through their messages?

The miniature tablets are wealth-accounting daybooks The kharada खरडें daybooks render bharata kanda kanka 'bharata copper-zinc-tin alloy equipment scribal accounst':

Sign 176Hieroglyph: currycomb: खरारा   kharārā m ( H) A currycomb. 2 Currying a horse. ख0 खाजवीत नगारा वाजवीत-येतो-फिरतो &c. Used of a low vagabond or idler.(Marathi)

Rebus: wealth-accounting ledgers -- kharada खरडें 'daybooks' Hieroglyph: Currycomb, scraper: khareḍo 'a currycomb' (Gujarati); खरड्या   kharaḍyā a (खरडणें) That writes or shaves rudely and roughly; a mere quill-driver; a very scraper. khareḍo = a currycomb (Gujarati) खरारा [ kharārā ] m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: 1. करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 2. kharādī ‘ turner’ (Gujarati) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi). 

Common inscriptions on Indus Script seals which occur on more than one site (After Fig. 4 in Behata Ansumati's article 
https://www.nature.com/articles/s41599-019-0274-1)

This is a remarkable demonstration by Behata of the unity of parole (spoken language) and/or writing system in vogue in Sarasvati Civilization. It is certainly evident that these sites had interactions using the writing system to document some important life-activity.

7097 karã̄ n. pl.wristlets, banglesRebus: khãr 'blacksmith, ironsmith' PLUS dula 'two' rebus: dul 'metal casting' PLUS PLUS Sign 342 = kanda kanka

6128 ranku 'liquid measure' rebus: ranku 'tin ore' PLUS kūdī 'bunch of twigs' (Sanskrit) Rebus: kuṭhi 'smelter furnace' (Santali) .PLUS Sign 342 = kanda kanka

 6226 PLUS Sign 342 = kanda kanka

6214

1366 PLUS Sign 342 = kanda kanka

7100 PLUS Sign 342 = kanda kanka

2575

2652

  Metal-/lapidary-artisanal products from blazing heat furnace under the charge of steersman.

2364 m0810  Sign 328 baṭa 'rimless pot' rebus:bhaṭa ‘furnace’.baṭa 'iron'. Thus, iron furnace PLUS lid hieroglyph: *ḍhakk ʻ cover ʼ. 2. *ḍhaṅk -- . [Cf. ḍhakkana -- n. ʻ shutting ʼ Śīl.]
1. Pk. ḍhakkaï ʻ shuts ʼ; S. ḍhakaṇu ʻ to cover ʼ; L. ḍhakkaṇ ʻ to imprison ʼ; P. ḍhakkṇā ʻ to cover ʼ, Ku. ḍhakṇo, N. ḍhāknu, A. ḍhākiba, B. ḍhākā, Bhoj. ḍhākal, OMarw. ḍhakaï; -- Pk. ḍhakkiṇī -- f. ʻ lid ʼ, S. ḍhakkaṇī f., P. ḍhakṇā m., ˚ṇī f., WPah. bhad. ḍhakkaṇ n., Ku. ḍhākaṇ, N. ḍhakni, A. ḍhākni, B. ḍhākan, ḍhāknā, ˚ni; Bi. ḍhaknā ʻ cover of grain -- pot ʼ, Mth. ḍhākni; Bhoj. ḍhaknī ʻ lid ʼ. -- Poss. K. ḍākürü f. ʻ wide shallow basket ʼ; N. ḍhāki ʻ basket ʼ, ḍhākar ʻ a kind of large basket ʼ; Bi. mag. ḍhākā ʻ large open basket ʼ; -- P. ḍhakkā m. ʻ pass between two hills ʼ.2. Pk. ḍhaṁkissaï ʻ will cover ʼ; Kho. (Lor.) ḍaṅgeik ʻ to cover, shut, bury ʼ; Phal. ḍhaṅg -- ʻ to bury ʼ; Or. ḍhaṅkibā ʻ to cover ʼ, H. ḍhã̄knā, Marw. ḍhã̄kṇo, G. ḍhã̄kvũ, M. ḍhã̄kṇẽ; -- Pk. ḍhaṁkaṇa -- n., ˚ṇī -- f. ʻ cover, lid ʼ, Or. ḍhāṅkuṇi, H. ḍhãknī f., G. ḍhã̄kṇũ n., ˚ṇī f., M. ḍhã̄kaṇ n., ḍhã̄kṇī f.(CDIAL 5574) Rebus: *dhagg ʻ throb, glitter ʼ. [Cf. dhagiti ʻ at once ʼ Kād., dhagad -- dhagiti ʻ crack! ʼ HPariś., and *ḍag -- 1]Pk. dhagadhagaï ʻ flares ʼ, dhagadhaggamāṇa -- , dhaggīkaya -- ʻ blazing ʼ; H. dhagdhagānā ʻ to throb, glitter ʼ; G. dhagdhagvũ ʻ to burn fiercely ʼ; M. dhagdhagṇẽ ʻ id., to beat (of heart) ʼ; -- S. dhakdhaki f. ʻ palpitation ʼ; N. dhakāunu ʻ to pant ʼ; B. dhak ʻ sudden blaze ʼ, dhakdhakāna ʻ to throb, glitter ʼ; Or. dhaka ʻ blaze ʼ, dhakadhaka ʻ throbbing, blazing ʼ; H. dhakdhakānā, dhadhaknā ʻ to blaze ʼ, G. dhakdhakvũ; M. dhakdhakṇẽ ʻ to palpitate ʼ.*dhaṅga -- ʻ defective ʼ see *ḍagga -- 2.
Addenda: *dhagg -- : Ko. dhaggu ʻ heat ʼ, dhagdhagu ʻ blazing heat ʼ.PLUS Sign 342 = kanda kanka

1217 Seal with one-horned young bull mūhā mẽṛhẽt kolimi PLUS kunda singi 'finegold, ornament gold'PLUS konda 'fire-altar' 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) PLUS 

mūhā mẽṛhẽt kolimi = Smithy/forge (in which) iron is smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali) 

PLUS Sign 342 = kanda kanka

1279 Seal with one-horned young bull kasērā ʻmetal workerʼ PLUS कर्णिक 'steersman, helmsman' PLUS  kunda singi 'finegold, ornament gold' PLUS konda 'fire-altar' 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) PLUS Sign48 = bharata (copper-zinc-tin alloy)

Sign 342 = kanda kanka

 

Sign48 = bharata (copper-zinc-tin alloy)

Sign 342 = kanda kanka

I submit that the Harappa miniature tablets are documentation of wealth-accounting ledgers (kharada खरडें daybooks) from three segments of metallurgical operations. The three segments are:

 || 'metalcasting furnace'

||| 'smithy furnace'

|||| 'equipment furnace'

1. metalcasting furnace; 2. smithy furnace; and 3. equipment furnace

 

At times 'rim-of-jar' hieroglyph is further elucidated by the addition of the 'currycomb' hieroglyph to signify: kharada खरडें daybook (wealth acounting classification ledger).

Thus, Sign 342-Sign176 pair is read rebus as: kaṇḍa kanka kharada खरडें daybook OR 'scribe's daybook'. The qualifier of this phrase 'scribe's daybook' is: the backbone hieroglyph with four short strokes Sign 46. This Sign 46 is read rebus as: bharat gaṇḍa 'copper-zinc-tin alloy equipment'.

 The phrase composed by Sign 48-Sign342-Sign176 is

Segment 1: bharat gaṇḍa, 'bharat (copper-zinc-tin) alloy equipment'

Segment 2: kaṇḍa kanka kharada, 'scribe's daybook'.

Together, the three-hieroglyph segment on miniature tablet reads:  bharat gaṇḍa kaṇḍa kanka kharada 'scribe's daybook of bharat gaṇḍa -- copper-zin-tin alloy equipment'

Decipherment of three miniature tablets of Harappa:

Backbone, rib cage

Sign 48. kaśēru ‘the backbone’ (Bengali. Skt.); kaśēruka id. (Skt.) Rebus: kasērāʻmetal workerʼ (Lahnda)(CDIAL 2988, 2989) Spine, rib-cage: A comparable glyptic representation is on a seal published by Omananda Saraswati. In Pl. 275: Omananda Saraswati 1975. Ancient Seals of Haryana (in Hindi). Rohtak.” (I. Mahadevan, 'Murukan' in the Indus Script, The Journal of the Institute of Asian Studies, March 1999). B.B. Lal, 1960. From Megalithic to the Harappa: Tracing back the graffiti on pottery. Ancient India, No.16, pp. 4-24. baraḍo = spine; backbone (Tulu) Rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi) bhārata,'a factitious alloy of pewter, copper, tin'. 

Hieroglyphs: backbone + four short strokes

Signs 47, 48: baraḍo = spine; backbone (Tulu) Rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi) +

gaṇḍa ‘four’ Rebus: kaṇḍ ‘fire-altar’. Thus, Sign 48 reads rebus: bharat kaṇḍ ‘fire-altar’, furnace for mixed alloy called bharat (copper, zinc, tin alloy),

‘Backbone, spine’ hieroglyph: baraḍo = spine; backbone; the back; baraḍo thābaḍavo = lit. to strike on the backbone or back; hence, to encourage; baraḍo bhāre thato = lit. to have a painful backbone, i.e. to do something which will call for a severe beating (Gujarati)bārṇe, bāraṇe = an offering of food to a demon; a meal after fasting, a breakfast (Tulu) barada, barda, birada = a vow (Gujarati)bharaḍo a devotee of S’iva; a man of the bharaḍā caste in the bra_hman.as (Gujarati) baraṛ = name of a caste of jat- around Bhaṭiṇḍa; bararaṇḍā melā = a special fair held in spring (Punjabi) bharāḍ = a religious service or entertainment performed by a bharāḍi_; consisting of singing the praises of some idol or god with playing on the d.aur (drum) and dancing; an order of aṭharā akhād.e = 18 gosāyi_ group; bharād. and bhāratī are two of the 18 orders of gosāyi_ (Marathi).

Rimless pot Sign 328

Sign 328 baṭa 'rimless pot' rebus:bhaṭa ‘furnace’.baṭa 'iron'. Thus, iron furnace.

Ligatures: Worshipper + rimless pot + scarf (on pigtail)

Signs 45, 46: A variant of ‘adorant’ hieroglyph sign is shown with a ‘rimless, broad-mouthed pot’ which is baṭa read rebus:bhaṭa ‘furnace’. If the ‘pot’ ligature is a phonetic determinant, the gloss for the ‘adorant’ is bhaṭa ‘worshipper’. If the ‘kneeling’ posture is the key hieroglyphic representation, the gloss is eragu ‘bow’ Rebus: erako ‘moltencast copper’. Thus moltencast copper furnace. + dhaṭu m. (also dhaṭhu) m. ‘scarf’ (Western Pahari) (CDIAL 6707) Rebus: dhatu ‘minerals’ (Santali). Thus Sign 46 read rebus: moltencast copper minerals furnace.

|| Two linear strokes hieroglyph: dula 'two' rebus: dul 'metal casting' PLUS :bhaṭa 'rimless pot' rebus: :baṭa 'iron' :bhaṭa 'furnace'. Thus, metalcasting furnace.

|||Three linear strokes hieroglyph: kolom 'three' rebus: kolimi 'smithy, forge' PLUS bhaṭa 'rimless pot' rebus: :baṭa 'iron' :bhaṭa 'furnace'. Thus, smithy furnace .

|||| gaṇḍa 'four' rebus: kaṇḍa 'equipment PLUS PLUS bhaṭa 'rimless pot' rebus: :baṭa 'iron' :bhaṭa 'furnace'. Thus, equipment (from) furnace .

Thus, the three miniature tablets of Harappa are: scribe's daybooks of 1) equipment from furnace; 2) smithy furnace; and 3)metalcasting furnace.

bharat gaṇḍa kaṇḍa kanka kharada 'scribe's daybook of bharat gaṇḍa -- copper-zin-tin alloy equipment' FROM 

1) bhaṭa 'rimless pot' rebus: :baṭa 'iron' :bhaṭa 'furnace'. Thus, metalcasting furnace.

2) gaṇḍa 'four' rebus: kaṇḍa 'equipment PLUS PLUS bhaṭa 'rimless pot' rebus: :baṭa 'iron' :bhaṭa 'furnace'. Thus, equipment (from) furnace .

3) kolom 'three' rebus: kolimi 'smithy, forge' PLUS bhaṭa 'rimless pot' rebus: :baṭa 'iron' :bhaṭa 'furnace'. Thus, smithy furnace 

m1202 Seal

 m1202

  

Rebus reading of plain text: ṭhaṭṭha brass PLUS dul mũhã̄ khār koḍ 'metal casting ingot blacksmith' PLUS meḍ koḍ 'iron workshop'. Thus, brass, iron workshop of blacksmith for producing metalcasting ingots.

||||| Hieroglyph: Five linear strokes: taṭṭal'five' Rebus: ṭhaṭṭha brass; 

Sign 408 karã'wristlets' rebus:khār 'blacksmith PLUS koDa 'one'




rebus: koD 'workshop'. Alternative, semantic determinative:  mũhã̄ 'bun ingot PLUS dula 'pair' rebus: dul 'metal casting'; khār 'blacksmith  PLUS 



koḍ 'workshop'.Thus, brass ingot blacksmith metal casting workshop.








Sign 25 Ma. ṭaṅkam mace. Ka. ṭaṅke, ḍaṅke, ḍaṅgi, ḍaṅge staff, cudgel, etc. (DEDR 2940) PLUS meD 'body' rebus: meD 'iron'. Thus, the mace or staff carried by the standing person identifies him to be a worker in  ṭaṅka  Thus, Sign 25 signifies 'mint' meḍ  ṭaṅka 'iron mint'.



Alternative rebus readings of Sign 25: meḍ koḍ 'iron workshop' OR  kāṭhī + kāṭi 'body stature; Rebus: fireplace trench.


Ligature hieroglyph: 'stick' or 'one'



Sign1 Hieroglyph: काठी [ kāṭhī ] f (काष्ट S)  (or शरीराची काठी) The frame or structure of the body: also (viewed by some as arising from the preceding sense, Measuring rod) stature (Marathi) B. kāṭhā ʻ measure of length ʼ(CDIAL 3120).H. kāṭhī 'wood' f.  G. kāṭh n. ʻ wood ʼ, °ṭhī f. ʻ stick, measure of 5 cubits ʼ(CDIAL 3120). + kāṭi 'body stature; Rebus: fireplace trench.The 'stick' hieroglyph is a phonetic reinforcement of 'body stature' hieroglyph. Alternatively,  koḍ 'one' Rebus:  koḍ 'workshop'+ kāṭi 'body stature; Rebus: fireplace trench.. Thus, workplace of furnace fire-trench.


Sign 25         53 Sign 25 ciphertext is composed of Sign 1 and Sign 86. mē̃ḍ 'body' rebus: mē̃ḍ ‘iron’ (Mu.)Hypertext reads in a constructed Meluhha expression: mē̃ḍ koḍ 'iron workshop'.

Field symbol:'

barad, barat 'ox' Rebus: bharat 'alloy of copper, pewter, tin' (Marathi)  भरत   bharata n A factitious metal compounded of copper, pewter, tin भरती   bharatī a Composed of the metal भरत. भरताचें भांडें   bharatācē mbhāṇḍēṃ n A vessel made of the metal भरत.
pattar 'trough' Rebus: pattar 'goldsmith guild'

Text segment 1:

Sign 373 signifies mũhã̄'bun ingot' 

Text segment 2:

karã'wristlets' rebus:khAr 'blacksmith'
 ē̃ṣṭrĭ̄  'flying squirrel' rebus: śrēṣṭhin 'foreman of a guild'.

kaNDA kanka 'equipment supercrgo'

Text segment 3:

maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ 'iron'

bhaTa 'warrior' Rebus: bhaTa 'furnace',baTa 'iron'

kanka 'rim of jar' rebus: karṇika 'scribe'(Sanskrit)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 (Marathi) PLUS kanda 'jar'

rebus: kanda 'fire-altar', konda 'fire-altar, kiln'rebus:kanda 'equipment'. 

Thus, kaNDA kanka 'equipment supercrgo' .

taṭṭal'five' rebus:   5491 *ṭhaṭṭha ʻ brass ʼ. [Onom. from noise of hammering brass?

 -- *ṭhaṭṭh -- ] N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ.*ṭhaṭṭhakara -- , 

*ṭhaṭṭhakāra -- .*ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- . [*ṭhaṭṭha -- 1, 

kāra -- 1]1. Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, ˚rā m.2. 

P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, 

H. ṭhaṭherā m.(CDIAL 5492, 5493)

Decipherment of m1202 epigraph:

Sign 403 karã̄ n. pl. wristlets, bangles Rebus: khAr 'blacksmith, iron worker'.



Hypertext of Indus Script: šē̃ṣṭrĭ̄  'flying squirrel' rebus: śrēṣṭhin 'foreman of a guild'.

kanda kanka 'rim of pot' Rebus: khaNDa 'implements' karNI 'supercargo, scribe'; 

Hieroglyph: harrow: maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ 'iron'

bhaTa 'warrior' Rebus: bhaTa 'furnace';  kanda kanka 'rim of pot' Rebus: khaNDa 'implements' karNI 'supercargo, scribe'; muhA 'ingot, quantity of iron ore smelted out of the smelter'.

Space on the side of the seal was used to inscribe a third line

Evidence of the guild-master presented in 

Guild-master’s Indus Script Inscription (m304) deciphered. Hypertext khāra, šē̃ṣṭrĭ̄ 'squirrel’ is plaintext khār 'blacksmith' śrēṣṭhin 'guild-master' (Aitareya Brāhmaṇa) 

https://tinyurl.com/y9ug5h9y) After presenting a long catalogue of metalwork done, the documentation is signed off by the guild-master: hieroglyph: khāra, šē̃ṣṭrĭ̄ 'squirrel’ rebus: śrēṣṭhin 'guild-master'. 

Similarly, thousands of Indus Script inscriptions are signed off by the scribe (signified by 'rim of jar' hieroglyph, Sign 342).

Hypertext of Indus Script: šē̃ṣṭrĭ̄  'flying squirrel' rebus: śrēṣṭhin 'foreman of a guild'. Rebus: śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ, °ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh, °ṭhī, śeṭ, °ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭu, hi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?) (CDIAL 12726) I suggest that the šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? is read rebus: śeṭhī, śeṭī m. ʻ respectful term for banker or merchant ʼ (Marathi) or eṭṭhin -- m. ʻ guild -- master ʼ(Prakrtam)

Alternative: tuttha 'squirrel' Rebus: tuttha 'pewter, zinc alloy';

h771 Decipherment of h771:

dula 'pair' Rebus: dul 'cast metal' muhA 'ingot' (Together, dul muhA  'cast iron ingot'); 

tuttha 'squirrel' Rebus: tuttha 'pewter, zinc alloy'; dula 'two' Rebus: dul 'cast metal or casting'. Thus, the epigraph with three hieroglyph-multiplexes read rebus: metal castings, cast metal ingot, pewter-zinc alloy.

barad, balad 'ox' rebusbharat (5 copper, 4 zinc and 1 tin)



(Punjabi) PLUS pattar 'feeding-trough' rebus:pattar 'goldsmith guild'



meD 'body' rebus: meD 'iron'



karNaka 'rim of jar' rebus:karNaka 'helmsman'



taṭṭal 'five' rebus:   5491 *ṭhaṭṭha1 ʻ brass ʼ. [Onom. from noise of hammering brass? -- *ṭhaṭṭh -- ] N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ.*ṭhaṭṭhakara -- , *ṭhaṭṭhakāra -- .*ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- . [*ṭhaṭṭha -- 1, kāra -- 1]1. Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, ˚rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H. ṭhaṭherā m.(CDIAL 5492, 5493)



dula 'pair'rebus; dul 'metal casting' PLUS muh 'oval bun-ingot shape' rebus: muh 'ingot'. Thus, ingot metalcasting.





Sign 408 karã'wristlets' rebus:khAr 'blacksmith PLUS koDa 'one' rebus: koD 'workshop'





dhal 'slant' rebus: dhalako large ingot'; PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā 'tools, pots and pans' .Thus, ingots and equipment.







sal 'splinter' rebus: sal 'workshop'




dula 'pair' rebus; dul 'metal casting' PLUS kaNDa 'arrow' rebus: khāṇḍā 'tools, pots and pans' .Thus, ingots and equipment.

Cargo bill of lading signified on Mohenjo-daro boat prism tablet



Ka. tār̤ palmyra or toddy palm, Borassus flabelliformis. Tu. tāri, tāḷi id. Te. tāḍu, (inscr., Inscr.2) tār̤u id.; tāṭi of or belonging to the palmyra tree; tāṭi ceṭṭu palmyra tree; tāṭ-āku palmleaf. Kol. (Kin.) tāṭi māk palmyra tree. Nk. tāṛ māk/śeṭṭ toddy palm. Nk. (Ch.) tāṛ id. Pa. tāṛ id. Ga. (S.3) tāṭi palmyra palm. Go. (G. Ma. Ko.) tāṛ, (S.) tāṛi, (A.) tāḍi toddy palm; (SR.) tādī kal palm liquor (Voc. 1709). Konḍa ṭāṛ maran, ṭāṭi maran palmyra tree. Pe. tāṛ mar toddy palm. Kuwi (Su.) tāṭi mārnu, (S.) tāti id. Kur. tāṛ palm tree. Malt. tálmi Borassus flabelliformis. / Cf. Skt. tāla-, Pkt. tāḍa-, tāla-; Turner, CDIAL, no. 5750 (some of the Dr. items may be < IA).(DEDR 3180)*tāḍa3 ʻ fan -- palm ʼ, tāḍī -- 2 f. in tāḍī -- puṭa -- ʻ palm -- leaf ʼ Kād., tāla -- 2 m. ʻ Borassus flabelliformis ʼ Mn., tālī -- , ˚lakī -- f. ʻ palm -- wine ʼ W. [Cf. hintāla -- ]Pa. tāla -- m. ʻ fan -- palm ʼ, Pk. tāḍa -- , tāla -- , tala -- m., tāḍī -- , tālī -- f., K. tāl m., P. tāṛ m., N. tār (tāṛ ← H.), A. tāl, B. tāṛ, Or. tāṛa, tāṛi, tāḷa, Bi. tār, tāṛ, OAw. tāra, H. G. tāṛ m., M. tāḍ m., Si. tala. -- Gy. gr. taró m., tarí f. ʻ rum ʼ, rum. tari ʻ brandy ʼ, pal. tar ʻ date -- spirit ʼ; S. tāṛī f. ʻ juice of the palmyra ʼ; P. tāṛī ʻ the fermented juice ʼ; N. tāṛī ʻ id., yeast ʼ (← H.); A. tāri ʻ the fermented juice ʼ, B. Or. tāṛi, Bi. tārī, tāṛī, Bhoj. tāṛī; H. tāṛī f. ʻ the juice, the fermented juice ʼ; G. tāṛī f. ʻ the juice ʼ, M. tāḍī f. <-> X hintāla -- q.v.tālavr̥nta -- ; *madatāḍikā -- .Addenda: tāḍa -- 3: S.kcch. tāṛ m. ʻ palm tree ʼ. (CDIAL 5750)5752a †*tāḍarukṣa -- ʻ palmyra palm ʼ. [tāḍa -- 3, rukṣá -- ]


Md. tāruk ʻ palmyra ʼ.

 tāṭaṅka n. m. ʻ ear -- ornament (large ring ac. Apte) ʼ Pra- sannar., tāḍaṅka -- n. Rājat., tālaṅka -- m. Apte. [Cf. tāḍīdala -- n. ʻ ear -- ornament ʼ Kālid., tāḍapattra -- (= tāḍaṅka -- ) lex., tālapattra -- n. ʻ palm -- leaf, ear -- ornament ʼ (ʻ gold cylinder ʼ ac. Apte) Kād.; tālāṅka -- ʻ palm leaf ʼ W.; tāḍī -- , tālī -- f. ʻ ornament ʼ lex. (← Drav. Tam. tāli ʻ neck ornament ʼ, etc. DED 2594, EWA i 499), tālaka -- n. ʻ ornament ʼ ("shaped like palm leaf") BHSk. Association with, rather than derivation from, *tāḍa -- 3]H. tāṛãk, ˚rãg m. ʻ an ornament for the ear ʼ, H. tarkī f. ʻ a kind of earring (made orig. from palm -- leaf ac. Platts UD) ʼ.(CDIAL 5747)

Rebus: iron bar: tāḍa2, ˚aka -- m. ʻ latch ʼ BHSii 251, tāla -- , ˚aka -- m. ʻ latch, bolt ʼ lex., tālikā -- f. ʻ bar ʼ Hariv. [Tam. tār̤ ʻ bar, bolt, latch ʼ, etc. DED 2598; but in NIA. meanings ʻ mallet, etc. ʼ prob. same as tāˊḍa -- 1]Pa. tāḷa -- m. ʻ door -- bar ʼ; Pk. tāla -- , ˚aya -- n. ʻ bolt ʼ; Kho. taḷ ʻ bolt ʼ, taḷo don ʻ canine tooth ʼ; K. tôru m. ʻ bolt ʼ; S. tāṛo m. ʻ cotton -- scutcher's mallet ʼ, tāṛī f. ʻ bar or bolt of door ʼ; L. tāṛ f. ʻ part of driving wheel of spinning wheel ʼ, tāṛā m. ʻ cotton -- scutcher's mallet ʼ; P. tāṛ f. ʻ cock's spur ʼ, tāṛā m. ʻ cotton -- scutcher's mallet, piece of bamboo on a string beaten against a tree to scare birds ʼ, tālā m. ʻ lock ʼ; Ku. tālo m. ʻ hot iron bar for scorching belly of newborn infant, lock ʼ, tālī ʻ lock ʼ, gng. tāu, tāi ʻ lock ʼ; B. tāṛā ʻ door -- bar ʼ, tālā ʻ lock ʼ (→ Or. tālā), H. tālā m. ʻ lock ʼ (→ Bi. N. tālā; M. tālā m. ʻ padlock ʼ), tālī, tārī f. ʻ key ʼ; Marw. tāḷo m. ʻ lock ʼ, G. tāḷũ n., M. ṭāḷẽ n. -- Si. talaya ʻ the blade of any instrument ʼ rather < tala -- .Addenda: tāḍa -- 2: S.kcch. tāṛo m. ʻ lock ʼ, Md. taḷu. (CDIAL 5749)

Side A of prism tablet. Three pairs of hieroglyphs shown are: 1.black drongo; 2.palm tree; 3. ox-hide type shield 

The three cargo items on bill of lading are Meluhha rebus renderings of: 1) steel metal castings; 2) Metalcastings of Iron bars; and 3) metalcastings of large metal ingots.

These three categories constitute the cargo on the Mohenjo-daro prism tablet.

The three pairs of hieroglyphs on side 1 of the tablet are:

1. black drongo'

2. palm tree

3. ox-hide sape large ingots

The rebus readings start with pairing as a rebus signifier:  dula 'pair' rebus: dul 'metalcasting'.

Thus, the following three types of metalcastings constitute the cargo on the boat:

1. poladu పోలడు 'black drongo' rebus: poladu 'steel'पोलाद pōlāda n ( or P) Steel. पोलादी a Of steel. (Marathi) bulad 'steel, flint and steel .Thus, dul पोलाद pōlāda 'metalcasting of steel.'

2. tāṛ palm tree rebus: tāṛā m. ʻcotton -- scutcher's malletʼ; tālo m. ʻhot iron bar for scorching belly of newborn infant, lockʼ. Thus dul tālo 'metalcasting of iron bars'

3.ḍhālako 'large ox-hide shaped ingot' Rebus:  ḍhāla n. ʻ shield ʼ lex. 2. *ḍhāllā -- .1. Tir. (Leech) "dàl"ʻ shield ʼ, Bshk. ḍāl, Ku. ḍhāl, gng. ḍhāw, N. A. B. ḍhāl, Or. ḍhāḷa, Mth. H. ḍhāl m.2. Sh. ḍal (pl. ˚le̯) f., K. ḍāl f., S. ḍhāla, L. ḍhāl (pl. ˚lã) f., P. ḍhāl f., G. M. ḍhāl f.Addenda: ḍhāla -- . 2. *ḍhāllā -- : WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f.(CDIAL 5583). Thus dul ḍhālako 'metalcastings of large ingots' 

Sign 375 conveys the message: mūhā mẽṛhẽt kolimi = Smithy/forge (in which) iron is smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali) Sign 387 uses Sign 373 as a circumscript upon kolmo 'rice plant' rebus:kolimi 'smithy, forge'. ||| three linear strokes next to Sign 375 is a semantic determinative: kolom 'three' rebus: kolimi 'smithy, forge'.

Sign 389

Circumscript is a hieroglyph read rebus: khaḍā ‘circumscribe’ (M.); Rebs: khaḍā ‘nodule (ore), stone’ (M.) This is also a semantic determinative of the stone-like nature of the ingot processed further in a smithy/forge to produce metal implements.

Sign 389 may be a variant of kolimi 'smithy/forge', maybe, pasara 'smithy' where artisans work on  kaṇḍe A head or ear of millet or maize (Telugu) Rebus: kaṇḍa ‘stone (ore)(Gadba)’ Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298).  OR, Sign 389 may signify a bar of metal which like an ingot is further processed in a forge.This is read rebus: kor̤u 'sprout' rebus: kor̤u 'bar of metal' (processed further in the forge to produce equipments)

खोट (p. 212) [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. (Marathi) PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon).  khaṇḍa 'implements'. PLUD dula 'pair'  rebus: dul 'metal casting'.

Sign 389 is a cicumscript enclosing sprout.

Sign 373 .Side B of the prism tablet shows a field symbol of a crocodile catching a fish on its jaws. The rebus reading is: ayakara, 'metal alloysmith'. aya 'fish' rebus: ayas 'alloy metal' PLUS kāru a wild crocodile or alligator (Telugu) ghariyal id. kāru 'crocodile' (Telugu) கராம் karām, n. prob. grāha. 1. A species of alligator; முதலைவகை. முதலையு மிடங்கருங் கராமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.) కారుమొసలి a wild crocodile or alligator. (Telugu) Rebus: kāru ‘artisan’ (Marathi) kāruvu 'artisan' (Telugu) khār 

'blacksmith' (Kashmiri)  
I suggest that this is a variant of Sign 375 

m1281 2266

S. baṭhu m. ‘large pot in which grain is parched, Rebus; bhaṭṭhā m. ‘kiln’ (P.) baṭa = a kind of iron (G.) Vikalpa: meṛgo = rimless vessels (Santali) bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali); baṭa = a kind of iron (G.) bhaṭṭha -- m.n. ʻ gridiron (Pkt.) baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; L. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits)’. (CDIAL 9656) Rebus: meḍ iron (Ho.) PLUS  muka 'ladle' rebus; mū̃h 'ingot', quantity of metal got out of a smelter furnace (Santali).Thus, this hieroglyph-multiplex (hypertext) signifies: iron ingot.

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

Side C

The text message on the Mohenjo-daro boat tablet has two segments: Boat Cargo Bill of lading Segment 1; Boat Cargo Bill of lading Segment 2 

Segment 2:Sign 59 aya 'fish' rebus: ayas 'alloy metal'.

On Segment 2, Sign 375 reads rebus: dul 'metalcasting' khanda 'implements'

PLUS (circumscript) mūhāmẽṛhẽt kolimi(from)ingotsmithy.
PLUS
ayas कर्णिक 'alloy metal steersman'

Sign 342 kana kanka  (कर्णिक )'rim-of-jar' rebus: khanda 'implements' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman' 

Segment 1:medho karnika 'steersman's helper merchant'

Sign 1 meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic) PLUS dāma ‘fetter’ rebus: meḍ dhā̆vaḍ  ‘iron smelter’  Circumscript: dula 'two' rebus: dul 'metalcasting'. Thus, cast iron. meḍ ‘body’ rebus: mẽṛhẽt ‘metal’, meḍ‘iron, copper (red ores)’ (Mu. Ho. Slavic) < mr̥du ‘iron’ mr̥id ‘earth, clay, loam’ (Samskrtam) (Semantic determinative of ‘ferrite ore’).(Deśīnāmamālā) 

h1757 Seal impression of a Seal with Sign 127

मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) Rebus 1: meḍ 'iron' (Ho.Mu.) Rebus 2: medho 'helper of a merchant'.

m0571 copper tablet

Horned elephant.  Almost similar to the  composition: Body of a ram (with inlaid ‘heart’ sign),  horns of a bull, trunk of an  elephant, hindlegs of a tiger  and an upraised serpent-like tail 

Text message: 

dula'two' rebus: dul'metal casting' PLUS aya 'fish' rebus: ayas 'alloy metal' Thus, metal castings of alloy metal.

dula 'two' rebus: dul 'metal casting' PLUSmaĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ'iron'. PLUS

कूदीf. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3. accord. to Kaus3. , Sch. = बदरी, "Christ's thorn".(Monier-Williams) Rebus: kuThi 'smelter'. Thus, smelter used for iron metal castings. OR, pajhar'sprout' rebus: pasra'smithy'. Thus smithy for iron metal castings. OR, 

Ta. kor̤untu tender twig, tendril, tender leaf, shoot, anything young, tenderness; kor̤umai freshness (as of shoots), beauty; kor̤untaṉ husband, husband's younger brother; kor̤unti wife's sister, brother's wife; kor̤unaṉ husband; kur̤a young, tender; kur̤akaṉ youth, beautiful person, Skanda; kur̤aku youthfulness, beauty, infant; kur̤antai infant, childhood; kur̤avi infant, young of certain animals, young of the vegetable kingdom; kur̤avu tender age, juvenility; kur̤ai (-pp-, -tt-) to cause to sprout or shoot forth; n. tender leaf, sprout, shoot. Ma. kor̤unnu, kor̤untu tender twig, young shoot, new-grown hair. To. kwïζ twig. Ka. koḍa tenderness, tender age, youth; koṇasu young one of wild beasts. Tu. korè weak, small. Kor. (O. T.) korayi, (M.) kori husband; (O. M. T.) korti wife. Te. krotta (in cpds. kro-) new, fresh; koḍuku son; koṇḍika child; kodama the young of any animal; young; komma maiden, female; kōḍalu daughter-in-law; kōṭramu, kōḍaṇṭramu, kōḍaṇṭrikamu, kōḍaṟikamu the position and duties of a daughter-in-law, daughter-in-lawship. Kol. kovve young of bird or animal; koral younger brother's wife; kommal (pl. kommasil) daughter. Nk. kovve young of bird or animal; koraḷ daughter-in-law, bride; kommaḷ (pl. kommaśil) daughter. Nk. (Ch.) komma daughter; kola bride, son's wife, younger brother's wife. Pa. koṛ very young; koṛuŋg new shoot, sprout; koṛc- to sprout; koṛol bride. Ga. (Oll.) koṛal son's wife, younger brother's wife; (S) koḍus-, koḍc- to sprout; (P.) koṛuŋ young shoot. Go. (Tr.) kōṛsānā, kōrsānā to sprout, grow (of trees, plants, etc.); (A. Mu. Ma. S.) koṛs- to sprout (Voc. 945); (Mu.) koṛk-ila new leaf; (Ko.) koṛi leaf-shoot (Voc. 934); (Ma.) koṛta month of Bhadrā (Aug.-Sept.) when new paddy is worshipped (Voc. 940); (Tr.) koriāṛ son's wife; tammur-koriāṛ younger brother's wife; (W.) koṛiāṛ daughter-in-law; (Mu.) koṛiyaṛ id., sister's daughter, younger brother's wife (Voc. 936); (Koya Su.) koḍiyāḍ daughter-in-law, sister's daughter (of a male); (ASu.) koṛkēlā tender, young. Konḍa koṛo (pl. -k) female child, (pl. -r) male child; koṛonali a nursing mother; koṛya daughter-in-law, younger brother's wife; koṛesi daughter-in-law (when referring to the 3rd person); (BB) kodma male buffalo calf (< Te.). Pe. koṛiya gāṛ son's wife, younger brother's wife; kṛogi fresh, new (of leaves). Manḍ. kṛugdi id.; kuṛiya gāṛ son's wife, younger borther's wife. Kui koṛgi newly sprouted, green, immature, unripe; koṛgari (pl. koṛgai) new shoot, fresh stalk, something green, immature, or unripe; kōṛu new shoot, fresh stalk, stem, or bud; new, green, immature; kōṛa a shoot, sprout, first sprout (of paddy after planting); kōṛa koḍa to sprout (of paddy); kōna bud; gōṇi sprout, offshoot; kuṛa, kṛua,(Letchmajee) kṛuha wife. Kuwi (P.) kuṛia, (F.) 
kūria daughter-in-law; (Ḍ.) kuṛva younger brother's wife; (F.) khrogi kōma a soft twig (i.e. soft, young, tender; for kōma, see 2115); (Ṭ.) koṛgi young (of children); (Isr.) kṛōgi immature, young. Kur. xōr leaf-bud, new leaves, fresh and tender leaves of vegetables; xōrnā (xūryā) to shoot out new leaves; korrā fresh (recently made, prepared, or obtained), pure. Malt. qóro infant, Indian corn when green; qóroce to sprout. Br. xarring to sprout; xarrun green, blue, black and blue; fruitful; xarrunī greenness; wife. Cf. 3650 Ta. nāy, for -kuṛi, etc., in Konḍa, Kui, Kuwi. / Cf. Skt. kora-, koraka- bud (Turner, CDIAL, no. 3527); kuṇaka- a new-born animal; kuḍaka- child (epic; Burrow, Belvalkar Felicitation Volume, pp. 6 f.; cf. Turner, CDIAL, no. 3245); kuḍmala-, kuṭmala- filled with buds, bud (epic, kāvya; Turner, CDIAL, no. 3250); Turner, CDIAL, no. 3249, *kuḍma- bud.(DEDR 2149) kōraka m.n. ʻ bud ʼ R. [← Drav. (Tam. kuṟai ʻ sprout ʼ, Kui kōṛu ʻ bud ʼ) EWA i 272]Pa. kōraka -- m.n. ʻ bud, sheath ʼ; Pk. kōraya -- , ˚rava<-> m.n. ʻ bud ʼ; Si. kuru ʻ bud, tender leavesʼ.Addenda: kōraka -- [← Drav. see kuḍmalá -- Add2] (CDIAL 327)

Rebus: bar of metal:: Ta. kor̤u bar of metal, ploughshare. Ma. kor̤u ploughshare. Ko. kov iron point of plough. To. ku· ploughshare (< Badaga gü·, Language 15.47; the word occurs only in one passage and the meaning is arrived at by etymology). Ka. kur̤a, kur̤u, gur̤a, gur̤u ploughshare, iron used in cauterizing. Tu. koru a bar of metal.(DEDR 2147)

kaNDa kanka 'equipment supercrgo'

Field symbol: phaḍa 'cobra hood' rebus: phaḍa, paṭṭaḍe 'metals workshop' PLUS  karibha, ibha 'elephant' rebus: karba, ib 'iron'; PLUS koD 'horns' rebus: koD 'workshop'. Thus,iron workshop in  metals manufactory.

Evidence for bronze-age parole of civilization. Mohenjo-daro tablet m355 catalogues products of kãsārɔ bell-metal worker's workshop

October 15, 2019, 4:40 am

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https://tinyurl.com/y472eyfq

This is an addendum to: Wealth classifier hypertexts. What do Harappa miniature tablets signify through their messages? Metallurgy of kasērā ʻmetal workerʼ 

https://tinyurl.com/yxq3lm4p

I posit that the decipherment of Mohenjo-daro m355 tablet is conclusive evidence for rebus readings of the underlying Meluhha expressions, the bronze-age parole (spoken tongue or Indian sprachbund or Linguistic Area) of Sarasvati Civilization.

2654 m0355 This is the most unambiguous, exquisitely orthographed epigraph of Sarasvati Civilization. This is a catalogue of workshop supercargo items: furnace (for) bronze metal castings, implements for smithy/forge, bronze workshop, iron, alloy implements, furnace ingots, smithy/forge metal castings, bronze implements, Supercargo, scribe account.

kāˊṁsya ʻ made of bell -- metal ʼ KātyŚr., n. ʻ bell -- metal ʼ Yājñ., ʻ cup of bell -- metal ʼ MBh., ˚aka -- n. ʻ bell -- metal ʼ. 2. *kāṁsiya -- . [kaṁsá -- 1]1. Pa. kaṁsa -- m. (?) ʻ bronze ʼ, Pk. kaṁsa -- , kāsa -- n. ʻ bell -- metal, drinking vessel, cymbal ʼ; L. (Jukes) kã̄jā adj. ʻ of metal ʼ, awāṇ. kāsā ʻ jar ʼ (← E with -- s -- , not ñj); N. kã̄so ʻ bronze, pewter, white metal ʼ, kas -- kuṭ ʻ metal alloy ʼ; A. kã̄h ʻ bell -- metal ʼ, B. kã̄sā, Or. kãsā, Bi. kã̄sā; Bhoj. kã̄s ʻ bell -- metal ʼ, kã̄sā ʻ base metal ʼ; H. kās, kã̄sā m. ʻ bell -- metal ʼ, G. kã̄sũ n., M. kã̄sẽ n.; Ko. kã̄śẽ n. ʻ bronze ʼ; Si. kasa ʻ bell -- metal ʼ.2. L. kã̄ihã̄ m. ʻ bell -- metal ʼ, P. kã̄ssī, kã̄sī f., H. kã̄sī f.*kāṁsyakara -- , kāṁsyakāra -- , *kāṁsyakuṇḍikā -- , kāṁsyatāla -- , *kāṁsyabhāṇḍa -- .Addenda: kāˊṁsya -- : A. kã̄h also ʻ gong ʼ, or < kaṁsá -- . *kāṁsyakara ʻ worker in bell -- metal ʼ. [See next: kāˊṁsya -- , kará -- 1]L. awāṇ. kasērā ʻ metal worker ʼ, P. kaserā m. ʻ worker in pewter ʼ (both ← E with -- s -- ); N. kasero ʻ maker of brass pots ʼ; Bi. H. kaserā m. ʻ worker in pewter ʼ kāṁsyakāra m. ʻ worker in bell -- metal or brass ʼ Yājñ. com., kaṁsakāra -- m. BrahmavP. [kāˊṁsya -- , kāra -- 1]N. kasār ʻ maker of brass pots ʼ; A. kãhār ʻ worker in bell -- metal ʼ; B. kã̄sāri ʻ pewterer, brazier, coppersmith ʼ, Or. kãsārī; H. kasārī m. ʻ maker of brass pots ʼ; G. kãsārɔ, 

kas˚ m. ʻ coppersmith ʼ; M. kã̄sār, kās˚ m. ʻ worker in white metal ʼ, kāsārḍā m. ʻ contemptuous term for the same ʼ.(CDIAL 2987 to 2989)

bhaṭa 'warrior' rebus: baṭa 'ron'; bhaṭa 'furnace' 

dula 'pair' rebus: dul 'metal casting' PLUS kuṭi 'curve; rebus: कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin) . Thus, bronze metal castings.

kaṇḍa 'arrow' khaṇḍa 'implements'

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

kanac 'corner'rebus: kancu 'bronze, bell-metal' PLUS sal 'splinter' rebus: sal 'workshop' Thus, bell-metal (ingots) workshop. Note: Rhombus or bun ingot oval shape signifies muh 'ingot' mūhā mẽṛhẽt = iron smelted by the Kolhes and formeḍinto an equilateral lump a little pointed at each end;  mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Santali gloss.

ayo 'fish' rebus aya 'iron' ayas 'metal alloy' PLUS ḍhaṁkaṇa'lid' rebus dhakka'excellent, bright, blazing metal article'  Thus, blazing iron alloy metal.

ayo 'fish' rebus: aya 'iron' ayas 'metal' PLUS खांडा [ khāṇḍā] m A jag, notch, or indentation (as upon the edge of a tool) rebus khaṇḍa 'implements'.

muka 'ladle' (Tamil)(DEDR 4887) Rebus: mū̃h 'ingot' (Santali).PLUS baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati).bhaṭa 'furnace'.

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

dula 'two' rebus: dul 'metal casting'

kanac'corner' rebus: kancu'bronze' PLUS gaṇḍa'four' rebus: khaṇḍa 'implements'. Thus, bronze implements.

kanka 'rim of jar' rebus: karaṇī 'supercargo, scribe' 1. karaṇī, 'Supercargo', 'a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale' and 2. karṇaka, 'Helmsman' 'captain of a bagala or koṭiya, 'dhow, seafaring vessel' is signified. 

Uniquely orthographed hieroglyph, X-shape formed with four culms of millet signifies karba dhatu 'iron ore' kō̃da 'smelter', kaṇḍ 'fire-altar'

October 16, 2019, 12:45 am

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Indus Script Cipher explained and validated with examples of inscriptions detailing wealth-accounting ledgers of the wealthiest nation on the globe

                                                                                                                                          The enquiry of this monograph starts with an outline of orthography of X shape which signifiesdāṭu 'cross' Rebus: dhatu 'mineral ore'. By orthographic finesse (impressive delicacy and skill) of breath-taking splendour, the scribe of Sarasvati Civilization documents an expansion of spoken parole, Meluhha semantic expressions. 

Uniquely orthographed hieroglyph/hypertext explains Indus Script Cipher (Mohenjo-daro tablet 2847, identical tablets m494, m495 with identical inscription). Why is culm of millet, holcus sorghum used to create a Meluhha hypertext? The enquiry takes us from Vedic Sarasvati River Basin to Mari of 2400 BCE in Ancient Near East.

A stunning narrative of a sculptural marble frieze of Mari procession signifies this culm of millet as a flagstaff carrying aloft a one-horned young bull 'unicorn' atop a rein-ring. Meluhha rebus readings are: khonda singi 'spiny-horned young bull' rebus: kunda singi 'fine gold,ornament gold'; konda 'fire-altar, furnace' PLUS कशा a rein , bridle (शिशुपाल-वध)कषाf. (for कशा q.v.) a whip R. vi , 37 , 41 káśā f. ʻ whip ʼ RV., ʻ rein ʼ Śiś., ʻ string ʼ lex., kaśa -- m. ʻ whip, thong ʼ MBh.(CDIAL 2965) N. kã̄so ʻ bronze, pewter, white metal ʼ, kas -- kuṭ ʻ metal alloy ʼ; A. kã̄h ʻ bell -- metal ʼ (CDIAL 2987), kaṁsá1 m. ʻ metal cup ʼ AV., m.n. ʻ bell -- metal ʼ Pat. as in S., but would in Pa. Pk. and most NIA. lggs. collide with kāˊṁsya -- to which L. P. testify and under which the remaining forms for the metal are listed. 2. *kaṁsikā -- . Pa. kaṁsa -- m. ʻ bronze dish ʼ; S. kañjho m. ʻ bellmetal ʼ; A. kã̄h ʻ gong ʼ; Or. kãsā ʻ big pot of bell -- metal ʼ; OMarw. kāso (= kã̄ -- ?) m. ʻ bell -- metal tray for food, food ʼ; G. kã̄sā m. pl. ʻ cymbals ʼ; -- perh. Woṭ. kasṓṭ m. ʻ metal pot ʼ Buddruss Woṭ 109.2. Pk. kaṁsiā -- f. ʻ a kind of musical instrument ʼ; f. ʻ clay or copper pot ʼ; A. kã̄hi ʻ bell -- metal dish ʼ; G. kã̄śī f. ʻ bell -- metal cymbal ʼ, kã̄śiyɔ m. ʻ open bellmetal pan ʼ.kāˊṁsya -- ; -- *kaṁsāvatī -- ?Addenda: kaṁsá -- 1: A. kã̄h also ʻ gong ʼ or < kāˊṁsya -- (CDIAL 2576) kāˊṁsya ʻ made of bell -- metal ʼ KātyŚr., n. ʻ bell -- metal ʼ Yājñ., ʻ cup of bell -- metal ʼ MBh., ˚aka -- n. ʻ bell -- metal ʼ. 2. *kāṁsiya -- . [kaṁsá -- 1]1. Pa. kaṁsa -- m. (?) ʻ bronze ʼ, Pk. kaṁsa -- , kāsa -- n. ʻ bell -- metal, drinking vessel, cymbal ʼ; L. (Jukes) kã̄jā adj. ʻ of metal ʼ, awāṇ. kāsā ʻ jar ʼ (← E with -- s -- , not ñj); N. kã̄so ʻ bronze, pewter, white metal ʼ, kas -- kuṭ ʻ metal alloy ʼ; A. kã̄h ʻ bell -- metal ʼ, B. kã̄sā, Or. kãsā, Bi. kã̄sā; Bhoj. kã̄s ʻ bell -- metal ʼ, kã̄sā ʻ base metal ʼ; H. kās, kã̄sā m. ʻ bell -- metal ʼ, G. kã̄sũ n., M. kã̄sẽ n.; Ko. kã̄śẽ n. ʻ bronze ʼ; Si. kasa ʻ bell -- metal ʼ.2. L. kã̄ihã̄ m. ʻ bell -- metal ʼ, P. kã̄ssī, kã̄sī f., H. kã̄sī f.*kāṁsyakara -- , kāṁsyakāra -- , *kāṁsyakuṇḍikā -- , kāṁsyatāla -- , *kāṁsyabhāṇḍa -- .Addenda: kāˊṁsya -- : A. kã̄h also ʻ gong ʼ, or < kaṁsá -- .(CDIAL 2987)Rebus: कष m. a touchstone , assay (निकष) Ka1s3. on Pa1n2. 3-3 , 119 Mr2icch. .1

Utsava bera processions of Indus Script and roots of gold standard in the writing system celebrated in Mari, c. 24th cent. BCE. These processions (utsava bera) of Indus Script symbols are matched by the Mari procession marble frieze, holding aloft a horned young bull on a flagstaff."The Royal Palace of Mari was the royal residence of the rulers of the ancient kingdom of Mari in eastern Syria. Situated centrally amidst Palestine, Syria, Babylon, Levant, and other Mesopotamian city-states, Mari acted as the “middle-man” to these larger, powerful kingdoms. Both the size and grand nature of the palace demonstrate the importance of Mari during its long history, though the most intriguing feature of the palace is the nearly 25,000 tablets found within the palace rooms. The royal palace was discovered in 1935, excavated with the rest of the city throughout the 1930s, and is considered one of the most important finds made at Mari André Parrot led the excavations and was responsible for the discovery of the city and the palace. Thousands of clay tablets were discovered through the efforts of André Bianquis, which provided archaeologists the tools to learn about, and to understand, everyday life at the palace and in Mari. The discovery of the tablets also aided in the labeling of various rooms in terms of their purpose and function...The palace reached its grandest state with its last renovation under king Zimri-Lim in the 18th century BCE; in addition to serving as the home of the royal family, the palace would have also housed royal guards, state workers, members of the military, and those responsible for the daily activities of the kingdom...The royal palace at Mari was decorated with frescoes and statues. Decoration different depending on the function of the room. Religious and royal scenes were placed in public areas, where the message of kingship and religion could easily be viewed by visitors and residents of the palace." 

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

Sign 137 with its unique orthography of four culms of millet (or, खोंड khōṇḍa'a variety of millet, holcus sorghum') signifies (1) karba kaṇḍ 'iron ore fire-altar, furnace '(2) dhatu kō̃da कोँद'mineral ore kiln'. 

Rebus reading: kō̃da karba dhatu kaṇḍ 'iron mineral ore fire-altar' (producing) 

khāṇḍā 'equipment, tools, metalware'. 

Sign 137This variant of Sign 149,150 isorthographed

with four culms of millet.                                                            

Overlaying hieroglyphs on this X-shape, a hypertext of parole (spoken language), with visual language expressions (Indus Script Cipher) is created using four culms of millet (holcus sorghum) on four arms of X, to further elaborate and specify the semantics of 1) type of mineral ore and 2) type of metallurgical processing involved to create a product of utility value. 

 Culm is the hollow stem of a grass or cereal plant, especially that bearing the flower. On one Ancient Near East plate, a culm of millet is shown flanked by two winged black drongo birds.

There are at least 40 signs which include variant ligatures and representations of 'crop or plant' orthography.

dhatu kolimi'mineral ore smithy'kolmo'rice plant' rebus: kolimi 'smithy, forge'

kã̄ṛā ʻstem of muñja grass' rebus: dhatu kaṇḍ 'mineral ore fire-altar'. 

Thus, the basic signs  kolmo'rice-plant' kã̄ṛā ʻstem of muñja grass' which appear with comparable ligatured occurrences signify four important organizational resources in metallurgical, lapidary processes: 

1. kolimi 'smithy, forge'  

2. kaṇḍ'fire-altar, furnace' 

3. dhatu'mineral ore'

4. kō̃da'smelter'. 

Thus, the hieroglyphs signifying these four semantic categories constitute the organizational princple to delineate wealth-production accounting categories (with ligatures signifying metallurgical/lapidary processes, additional resources involved). For example, Sign 165 and Sign 166 are hypertexts formed by two hieroglyphs which signify, respectively, kole.l, kolimi smithy/forge and kharādī, karaḍā turner/daybook. An extraordinary cultural institution in Kota village gets recognized: kole.l 'temple' where the guild of artisans produce wealth categories using metal-/lapidary-artisanal competence.

kolmo'rice-plant' Rebus: kolimi, kole.l 'smithy, forge'; kole.l 'temple' 

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

A variant of Sign 176 (currycomb) gets ligatured as a short-tail of goat-antelopes on Indus Script Corpora: 

For example, seal is read rebus in Meluhha (Indian sprachbund, 'language union' or Indian linguistic area) as: mlekh 'goat' rebus: milakkhu'copper' PLUS xolā 'tail' rebus: kol'working in iron' PLUS kã̄ṛā ʻstem of muñja grass' rebus: kaṇḍ 'fire-altar, furnace' PLUS aya'fish' rebus: ayas'alloy metal, iron' [steel L. ; ([cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa ; Old Germ. e7r , iron ; Goth. eisarn ; Mod. Germ. Eisen.])(Monier-Williams)] The wide-spread, curvy horns also signify: Tor. miṇḍ'ram', miṇḍā́l'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.) med 'copper' (Slavic languages).

Thus, the seal signifies the message: copper alloy metal fire-altar, furnace.

FS 36 FS 32FS 37FS 38 (Frequency in M Corpus: 36) Goat-antelope with a short tail (and different types of boms), sometimes with a trough in front.

FS 34

The tail is a signifier of a blacksmith-smelter: Kur. xolā tail. Malt. qoli id. (DEDR 2135) Rebus:Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan

blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. kolhe'smelter'.

m495 Prism tablet with three lines of inscription

2847b Bas-relief tablet m495, three-sided 

m495A

m495B

m495gLine 2 (flipped horizontal) of 2847 Mohenjo-daro prism tablet. 

Two tablets m0494 and m0495 with identical inscriptions were discovered. 

Multiple tablets, produced as bas-relief seal impressions, are indicators of an industrial scale operation with mineral ores detailed on the long inscriptions (#2847) with 23 hieroglyphs.

Processing in fire-altar, smelter

gaṇḍa,'four'; kã̄ṛ 'large millet stock' [rebus: kaṇḍ 'fire-altar,furnace;] PLUS खोंड   khōṇḍa  'a variety of holcus sorghum'[rebus:  kō̃da कोँद 'kiln, smelter']. Thus, dhatu 'mineral ore' is subjected to smelting. 

Mineral is iron ore

The mineral specified is: kaḍbā,karb 'culm of millet' (Marathi, Punjabi) rebus: karba 'iron'.

By chosing culms of millet, the scribe demonstrates that the mineral ore is iron ore, subjected to smelting and furnace work. Iron ore smelting gets semantically reinforced by a pair of black drongo (with emphasis on wings) clanking a culm of millet.   *skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ]S. khambhu, ˚bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) PLUS polaḍu'black drongo' rebus: polaḍu'steel' PLUS dula 'pair' rebus: dul'metal casting'. Thus, steel casting.

Saccharum officinarum (1897 illustration from Franz Eugen Köhler, Köhler's Medizinal-Pflanzen) Saccharum bengalense Retz. - India, Pakistan, Iran, Afghanistan Saccharum genus is widespread across tropical, subtropical, and warm temperate regions in Africa, Eurasia, Australia, the Americas, and assorted oceanic islands. Several species are cultivated and naturalized in areas outside their native habitats.

Map showing centers of origin of Saccharum officinarum in New Guinea, S. sinensis in southern China and Taiwan, and S. barberi in India; dotted arrows represent Austronesian introductions. (Daniels, Christian; Menzies, Nicholas K. (1996). Needham, Joseph (ed.). Science and Civilisation in China: Volume 6, Biology and Biological Technology, Part 3, Agro-Industries and Forestry. Cambridge University Press. pp. 177–185)

Hieroglyph 1:gaṇḍa'four' Hieroglyph 2: kã̄ṛ 'large millet stock'  (Marathi) ganu

 m. ʻ oar, haft of a tool ʼ, ˚no m. ʻ sweet stalks of millet ʼ(Sindhi): gaṇḍa2 m. ʻ joint of plant ʼ lex., gaṇḍi -- m. ʻ trunk of tree from root to branches ʼ lex. 2. *gēṇḍa -- . 3. *gēḍḍa -- 2. 4. *gēḍa -- 1. [Cf. kāˊṇḍa -- : prob. ← Drav. DED 1619]1. Pa. gaṇḍa -- m. ʻ stalk ʼ, ˚ḍī -- f. ʻ sugarcane joint, shaft or stalk used as a bar ʼ, Pk. gaṁḍa -- m., ˚ḍiyā -- f.; Kt. gäṇa ʻ stem ʼ; Paš. lauṛ. gaṇḍīˊ ʻ stem, stump of a tree, large roof beam ʼ (→ Par. gaṇḍāˊ ʻ stem ʼ, Orm. goṇ ʻ stick ʼ IIFL i 253, 395), gul. geṇḍū, nir. gaṇīˊ, kuṛ. gã̄ṛo; Kal. urt. gəṇ ʻ log (in a wall) ʼ, rumb. goṇ (st. gōṇḍ -- ) ʻ handle ʼ, guṇḍík ʻ stick ʼ; Kho. (Lor.) gon, gonu, (Morgenstierne) gɔ̄ˋn ʻ haft of axe, spade or knife ʼ (or < ghaná -- 2?); K. gonḍu, grọ̆nḍu m. ʻ great untrimmed log ʼ; S. ganu m. ʻ oar, haft of a tool ʼ, ˚no m. ʻ sweet stalks of millet ʼ; P. gannā m. ʻ sugarcane ʼ (→ H. gannā m.), Bi. gaṇḍā, H. gã̄ṛā m., M. gã̄ḍā m. -- Deriv. Pk. gaṁḍīrī -- f. ʻ sugarcane joint ʼ; Bhoj. gãṛērī ʻ small pieces of sugarcane ʼ; H. gãḍerī f. ʻ knot of sugarcane ʼ; G. gãḍerī f. ʻ piece of peeled sugarcane ʼ; -- Pk. gaṁḍalī -- ʻ sugarcane joint ʼ; Kal. rumb. gaṇḍau (st. ˚ḍāl -- ) ʻ ancestor image ʼ; S. g̠anaru m. ʻ stock of a vegetable run to seed ʼ.2. Ku. gino ʻ block, log ʼ; N. gĩṛ ʻ log ʼ, gĩṛo ʻ piece of sugarcane ʼ (whence gẽṛnu, gĩṛ˚ ʻ to cut in pieces ʼ); B. gẽṛ ʻ tuber ʼ; Mth. gẽṛī ʻ piece of sugarcane chopped ready for the mill ʼ.3. Pk. geḍḍī -- , giḍḍiā -- f. ʻ stick ʼ; P. geḍī f. ʻ stick used in a game ʼ, H. geṛī f. (or < 4).4. N. gir, girrā ʻ stick, esp. one used in a game ʼ, H. gerī f., geṛī f. (or < 3), G. geṛī f.*gaṇḍāsi -- ; *agragaṇḍa -- , *prāgragaṇḍa -- . (CDIAL 3998) kāˊṇḍa (kāṇḍá -- TS.) m.n. ʻ single joint of a plant ʼ AV., ʻ arrow ʼ MBh., ʻ cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion with gaṇḍa -- 2 makes prob. non -- Aryan origin (not with P. Tedesco Language 22, 190 < kr̥ntáti). Prob. ← Drav., cf. Tam. kaṇ ʻ joint of bamboo or sugarcane ʼ EWA i 197]Pa. kaṇḍa -- m.n. ʻ joint of stalk, stalk, arrow, lump ʼ; Pk. kaṁḍa -- , ˚aya -- m.n. ʻ knot of bough, bough, stick ʼ; Ash. kaṇ ʻ arrow ʼ, Kt. kåṇ, Wg. kāṇ, ãdotdot; Pr. kə̃, Dm. kā̆n; Paš. lauṛ. kāṇḍ, kāṇ, ar. kōṇ, kuṛ. kō̃, dar. kã̄ṛ ʻ arrow ʼ, kã̄ṛī ʻ torch ʼ; Shum. kō̃ṛ, kō̃ ʻ arrow ʼ, Gaw. kāṇḍ, kāṇ; Kho. kan ʻ tree, large bush ʼ; Bshk. kāˋ'n ʻ arrow ʼ, Tor. kan m., Sv. kã̄ṛa, Phal. kōṇ, Sh. gil. kōn f. (→ Ḍ. kōn, pl. kāna f.), pales. 

kōṇ; K. kã̄ḍ m. ʻ stalk of a reed, straw ʼ (kān m. ʻ arrow ʼ ← Sh.?); S. kānu m. ʻ arrow ʼ, ˚no m. ʻ reed ʼ, ˚nī f. ʻ topmost joint of the reed Sara, reed pen, stalk, straw, porcupine's quill ʼ; L. kānã̄ m. ʻ stalk of the reed Sara ʼ, ˚nī˜ f. ʻ pen, small spear ʼ; P. kānnā m. ʻ the reed Saccharum munja, reed in a weaver's warp ʼ, kānī f. ʻ arrow ʼ; WPah. bhal. kān n. ʻ arrow ʼ, jaun. kã̄ḍ; N. kã̄ṛ ʻ arrow ʼ, ˚ṛo ʻ rafter ʼ; A. kã̄r ʻ arrow ʼ; B. kã̄ṛ ʻ arrow ʼ, ˚ṛā ʻ oil vessel made of bamboo joint, needle of bamboo for netting ʼ, kẽṛiyā ʻ wooden or earthen vessel for oil &c. ʼ; Or. kāṇḍa, kã̄ṛ ʻ stalk, arrow ʼ; Bi. kã̄ṛā ʻ stem of muñja grass (used for thatching)ʼ; Mth. kã̄ṛ ʻ stack of stalks of large millet ʼ, kã̄ṛī ʻ wooden milkpail ʼ; Bhoj. kaṇḍā ʻ reeds ʼ; H. kã̄ṛī f. ʻ rafter, yoke ʼ, kaṇḍā m. ʻ reed, bush ʼ (← EP.?); G. kã̄ḍ m. ʻ joint, bough, arrow ʼ, ˚ḍũ n. ʻ wrist ʼ, ˚ḍī f. ʻ joint, bough, arrow, lucifer match ʼ; M. kã̄ḍ n. ʻ trunk, stem ʼ, ˚ḍẽ n. ʻ joint, knot, stem, straw ʼ, ˚ḍī f. ʻ joint of sugarcane, shoot of root (of ginger, &c.) ʼ; Si. kaḍaya ʻ arrow ʼ. -- Deriv. A. kāriyāiba ʻ to shoot with an arrow ʼ. kāˊṇḍa (kāṇḍá -- TS.) m.n. ʻ single joint of a plant ʼ AV., ʻ arrow ʼ MBh., ʻ cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion with gaṇḍa -- 2 makes prob. non -- Aryan origin (not with P. Tedesco Language 22, 190 < kr̥ntáti). Prob. ← Drav., cf. Tam. kaṇ ʻ joint of bamboo or sugarcane ʼ EWA i 197]Pa. kaṇḍa -- m.n. ʻ joint of stalk, stalk, arrow, lump ʼ; Pk. kaṁḍa -- , ˚aya -- m.n. ʻ knot of bough, bough, stick ʼ; Ash. kaṇ ʻ arrow ʼ, Kt. kåṇ, Wg. kāṇ, ãdotdot; Pr. kə̃, Dm. kā̆n; Paš. lauṛ. kāṇḍ, kāṇ, ar. kōṇ, kuṛ. kō̃, dar. kã̄ṛ ʻ arrow ʼ, kã̄ṛī ʻ torch ʼ; Shum. kō̃ṛ, kō̃ ʻ arrow ʼ, Gaw. kāṇḍ, kāṇ; Kho. kan ʻ tree, large bush ʼ; Bshk. kāˋ'n ʻ arrow ʼ, Tor. kan m., Sv. kã̄ṛa, Phal. kōṇ, Sh. gil. kōn f. (→ Ḍ. kōn, pl. kāna f.), pales. kōṇ; K. kã̄ḍ m. ʻ stalk of a reed, straw ʼ (kān m. ʻ arrow ʼ ← Sh.?); S. kānu m. ʻ arrow ʼ, ˚no m. ʻ reed ʼ, ˚nī f. ʻ topmost joint of the reed Sara, reed pen, stalk, straw, porcupine's quill ʼ; L. kānã̄ m. ʻ stalk of the reed Sara ʼ, ˚nī˜ f. ʻ pen, small spear ʼ; P. kānnā m. ʻ the reed Saccharum munja, reed in a weaver's warp ʼ, kānī f. ʻ arrow ʼ; WPah. bhal. kān n. ʻ arrow ʼ, jaun. kã̄ḍ; N. kã̄ṛ ʻ arrow ʼ, ˚ṛo ʻ rafter ʼ; A. kã̄r ʻ arrow ʼ; B. kã̄ṛ ʻ arrow ʼ, ˚ṛā ʻ oil vessel made of bamboo joint, needle of bamboo for netting ʼ, kẽṛiyā ʻ wooden or earthen vessel for oil &c. ʼ; Or. kāṇḍa, kã̄ṛ ʻ stalk, arrow ʼ; Bi. kã̄ṛā ʻ stem of muñja grass (used for thatching) ʼ; Mth. kã̄ṛ ʻ stack of stalks of large millet ʼ, kã̄ṛī ʻ wooden milkpail ʼ; Bhoj. kaṇḍā ʻ reeds ʼ; H. kã̄ṛī f. ʻ rafter, yoke ʼ, kaṇḍā m. ʻ reed, bush ʼ (← EP.?); G. kã̄ḍ m. ʻ joint, bough, arrow ʼ, ˚ḍũ n. ʻ wrist ʼ, ˚ḍī f. ʻ joint, bough, arrow, lucifer match ʼ; M. kã̄ḍ n. ʻ trunk, stem ʼ, ˚ḍẽ n. ʻ joint, knot, stem, straw ʼ, ˚ḍī f. ʻ joint of sugarcane, shoot of root (of ginger, &c.) ʼ; Si. kaḍaya ʻ arrow ʼ. -- Deriv. A. kāriyāiba ʻ to shoot with an arrow ʼ.(CDIAL 3023)Addenda: gaṇḍa -- 2: S.kcch. gann m. ʻ handle ʼ; -- WPah.kṭg. gannɔ m. ʻ sugar -- cane ʼ; Md. ganḍu ʻ piece, page, playing -- card ʼ. Rebus: kaṇḍa'stone (ore)(Gadba)' Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298) kaṇḍ'fire-altar, furnace' (Santali)

dāṭu 'cross' Rebus: dhatu'mineral ore'. What type of mineral ore? To signify that iron ore is signified, a remarkable orthographic device is used. Four culms of millet are joined together to signify the semantics of dāṭu 'cross'. Four culms of millet are signified by: gaṇḍa set of four (Santali); rebus: kaṇḍ 'fire-altar, furnace' (Santali) rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) PLUS karba 'culm of millet' rebus: karba 'iron'. Image: stalk: karb, 'stalk or culm of millet' (Punjabi): '*kaḍappa ʻ collection ʼ. [Like kalāpa -- ← Drav.]Pk.kaḍappa

 -- m. ʻ collection, bundle ʼ; G. kaṛap m. ʻ a few handfuls of plants &c. uprooted and thrown together to dry for making into bundles ʼ, kaṛaplũ n. ʻ small do. ʼ, kaṛab n. ʻ dried stalks of millet &c. used as fodder ʼ; M. kaḍap n. ʻ bundle of gram &c. picked for drying before stacking ʼ. kaḍambá, kalamba -- 1, m. ʻ end, point, stalk of a pot- herb ʼ lex. [See kadambá -- ]B. kaṛamba ʻ stalk of greens ʼ; Or. kaṛambā, °mā stalks and plants among stubble of a reaped field ʼ; H. kaṛbī, karbī f. ʻ tubular stalk or culm of a plant, esp. of millet ʼ (→ P. karb m.); M. kaḍbā m. ʻ the culm of millet ʼ. -- Or. kaḷama ʻ a kind of firm -- stemmed reed from which pens are made ʼ infl. by H. kalam ʻ pen ʼ ← Ar.?(CDIAL 2652, 2653) Rebus: karba 'iron'; ajirda karba 'very hard iron' (Tulu)  Ta. ayil iron. Ma. ayir, ayiram any ore. Ka. aduru native metal. Tu. ajirda karba very hard iron. (DEDR 192) 

खोंड   khōṇḍa  is a variety of जोंधळा. कडबा   kaḍabā m The culm or haum of जोंधळा dried for fodder. 2 fig. (Because कडबा is the mere culm without the head.) Refuse, rubbish, worthless stuff. Varieties of    जोंधळा  include a variety called खुंडी. jōndhaḷā m A cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz. उता- वळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा. There are however many others as केळी, अरगडी, डुकरी, बेंदरी, मडगूप &c. Rebus reading for खोंड   khōṇḍa is kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). --khasüñ^ü --खस॑ञू॒ । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 1033, where the causal form of the verb is used.(Kashmiri)

kamaṭha m. ʻ bamboo ʼ lex. 2. *kāmaṭha -- . 3. *kāmāṭṭha -- . 4. *kammaṭha -- . 5. *kammaṭṭha -- . 6. *kambāṭha -- . 7. *kambiṭṭha -- . [Cf. kambi -- ʻ shoot of bamboo ʼ, kārmuka -- 2 n. ʻ bow ʼ Mn., ʻ bamboo ʼ lex. which may therefore belong here rather than to kr̥múka -- . Certainly ← Austro -- as. PMWS 33 with lit. -- See kāca -- 3]1. Pk. kamaḍha -- , ˚aya -- m. ʻ bamboo ʼ; Bhoj. kōro ʻ bamboo poles ʼ.2. N. kāmro ʻ bamboo, lath, piece of wood ʼ, OAw. kāṁvari ʻ bamboo pole with slings at each end for carrying things ʼ, H. kã̄waṛ, ˚ar, kāwaṛ, ˚ar f., G. kāvaṛ f., M. kāvaḍ f.; -- deriv. Pk. kāvaḍia -- , kavvāḍia -- m. ʻ one who carries a yoke ʼ, H. kã̄waṛī, ˚ṛiyā m., G. kāvaṛiyɔ m.3. S. kāvāṭhī f. ʻ carrying pole ʼ, kāvāṭhyo m. ʻ the man who carries it ʼ.4. Or. kāmaṛā, ˚muṛā ʻ rafters of a thatched house ʼ; G. kāmṛũ n., ˚ṛī f. ʻ chip of bamboo ʼ, kāmaṛ -- koṭiyũ n. ʻbamboo hut ʼ.5. B. kāmṭhā ʻ bowʼ,G. kāmṭhũ n., ˚ṭhī f. ʻ bow ʼ; M. kamṭhā, ˚ṭā m. ʻ bow of bamboo or horn ʼ; -- deriv. G. kāmṭhiyɔ m. ʻ archer ʼ.6. A. kabāri ʻ flat piece of bamboo used in smoothing an earthen image ʼ.7.M. kã̄bīṭ, ˚baṭ, ˚bṭī, kāmīṭ, ˚maṭ, ˚mṭī, kāmṭhī, kāmāṭhī f. ʻ split piece of bamboo &c., lath ʼ(CDIAL 2760)

Sign 10 is a ligature of stool with Sign 1 'body'. Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. గడమంచె gaḍa-manche. n. A wooden frame like a bench to keep things on. గంపలు మొదలగువాటిని ఉంచు మంచె (DEDR 1179)..rebus: Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. PLUS mē̃d, mēd 'body, womb, back' rebus: med 'iron' (Mu.Ho.) med'copper' (Slavic languages.

kuṭi 'water-carrier' rebus: kuṭhi 'smelter'.

Variants of Sign 155Sign 134 is ligatured to 'long linear stroke': ḍhaṁkaṇa 'lid' rebus dhakka'excellent, bright, blazing metal article' PLUS koḍa 'one' rebus: koḍ 'workshop'. Thus, Sign 155 signifies dhakka koḍ 'blazing, bright metal workshop'. 

Sign8 Variants of Sign 8kamaḍha'archer' rebus: kammaṭa 'mint, coiner, coinage' bhaṭa 'warrior' rebus: bhaṭa 'furnace'.

2847 m495; 1623 m494

There are two tablets with identical seal impressions which contain a long Indus inscription composed of 23 glyphs. Reported in Marshall 1931 (Vol. II, p.402); repeated in Vol. III, Pl. CXVI.23.

e. There can only be a conjecture as to why the prism tablets were mass produced with identical three lines of impression: it is likely that the tablets were used by artisans (Supercago or Helmsman) of a guild performing identical metal work for transporting packages with identical contents and hence, identical messages conveyed through the inscription.

m0494Am0494BC

m0495A

 m0495B

m0495C m0495cText of identical inscription in bas relief on two prism tablets:m0494, m0495 Text 1623/Text 2847

A reading of m0495G shown and discussed in 

http://indusscriptmore.blogspot.com/2011/09/indus-signs-of-17-and-18-strokes.html with particular reference to the first sign read as 'X'. If the glyph is a composite glyphic of four forked sticks, a vikalpa (alternative) reading is: मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock. मेढा [ mēḍhā ] m A stake, esp. as forked. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.(Marathi)(CDIAL 10317) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) gaṇḍa 'four'; rebus: kaṇḍa 'furnace, altar'. Thus, the composite glyphis is read rebus: iron (metal) furnace, meḍ kaṇḍa.

Inscription on tablet m0495 serves as a reinforcement of the reading of inscription on tablet m0494 (see the side shot of sides B and G reproduced above). The organizer of the photographic corpus, Asko Parpola and his photographer team, should be complimented for a painstaking effort to produce a high resolution reading of 3 lines of the text on the prism tablets (which almost look like five- sided object as may be seen from the photograph M-494F).

The reading of the text of the inscription on the two prism tablets provided in Mahadevan concordance is as follows:

Decoding the identical inscription on Prism tablets m0494 and m0495

Line 1 Turner, mint, brass-work, furnace scribe, smelter, gridiron smithy, smithy/forge

Line 2 Mineral (ore), furnace/altar, furnace scribe workshop; metal (a kind of iron), casting furnace; cast metal ingot; casting workshop

Line 3 Furnace scribe workshop; cast bronze; kiln; gridiron; casting workshop; smithy (with) furnace; cast bronze; native metal; metal turner; furnace scribe.

Thus, line 1 is a description of the repertoire of a smithy/forge including mint and brass-work; line 2 is a smelting, casting workshop for ingots; line 3 is furnace scribe workshop for caste bronze, with kiln, furnace and native metal turning.

Line 1 

1.1 Corner (of a room) glyph.

څرخ ṯs̱arḵẖ, āre 'potter's wheel rebus  arka'twelve, copper'. Alternative: kund opening in the nave or hub of a wheel to admit the axle (Santali) Rebus: kundam, kund a sacrificial fire-pit (Skt.) kunda ‘turner’ kundār turner (A.)

sal ‘splinter’; rebus: sal ‘workshop’ (Santali).Thus, together arka sal 'goldsmith workshop'.

S. kuṇḍa f. ʻcornerʼ; P. kū̃ṭ f. ʻcorner, sideʼ (← H.). (CDIAL 3898) Rebus: kundār turner (A.) kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295).

1.2 Crab glyph

Sign 57. Crab or claws of crab. kāru 'pincers' rebus: kāru 'artisan'. kamaṭha crab (Skt.) Rebus: kammaṭa = portable furnace (Te.) kampaṭṭam coiner, mint (Ta.) Vikalpa: ḍato ‘claws or pincers (chelae) of crabs’; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhātu ‘mineral’ (Vedic); dhatu ‘a mineral, metal’ (Santali) Vikalpa: erā ‘claws’; Rebus: era ‘copper’. 

Argument: Allographs of a leaf sign, ligature with crab sign [After Parpola, 1994, fig. 13.15] The archer shown on one copper tablet seems to be equivalent to a glyph on another copper plate -- that of ligatured U (rimless wide-mouthed pot) with leaves and crab’s claws. The archer has been decoded: 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.)

1.3 Backbone, rib cage

Sign 48. kaśēru ‘the backbone’ (Bengali. Skt.); kaśēruka id. (Skt.) Rebus: kasērā ʻmetal workerʼ (Lahnda)(CDIAL 2988, 2989) Spine, rib-cage: A comparable glyptic representation is on a seal published by Omananda Saraswati. In Pl. 275: Omananda Saraswati 1975. Ancient Seals of Haryana (in Hindi). Rohtak.” (I. Mahadevan, 'Murukan' in the Indus Script, The Journal of the Institute of Asian Studies, March 1999). B.B. Lal, 1960. From Megalithic to the Harappa: Tracing back the graffiti on pottery. Ancient India, No.16, pp. 4-24. baraḍo = spine; backbone (Tulu) Rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi) bhārata,'a factitious alloy of pewter, copper, tin'

1.4 Rim of jar glyph

kaṇḍa kanka (Santali); Rebus: kaṇḍa kanka ‘furnace scribe’. kaṇḍa ‘fire-altar, furnace’ (Santali); kan ‘copper’ (Ta.) karṇaka 'scribe, accountant' (Skt.) Vikalpa: kaṇḍ kanaka ‘gold furnace’. kánaka n. ʻ gold ʼ (Skt.) கன் kaṉ ,n. perh. கன்மம். 1. workmanship; வேலைப்பாடு. கன்னார் மதில்சூழ் குடந்தை (திவ். திருவாய். 5, 8, 3). 2. copper work; கன்னார் தொழில். (W.) 3. copper; செம்பு. (ஈடு, 5, 8, 3.) MBh. Pa. kanaka -- n., Pk. kaṇaya -- n., MB. kanayā ODBL 659, Si. kanā EGS 36.(CDIAL 2717) కనకము [ kanakamu ] kanakamu. [Skt.] n. Gold. (Telugu) கனகம் kaṉakam, n. < kanaka. 1. Gold; பொன். காரார்வண்ணன் கனகமனையானும் (தேவா. 502, 9 (Tamil) kanaka (nt.) [cp. Sk. kanaka; Gr. knh_kos yellow; Ags. hunig=E. honey. See also kañcana] gold, usually as uttatta˚ molten gold; said of the colour of the skin Bu i.59; Pv iii.32; J v.416; PvA 10 suvaṇṇa).-- agga gold -- crested J v.156; -- chavin of golden complexion J vi.13; -- taca (adj.) id. J v.393; -- pabhā golden splendour Bu xxiii.23; -- vimāna a fairy palace of gold VvA 6; PvA 47, 53; -- sikharī a golden peak, in ˚rājā king of the golden peaks (i. e. Himālayas): Dāvs iv.30. (Pali) Vikalpa: kaṉ ‘copper work’ (Ta.) The sequence of two glyphs discussed in 1.3 and 1.4 above occur with high frequency on copper tablets. The pair of glyphs is read rebus as: metal work, furnace scribe -- kasērā kaṇḍa kanka. 

The following examples are of 8 copper tablets recovered in Harappa by HARP project. A third glyph on these tablets is an oval sign -- like a metal ingot -- and is ligatured with an infixed sloping stroke: ḍhāḷiyum = adj. sloping, inclining (G.) The ligatured glyph is read rebus as: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (G.) The inscription on these tablets is in bas-relief:

Copper tablet (H2000-4498/9889-01) with raised script found in Trench 43. Slide 351 harappa.com

Copper tablets with Indus script in bas-relief, Harappa. The three glyphs on the ingots are read in sequence: ḍhālako kasērā kaṇḍa kanka 'metal ingot, metal work, furnace scribe'. 

This is a professional calling card of the artisan engaged in metal work.

1.5 Water-carrier glyph

kuṭi ‘water-carrier’ (Telugu); Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛI f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) A comparable glyptic representation is provided in a Gadd seal found in an interaction area of the Persian Gulf. Gadd notes that the ‘water-carrier’ seal is is an unmistakable example of an 'hieroglyphic' seal. Seal impression, Ur (Upenn; U.16747); [After Edith Porada, 1971, Remarks on seals found in the Gulf States. Artibus Asiae 33 (4): 331-7: pl.9, fig.5]; water carrier with a skin (or pot?) hung on each end of the yoke across his shoulders and another one below the crook of his left arm; the vessel on the right end of his yoke is over a receptacle for the water; a star on either side of the head (denoting supernatural?). The whole object is enclosed by 'parenthesis' marks. The parenthesis is perhaps a way of splitting of the ellipse (Hunter, G.R., JRAS, 1932, 476). 

1.6 Three (rimless) pots

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

S. baṭhu m. ‘large pot in which grain is parched, Rebus; bhaṭṭhā m. ‘kiln’ (P.) baṭa = a kind of iron (G.) Vikalpa: meṛgo = rimless vessels (Santali) bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali); baṭa = a kind of iron (G.) bhaṭṭha -- m.n. ʻ gridiron (Pkt.) baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; L. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits)’. (CDIAL 9656)Rebus: meḍ iron (Ho.)

kolmo ‘rice plant’ (Mu.) Rebus: kolami ‘furnace,smithy’ (Te.) Vikalpa: pajhaṛ = to sprout from a root (Santali); Rebus: pasra ‘smithy, forge’ (Santali)

Line 2

2.1 Cross

dāṭu = cross (Te.); Rebus: dhatu = mineral (ore)(Santali) dhātu ‘mineral (Pali) dhātu ‘mineral’ (Vedic); a mineral, metal (Santali); dhāta id. (G.) 

2.2 Arrow

kaṇḍa ‘arrow’; Rebus: kaṇḍ = a furnace, altar (Santali) khāṇḍā 'equipment, tools, metalware'.

2.3 Rim of jar + infixed short stroke

Rim of jar is decoded as: kaṇḍa kanka ‘furnace scribe’. Rebus: karNI 'Supercargo, scribe, script' (See line 1.4)

sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’ (Santali) Vikalpa: aṭar ‘a splinter’ (Ma.) aṭaruka ‘to burst, crack, sli off,fly open; aṭarcca ’ splitting, a crack’; aṭarttuka ‘to split, tear off, open (an oyster) (Ma.); aḍaruni ‘to crack’ (Tu.) (DEDR 66) Rebus: aduru ‘native, unsmelted metal’ Rebus: adaru = native metal (Ka.) aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddha_nti Subrahman.ya’ S’astri’s new interpretation of the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330)

Thus, the ligatured glyph is read rebus as: scribe (of) native,unsmelted metal furnace. 

2.4 Body, spread legs

mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.)  कर्णक kárṇaka, kannā 'legs spread', karaṇī 'scribe, supercargo', kañi-āra 'helmsman'.

2.5 Bird (circumscribed in bracket) Decoding: Furnace for riveting metal (a kind of iron)

baṭa= quail (Santali) Rebus: baṭa = a kind of iron (G.) bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali) Vikalpa: pota ‘pigeon’; pot ‘beads’ (H.G.M.)(CDIAL 8403). Vikalpa: baṭṭai quail (N.) vartaka = a duck (Skt.)(CDIAL 11361). batak = a duck (G.) vartikā = quail (RV.); wuwrc partridge (Ash.); barti = quail, partridge (Kho.); vaṭṭaka_ quail (Pali); vaṭṭaya (Pkt.) (CDIAL 11361).

Rebus: vartaka ‘merchant’ (Skt.) 

( ) A pair of enclosures: *jāḍa -- ʻ joining, pair ʼ. [← Drav. LM 333]; 2. S. jāṛo m. ʻ twin ʼ, L. P. jāṛā m.; M. j̈āḍī f. ʻ a double yoke ʼ. (CDIAL 5091) Rebus: *jaḍati ʻ joins, sets ʼ. 1. Pk. jaḍia -- ʻ set (of jewels), joined ʼ; K. jarun ʻ to set jewels ʼ (← Ind.); S. jaṛaṇu ʻ to join, rivet, set ʼ, jaṛa f. ʻ rivet, boundary between two fields ʼ; P.jaṛāuṇā ʻ to have fastened or set ʼ; A. zarāiba ʻ to collect ʼ; B. jaṛāna ʻ to set jewels, wrap round, entangle ʼ, jaṛ ʻ heaped together ʼ; Or. jaṛibā ʻ to unite ʼ; OAw.jaraï ʻ sets jewels, bedecks ʼ; H. jaṛnā ʻ to join, stick in, set ʼ (→ N. jaṛnu ʻ to set, be set ʼ); OMarw. jaṛāū ʻ inlaid ʼ; G. jaṛvũ ʻ to join, meet with, set jewels ʼ; M.j̈aḍṇẽ ʻ to join, connect, inlay, be firmly established ʼ, j̈aṭṇẽ ʻ to combine, confederate ʼ. (CDIAL 5091)

Vikalpa: dula दुल । युग्मम् m. a pair, a couple, esp. of two similar things (Rām. 966) (Kashmiri); dol ‘likeness, picture, form’ (Santali) Rebus: dul ‘to cast metal in a mould’ (Santali) dul meṛeḍ cast iron (Mundari. Santali)

‘cast bronze’; it is a glyptic formed of a pair of brackets (): kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin)

2.6 Two over-lapping (or pair of) ovals: Oval is the shape of an ingot (of metal). Paired ovals (ingots) are decoded as ‘cast’ ‘metal ingots’.

mũh metal ingot (shaped like an oval) (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 me~r.he~t = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end; kolhe tehen me~r.he~tko mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.) kaula mengro ‘blacksmith’ (Gypsy) paired: dul ‘likeness’; dul ‘cast (metal)’]

karã̄ n. pl. wristlets, banglesRebus: khAr 'blacksmith, iron worker'.

2.7 A pair of linear strokes (two long linear strokes) Decoded as casting workshop

dula ‘pair’; rebus: dul ‘cast (metal)(Santali) goṭ = one (Santali); goṭi = silver (G.) koḍa ‘one’ (Santali); koḍ ‘workshop’ (G.)

Line 3

3.1 Rim of jar + infixed short stroke as in Line 2.3 above. Decoded as: furnace scribe workshop.

3.2 Two bent (curved) lines. Decoded as ‘cast bronze’.

kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin)

dula ‘pair’; rebus: dul ‘cast (metal)(Santali)

3.3 Rimless pot. Decoded as: gridiron. See 1.6 above (for three rimless pots).

S. baṭhu m. ‘large pot in which grain is parched, Rebus; bhaṭṭhā m. ‘kiln’ (P.) baṭa = a kind of iron (G.) Vikalpa: meṛgo = rimless vessels (Santali) bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali); baṭa = a kind of iron (G.) bhaṭṭha -- m.n. ʻ gridiron (Pkt.) baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; L. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits)’. (CDIAL 9656)Rebus: meḍ iron (Ho.)

3.4 Nave of spoked wheel. Decoded as (molten cast copper) turner, kundār ‘turner’.

era = knave of wheel; rebus: era = copper; erako = molten cast (G.) eraka, (copper) ‘metal infusion’; āra ‘spokes’; rebus: āra ‘brass’ as in ārakūṭa (Skt.) kund opening in the nave or hub of a wheel to admit the axle (Santali) Rebus: kundam, kund a sacrificial fire-pit (Skt.) kunda ‘turner’ kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295) Vikalpa: 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] ஆரம்² āram , n. < āra. 1. Spoke of a wheel. See ஆரக்கால். ஆரஞ்சூழ்ந்த வயில்வாய் நேமியொடு (சிறுபாண். 253) (Tamil) 3.5 As in 2.7 above. A pair of linear strokes (two long linear strokes) Decoded as ‘casting workshop’. dula ‘pair’; rebus: dul ‘cast (metal)(Santali) goṭ = one (Santali); goṭi = silver (G.) koḍa ‘one’ (Santali); koḍ ‘workshop’ (G.) 3.6 Four + Three short strokes. Decoded as smithy (with) furnace. Four + three strokes are read (since the strokes are shown on two lines one below the other) : gaṇḍa ‘four’ (Santali); Rebus: kaṇḍa ‘furnace’ (Santali); kolmo ‘three’ (Mu.); rebus: kolami ‘smithy’ (Te.) Vikalpa: ?ea ‘seven’ (Santali); rebus: ?eh-ku ‘steel’ (Te.) Vikalpa: pon ‘four’ (Santali) rebus: pon ‘gold’ (Ta.) 3.7 As in 3.2 above. Two bent (curved) lines. Decoded as ‘cast bronze’. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) dula ‘pair’; rebus: dul ‘cast (metal)(Santali) 3.8 Harrow aḍar ‘harrow’; rebus: aduru ‘native metal’ 3.9 Horned body (Body as in 2.4 above.) Decoded as ‘metal (iron) turner’. mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.) kōḍ, kōṇḍa ‘horn’. Pa. kōḍ (pl. kōḍul) horn; Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn Tu. kōḍů, kōḍu horn Ko. kṛ (obl. kṭ-)( (DEDR 2200) Paš. kōṇḍā́‘bald’, Kal. rumb. kōṇḍa ‘hornless’.(CDIAL 3508). Kal. rumb.khōṇḍ a‘ half’ (CDIAL 3792). Rebus: कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) kõdā ‘to turn in a lathe’ (Bengali) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) 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 लाव, मांड. 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) 3.10 Rim of jar. As in 1.4 above. Decoded as: kaṇḍa kanka ‘furnace scribe’.

Line1 (2847)

Sign 386 is a hypertext composed of Sign 373 and 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' PLUS mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' (oval-/rhombus-shaped like a bun-ingot).The hypertext Sign 386 reads two distinct wealth categories: muhã khāṇḍā 'ingots, equipment, tools, metalware'.

Variants of Sign 53 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) 

Variants of Sign 48  Sign 48 is a 'backbone, spine' hieroglyph: baraḍo = spine; backbone (Tulu) Rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi) Tir. mar -- kaṇḍḗ ʻ back (of the body) ʼ; S. kaṇḍo m. ʻ back ʼ, L. kaṇḍ f., kaṇḍā m. ʻ backbone ʼ, awāṇ. kaṇḍ, °ḍī ʻ back ʼH. kã̄ṭā m. ʻ spine ʼ, G. kã̄ṭɔ m., M. kã̄ṭā m.; Pk. kaṁḍa -- m. ʻ backbone ʼ.(CDIAL 2670) Rebus: kaṇḍ ‘fire-altar’ (Santali) bharatiyo = a caster of metals; a brazier; bharatar, bharatal, bharataḷ = 

moulded; an article made in a mould; bharata = casting metals in moulds; bharavum = to fill in; to put in; to 

pour into (Gujarati) bhart = a mixed metal of copper and lead; bhartīyā = a brazier, worker in metal; bhaṭ, 

bhrāṣṭra = oven, furnace (Sanskrit. )baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi) 

Variants of Sign 12kuṭi 'water-carrier' rebus: kuṭhi 'smelter'.

Sign 342 'rim-of-jar' Variants of Sign 342

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

Triplets of Sign 328 

SignVariants of Sign 169

Line 2

Variant of Sign 137

Sign 155Variants of Sign 155

Variants of Sign 343 

Sign 10 is a variant reading ofSign 12 on both tablets m494, m495. Thus, I suggest the same reading for both Sign 10, and Sign 12. kuṭi 'water-carrier' rebus: kuṭhi 'smelter'.
Sign 10 is a ligature of stool with Sign 1 'body'. Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. గడమంచె gaḍa-manche. n. A wooden frame like a bench to keep things on. గంపలు మొదలగువాటిని ఉంచు మంచె (DEDR 1179)..rebus: Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. PLUS mē̃d, mēd 'body, womb, back' rebus: med 'iron' (Mu.Ho.) med 'copper' (Slavic languages.

Sign 81 Variants of Sign 81

Bird hieroglyph: Hieroglyph: black drongo: పోలడు pōlaḍu rebus: पोलाद [ pōlāda ] n ( or P) Steel. पोलादी a Of steel. (Marathi) bulad 'steel, flint and steel for making fire' (Amharic); fūlād 'steel' (Arabic) The Prakritam gloss पोळ [pōḷa], 'zebu' as hieroglyph is read rebus: pōḷa, 'magnetite, ferrous-ferric oxide'; poliya 'citizen, gatekeeper of town quarter'. Thus, the black drongo perched on a zebu, bos indicus as a hypertext signifies: magnetite, ferrite ore and steel.

Sign 403Variants of Sign 403

Sign 403 is a duplication of  dula 'pair, duplicated' rebus: dul 'metalcasting' PLUS  Sign'oval/lozenge/rhombus' hieoglyph Sign 373. Sign 373 has the shape of oval or lozenge is the shape of a bun ingot. mũhã̄ = the quantity of iron produced atone time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed likea four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes andformed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt komūhā akata = the Kolhes have to-day produced pig iron (Santali). Thus, Sign 373 signifies word, mũhã̄ 'bun ingot'. Thus, hypertext Sign 403 reads: dul mũhã̄ 'metalcast ingot'.

Sign 87Sign 87 dula 'two' rebus; dul 'metal casting' (Semantic determinative)

Line 3

Variants of Sign 343 khāṇḍā karṇī 'metalware supercargo'.

Sign 294Duplicated curves: dula 'two' rebus; dul 'metal casting' PLUS kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass'  Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥकौटिलिकः 1 A hunter.-2 A blacksmith  Thus hypertext of Sign 294 signifies bronze castings. [bronze castings].

Sign 298baṭa 'rimless pot' rebus: baṭa 'iron' bhaṭa 'furnace'. 

Sign 391 

The Signboard was discovered lying on the ground,near the gateway of Dholavira.

The three-part proclamation message of the Dholavira Signboard transcribed:

There are three proclamations on the signboard with three segments of messages.

Sign 391 is the opening statement of each of the three segments of Dholavira signboard message. This is a ligatured hieroglyph. 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 arka) copper (metal);crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = anymetal 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.) = spokeof wheel  ஆரம்² āram , n. < āra. 1. Spokeof a wheel.See ஆரக்கால். ஆரஞ்சூழ்ந்தவயில்வாய்நேமியொடு (சிறுபாண். 253). Rebus: ஆரம் brass; பித்தளை.(அக. நி.) pittal is cognate with 'pewter'.

Sign 87 Sign 87 dula 'two' rebus; dul 'metal casting' (Semantic determinative)

Sign 112Sign 112: Four count, three : 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.'

Sign 294 Duplicated curves: dula 'two' rebus; dul 'metal casting' PLUS kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass'  Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥकौटिलिकः 1 A hunter.-2 A blacksmith  Thus hypertext of Sign 294 signifies bronze castings. [bronze castings].

Sign 171

Sign 171 N. dã̄de ʻ harrow S. ḍ̠andārī f. ʻ rake ʼ, L(Ju.) ḍ̠ãdāl m., °lī f. (CDIAL 6153) rebus:dhatu 'mineral ore' (Santali)  dhātu n. ʻsubstance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour)ʼ; dhāū, dhāv

m.f. ʻ a partic. soft red stone ʼ(Marathi) धवड [ dhavaḍa ] m (Or धावड) A class or an individual of it. They are smelters of iron (Marathi)(CDIAL 6773).  

Sign8 Variants of Sign 8kamaḍha'archer' rebus: kammaṭa 'mint, coiner, coinage' bhaṭa 'warrior' rebus: bhaṭa 'furnace'.

Sign 342Variants of Sign 342 

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

Sign 331 Variants of Sign 331 The ligature of this unique pictorial motif with the rimless pot is significant. The rimless pot signifies baṭa 'rimless pot' rebus:bhaṭa 'furnace'. The ligaturing sign is Sign 169

Variants of Sign 169I suggest that the ligaturing sign is a semantic determinant of bhaṭa 'furnace' to emphasise that what is signified is a smelter furnace. Sign 169 signifies. kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) Alternative: kã̄ṛā ʻstem of muñja grass' rebus: kaṇḍ 'fire-altar'. 

The same semantic significance is seen in another ligature of Sign 190.  Sign 190 is read as four 'twigs' in a watery-field:कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 कौशिक-सूत्र, according to Sāyaṇa. = बदरी, "Christ's thorn")(Monier-Williams)

 kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace'(Santali) Alternative: kã̄ṛā 
ʻstem of muñja grass' rebus: kaṇḍ 'fire-altar'.  PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements.  Alternative: kã̄ṛā ʻstem of muñja grass' rebus: kaṇḍ 'fire-altar'. This alternative reading provides semantic determinative of the 'four' stems of munja grass shown on Sign 190.

h-48A kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements.  Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 

Shortugai, Bactria (Jarrige 1984) h-48A kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali)Alternative: kã̄ṛā ʻstem of muñja grass' rebus: kaṇḍ 'fire-altar'. PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements.  Field symbol:gaṇḍa 'rhinoceros'; rebus:khaṇḍa 'tools, pots and pans .

m-2047 AB kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali)Alternative: kã̄ṛā ʻstem of muñja grass' rebus: kaṇḍ 'fire-altar'.  PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. Field symbol: kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'.

n-1498AB (Copper tablet) m-543A (Copper tablet)Field symbol: pāṭroṛo, pattar 'feeding trough' rebus paṭṭī 'inventory' పట్ర paṭra, patta'village, hamlet, maritime town' pāṭan; pattar 'goldsmith guild' PLUS कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' PLUS Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.) med 'copper' (Slavic languages)

 kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) Alternative: kã̄ṛā ʻstem of muñja grass' rebus: kaṇḍ 'fire-altar'. PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. PLUS baraḍo 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi).PLUS  khār  खार 'backbone, spine' rebus: khār खार्'blacksmith' (Kashmiri) PLUS bhaṭa 'warrior' rebus: bhaṭa 'furnace'. कर्णक kárṇaka, 'rim of jar',  karaṇī'scribe, supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.', kañi-āra 'helmsman'.PLUS गोटी [ gōṭī ] f (Dim. of गोटा) A roundish stone or pebble.rebus:  गोटी [gōṭī ] 'A lump of silver'.

m-546A (Copper tablet) kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali)Alternative: kã̄ṛā ʻstem of muñja grass' rebus: kaṇḍ 'fire-altar'.  PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. PLUS baraḍo 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi).PLUS  khār  खार 'backbone, spine' rebus: khār खार् 'blacksmith' (Kashmiri) This could be a semantic re-inforcement, determinative of with bharat khār blacksmithy work (on) mixed alloys.

Referenced without comment, leaving the reader to judge the validity of the divergent translation/decipherment claims. See variant readings by Wim J Borsboom:
https://www.academia.edu/7751469/Decipherment_Interpretation_and_Translation_of_Indus_Script_Sign_430_Sinha  "Decipherment, Interpretation and Translation of Indus Script Sign 430 (Sinha) "The Indus Script sign  430 (Sinha), consisting of four vertical uprights that look like sticks/twigs/branches and a number of cross-wise horizontals that look like woven-like twigs, had been identified by S. M. Sullivan in her “Indus Script Dictionary” (2011) as the phoneme ‘gat’, which together with ‘ja’ forms the Sanskrit word ‘jagat’ - ‘world’, ‘people’. Instead, I propose that it stands for the Sanskrit phoneme ‘gar’, as in ‘-nagar’, ‘garta’ - area, place (SP) and ‘gada’ - ‘fence’, ‘screen’, ‘enclosure’, (phonologically, the ‘d’ and ‘r’ are interchangeable). The grapheme resembles the way ‘wattle & daub’ walls and fences were constructed out of woven twigs." - Wim J Borsboom

Lothal seal 97 presents a variant of Sign 169.’twig’.

Lothal 97 seal Text kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) Alternative: kã̄ṛā ʻstem of muñja grass' rebus: kaṇḍ 'fire-altar'. PLUS kolom 'three' rebus: kolami 'smithy, forge' PLUS dula 'two' rebus: dul 'metal casting'.

Meluhha rebus reading of Sign 190 kã̄ṛā ʻstem of muñja grass';gaṇḍa 'four' rebus: kaṇḍ 'fire-altar, furnace'. Thus, Lothal 97 seal is read rebus as: fire-altar, furnace, metal casting smithy, forge'.

Variants of Sign 190 (as reported by Wim Borsboom) and by Mahadevan

Indus Script inscriptionss with Sign 162, 'smithy/forge' andSign 169, 'fire-altar' signifiers

m213 Text 1150 Field symbol:  khonda singi 'spiny-horned young bull' rebus: kunda singi 'fine gold,ornament gold'; konda 'fire-altar, furnace' PLUS kunda kammata 'lathe portable furnace' rebus: kunda kammata 'fine gold mint'; mlekh 'goat' rebus: milakkhu 'copper' kolmo 'rice plant' rebus: kolimi 'smithy, forge' sal 'splinter' rebus: sal 'workshop' loa 'ficus glomerata' rebus; loh 'copper, metal' PLUS kanda kanka 'rim of jar' rebus: fire-altar, equiipment scribe. This is a signifier of activity related to milakkhu 'copper' in smithy-forge workshop.

m708 Text 2666 Field symbol:  khonda singi 'spiny-horned young bull' rebus: kunda singi 'fine gold,ornament gold'; konda 'fire-altar, furnace' PLUS kunda kammata 'lathe portable furnace' rebus: kunda kammata 'fine gold mint'; kamaḍha 'archer' rebus: kammaṭa 'mint, coiner, coinage' kolmo 'rice plant' rebus: kolimi 'smithy, forge' sal 'splinter' rebus: sal 'workshop' dhal 'slanted' rebus: dhalako 'large ingot' PLUS khaNDA 'notch' rebus: khanda 'implements' PLUS kanda kanka 'rim of jar' rebus: fire-altar, equiipment scribe. This is a signifier of activity of a mint, in smithy-forge workshop.

h257 Text 4315 (At least 14 miniaturetablets of Harappa contain this inscription).Canopy + pillar  māṇḍhvo + skambha rebus: maṇḍā: 'array of instruments' :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. mãṛyā, manyā 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, mãṛuā, maṛ˚, 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. maṁḍavo, māḍhivo 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. mã̄ḍhā, māṛhā, mãḍhā 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) Rebus: maṇḍa2 m. ʻ ornament ʼ lex. [√maṇḍ]Pk. maṁḍaya -- ʻ adorning ʼ; Ash. mōṇḍa, mōnda, mūnda NTS ii 266, mōṇə NTS vii 99 ʻ clothes ʼ; G. mã̄ḍ m. ʻ arrangement, disposition, vessels or pots for decoration ʼ, māṇ f. ʻ beautiful array of household vessels ʼ; M. mã̄ḍ m. ʻ array of instruments &c. ʼ; Si. maḍa -- ya ʻ adornment, ornament ʼ.(CDIAL 9736) skambha 'pillar' rebus:kammaṭa 'mint, coiner, coinage' kolmo 'rice plant' rebus: kolimi 'smithy, forge' sal 'splinter' ; kaṇḍa 'arrow' rebus:  kaṇḍa 'equipment'; ayo 'fish' rebus: ayas 'alloy metal' PLUS khambhaṛā 'fish'fin' rebus: kammaṭa 'mint'; thus, alloy metal mint; kã̄ṛā ʻstem of muñja grass' rebus:  kaṇḍ 'fire-altar' PLUS sal 'splinter' rebus: sal 'workshop'. These are signifiers of mint activity producing array of instruments in fire-altar (furnace) workshop.

Surkotada 1 Seal 9091 Field symbol:  khonda singi 'spiny-horned young bull' rebus: kunda singi 'fine gold,ornament gold'; konda 'fire-altar, furnace' PLUS kunda kammata 'lathe portable furnace' rebus: kunda kammata 'fine gold mint';  څرخ ṯs̱arḵẖ, āre 'potter's wheel rebus arka 'gold, copper' PLUS kamaḍha 'archer' rebus: kammaṭa 'mint, coiner, coinage'; thus, together, gold mint. kolmo 'rice plant' rebus: kolimi 'smithy, forge' sal 'splinter' rebus: sal 'workshop' gaṇḍa,'four'; rebus: kaṇḍ 'fire-altar,furnace PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'; thus, together, smithy/forge workshop of fire-altar (furnace)

 இடங்கசாலை

iṭaṅka-cālai, taṅka-cālai lit. gold workshop as a synonym of ṭaṅka-šālā 'Mint, place where money is coined'. Clearly, தங்கசாலை taṅka-cālai is a dialectical Meluhha form derived from the expression ṭaṅka-šālā 'mint' to specify the minting of gold coins. m71 Text 3083 Field symbol:  khonda singi 'spiny-horned young bull' rebus: kunda singi 'fine gold,ornament gold'; konda 'fire-altar, furnace' PLUS kunda kammata 'lathe portable furnace' rebus: kunda kammata 'fine gold mint'; [The second sign from left is an orthographic representation of the thigh of a bovid, perhaps a bull].] 

Sign 18 is body + notch: meD 'body' rebus: meD 'iron'; PLUS khaNDA notch' rebus:kanda 'equipment'; thus, iron equipment. kolmo 'rice plant' rebus: kolimi 'smithy, forge' sal 'splinter' rebus: sal 'workshop' 

Sign 25  is body + notch: meD 'body' rebus: meD 'iron'; PLUS koDa 'one' rebus: koD 'workshop' Thigh + water-carrier hierglyphs signify mint + smelter: 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. ṭāṅ, ṭeṅri ʻ leg, thigh ʼ; Mth. ṭã̄g, ṭãgri ʻ leg, foot ʼ; Bhoj. ṭāṅ, ṭaṅari ʻ leg ʼ, Aw. lakh. H. ṭã̄g f.; G. ṭã̄g f., °gɔ m. ʻ leg from hip to foot ʼ; M. ṭã̄g f. ʻ leg ʼ(CDIAL 5428) टांग or टांगडी   ṭāṅga or ṭāṅgaḍī f (टंग S through H) A low or light term for the leg. 2 esp. टांग A stride: also the stride as a measure of land Rebus: ṭaṅka- a stamped (gold) coin. Thus, (1) the pair of hieroglyphs on m71 read: टंक [ ṭaṅka ] 'thigh,buttock' rebus: टंक [ ṭaṅka ] 'gold coin' PLUS kuṭi 'water-carrier' (Telugu) rebus: kuṭhi 'smelter' (Santali); and(2) the pair of hieroglyphs on m1690 read: टंक [ ṭaṅka ] 'thigh,buttock' rebus: टंक [ ṭaṅka ] 'gold coin' PLUS aya 'fish' rebus: ayas 'alloy metal'.தங்கசாலை taṅka-cālai, n. < ṭaṅka +. Mint, place where money is coined; நாணயம் அடிக்குஞ்சாலை. (Tamil lexicon)

PLUS mint smelter signified by the next two hieroglyphs of thigh + water-carrier.

m34 Text 1058 Field symbol:  khonda singi 'spiny-horned young bull' rebus: kunda singi 'fine gold,ornament gold'; konda 'fire-altar, furnace' PLUS kunda kammata 'lathe portable furnace' rebus: kunda kammata 'fine gold mint'; kã̄ṛā ʻstem of muñja grass' rebus: kaṇḍ 'fire-altar' PLUS sal 'splinter' rebus: sal 'workshop'.Sign 48 is a backbone, spine' hieroglyph: baraḍo = spine; backbone (Tulu)   भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c; कटक kaṭaka 'link of a chain' rebus कटकम् kaṭakam 'caravan, an army, a camp' .

Sign 193 maybe a warehouse platform kṓṣṭha2 n. ʻ pot ʼ Kauś., ʻ granary, storeroom ʼ MBh., ʻ inner apartment ʼ lex., ˚aka -- n. ʻ treasury ʼ, ˚ikā f. ʻ pan ʼ Bhpr. [Cf. *kōttha -- , *kōtthala -- : same as prec.?]

Pa. koṭṭha -- n. ʻ monk's cell, storeroom ʼ, ˚aka<-> n. ʻ storeroom ʼ; Pk. koṭṭha -- , kuṭ˚, koṭṭhaya -- m. ʻ granary, storeroom ʼ; Sv. dāntar -- kuṭha ʻ fire -- place ʼ; Sh. (Lor.) kōti (ṭh?) ʻ wooden vessel for mixing yeast ʼ; K. kōṭha m. ʻ granary ʼ, kuṭhu m. ʻ room ʼ, kuṭhü f. ʻ granary, storehouse ʼ; S. koṭho m. ʻ large room ʼ, ˚ṭhī f. ʻ storeroom ʼ; L. koṭhā m. ʻ hut, room, house ʼ, ˚ṭhī f. ʻ shop, brothel ʼ, awāṇ. koṭhā ʻ house ʼ; P. koṭṭhā, koṭhā m. ʻ house with mud roof and walls, granary ʼ, koṭṭhī, koṭhī f. ʻ big well -- built house, house for married women to prostitute themselves in ʼ; WPah. pāḍ. kuṭhī ʻ house ʼ; Ku. koṭho ʻ large square house ʼ, gng. kōṭhi ʻ room, building ʼ; N. koṭho ʻ chamber ʼ, ˚ṭhi ʻ shop ʼ; A. koṭhā, kõṭhā ʻ room ʼ, kuṭhī ʻ factory ʼ; B. koṭhā ʻ brick -- built house ʼ, kuṭhī ʻ bank, granary ʼ; Or. koṭhā ʻ brick -- built house ʼ, ˚ṭhī ʻ factory, granary ʼ; Bi. koṭhī ʻ granary of straw or brushwood in the open ʼ; Mth. koṭhī ʻ grain -- chest ʼ; OAw. koṭha ʻ storeroom ʼ; H. koṭhā m. ʻ granary ʼ, ˚ṭhī f. ʻ granary, large house ʼ, Marw. koṭho m. ʻ room ʼ; G. koṭhɔ m. ʻ jar in which indigo is stored, warehouse ʼ, ˚ṭhī f. ʻ large earthen jar, factory ʼ; M. koṭhā m. ʻ large granary ʼ, ˚ṭhī f. ʻ granary, factory ʼ; Si. koṭa ʻ storehouse ʼ. -- Ext. with -- ḍa -- : K. kūṭhürü f. ʻ small room ʼ; L. koṭhṛī f. ʻ small side room ʼ; P. koṭhṛī f. ʻ room, house ʼ; Ku. koṭheṛī ʻ small room ʼ; H. koṭhrī f. ʻ room, granary ʼ; M. koṭhḍī f. ʻ room ʼ; -- with -- ra -- : A. kuṭharī ʻ chamber ʼ, B. kuṭhrī, Or. koṭhari; -- with -- lla -- : Sh. (Lor.) kotul (ṭh?) ʻ wattle and mud erection for storing grain ʼ; H. koṭhlā m., ˚lī f. ʻ room, granary ʼ; G. koṭhlɔ m. ʻ wooden box ʼ.kōṣṭhapāla -- , *kōṣṭharūpa -- , *kōṣṭhāṁśa -- , kōṣṭhāgāra -- ; *kajjalakōṣṭha -- , *duvārakōṣṭha -- , *dēvakōṣṭha -- , dvārakōṣṭhaka -- .

Addenda: kṓṣṭha -- 2: WPah.kṭg. kóṭṭhi f. ʻ house, quarters, temple treasury, name of a partic. temple ʼ, J. koṭhā m. ʻ granary ʼ, koṭhī f. ʻ granary, bungalow ʼ; Garh. koṭhu ʻ house surrounded by a wall ʼ; Md. koḍi ʻ frame ʼ, <-> koři ʻ cage ʼ (X kōṭṭa -- ). -- with ext.: OP. koṭhārī f. ʻ crucible ʼ, P. kuṭhālī f., H. kuṭhārī f.; -- Md. koṭari ʻ room ʼ.(CDIAL 3546) Rebus:  *gōṭṭa ʻ something round ʼ. [Cf. guḍá -- 1. -- In sense ʻ fruit, kernel ʼ cert. ← Drav., cf. Tam. koṭṭai ʻ nut, kernel ʼ, Kan. goṟaṭe &c. listed DED 1722]K. goṭh f., dat. ˚ṭi f. ʻ chequer or chess or dice board ʼ; S. g̠oṭu m. ʻ large ball of tobacco ready for hookah ʼ, ˚ṭī f. ʻ small do. ʼ; P. goṭ f. ʻ spool on which gold or silver wire is wound, piece on a chequer board ʼ; N. goṭo ʻ piece ʼ, goṭi ʻ chess piece ʼ; A. goṭ ʻ a fruit, whole piece ʼ, ˚ṭā ʻ globular, solid ʼ, guṭi ʻ small ball, seed, kernel ʼ; B. goṭā ʻ seed, bean, whole ʼ; Or. goṭā ʻ whole, undivided ʼ, goṭi ʻ small ball, cocoon ʼ, goṭāli ʻ small round piece of chalk ʼ; Bi. goṭā ʻ seed ʼ; Mth. goṭa ʻ numerative particle ʼ; H. goṭ f. ʻ piece (at chess &c.) ʼ; G. goṭ m. ʻ cloud of smoke ʼ, ˚ṭɔ m. ʻ kernel of coconut, nosegay ʼ, ˚ṭī f. ʻ lump of silver, clot of blood ʼ, ˚ṭilɔ m. ʻ hard ball of cloth ʼ; M. goṭā m. ʻ roundish stone ʼ, ˚ṭī f. ʻ a marble ʼ, goṭuḷā ʻ spherical ʼ; Si. guṭiya ʻ lump, ball ʼ; -- prob. also P. goṭṭā ʻ gold or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ, S. goṭo m. ʻ gold or silver lace ʼ); M. goṭ ʻ hem of a garment, metal wristlet ʼ.*gōḍḍ -- ʻ dig ʼ see *khōdd -- .Addenda: *gōṭṭa -- : also Ko. gōṭu ʻ silver or gold braid ʼ.(CDIAL 4271) Ta. pōttu sapling, tender branch or shoot of tree; pōtu flower bud, freshness, beauty. Te. bōda young of bird. Pa. pottid twig.

Konḍa bōdel bride, young lady. Kui podeli sapling, young green branch; bōda 

child. Kuwi pōde (F. S.) girl, (Su.) woman, girl; (Isr.) pōti small girl; pōdi pōti small children, young boys and girls; (F.) pōdipōda boys and girls. / Cf. Skt. pota- young of animal or plant; Turner, CDIAL, no. 8399. (DEDR 4587)pṓta -- 1, ˚aka -- m. ʻ young of animal or plant ʼ MBh. 2. *pōtara -- . 3. *pōtala -- , pōtalaka -- m. ʻ young animal ʼ BHSk., gō -- pōtalikā -- f. ʻ heifer ʼ Pat. 4. *pōtāla -- . 5. *pōtta -- 1. 6. *pōṭṭa -- 3. 7. *pōna -- 1. 8. *pōttha -- 1. 9. *phōta -- . 10. *phōtta -- 2. [Variety of form points to non -- Aryan origin (scarcely with Wackernagel AiGr ii 2, 591 < putrá -- ): prob. with T. Burrow BSOAS xii 386 ← Drav. Tam. pōttu &c. DED 3748. -- Cf. pōṭā -- f. ʻ female slave ʼ, pōṭaka -- m. ʻ servant ʼ KātyŚr. com. -- See also *pōṅga -- 2]1. Pa. pōta -- , ˚aka -- m. ʻ young of an animal ʼ, Aś. potake nom. sg. m.; NiDoc. ǵ ʻ young (of camel) ʼ; Pk. pōa -- , ˚aya -- m. ʻ young snake, child ʼ; Dm. pâi ʻ son ʼ; Paš. ōya ʻ boy, child, daughter ʼ < *wōyā with special development in word of address (IIFL iii 3, 188 sandhi form < pōtaka -- ); Bshk. pō, pɔ̈̄ ʻ son, boy ʼ; Tor. pō m. ʻ child ʼ; Sh.koh. gur. pē ʻ sons ʼ (pl. of puc̣h < putrá -- ) → Ḍ. pe_ (pl. of pūc̣); P. poā m. ʻ tender twig ʼ; Ku.gng. pōi ʻ budding of trees in spring ʼ; A. B. po ʻ son ʼ; Or. po, poa, pua ʻ son, shoot of plaintain ʼ, puā ʻ plaintain seedling ʼ, poi ʻ small girl, shrimp ʼ; Mth. poā ʻ tobacco seedling ʼ; Bhoj. pōi ʻ sugarcane sapling ʼ; H. poā m. ʻ young of an animal ʼ; G. poī f., M. poy f. ʻ spike of coconut or other palms containing the spadix ʼ; M. povā m. ʻ young snake ʼ; OSi. povā pl. ʻ youths ʼ, Si. povuvā (st. pov -- , pō -- ) ʻ young of an animal ʼ. -- X *kuḍa<-> q.v. '

2. G. porɔ m. ʻ insect ʼ, porī f. ʻ little girl ʼ, poriyɔ m. ʻ boy ʼ; M. por m. f. n. ʻ young child or animal ʼ.3. Pk. pōalaya -- m. ʻ child ʼ; Gaw. pōlá, f. ˚lī ʻ small ʼ, poliṛá ʻ younger ʼ; A. puli ʻ young plant ʼ; B. polā ʻ child, son ʼ; M. poḷ m. ʻ bull dedicated to the gods ʼ; Si. pollā ʻ young of an animal ʼ.4. Pk. pōāla -- m. ʻ child, bull ʼ; A. powāli ʻ young of animal or bird ʼ.

5. K. pọ̆tu m. ʻ son (esp. an only son), child ʼ, pūtu m. ʻ young chick ʼ, ḍoḍ. pōtō ʻ bird ʼ, kash. ċāwali -- pūt ʻ goat's kid ʼ; H. potī f. ʻ young female of any animal ʼ.

6. H. poṭā m. ʻ young of animal, unfledged bird ʼ.7. A. B. ponā ʻ young fish ʼ (A. also ʻ affectionate term of address to a child ʼ).8. Ku. potho ʻ any young animal ʼ, pothilo ʻ young of a bird ʼ; N. pothi ʻ hen bird ʼ, pothro ʻ young tree, bush ʼ.9. Phal. phō ʻ boy ʼ, phoyīˊ, phōī ʻ girl ʼ.10. Ku. photo m. ʻ young child, small cucumber, testicle ʼ, photi f. ʻ girl ʼ, phwātā -- photi ʻ children ʼ.(CDIAL 8399) Rebus:  pōtrá1 ʻ *cleaning instrument ʼ (ʻ the Potr̥'s soma vessel ʼ RV.). [√pū]Bi. pot ʻ jeweller's polishing stone ʼ(CDIAL 8344) पोतृ प्/ओतृ or पोतृ, m. " Purifier " , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; = यज्ञस्य शोधयिट्रि Sa1y. ) RV. Br. S3rS. Hariv. PLUS kanda kanka 'rim of jar' rebus: fire-altar, equiipment scribe.

h68 Text 4141  Field symbol:  khonda singi 'spiny-horned young bull' rebus: kunda singi 'fine gold,ornament gold'; konda 'fire-altar, furnace' PLUS kunda kammata 'lathe portable furnace' rebus: kunda kammata 'fine gold mint'; dhakka koḍ 'blazing, bright metal workshop' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge' sal 'splinter' rebus: sal 'workshop' PLUS kolom 'three' rebus: kolimi 'smithy, forge' PLUS aya 'fish' rebus: ayas 'alloy metal' PLUS kanda kanka 'rim of jar' rebus: fire-altar, equiipment scribe.PLUS कर्णक m. du. the two legs spread out AV. xx , 133 , 3 rebus: karNI 'supercargo' rebus: karṇika कर्णिक 'steersman'.

Variants of Sign 155Sign 134 is ligatured to 'long linear stroke': ḍhaṁkaṇa 'lid' rebus dhakka'excellent, bright, blazing metal article' PLUS koḍa 'one' rebus: koḍ 'workshop'. Thus, Sign 155 signifies dhakka koḍ 'blazing, bright metal workshop'. 

h75 Text 4161 Field symbol:  khonda singi 'spiny-horned young bull' rebus: kunda singi 'fine gold,ornament gold'; konda 'fire-altar, furnace' PLUS kunda kammata 'lathe portable furnace' rebus: kunda kammata 'fine gold mint'; ranku 'liquid measure' rebus: ranku 'tin ore' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS kanda kanka 'rim of jar' rebus: fire-altar, equiipment scribe' PLUS  khareḍo 'a currycomb' rebus kharada खरडें daybook.

Text 8201 Kalibangan pottery inscription ranku 'liquid measure' rebus: ranku 'tin ore' PLUS kã̄ṛā ʻstem of muñja grass' rebus:  kaṇḍ 'fire-altar' PLUS kanda kanka 'rim of jar' rebus: fire-altar, equiipment scribe' PLUS  khareḍo 'a currycomb' rebus kharada खरडें daybook.

Text 2600, ranku 'liquid measure' rebus: ranku 'tin ore' PLUS kã̄ṛā ʻstem of muñja grass' rebus:  kaṇḍ 'fire-altar' PLUS kanda kanka 'rim of jar' rebus: fire-altar, equiipment scribe'                                                                                          Text 5123 ranku 'liquid measure' rebus: ranku 'tin ore' PLUS kã̄ṛā ʻstem of muñja grass' rebus:  kaṇḍ 'fire-altar' PLUS kuṭi 'water-carrier' rebus: kuṭhi 'smelter'.                  Text 4650 ranku 'liquid measure' rebus: ranku 'tin ore' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS kanda kanka 'rim of jar' rebus: fire-altar, equiipment scribe'

9204 Banawali kolmo 'rice plant' rebus: kolimi 'smithy, forge'  mlekh 'goat' rebus: milakkhu 'copper' PLUS xolā 'tail' rebus: kol 'working in iron' PLUS kã̄ṛā ʻstem of muñja grass' rebus: kaṇḍ 'fire-altar, furnace' PLUS The wide-spread, curvy horns also signify: Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.) med 'copper' (Slavic languages). sal 'splinter' rebus: sal 'workshop' DUPLICATED, flanking three short strokes: dula 'pair' rebus: dul 'metalcasting' PLUS kolom 'three' rebus: kolimi 'smithy, workshop'. Thus this smithy, forge is a metalcasting workshop using copper, iron and working with fire-altar.

kolmo 'rice plant' rebus: kolimi 'smithy, workshop'.and kã̄ṛ 'large millet stock' rebus: kaṇḍ 'fire-altar,furnace'; both signs are complemented by  ||| three linear strokes: kolom 'three' rebus: kolimi 'smithy, forge' (Semantic determinativee); |||| four linear strokes: gaṇḍa,'four' rebus: kaṇḍ 'fire-altar,furnace'; ||||| five linear strokes taTTal 'five' rebus: taTTar 'brass worker'; 4+3 linear strokes: gaṇḍa,'four' rebus: kaṇḍ 'fire-altar,furnace';PLUS kolom 'three' rebus: kolimi 'smithy, forge' ; 4+4 linear strokes gaṇḍa,'four' rebus: kaṇḍ 'fire-altar,furnace; PLUS gaṇḍa,'four' rebus: kaṇḍa 'equipment' 2127 m283 is associated with Field Symbol: elephant. karibha, ibha 'elephant' rebus: karba, ib 'iron'. Thus iron furnace (produced) iron equipment are signified by the inscription.

2127 m2831025 m673 

 Text 7072 Lothal 97

Text 9205 Banawali 21 dāṭu 'cross' Rebus: dhatu 'mineral ore' PLUS kuṭi 'slice' rebus: kuṭhi 'smelter'. PLUS kolom 'three' rebus: kolimi 'smith, forge' PLUS Sign 190 kã̄ṛā ʻstem of muñja grass';gaṇḍa 'four' rebus: kaṇḍ 'fire-altar, furnace'

Text 5100 h655  dāṭu 'cross' Rebus: dhatu 'mineral ore' PLUS kuṭi 'slice' rebus: kuṭhi 'smelter'. Sign 190 kã̄ṛā ʻstem of muñja grass'PLUS gaṇḍa 'four' rebus: kaṇḍ 'fire-altar, furnace'  Text 1246  kanac sal 'corner splinter'rebus:kancu 'bell-metal' PLUS rebus: sal 'workshop' PLUS Sign 190 kã̄ṛā ʻstem of muñja grass'PLUS gaṇḍa 'four' rebus: kaṇḍ 'fire-altar, furnace' Text 2387 tsarkha 'potter's wheel' rebus: arka 'gold, copper'bPLUS rebus: sal 'workshop' PLUS Sign 190 kã̄ṛā ʻstem of muñja grass'PLUS gaṇḍa 'four' rebus: kaṇḍ 'fire-altar, furnace'

Text 5310 Text 6222 chanhudaro 16   Field symbol:  khonda singi 'spiny-horned young bull' rebus: kunda singi 'fine gold,ornament gold'; konda 'fire-altar, furnace' PLUS kunda kammata 'lathe portable furnace' rebus: kunda kammata 'fine gold mint'PLUS kuṭṭi 'pupil of eye'rebus: kuṭhi 'smelter'.PLUS kuṭil 'curve'  rebus: कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin).PLUS kuṭi 'slice' rebus: kuṭhi 'smelter'.PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā 'tools, pots and pans, metal-ware'PLUS kanda kanka 'rim of jar' rebus: fire-altar, equiipment scribe'  PLUS kolom 'three' rebus: kolimi 'smith, forge' PLUS Sign 190 kã̄ṛā ʻstem of muñja grass' PLUS gaṇḍa 'four' rebus: kaṇḍ 'fire-altar, furnace'. Bronze worker'scatalogue of metalwork. in smithy/forge       

Text 4122 h70  Field symbol:  khonda singi 'spiny-horned young bull' rebus: kunda singi 'fine gold,ornament gold'; konda 'fire-altar, furnace' PLUS kunda kammata 'lathe portable furnace' rebus: kunda kammata 'fine gold mint'   dāntā'tooth, tusk' rebus: dhāˊtu'ore of red colour' (ferrite ores, copper ores) PLUS kolom 'three' rebus: kolimi 'smith, forge' PLUS kolmo 'rice plant' rebus: kolimi 'smith, forge'.  (Semantic determinative)                 

Text 3079 dāntā 'tooth, tusk' rebus: dhāˊtu 'ore of red colour' (ferrite ores, copper ores) PLUS kolom 'three' rebus: kolimi 'smith, forge' PLUS  Sign 190 kã̄ṛā ʻstem of muñja grass' PLUS gaṇḍa 'four' rebus: kaṇḍ 'fire-altar, furnace'. Bronze worker's catalogue of metalwork.of fire-altar furnace.

Supercargo renders account of metalwork cargo & metal aroury products under his charge

October 16, 2019, 6:41 pm

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Supercargo is a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.

5056 h102A Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 

Text message signs 

Segment 1: Sign 267, 343, 67 Bell-metal mint Supercargo

 Segment 2 Sign 244, 342 kuṭhāru 'armourer'.Supercargo

Sign 267 kāˊṁsya ʻ made of bell -- metal ʼ KātyŚr., n. ʻ bell -- metal ʼ Yājñ., ʻ cup of bell -- metal ʼ MBh., ˚aka -- n. ʻ bell -- metal ʼ. 2. *kāṁsiya -- . [kaṁsá -- 1]1. Pa. kaṁsa -- m. (?) ʻ bronze ʼ, Pk. kaṁsa -- , kāsa -- n. ʻ bell -- metal, drinking vessel, cymbal ʼ; L. (Jukes) kã̄jā adj. ʻ of metal ʼ, awāṇ. kāsā ʻ jar ʼ (← E with -- s -- , not ñj); N. kã̄so ʻ bronze, pewter, white metal ʼ, kas -- kuṭ ʻ metal alloy ʼ; A. kã̄h ʻ bell -- metal ʼ, B. kã̄sā, Or. kãsā, Bi. kã̄sā; Bhoj. kã̄s ʻ bell -- metal ʼ, kã̄sā ʻ base metal ʼ; H. kās, kã̄sā m. ʻ bell -- metal ʼ, G. kã̄sũ n., M. kã̄sẽ n.; Ko. kã̄śẽ n. ʻ bronze ʼ; Si. kasa ʻ bell -- metal ʼ.2. L. kã̄ihã̄ m. ʻ bell -- metal ʼ, P. kã̄ssī, kã̄sī f., H. kã̄sī f.*kāṁsyakara -- , kāṁsyakāra -- , *kāṁsyakuṇḍikā -- , kāṁsyatāla -- , *kāṁsyabhāṇḍa -- .Addenda: kāˊṁsya -- : A. kã̄h also ʻ gong ʼ, or < kaṁsá -- .   2988 *kāṁsyakara ʻ worker in bell -- metal ʼ. [See next: kāˊṁsya -- , kará -- 1]L. awāṇ. kasērā ʻ metal worker ʼ, P. kaserā m. ʻ worker in pewter ʼ (both ← E with -- s -- ); N. kasero ʻ maker of brass pots ʼ; Bi. H. kaserā m. ʻ worker in pewter ʼ.   2989 kāṁsyakāra m. ʻ worker in bell -- metal or brass ʼ Yājñ. com., kaṁsakāra -- m. BrahmavP. [kāˊṁsya -- , kāra -- 1]N. kasār ʻ maker of brass pots ʼ; A. kãhār ʻ worker in bell -- metal ʼ; B. kã̄sāri ʻ pewterer, brazier, coppersmith ʼ, Or. kãsārī; H. kasārī m. ʻ maker of brass pots ʼ; G. kãsārɔ, kas˚ m. ʻ coppersmith ʼ; M. kã̄sār, kās˚ m. ʻ worker in white metal ʼ, kāsārḍā m. ʻ contemptuous term for the same ʼ.   2990 *kāṁsyakuṇḍikā ʻ bell -- metal pot ʼ. [kāˊṁsya -- , kuṇḍa -- 1]N. kasaũṛi ʻ cooking pot ʼ.   2991 kāṁsyatāla m. ʻ cymbal ʼ Rājat. [kāˊṁsya -- , tāla -- 1] Pa. kaṁsatāla -- m. ʻ gong ʼ; Pk. kaṁsālā -- , ˚liyā -- f. ʻ cymbal ʼ, OB. kaśālā, Or. kãsāḷa; G. kã̄sāḷũ n. ʻ large bell -- metal cymbals ʼ with ã̄ after kã̄sũ ʻ bell -- metal ʼ; M. kã̄sāḷ f. ʻ large cymbal ʼ; -- Si. kastalaya ʻ metal gong ʼ (EGS 40) is Si. cmpd. or more prob. ← Pa.   2992 *kāṁsyabhāṇḍa ʻ bell -- metal pot ʼ. [kāˊṁsya -- , bhāṇḍa -- 1]Pa. kaṁsabhaṇḍa -- n. ʻ brass ware ʼ; M. kāsã̄ḍī, ˚sãḍī f. ʻ metal vessel of a partic. kind ʼ.

Sign 343 is Sign 342 PLUS notch: kanda kanka 'equipment Supercargo' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. Thus, the infix notch is a reinforcement of Sign 342 which signifies equiment Supercargo. This is reiterated by the repetition of the pair of signs on the boss.

Sign 67  khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coin, mint' PLUS aya 'fish' rebus: ayas 'alloy metal'. Thus alloy-metal mint.

Sign 244 PLUS SIgn 342

Sign 244 kuṭhāru 'treasury, warehouse' rebus: kuṭhāru 'armourer'.

Variants Sign 244

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

5056 h102B

5056 h102D

5056 h102 Text

2300 m968 Seal 

2300 m968 Text Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 

Text message signs: 

Segment 1: 249, 162,343, Tin smithy supercargo

Segment 2: 296, 342 Brassworker equipment supercargo 

ranku 'liquid measure' rebus: ranku 'tin ore'

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

Sign 343 is Sign 342 PLUS notch: kanda kanka 'equipment Supercargo' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. Thus, the infix notch is a reinforcement of Sign 342 which signifies equiment Supercargo. 

Sign 296 is a variant of   

Duplicated curves: dula 'two' rebus; dul'metal casting' PLUS kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass'  Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥकौटिलिकः 1 A hunter.-2 A blacksmith  Thus hypertext of Sign 294 signifies bronze castings. [bronze castings]

PLUS Sign 342 kanda kanka 'equipment supercargo'

7107 Lothal 46 Seal Inscription message: bharat metalworker guild.

Supercargo account: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi) -- Signed Supercargo. PLUS alloymetal copper supercargo (working with) dul khaṇḍa kolimi 'cast equipment smithy, forge' 

Field symbol:barad, balad 'ox' Rebus: bharata 'metal alloy' (5 copper, 4 zinc and 1 tin).PLUS pattar 'trough' Rebus: pattar 'guild of goldsmiths'

7107 Lothal 46 Text Signs 162, 267, 99, 48, 342, 59, 328, 254

Sig 162 kolmo 'rice plant' rebus: kolimi 'smithy, forge'

Sign 267, Sign 99 కంసారాతి  kams-ārāti. [Skt.] n. Slayer of Kamsa, an epithet of Krishṇa. కంసర  or కంసలల kamsara. [Tel.] n. Smithery; working in gold: adj. Of the goldsmith caste. కంసలది a woman of that caste. కంసలపని the business of a gold-smith.కంసము  kamsamu. [Skt.] n. Bell metal.కంచు. kã̄sāri ʻ pewterer, brazier, coppersmith ʼ PLUS sal 'splinter' rebus: sal 'workshop'.Thus, kã̄sāri  sal pewterer's workshop. śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xāl, xāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed (CDIAL 12414)

Sign48 baraḍo 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi)

Sign342 kanda kanka 'equipment supercargo'

Sign 59 aya 'fish' rebus: ayas 'alloy metal'

Sign328 loa 'ficus glomerata' rebus: loh 'copper, metal' PLUS karNika 'ears' rebus: karaNI supercargo' Thus, copper supercargo.

 Sign 254

Orthography of two notches PLUS three horizontal lines: Sign 254        Two notches PLUS three horizontal lines: dula 'pair' rebus: dul 'metal casting' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khaṇḍa 'equipment' PLUS kolom 'three' rebus: kolimi 'smithy, forge'. Thus dul khaṇḍa kolimi 'cast equipment smithy, forge'

8104 Kalibangan 78b Sealing

8108 Kalibangan 78 Sealing fish = aya (G.) PLUS kāru 'crocodile'(Telugu)] Rebus: ayakāra 'ironsmith' (Pali).

8108 Kalibangan 78 Text8104 Kalibangan 78a Sealing 

akkasāle 'goldsmith workshop'

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

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

PLUS

kanda kanka 'equipment supercargo'

2867 m437 Seal The message of the inscription is ferrite ore smelter, goldsmith workshop,tin smithery, supercargo.

2867 m437 Text  

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

akkasāle 'goldsmith workshop'

ranku 'liquid measure' rebus: ranku 'tin ore' PLUS kolmo 'rice plant' rebus: kolimi 'smithy forge' PLUS Sign 342 kanda kanka 'equipment supercdargo'.

2573 m1155 Seal Field symbol: karibha, ibha 'elephant' rebus: karba, ib 'iron'

2573 m1155 Text Signs: Segment 1: 336, 89, 99, 

Segment 2: 192, 347, 342 kuThAru'armoury' PLUS dula'pair' rebus: dul'metalcasting' PLUS Sign 342 kanda kanka 'equipment supercargo'.Thus metal armour metalcastings (in-charge of) equipment Supercargo.

Segment 1: muka 'ladle' rebus; mū̃h 'ingot',PLUS  baṭhu 'pot' rebus:  bhaṭa 'furnace'. Thus, ingot furnace.

S. baṭhu m. ‘large pot in which grain is parched, Rebus; bhaṭṭhā m. ‘kiln’ (P.) baṭa = a kind of iron (G.) Vikalpa: meṛgo = rimless vessels (Santali) bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali); baṭa = a kind of iron (G.) bhaṭṭha -- m.n. ʻ gridiron (Pkt.) baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; L. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits)’. (CDIAL 9656) Rebus: meḍ iron (Ho.) PLUS  muka 'ladle' rebus; mū̃h 'ingot', quantity of metal got out of a smelter furnace (Santali).Thus, this hieroglyph-multiplex (hypertext) signifies: iron ingot.

2251 m781 Seal Message: Ingots, equipment from smithery workshop and mint of fine gold, ornament gold turner.

2251 m781 Text Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 

కంసారాతి  kams-ārāti. [Skt.] n. Slayer of Kamsa, an epithet of Krishṇa. కంసర  or కంసలల kamsara. [Tel.] n. Smithery; working in gold: adj. Of the goldsmith caste. కంసలది a woman of that caste. కంసలపని the business of a gold-smith.కంసము  kamsamu. [Skt.] n. Bell metal.కంచు. kã̄sāri ʻ pewterer, brazier, coppersmith ʼ,PLUS sal 'splinter' rebus: sal 'workshop'. THus, smithery workshop.

muka 'ladle' rebus; mū̃h 'ingot',PLUS  baṭhu 'pot' rebus:  bhaṭa 'furnace'. Thus, ingot furnace. PLUS kolom 'three' rebus: kolimi 'smithy, forge'. Thus smithy furnace ingots.

kaṇḍa 'arrow' rebus: kaṇḍa 'equipment';

1159 Text Seal dula pair' rebus; dul 'metalcasting' PLUS khaṇḍa 'divisions' Rebus: kāṇḍā 'metalware'; thus, equipment made of metal castings.

2050 Seal dula pair' rebus; dul 'metalcasting' PLUS khaṇḍa 'divisions' Rebus: kāṇḍā 'metalware'; thus, equipment made of metal castings.

7252 Lothal 134 Sealing

7252 Lothal 134 Text dula pair' rebus; dul 'metalcasting' PLUS khaṇḍa 'divisions' Rebus: kāṇḍā 'metalware'; thus, equipment made of metal castings. PLUS sal 'splinter' rebus: sal 'workshop'. Thus casting equipment workshop.

Sign 67  khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coin, mint' PLUS aya 'fish' rebus: ayas 'alloy metal'. Thus alloy-metal mint.

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

ayo 'fish' rebus: ayas 'alloy metal'

kaṇḍa 'arrow' rebus: kaṇḍa 'equipment'

1424 Text Seal dula pair' rebus; dul 'metalcasting' PLUS khaṇḍa 'divisions' Rebus: kāṇḍā 'metalware'; thus, equipment made of metal castings.

3088 m400 seal

3088 m400 text akkasāle 'goldsmith workshop'

खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment' PLUS meD 'body' rebus: meD 'iron' PLUS koDa 'one' rebus: koD 'workshop'. Thus, iron workshop (producing) equipment. dula pair' rebus; dul 'metalcasting' PLUS khaṇḍa 'divisions' Rebus: kāṇḍā 'metalware'; thus, equipment made of metal castings.

2680 m58 Seal

2680 m58 Text Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 

3113 m183 Seal

3113 m183 Text Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'.

Last two signs of text: ayo 'fish' rebus: aya 'iron' ayas 'metal' PLUS DhAL 'slanted' rebus ḍhāḷako 'large ingot' .Thus, alloy metal ingot PLUS kaṇḍa 'arrow' rebus: kaṇḍa 'equipment'; thus, together, ingots and equipment.

gota (laterite, ferrite ore) Rebus 2: goṭā 'gold-braid'.Sign 180 Signs 180, 181 have variants. Warp-pegs kor.i = pegs in the ground in two rooms on which the thread is passed back and forth in preparing the warp (S.)Semantic determinant hypertext: Ka. gōṭu border or hem of a garment; fringe, edging, trimming. Tu. gōṭu embroidery, lace. Te. gō̃ṭu an ornamental appendage to the border of a cloth, fringe' Rebus 1: gota (laterite, ferrite ore) Rebus 2: goṭā 'gold-braid'.PLUSkuṭi 'a slice, a bit, a small piece'(Santali) Rebus: kuṭhi. 'iron smelter furnace'; thus, together, laterite, ferrite ore smelter. 
1416 Text Seal  కంసారాతి  kams-ārāti. [Skt.] n. Slayer of Kamsa, an epithet of Krishṇa. కంసర  or కంసలల kamsara. [Tel.] n. Smithery; working in gold: adj. Of the goldsmith caste. కంసలది a woman of that caste. కంసలపని the business of a gold-smith.కంసము  kamsamu. [Skt.] n. Bell metal.కంచు. kã̄sāri ʻ pewterer, brazier, coppersmith ʼ PLUS sal 'splinter' rebus: sal 'workshop'. Thus kamsara sal 'bell-metal workshop'.Sign 204 (hillock), 230 (hill range) mEDu 'high ground' rebus: meD 'iron' PLUS dhanga 'range' rebus: dhangar 'blacksmith' PLUS Sign 342 kanda kanka 'equipment supercargo'.

1387 m296 Seal

1387 m296 Text  Message of inscription: Finegold, ornament gold, bronze-metalcastter caravan  కంసారాతి  kams-ārāti. [Skt.] n. Slayer of Kamsa, an epithet of Krishṇa. కంసర  or కంసలల kamsara. [Tel.] n. Smithery; working in gold: adj. Of the goldsmith caste. కంసలది a woman of that caste. కంసలపని the business of a gold-smith.కంసము  kamsamu. [Skt.] n. Bell metal.కంచు. kã̄sāri ʻ pewterer, brazier, coppersmith ʼ,

Field symbol: Pair of chain links, pair of spiny-horned young bull protomes: dula 'pair' rebus; dul 'metal casting' PLUS कटक kaṭaka 'link of a chain' rebus कटकम् kaṭakam 'caravan, an army, a camp' kunda singi 'fine gold, ornament gold'. 

Sign 286 kanac kanda 'four corners' rebus: kancu kand 'bell-metal furnace' PLUS arka 'potter's wheel' rebus: arka 'copper, gold' PLUS kuṭi 'a slice, a bit, a small piece'(Santali) Rebus: kuṭhi. 'iron smelter furnace' 

 aya 'fish' rebus: ayas 'alloy metal' + kaṇḍa'arrow' kaṇḍa'equipment';  kole.l 'temple' rebus: kole.l 'smithy, forge' 

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

2122 m307 Seal Field symbol: woman, rearing tigers: 

Message of inscription: Iron smelter,metalcaster, turner PLUS text: smelter, metalcaster, bronze metalcaster, scribe, supercargo, helmsman.

kola 'woman' rebus: kol 'working in iron' PLUS kola 'tiger' rebus: kol 'working in iron' PLUS dula 'pair' rebus: dul 'metalcasting' PLUS kūrda m. ʻ jump ʼ, gūrda -- m. ʻ jump ʼ Kāṭh. [√kūrd] S. kuḍ̠u m. ʻ leap ʼ, N. kud, Or. kuda, °dā, kudā -- kudi ʻ jumping about ʼ.kūˊrdati ʻ leaps, jumps ʼ MBh. [gūˊrdati, khūˊrdatē Dhātup.: prob. ← Drav. (Tam. kuti, Kan. gudi ʻ to spring ʼ) T. Burrow BSOAS xii 375]S. kuḍ̠aṇu ʻ to leap ʼ; L. kuḍ̠aṇ ʻ to leap, frisk, play ʼ; P. kuddṇā ʻ to leap ʼ, Ku. kudṇo, N. kudnu, B. kũdā, kõdā; Or. kudibā ʻ to jump, dance ʼ; Mth. kūdab ʻ to jump ʼ, Aw. lakh. kūdab, H. kūdnā, OMarw. kūdaï, G. (CDIAL 3411, 3412) Rebus 1: kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). --khasüñ^ü --खस॑ञू॒ । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 1033, where the causal form of the verb is used. Rebus 2: 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)

2122 m307 Text  'Pincers' hieroglyph: 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) 'Slice' hieroglyph:Sign 123 kuṭi 'a slice, a bit, a small piece'(Santali) Rebus: kuṭhi. 'iron smelter furnace' (Santali) kuṭhī factory (A.)(CDIAL 3546) PLUS 'notch' hieroglyph:  खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā 'tools, pots and pans, metal-ware'. Thus, kuṭhi khāṇḍā smelter metalware.

2706 Seal Text Signs 267, 402, 87, 294, 342 Bell-metal smelter, metalcaster, bronze metalcaster, scribe, supercargo, helmsman.

Sign 267 is oval=shape variant, rhombus-shape of a bun ingot. Like Sign 373, this sign also signifies mũhã̄ 'bun ingot' PLUS kanac 'corner' rebus: kancu 'bell-metal'.kaṁsá1 m. ʻ metal cup ʼAV., m.n. ʻ bell -- metal ʼ Pat. as in S., but would in Pa. Pk. and most NIA. lggs. collide with kāˊṁsya -- to which L. P. testify and under which the remaining forms for the metal are listed. 2. *kaṁsikā -- .1. Pa. kaṁsa -- m. ʻ bronze dish ʼ; S. kañjho m. ʻ bellmetal ʼ; A. kã̄h ʻgong ʼ; Or. kãsā ʻ big pot of bell -- metal ʼ; OMarw. kāso (= kã̄ -- ?) m. ʻ bell -- metal tray for food, food ʼ; G. kã̄sā m. pl. ʻ cymbals ʼ; -- perh. Woṭ. kasṓṭ m. ʻ metal pot ʼ Buddruss Woṭ 109.2. Pk. kaṁsiā -- f. ʻ a kind of musical instrument ʼ;  A. kã̄hi ʻ bell -- metal dish ʼ; G. kã̄śī f. ʻ bell -- metal cymbal ʼ, kã̄śiyɔ m. ʻ open bellmetal pan ʼ. (CDIAL 2756)

                                                                                                     

Hieroglyph: dhvajapaṭa m. ʻ flag ʼ Kāv. [dhvajá -- , paṭa -- ]Pk. dhayavaḍa -- m. ʻ flag ʼ, OG. dhayavaḍa m. Rebus: 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 (CDIAL 6773)                                                                                                                                                                                                                                                                                                                                                                                                              dula 'two' rebus: dul 'metal casting'                                                                                                                                                                                                                                                                                                                                    

Duplicated curves: dula 'two' rebus; dul'metal casting' PLUS kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass'  Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥकौटिलिकः 1 A hunter.-2 A blacksmith  Thus hypertext of Sign 294 signifies bronze castings. [bronze castings].

Dilmun fourteen Indus Script seals deciphered rebus Meluhha words as ironsmith products

October 16, 2019, 11:22 pm

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EricOlidjam and Helene David-Cuny estimate 70,000 workshops in Dilmun area manufacturing seals. This is a rough estimate of the levels of industrial scale metalwork activities in the areawith close contacts with Sarasvati Civilization.

The seals though of a seak morphology different from the Indus Seals, do display Indus Script hieroglyphs which are read rebus in Meluhha.

520 LC One-horned young bull. khōṇḍa singhin,spiny-horned young bull; semantic determinatve Hieroglyph Crook: 7 Ta. kōṭi corner. Ma. kōṭi, kōṭu id. Ko. ko·ṇḍ a bend; ko·ṇṭ gi·r rainbow (ki·r line). To. kwï·ṭy direction (in songs). Ka. gōṭu angle, corner, point of the compass, edge; gōṇṭu corner, etc., point of the compass. Tu. kōḍi corner; 

kōṇṭu angle, corner, crook. Nk. kōnṭa corner. Pa. kō̃ṭa id. Go. (G.) kōnṭa corner (Voc. 969). (DEDR 2054) : kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). --khasüñ^ü --खस॑ञू॒ ।कुलालादि

कन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 1033, where the causal form of the verb is used.(Kashmiri) Thus, the message is: artisan working with a furnace, (producing) fine gold, ornament gold.

520 ALX  kã̄ṛ 'large millet stock' rebus: kaṇḍ 'fire-altar,furnace' kaNDa 'implements' PLUS dula 'pair' rebus:dul 'metal casting'. Thus, metalcasting furnace PLUS dhangar 'bull' rebus:dhangar 'blacksmith'

520 ZA  dhangar 'bull' rebus:dhangar 'blacksmith'

520 LB  dhangar 'bull' rebus:dhangar 'blacksmith' PLUS hieroglyph: footprint: meṭ sole of foot, footstep, footprint (Ko.); meṭṭu step, stair, treading, slipper (Te.)(DEDR 1557). Rebus: meḍ 'iron' (Munda)

520ZJ Hieroglyph: Scorpion:bicha 'scorpion' Rebus: bica 'haetite, sandstone ferrite ore' PLUS Crucible hieroglyph: koṭhāri 'crucible' Rebus: koṭhāri 'treasurer' kuThAru 'armourer'.PLUS pole star hieroglyph: mēḍh 'pole star' rebus: mēḍ 'iron' med 'copper' (Slavic) .medhā 'dhana,yajna'

520 YT Pair of antelopes? ranku 'antelope' rebus: ranku 'tin ore' PLUS dula 'pair' rebus: dul 'metalcasing'

520 ADO Pair of goats flanking palm tree: mlekh 'goat' rebus: milakkhu 'copper' PLUS dula 'pair' rebus: dul 'metalcasting' PLUS tāṛ, tāla 'palm tree' rebus: ḍhāla 'large ingot' Alternative: tamar, ‘palm tree, date palm’ Rebus: tam(b)ra, ‘copper’ (Prakrit)

520 ABA Standing person with upraised arm hieroglyph: meD 'body' rebus: meD 'iron' PLUS eraka 'upraised arm' rebus: eraka 'metal infusion' PLUS  tāṛ, tāla 'palm tree' rebus: ḍhāla 'large ingot' 

520 ADP  Standing person with upraised arm holding stalk hieroglyph: meD 'body' rebus: meD 'iron' PLUS eraka 'upraised arm' rebus: eraka 'metal infusion' PLUS  kã̄ṛ 'large millet stock' rebus: kaṇḍ 'fire-altar,furnace' kaNDa 'implements'. PLUS division hieroglyph as a semantic determinative: khaNDA 'division' rebus: kaNDA 'implements'.

520 LA  meD 'body' rebus: meD 'iron' PLUS eraka 'upraised arm' PLUS division hieroglyph khaNDA 'division' rebus: kaNDA 'implements'.PLUS kã̄ṛ 'large millet stock' rebus: kaṇḍ 'fire-altar,furnace' kaNDa 'implements'

Arabian gulf dhangar 'bull' rebus:dhangar 'blacksmith' PLUS kã̄ṛ 'large millet stock' rebus: kaṇḍ 'fire-altar,furnace' kaNDa 'implements'

Proto-Dilmun dhangar 'bull' rebus:dhangar 'blacksmith' PLUS kã̄ṛ 'large millet stock' rebus: kaṇḍ 'fire-altar,furnace' kaNDa 'implements' PLUS mlekh 'goat' rebus: milakkhu 'copper' PLUS dula 'pair' rebus: dul 'metalcasting'.

Dilmun Style 1ameD 'body' rebus: meD 'iron' PLUS eraka 'upraised arm' PLUS division hieroglyph khaNDA 'division' rebus: kaNDA 'implements'.PLUS kã̄ṛ 'large millet stock' rebus: kaṇḍ 'fire-altar,furnace' 

 

[After  Eleven seals from the workshop area in Excavation 520 at Qal’at al-Bahrain (Kjærum 1994: figs. 1726, 1729, 1731–2, 1734–5, 1737, 1739, 1741–43).]

Dilmun seal morphology

[After Figure -- Seal morphology and styles for the City IIa-c period and their distribution patterns according to find context (Crawford 2001: 4197:03, 6583:01, 5510:15; Kjærum 1994: fig. 1723).]

After Table 3 in: Eric Olijdam & Hélène David-Cuny , Dilmun-Meluhhan Relations Revisited in Light of Observations on Early Dilmun Seal Production during the City IIa-c Period (c. 2050-1800 BCE)

This contribution brings together information on several aspects of early seal ownership and seal production during the City IIa-c period. It shows that seals were common objects and that ownership was not restricted to specific professions or socio-economic segments of society. Seals were made in small workshops, alongside other items of jewellery and personal ornaments. They were carved from exotic raw materials that had to be imported. Softstone was the most common and there is mounting evidence that suggests a specific type of steatite was preferred by the ancient sealcutters. Surface treatments were applied in order to achieve the desired effect of a shiny white seal. This dictated the preference for dolomitic steatite and limited the scope of possible alternative materials. It is suggested that the pyrotechniques that were employed and the choices that were made by the ancient seal-cutters form a technological style highly reminiscent of that of the Indus Civilization, including some of the important ideological associations. This approach and its tentative outcomes bolster the commonly accepted theory of a westward transmission of Harappan sealing technology, which has so far been based primarily on iconographic analysis. 

Rosetta stones for Indus Script Meluhha rebus cipher with a fusion of pictoril and text narratives

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-- Fusion of signs and field symbols reinforce underlying semantics

-- Metallurgical process of metal infusion to create blazing,bright cire perdue metal products with Indus Script hieroglyphs (of the type discovered in Nahal Mishmar hoard, ca. 5th millennioum BCE.)

Three identical Mohenjo-darol tablets are Rosetta stones which explain the Meluhha rebus principle enshrined in Indus Script Cipher. This explanation is realised by pictorial narratives as visual expressions of parole, spoken Meluhha language of Sarasvati Civilization.

Thus, the two visual expressions are displayed as two narratives on the three Rosetta stones of three Mohenjo-daro tablets; 

h180 Text Text message includes flag: dhvajapaṭa m. ʻ flag ʼ Kāv. [dhvajá -- , paṭa -- ]Pk. dhayavaḍa -- m. ʻ flag ʼ, OG. dhayavaḍa m.(CDIAL 6899) rebus: dhā̆vaḍ m. ʻa caste of iron-smeltersʼ, dhāvḍī ʻ composed of or relating to ironʼ) (Marathi)

h180 By holding erkem (pl. erke) billhook (Gondi), the artisan explains eraka 'metal infusion' metallurgical process in mē̃ḍ molten iron: The woman's hair is crumpled; the word which signifies this as hieroglyph is meṛha'crumpled': मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). S. mī˜ḍhī f., °ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ° m. ʻbraid of hair on a girl's forehead ʼ (CDIAL 10312).Rebus: mē̃ḍ ‘iron’ (Mu.) meṛha M. meṛhi F.’twisted, crumpled, as a horn’; meṛha deren ‘a crumpled horn’ (Santali) Thus the narrative signifies erkem 'billhook' rebus: eraka 'metal infusion' .

PLUS meṛha'crumpled' rebus: mē̃ḍ ‘iron’;thus, iron metal infusion.

The narrative signifying a quarrel is reinforced by the word:mḗthati ʻ quarrels with ʼ RV., mḗdhati ʻ injures ʼ Dhātup. [√mith] P. mehṇā ʻ to reproach ʼ.(CDIAL 10315)

Pictorial narratives Signed off with a rim-of-jar with lid hypertext

Narrative 1: jungle clearance or transplantation; 

Narrative 2:spying or playing peeping tom (with a person seated atop a tree-branch)

What is the Indus Script scribe conveying by these two narratives with a common underlying Meluhha word sounds, erk-, er uk?

Meluhha rebus cipher demonstrated: By achieving semantics fusion with visual language, eraka 'metal infusion' the scribe of Indus Script signifies the metallurgical process, by the narratives of erga 'jungle clearance' and heraka 'spy'. 

This is rebus extraordinaire (outstanding in a particular capacity) of Indus Script as visual expressions of Meluhha parole (Indian sprachbund, 'language union' or Linguistic Area)..

The underlying Meluhha rebus cipher is further demonstrated on the same three Rosetta stones, three Mohenjo-daro tablets visually expressing two additional narratives:. 

Narrative 1: A tree is shown where the eraka 'metal infusion' metallurgical process is demonstrated by the heraka 'spy' seated on tree branch. The word for tree is:kuti. Rebus word is: kuthi 'smelter'

 Narrative 2: the U rimless pot in the text message is elaborated by a worshipper holding the U rimless pot in front of a tree. The word for tree is:kuti. Rebus word is: kuthi 'smelter'.The expression worshipper holding a U rimless pot is bhaṛ 'warrior, worshipper':  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(CDIAL 9588)

The Meluhha word for rebus is erga 'contrarious,counter, contrary'. Thus, when a narrative provides visual expression of jungle clearance or transplantation, the Meluhha parole words evoked are:   Pa. erk- to cut down bushes, etc., in clearing land. Go. (Ko.) erk- to cut down (grass, bushes); erkem (pl. erke) billhook (Voc. 349). Kui erga (ergi-) to make a clearing, clear jungle or thick grass or scrub; n. act of clearing a jungle. Kuwi (Isr.) erg- (-it-) to cut, slash?  

The underlying sounds of erga, erk- finds a homonymous word which are also a Meluhha parole words which can be visually expressed as a spy sitting on a tree-branch: er uk 'to play peeping tom'; ērka (ērki-).'spying, scouting', heraka 'spy'.

eṟaka, eraka any metal infusion; molten state, fusion

The scribe is communicating a similar sounding homonymous word: eraka. Meluhha words which provides the semantics of eraka 'molten metal infusion' are: Ta. eṟṟu (eṟṟi-) to throw out (as water from a vessel); iṟai (-v-, -nt-) to scatter (intr.), disperse; (-pp-, -tt-) to splash (tr.), spatter, scatter, strew, draw and pour out water, irrigate, bale out, squander; iṟaivai receptacle for drawing water for irrigation; iṟaṭṭu (iṟaṭṭi-) to sprinkle, splash. Ma. iṟekka to bale out; iṟayuka id., scatter, disperse; iṟava basket for drawing water; eṟiccil rainwater blown in by the wind. To. eṟ- (eṟQ-) to scoop up (water with vessel). Ka. eṟe to pour any liquids, cast (as metal); n. pouring; eṟacu, ercu to scoop, sprinkle, scatter, strew, sow; eṟaka, eraka any metal infusion; molten state, fusion. Tu. eraka molten, cast (as metal); eraguni to melt. Kur. ecchnā to dash a liquid out or over (by scooping, splashing, besprinkling). Cf. 840 Kur. elkhnā (Pfeiffer).(DEDR 866)

Ko. er uk- (uky-) to play 'peeping tom'. Kui ēra (ēri-) to spy, scout; n. spying, scouting; pl action ērka (ērki-). ? Kuwi (S.) hēnai to scout; hēri kiyali to see; (Su. P.) hēnḍ- (hēṭ-) id. Kur. ērnā (īryas) to see, look, look at, look after, look for, wait for, examine, try; ērta'ānā to let see, show; ērānakhrnā to look at one another. Malt. ére to see, behold, observe; érye to peep, spy. Cf. 892 Kur. ēthrnā. / Cf. Skt. heraka- spy, Pkt. her- to look at or for, and many NIA verbs; Turner, CDIAL, no. 14165. (DEDR 903)

*hērati ʻ looks for or at ʼ. 2. hēraka -- , ˚rika -- m. ʻ spy ʼ lex., hairika -- m. ʻ spy ʼ Hcar., ʻ thief ʼ lex. [J. Bloch FestschrWackernagel 149 ← Drav., Kui ēra ʻ to spy ʼ, Malt. ére ʻ to see ʼ, DED 765]1. Pk. hēraï ʻ looks for or at ʼ (vihīraï ʻ watches for ʼ); K.ḍoḍ. hērūō ʻ was seen ʼ; WPah.bhad. bhal. he_rnū ʻ to look at ʼ (bhal. hirāṇū ʻ to show ʼ), pāḍ. hēraṇ, paṅ. hēṇā, cur. hērnā, Ku. herṇo, N. hernu, A. heriba, B. herā, Or. heribā (caus. herāibā), Mth. herab, OAw. heraï, H. hernā; G. hervũ ʻ to spy ʼ, M. herṇẽ.2. Pk. hēria -- m. ʻ spy ʼ; Kal. (Leitner) "hériu"ʻ spy ʼ; G. herɔ m. ʻ spy ʼ, herũ n. ʻ spying ʼ.(CDIAL 14165)

Ta. erukku (erukki-) to cut, hew, strike (as a bush), beat (as a drum), kill, destroy. Pa. erk- to cut down bushes, etc., in clearing land. Go. (Ko.) erk- to cut down (grass, bushes); erkem (pl. erke) billhook (Voc. 349). Kui erga (ergi-) to make a clearing, clear jungle or thick grass or scrub; n. act of clearing a jungle. Kuwi (Isr.) erg- (-it-) to cut, slash. ? Malt. eṉgde to clear away weeds, (Gramm., p. 66) cut down a jungle.(DEDR 824)

The narratives are terminated by the signature hieroglyph of a rim-of-jar with a lid.

This is a hypertext of a rim-of-jar with a lid.

 kanda kanka 'rim-of-jar' rebus: kanda kanka 'equipment supercargo' PLUS *ḍhakk ʻ cover ʼ. 2. *ḍhaṅk -Rebus: - dhadhaknā ʻ to blaze ʼ;thus, the hypertext of rim-of-jar with lid reads rebus: dhadhaknā kanda kanka 'bright,blazing articles in the charge of 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. गांवकुळकरणी  gāṃvakuḷakaraṇī m The hereditary village-accountant: in contrad. from देशकुळकरणी Districtaccountant.

[Cf. ḍhakkana -- n. ʻ shutting ʼ Śīl.]1. Pk. ḍhakkaï ʻ shuts ʼ; S. ḍhakaṇu ʻ to cover ʼ; L. ḍhakkaṇ ʻ to imprison ʼ; P. ḍhakkṇā ʻ to cover ʼ, Ku. ḍhakṇo, N. ḍhāknu, A. ḍhākiba, B. ḍhākā, Bhoj. ḍhākal, OMarw. ḍhakaï; -- Pk. ḍhakkiṇī -- f. ʻ lid ʼ, S. ḍhakkaṇī f., P. ḍhakṇā m., ˚ṇī f., WPah. bhad. ḍhakkaṇ n., Ku. ḍhākaṇ, N. ḍhakni, A. ḍhākni, B. ḍhākan, ḍhāknā, ˚ni; Bi. ḍhaknā ʻ cover of grain -- pot ʼ, Mth. ḍhākni; Bhoj. ḍhaknī ʻ lid ʼ. -- Poss. K. ḍākürü f. ʻ wide shallow basket ʼ; N. ḍhāki ʻ basket ʼ, ḍhākar ʻ a kind of large basket ʼ; Bi. mag. ḍhākā ʻ large open basket ʼ; -- P. ḍhakkā m. ʻ pass between two hills ʼ.2. Pk. ḍhaṁkissaï ʻ will cover ʼ; Kho. (Lor.) ḍaṅgeik ʻ to cover, shut, bury ʼ; Phal. ḍhaṅg -- ʻ to bury ʼ; Or. ḍhaṅkibā ʻ to cover ʼ, H. ḍhã̄knā, Marw. ḍhã̄kṇo, G. ḍhã̄kvũ, M. ḍhã̄kṇẽ; -- Pk. ḍhaṁkaṇa -- n., ˚ṇī -- f. ʻ cover, lid ʼ, Or. ḍhāṅkuṇi, H. ḍhãknī f., G. ḍhã̄kṇũ n., ˚ṇī f., M. ḍhã̄kaṇ n., ḍhã̄kṇī f.*ḍhagga -- ʻ defective ʼ see *ḍagga -- 2.*ḍhaṅk -- ʻ cover ʼ see *ḍhakk -- .*ḍhaṅkha -- ʻ defective ʼ see *ḍagga -- 2.Addenda: *ḍhakk -- 1: S.kcch. ḍhakṇū ʻ to cover, shut (a door) ʼ, WPah.kṭg. (kc.) ḍhàkṇõ, Garh. ḍhakṇu; A. ḍhākiba (phonet. dh -- ) ʻ to cover ʼ, G. ḍhākvũ, M. ḍhākṇẽ.(CDIAL 5574) Rebus: blazing, bright:  *dhagg ʻ throb, glitter ʼ. [Cf. dhagiti ʻ at once ʼ Kād., dhagad -- dhagiti ʻ crack! ʼ HPariś., and *ḍag -- 1]

Pk. dhagadhagaï ʻ flares ʼ, dhagadhaggamāṇa -- , dhaggīkaya -- ʻ blazing ʼ; H. dhagdhagānā ʻ to throb, glitter ʼ; G. dhagdhagvũ ʻ to burn fiercely ʼ; M. dhagdhagṇẽ ʻ id., to beat (of heart) ʼ; -- S. dhakdhaki f. ʻ palpitation ʼ; N. dhakāunu ʻ to pant ʼ; B. dhak ʻ sudden blaze ʼ, dhakdhakāna ʻ to throb, glitter ʼ; Or. dhaka ʻ blaze ʼ, dhakadhaka ʻ throbbing, blazing ʼ; H. dhakdhakānā, dhadhaknā ʻ to blaze ʼ, G. dhakdhakvũ; M. dhakdhakṇẽ ʻ to palpitate ʼ.*dhaṅga -- ʻ defective ʼ see *ḍagga -- 2.Addenda: *dhagg -- : Ko. dhaggu ʻ heat ʼ, dhagdhagu ʻ blazing heat ʼ.

Text message narratives signed off with meḍhā a twist or kōlam beauty, colour, form, shape

Tablet in bas-relief. Side a: Tree  Side b: Pict-111:(Field symbol Mahadevan ASI 1977 concordance)  From R.: A woman with outstretched arms flanked by two men holding uprooted trees in their hands; a person seated on a tree with a tiger below with its head turned backwards; a tall jar  with a lid; a kneeling adorant offering a pot (Sign 328) to a tree 

Sign 95, Sign 328, Sign 2,Sign 176

Text message Signs 45, 95, 328, 2, 176

Sign 45 bhaṭa 'worshipper' rebus: bhaṭa 'furnace' baṭa 'iron'

Sign 328 baṭa 'rimless pot' rebus: bhaṭa 'furnace' baṭa 'iron'

Sign 95 |||| gaNDA 'four' rebus: kaNDa 'equipment'

Sign 2 dula 'pair' rebus: dul 'metal casting' PLUS koDa 'one' rebus: koD 'workshop';thus, metalcasting workshop

Sign 176Hieroglyph: currycomb: खरारा   kharārā m ( H) A currycomb. 2 Currying a horse. ख0 खाजवीतनगारावाजवीत-येतो-फिरतो&c. Used of a low vagabond or idler.(Marathi) Rebus: wealth-accounting ledgers -- kharada खरडें'daybooks' Hieroglyph: Currycomb, scraper: khareḍo 'a currycomb' (Gujarati); खरड्या   kharaḍyā a (खरडणें) That writes or shaves rudely and roughly; a mere quill-driver; a very scraper. khareḍo = a currycomb (Gujarati) खरारा [ kharārā ] m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: 1. करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 2. kharādī ‘ turner’ (Gujarati) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 

The Textmessage is siggned off by a hieroglyph twist or colour form: Hieroglyph: curl, twist: *mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ] S. mī˜ḍhī f., ˚ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ˚ m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.(CDIAL 10312) Rebus: mē̃ḍ ‘iron’ (Mu.) mḗdha m. ʻ sacrificial oblation ʼ RV.Pa. mēdha -- m. ʻ sacrifice ʼ;(CDIAL 10327)  मेधा = धन नैघण्टुक , commented on by यास्क. ii , 10.

Alternative reading: colour form:Ta. kōlam beauty, colour, form, shape, costume, attire as worn by actors, ornament. Ma. kōlam form, figure (chiefly of masks, dresses); idol, body, beauty. Ka. kōla ornament, decoration, form, figure (chiefly of masks, dresses, etc.). Tu. kōla a devil-dance. Te. (B.) kōlamu a dance, dancing. Go. (Mu.) kōla the ḍanḍar dance [i.e. stick dance]; kōla pāṭa kind of song associated with the ḍanḍar dance (Voc. 986). Or the Tu. Te. Go. words with 2237 Ta. kōl.(DEDR 2240) Rebus: Ta. kōl, kōlam raft, float. Ma. kōlam raft. Ka. kōl raft, float. Te. (B.) kōlamu id. / Cf. Skt., BHS kola- boat, raft, Pali kulla- id.(DEDR 2238)  

m478, m479 andm480 identical tablets

2815, 3224, 3230 Text inscriptio identical on the three tabletsof Mohenjo-daro.

Other examples of heraka 'spy' or er uk 'peeping tom' narratives on Indus Script inscriptions

Narrative: tiger looks back and up: kola 'tiger' rebus: kol 'working in iron' PLUS krammara 'turn back' rebus:kamar 'artisan, iron smith'. 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)

(Note: Hieroglyph erkem (pl. erke) 'billhook' rebus: eraka 'metal infusion' is shown on another tablet with another visual narrative of a person holding a bill hook) while performing a metallurgical process.

karaṇī supercargo-scribes document, authenticate wealth produced in -- warehouse, workshop, smithy, furnace (video 28:51)

October 17, 2019, 6:21 pm

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https://tinyurl.com/y33sgpqx

-- Mortimer Wheeler's Video explains how large storage pots are dispalyed on the bazaar street. Such pots also had Indus Script inscriptions. See: URL https://www.facebook.com/HeritageNgo/videos/992997067535021/ (Video 28:51) From: https://www.youtube.com/watch?v=8iI1xbBIi_Y&t=765s Buried Treasure video

-- This monograph elucidates the functions served by the signature of the Scribe, Supercargo on the pottery inscriptions to authenticate their contents

Sign 342 signifies the scribe's, supercargo's message: wealth contents signed, authenticated in account ledger. Hence, this is the most frequently used hieroglyph on over 8000 Indus Script inscriptions which are all wealth accounting ledgers for a nation of bronze-age artisan, seafaringmerchant guilds.

-- One to four infixed short strokes classify karaṇī supercargo-scribes assigned to four resource centres -- warehouse,workshop,smithy,furnace 

Supercago 'merchant's representativein charge of cargo) is also a scribe. Four such scribes are identified specific to their assignments to four workspots -- warehouse, workshop, smithy, furnace.

8029 Kalibangan Seal 23 Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 







8029 Kalibangan Seal 23 Text kolom 'three' rebus:kolimi 'smithy, forge' PLUS arkasāle 'goldsmith workshop' PLUS 

मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) Rebus 1: meḍ 'iron' (Ho.Mu.) Rebus 2: medho 'helper of a merchant'.PLUS dula'pair' rebus:dul'metalcasting'Thus, iron castings PLUS kaNDA kanka 'equipment supercrgo'.



2286 m160 Seal Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 








2286 m160 Text 

Sign 343 is Sign 342 PLUS notch: kanda kanka 'equipment Supercargo' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. Thus, the infix notch is a reinforcement of Sign 342 which signifies equiment (warehouse) Supercargo. 
arkasāle 'goldsmith workshop' PLUS 

koDa 'one' rebus: koD 'workshop' 

aya 'fish' rebus:ayas 'alloy metal' PLUS PLUS *ḍhakk ʻ cover ʼ. 2. *ḍhaṅk -Rebus: - dhadhaknā ʻ to blaze ʼ;thus, blazing, bright alloy metal

kuTi 'water-carrier' rebus: kuThi 'smelter'2463 m1119 Seal

















2163 m1119 Text 
Sign 343 is Sign 342 PLUS notch: kanda kanka 'equipment (warehouse) Supercargo' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. Thus, the infix notch is a reinforcement of Sign 342 which signifies equiment (warehouse) Supercargo. 
arkasāle 'goldsmith workshop' PLUS 
kolmo 'rice plant' rebus:kolimi 'smithy, forge' PLUS muh 'oval shape' rebus: muh 'ingot'; thus, ingot smithy, forge.
kanda kanka 'equipment Supercargo'

2687 m165 Seal Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 









2687 m165 Text  dula 'two' rebus: dul 'metal casting' PLUS  PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'
Sign 343 is Sign 342 PLUS notch: kanda kanka 'equipment (warehouse) Supercargo' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. 
खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. 
dula 'pair' rebus: dul 'metalcasting' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'; thus, metalcasting smithy
kanda kanka 'equipment Supercargo'

2300 m968 Seal Field symbol:: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 












2300 m968 Text2300 m968 Seal 

2300 m968 Text Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 

Text message signs: 

Segment 1: 249, 162,343, Tin smithy (warehouse) supercargo

Segment 2: 296, 342 Brassworker equipment supercargo 

ranku 'liquid measure' rebus: ranku 'tin ore'

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

Sign 343 is Sign 342 PLUS notch: kanda kanka 'equipment (warehouse) Supercargo' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. Thus, the infix notch is a reinforcement of Sign 342 which signifies equiment (warehouse) Supercargo. 

Sign 296 is a variant of   

Duplicated curves: dula 'two' rebus; dul'metal casting' PLUS kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass'  Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥकौटिलिकः 1 A hunter.-2 A blacksmith  Thus hypertext of Sign 294 signifies bronze castings. [bronze castings]

PLUS Sign 342 kanda kanka 'equipment supercargo'

4718 h369a Tablet









4718 h369C Tablet kolom 'three' rebus: kolii 'smithy, forge' 
Sign 328 baṭa 'rimless pot' rebus: bhaṭa 'furnace' baṭa 'iron'







4718 h369F Tablet







4718 h369 Text Sign 343 is Sign 342 PLUS notch: kanda kanka 'equipment Supercargo' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. Thus, the infix notch is a reinforcement of Sign 342 which signifies equiment (warehouse) Supercargo. 
kolmo 'rice plant' rebus: kolimi 'smithy, forge'

 Sign 343 is Sign 342 PLUS notch: kanda kanka 'equipment (warehouse) Supercargo' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. Thus, the infix notch is a reinforcement of Sign 342 which signifies equiment Supercargo. 
koDa 'one' rebus:koD 'workshop'
muka 'ladle' rebus: muh 'ingot' PLUS baTa 'rimless bot' rebus: baTa 'iron', bhaTa 'furnace'
kolom 'three' rebus: kolilmi 'smithy, forge'
kaNDa 'arrow' rebus:kanda 'fire-altar' kaNDA 'implements'

4801 Pottery 
 kanda kanka 'equipment Supercargo' PLUS kolom 'three' rebus: kolimi 'smithy, forge'. Thus, smithy supercargo.
dula 'pair' rebus: dul 'metalcasting' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'; thus, metalcasting smithy
 kanda kanka 'equipment Supercargo'

2253 m867 Seal Field symbol::कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 











2253 m867 Text kanda kanka 'equipment Supercargo' PLUS sal 'splinter' rebus: sal 'workshop'; thus, workshop supercargo.
dula 'pair' rebus: dul 'metalcasting' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'; thus, metalcasting smithy
 kanda kanka 'equipment Supercargo'

2941 Ivory or bone rod Geometrical patterns followed by  inscription. dula 'pair' rebus: dul 'metalcasting' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'; thus, metalcasting smithy
 kanda kanka 'equipment Supercargo'
Sign 176Hieroglyph: currycomb: खरारा   kharārā m ( H) A currycomb. 2 Currying a horse. ख0 खाजवीत नगारा वाजवीत-येतो-फिरतो &c. Used of a low vagabond or idler.(Marathi) Rebus: wealth-accounting ledgers -- kharada खरडें 'daybooks' Hieroglyph: Currycomb, scraper: khareḍo 'a currycomb' (Gujarati); खरड्या   kharaḍyā a (खरडणें) That writes or shaves rudely and roughly; a mere quill-driver; a very scraper. khareḍo = a currycomb (Gujarati) खरारा [ kharārā ] m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: 1. करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 2. kharādī ‘ turner’ (Gujarati) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 

2063 m859 Seal Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 



2063 m859 Text meṭṭu mound, heap of earth; mēṭu height, eminence, hillock; rebus: meD 'iron' PLUS gaNDA 'four' rebus: kaNDA 'equipment' PLUS kolom 'three' rebus:kolimi 'smithy, forge'
dula 'pair' rebus: dul 'metalcasting' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'; thus, metalcasting smithy
kanda kanka 'equipment Supercargo'



3505 Ivory rod




3505 Ivory stick text kāru 'pincers' rebus: kāru 'artisan'. 
kanac 'corner' rebus: kancu 'bell-metal' PLUS muh 'ingot' (lozenge or oval shape of bun ingot).
arka 'twelve' rebus:arka 'gold, copper'
dula 'two' rebus: dul 'metalcasting'
dula 'pair' rebus: dul 'metalcasting' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'; thus, metalcasting smithy
kanda kanka 'equipment Supercargo'
Sign 176Hieroglyph: currycomb: खरारा   kharārā m ( H) A currycomb. 2 Currying a horse. ख0 खाजवीत नगारा वाजवीत-येतो-फिरतो &c. Used of a low vagabond or idler.(Marathi) Rebus: wealth-accounting ledgers -- kharada खरडें 'daybooks' Hieroglyph: Currycomb, scraper: khareḍo 'a currycomb' (Gujarati); खरड्या   kharaḍyā a (खरडणें) That writes or shaves rudely and roughly; a mere quill-driver; a very scraper. khareḍo = a currycomb (Gujarati) खरारा [ kharārā ] m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: 1. करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 2. kharādī ‘ turner’ (Gujarati) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 


5252, 4321, 5389 three sealings
5252 Sealing h199A, h200A, h201A










5252 Sealing h199B, h200B, h201B








5252 Sealing h199 Text aya 'fish' rebus: ayas 'alloy metal' PLUS khambhaṛā 'fish-fin' rebus: .ayo kammaTa 'alloymetal mint'
*ḍhakk ʻ cover ʼ. 2. *ḍhaṅk -Rebus: - dhadhaknā ʻ to blaze ʼ;thus, blazing, bright alloy metal
dula 'pair' rebus: dul 'metalcasting' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'; thus, metalcasting smithy
kanda kanka 'equipment Supercargo'
kanda kanka 'equipment Supercargo' PLUS kolom 'three' rebus: kolimi 'smithy, forge'. Thus, smithy supercargo.
baTa 'rimless bot' rebus: baTa 'iron', bhaTa 'furnace'

Warehouse Equipment Supercargo (Scribe) has signed (authorised) the following large storage pots

m2061 side A and Rim Inscription signifies that scribe supercago is in charge with the hypertext of Sign 343 

Sign 343 is Sign 342 PLUS notch: kanda kanka 'equipment Supercargo' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. Thus, the infix notch is a reinforcement of Sign 342 which signifies equiment (warehouse) Supercargo.

.|| hieroglyph following the Sign 343 signifies that the contents of the storage pot are metal castings.

m2062 Side B Sign 343 is Sign 342 PLUS notch: kanda kanka 'equipment Supercargo' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. Thus, the infix notch is a reinforcement of Sign 342 which signifies equiment (warehouse) Supercargo. This Sign 343 signifier is followed by the 'sprout' hieroglyph which signifies pajhar 'sprout' rebus: pasra 'smithy, forge'

The iron equipment contents of the storage pot are amplified in the added inscription : 

Item 1:मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) Rebus 1: meḍ 'iron' (Ho.Mu.) 

Item 2: 

Sign 65 aya 'fish' rebus:ayas 'alloy metal' PLUS PLUS *ḍhakk ʻ cover ʼ. 2. *ḍhaṅk -Rebus: - dhadhaknā ʻ to blaze ʼ;thus, blazing, bright alloy metal

m2060 Storage Pot (with inscriptions, Side A and Side B

m2060 Side A

.|| hieroglyph following the Sign 343 signifies that the contents of the storage pot are metal castings.

Sign 343 is Sign 342 PLUS notch: kanda kanka 'equipment Supercargo' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. Thus, the infix notch is a reinforcement of Sign 342 which signifies equiment (warehouse) Supercargo. 

muka 'ladle' rebus: muh 'ingot' PLUS baTa 'rimless bot' rebus: baTa 'iron', bhaTa 'furnace'
kolom 'three' rebus: kolilmi 'smithy, forge' (Thus, the products in the storage pot are from smithy furnace).

m2060 Side B kolmo 'rice plant' rebus: kolimi 'smithy, forge'

 PLUS  kanac 'corner' rebus: kancu 'bell-metal' PLUS muh 'ingot' (lozenge or oval shape of bun ingot); Thus bell-metal ingots. barado'spine' rebus: bharat, baran'mixed alloys' (5 copper, 4 zinc and 1 tin) PLUS (signed, scribed -- contents authenticated and certified by the accountant scribe) Sign 342 kaNDA kanka 'rim of jar' rebus: kaNDA kanka 'equipment supercrgo'..

m2064 

*ḍhakk ʻ cover ʼ. 2. *ḍhaṅk -Rebus: - dhadhaknā ʻ to blaze ʼ;thus, blazing, bright alloy metal

meḍ 'body' Rebus: mẽṛhẽt, meḍ 'iron' PLUS koDa 'one' rebus: koD 'workshop'. Thus, iron equipment from workshop.

signed, scribed) Sign 342 kaNDA kanka 'rim of jar' rebus: kaNDA kanka 'equipment supercrgo'..

m2064 taTTal 'five' rebus: taTTar 'brass' PLUS muh 'bun ingot shae' rebus:muh 'ingot' PLUS dula 'pair' rebus: dul 'metal casting'; thus, brass ingot castings PLUS koDa 'one' rebus: koD 'workshop'. (Message: Products from brass workshop constitute the contents of the large storage pot)

m2065 kolmo 'rice plant' rebus: kolimi 'smithy, forge' (Message: Equipment smithy products constitute the contents of the large storage pot)

The objective of Sign 342 'rim of jar' on large storage pot inscriptions confirms that the hieroglyph constituted a signature or authentication of the scribe, supercargo of the contents of the storage pot. It is also a proclamation that can be seen and read by customers on the bazaar street where the storage pot is displayed.

Eureka moment. Like the storage pot described by Mortimer Wheeler in a Mohenjo-daro marketplace, Indus Script Hypertexts on Susa storage pot from Meluhha describe contents: metalware 

https://tinyurl.com/yd64r2at

See: 

Indus Script examples of paired śabda-jāti (word sounds), artha-jāti (wealth-repository words/hypertext expressions) 

http://bharatkalyan97.blogspot.com/2017/05/indus-script-examples-of-paired-sabda.html Mirror: http://tinyurl.com/l4uxwhn

https://www.facebook.com/srini.kalyanaraman/posts/10156201554499625

Below the rim of the Susa storage pot, the contents are described in Sarasvati Script hieroglyphs/hypertexts: 1. Flowing water; 2. fish with fin; 3. aquatic bird tied to a rope Rebus readings of these hieroglyphs/hypertexts signify metal implements from the Meluhha mint.

Clay storage pot discovered in Susa (Acropole mound), ca. 2500-2400 BCE (h. 20 ¼ in. or 51 cm). Musee du Louvre. Sb 2723 bis (vers 2450 avant J.C.)

The hieroglyphs and Meluhha rebus readings on this pot from Meluhha are: 1. kāṇḍa 'water' rebus: khāṇḍā 'metal equipment'; 2. aya, ayo 'fish' rebus: aya 'iron' ayas 'metal alloy'; khambhaṛā 'fish fin' rebus: kammaṭ a 'mint, coiner, coinage' 3.  करड m. a sort of duck -- f. a partic. kind of bird ; S. karaṛa -ḍhī˜gu m. a very large aquatic bird (CDIAL 2787) karaṇḍa‘duck’ (Samskrtam) rebus: karaḍā 'hard alloy'; PLUS 4. meṛh 'rope tying to post, pillar’ rebus meḍ‘iron’ med ‘copper’ (Slavic)

Susa pot is a ‘Rosetta stone’ for Sarasvati Script

Water (flow)

Fish fish-fin

aquatic bird on wave (indicating aquatic nature of the bird), tied to rope, water

kāṇḍa 'water'   rebus: kāṇḍa 'implements

The vase a la cachette, shown with its contents. Acropole mound, Susa.^[20]

It is a remarkable 'rosetta stone' because it validates the expression used by Panini: ayaskāṇḍa अयस्--काण्ड [p= 85,1] m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v.). The early semantics of this expression is likely to be 'metal implements compared with the Santali expression to signify iron implements: meď 'copper' (Slovāk), mẽṛhẽt,khaṇḍa (Santali)  मृदु mṛdu,’soft iron’ (Samskrtam).

Santali glosses.

Sarasvati Script hieroglyphs painted on the jar are: fish, quail and streams of water; 

aya 'fish' (Munda) rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda) khambhaṛā 'fin' rebus: kammaṭa 'mint' Thus, together ayo kammaṭa, 'metals mint'

baṭa 'quail' Rebus: bhaṭa 'furnace'.

karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा karaḍā 'Hard from alloy--iron, silver &c'. (Marathi) PLUS meRh 'tied rope' meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ (Lahnda)(CDIAL 10317) Rebus: mūhā mẽṛhẽt = iron smelted by the Kolhes and formeḍinto an equilateral lump a little pointed at each end;  mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

Thus, read together, the proclamation on the jar by the painted hieroglyphs is: baṭa meṛh karaḍā ayas kāṇḍa 'hard alloy iron metal implements out of the furnace (smithy)'.

This is a jar closed with a ducted bowl. The treasure called "vase in hiding" was initially grouped in two containers with lids. The second ceramic vessel was covered with a copper lid. It no longer exists leaving only one. Both pottery contained a variety of small objects form a treasure six seals, which range from Proto-Elamite period (3100-2750 BCE) to the oldest, the most recent being dated to 2450 BCE (First Dynasty of Ur).

Therefore it is possible to date these objects, this treasure. Everything included 29 vessels including 11 banded alabaster, mirror, tools and weapons made of copper and bronze, 5 pellets crucibles copper, 4 rings with three gold and a silver, a small figurine of a frog lapis lazuli, gold beads 9, 13 small stones and glazed shard.

"In the third millenium Sumerian texts list copper among the raw materials reaching Uruk from Aratta and all three of the regions Magan, Meluhha and Dilmun are associated with copper, but the latter only as an emporium. Gudea refers obliquely to receiving copper from Dilmun: 'He (Gudea) conferred with the divine Ninzaga (= Enzak of Dilmun), who transported copper like grain deliveries to the temple builder Gudea...' (Cylinder A: XV, 11-18, Englund 1983, 88, n.6). Magan was certainly a land producing the metal, since it is occasionally referred to as the 'mountain of copper'. It may also have been the source of finished bronze objects." 

"Susa... profound affinity between the Elamite people who migrated to Anshan and Susa and the Dilmunite people... Elam proper corresponded to the plateau of Fars with its capital at Anshan. We think, however that it probably extended further north into the Bakhtiari Mountains... likely that the chlorite and serpentine vases reached Susa by sea... From the victory proclamations of the kings of Akkad we also learn that the city of Anshan had been re-established, as the capital of a revitalised political ally: Elam itself... the import by Ur and Eshnunna of inscribed objects typical of the Harappan culture provides the first reliable chronological evidence. [C.J. Gadd, Seals of ancient style found at Ur, Proceedings of the British Academy, XVIII, 1932; Henry Frankfort, Tell Asmar, Khafaje and Khorsabad, OIC, 16, 1933, p. 50, fig. 22). It is certainly possible that writing developed in India before this time, but we have no real proof. Now Susa had received evidence of this same civilisation, admittedly not all dating from the Akkadian period, but apparently spanning all the closing years of the third millennium (L. Delaporte, Musee du Louvre. Catalogues des Cylindres Orientaux..., vol. I, 1920pl. 25(15), S.29. P. Amiet, Glyptique susienne,MDAI, 43, 1972, vol. II, pl. 153, no. 1643)... B. Buchanan has published a tablet dating from the reign of Gungunum of Larsa, in the twentieth century BC, which carries the impression of such a stamp seal. (B.Buchanan, Studies in honor of Benno Landsberger, Chicago, 1965, p. 204, s.). The date so revealed has been wholly confirmed by the impression of a stamp seal from the group, fig. 85, found on a Susa tablet of the same period. (P. Amiet, Antiquites du Desert de Lut, RA, 68, 1974, p. 109, fig. 16. Maurice Lambert, RA, 70, 1976, p. 71-72). It is in fact, a receipt of the kind in use at the beginning of the Isin-Larsa period, and mentions a certain Milhi-El, son of Tem-Enzag, who, from the name of his god, must be a Dilmunite. In these circumstances we may wonder if this document had not been drawn up at Dilmun and sent to Susa after sealing with a local stamp seal. This seal is decorated with six tightly-packed, crouching animals, characterised by vague shapes, with legs under their bodies, huge heads and necks sometimes striped obliquely. The impression of another seal of similar type, fig. 86, depicts in the centre a throned figure who seems to dominate the animals, continuing a tradition of which examples are known at the end of the Ubaid period in Assyria... Fig. 87 to 89 are Dilmun-type seals found at Susa. The boss is semi-spherical and decorated with a band across the centre and four incised circles. [Pierre Amiet, Susa and the Dilmun Culture, pp. 262-268].

See: http://tinyurl.com/kwshofn 

Meluhha metalwork of Indus Script are paired śabda-jāti (word sounds), artha-jāti (wealth-repository words). This monograph presented the framework for Mlecchita vikalpa (Meluhha cipher) with examples of animal hieroglyphs as rebus representations of metalwork wealth repository.

More examples of this cipher from Indus Script Corpora are presented.

Black drongo bird

A Black drongo in Rajasthan state, northern India

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

పసి (p. 730) pasi pasi. [from Skt. పశువు.] n. Cattle. పశుసమూహము, గోగణము. The smell of cattle, పశ్వాదులమీదిగాలి, వాసన. పసిపట్టు pasi-paṭṭu. To scent or follow by the nose, as a dog does a fox. పసిగొను to trace out or smell out. వాసనపట్టు. మొసలి కుక్కను పసిపట్టి when the crocodile scented the dog. పసులు pasulu. n. plu. Cattle, గోవులు. పసిగాపు pasi-gāpu. n. A herdsman, గోపకుడు పసితిండి pasi-tinḍi. n. A tiger, పెద్దపులి. పసులపోలిగాడు pasula-pōli-gāḍu. n. The Black Drongo or King crow, Dicrurusater. (F.B.I.) ఏట్రింత. Also, the Adjutant. తోకపసులపోలిగాడు the Raquet-tailed Drongo shrike. Jerdon. No. 55. 56. 59. కొండ పనులపోలిగాడు the White bellied Drongo, Dicrurus coerulescens. వెంటికపనుల పోలిగాడు the Hair-crested Drongo, Chibia hottentotta. టెంకిపనుల పోలిగాడు the larger Racket-tailed Drongo, Dissemurus paradiseus (F.B.I.) పసులవాడు pasula-vāḍu. n. A herdsman, గొల్లవాడు. 

"With short legs, they sit upright on thorny bushes, bare perches or electricity wires. They may also perch on grazing animals."(Whistler, Hugh (1949). Popular handbook of Indian birds (4th ed.). Gurney and Jackson, London. pp. 155–157.) https://en.wikipedia.org/wiki/Black_drongo

Hieroglyph: eagle పోలడు [ pōlaḍu ] , పోలిగాడు or దూడలపోలడు pōlaḍu. [Tel.] n. An eagle. పసులపోలిగాడు the bird called the Black Drongo. Dicrurus ater. (F.B.I.)(Telugu) पोळ pōḷa 'zebu'& pōlaḍu 'black drongo' signify polad 'steel

A zebu bull tied to a post; a bird above. Large painted storage jar discovered in burned rooms at Nausharo, ca. 2600 to 2500 BCE. पोळ pōḷa, 'Zebu, bos indicus' pōlaḍu, 'black drongo' rebus: pōlaḍ 'steel'; पोळ pōḷa, 'Zebu, bos indicus' of Sarasvati Script corpora is rebus:pōlāda'steel', pwlad (Russian), fuladh (Persian) folādī (Pashto) 
pōḷa 'zebu' rebus: pōḷa 'magnetite, ferrite ore) pōladu 'black drongo bird' rebus: pōḷad 'steel' The semantics of bull (zebu) PLUS black drongo bird are the reason why the terracotta bird is shown with a bull's head as a phonetic determinative to signify 'steel/magnetite ferrite ore'. పోలడు (p. 820) pōlaḍu , పోలిగాడు or దూడలపోలడు pōlaḍu. [Tel.] n. An eagle. పసులపోలిగాడు the bird called the Black Drongo. Dicrurus ater. (F.B.I.)  rebus: pōlaḍu 'steel' (Russian. Persian) PLUS

wings/plumage

http://bharatkalyan97.blogspot.com/2018/10/an-inscribed-pot-with-indus-script.html

See: Eureka moment. An inscribed pot with Indus Script Hypertext described in archaeological context by Mortimer Wheeler (BBC video) is a metal brass ingots sale proclamation 

    https://tinyurl.com/yajea5yx                                                                                                              The inscription on the pot described by Mortimer Wheeler in a BBC documentary is a proclamation that inscribed (authenticated) brass ingots, inscribed metal castings from furnace are offered for barter (sale) and contained in the storage pot. The reference to this pot in an archaeological context is detailed by Mortimer Wheeler from -16:31 to -15:44 of the video presented herein.

Heritage Society

July 8, 2017 at 3:55 PM · 

An old documentry on Mohenjo Daro by BBC.

Video URL https://www.facebook.com/HeritageNgo/videos/992997067535021/ (Video 28:51)

Excerpted from: https://www.youtube.com/watch?v=8iI1xbBIi_Y&t=765s

Sir Mortimer Wheeler's 1957 tour of Mohenjo-daro, although outdated in many ways, has some great footage, close shots of Indus objects, and an engaging host. Gripping to Indus fans.

The documentary provides a remarkable evidence on an artifact with Indus Script inscription which is a Hypertext.

The Indus Script Inscription is imprinted (from a seal) on a pot which has been used as a storage pot on the Mohenjo-daro market for sale.

Clearly, the inscription is a description of the item offered for sale and held in the pot.

A storage pot on the left front of this photograph has an Indus Script inscription -- a proclamation of product on sale held in the pot.

The inscription on the small pot is presented on this enlarged image of the small storage pot.

What does the Indus Script Hypertext which has two hypertexts signify?

This signifies brass ingot dula 'two' rebus: dul 'metal casting' PLUS kuṭi 'curve;  kuṭika— 'bent' MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) bhaṭa ‘warrior’ rebus: baṭa‘iron’ (Gujarati)

Sign 15 This is composed of Sign 12 and Sign 342 This Hypertext Sign 15 signifies kuṭhi kaṇḍa kanka ‘smelting furnace account (scribe)’. 

Thus, the two hypertexts together signify a proclamation that inscribed (authenticated) brass metal (iron) ingots, inscribed metal castings are offered for barter (sale) and contained in the storage pot.

Identifying Meluhha gloss for parenthesis hieroglyph or (  ) split ellipse:  குடிலம்¹ kuṭilam, n. < kuṭila. 1. Bend curve, flexure; வளைவு. (திவா.) (Tamil) In this reading, the Sign 12 signifies a specific smelter for tin metal: kuṭi 'woman water-carrier'  rebus: rebus: kuṭhi 'smelter' furnace for iron/ kuṭila, 'tin (bronze)metal; kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Samskritam) See: http://download.docslide.us/uploads/check_up03/192015/5468918eb4af9f285a8b4c67.pdf

It will be seen from Sign 15 that the basic framework of a water-carrier hieroglyph (Sign 12) is superscripted with another hieroglyph component, Sign 342: 'Rim of jar' to result in Sign 15. Thus, Sign 15 is composed of two hieroglyph components: Sign 12 'water-carrier' hieroglyph; Sign 342: "rim-of-jar' hieroglyph (which constitutes the inscription on Daimabad Seal 1).

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

Daimabad Seal 1 (Sign 342: Two hieroglyph components: jar with short-neck and rim-of-jar) -- distringuished from broad-mouthed rimless pot which is another Sign hieroglyph.

Each hieroglyph component of Sign 15 is read in rebus-metonymy-layered-meluhha-cipher:  Hieroglyph component 1: kuṭi 'woman water-carrier' rebus: kuṭhi 'smelter' furnace for iron/kuṭila, 'tin metal'. Hieroglyph component 2: kanka, kārṇī-ka 'rim-of-jar' rebus: kanka, kārṇī-ka m. ʻsupercargo of a shipʼ 'scribe'.

karṇīka, 'account, scribe', karaṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.'

 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; कुळकरणी (p. 100) kuḷakaraṇī m (कुल &38; कारणी S) An officer of a village under the पांटील. His business is to keep the accounts of the cultivators with Government and all the public records. karuṇīkam கருணீகம் karuṇīkam , n. < karaṇa. [T. karaṇikamu.] Office of village accountant or karṇam; கிராமக்கணக்குவேலை. கரணிகம் karaṇikam , n. < karaṇa. 1. Intellectual power, any one of the four anta-k-karaṇam, q.v.; அந்தக்கரணம். (W.)  [T. karaṇikamu.] Office of accountant.  కరణము  karaṇamu. [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. కరణము n. Instrument, means. కరణికము or కరణీకము karanikamu. Clerkship: the office of a Karanam or clerk.

करणmf(ई)n (once करण्/अ RV. i , 119 , 7) doing , making , effecting , causing (esp. ifc. ; cf. अन्तकरण , उष्णं-क्° , &c ) R. &c; clever , skilful RV. i , 119 , 7m. a helper , companion AV. vi , 46 , 2 ; xv , 5 , 1-6 ; xix , 57 , 3;m. a man of a mixed class (the son of an outcast क्षत्रिय Mn. x , 22 ; or the son of a शूद्र woman by a वैश्य Ya1jn5. i , 92 ; or the son of a वैश्य woman by a क्षत्रिय MBh. i , 2446 ; 4521 ; the occupation of this class is writing , accounts &c );m. writer , scribe; n. the special business of any tribe or caste; n. pronunciation , articulation , (अथर्व-वेद-प्रातिशाख्य); n. (in law) an instrument , document , bond Mn. viii , 51 ; 52 ; 154; n. (in Gr.) the means or instrument by which an action is effected , the idea expressed by the instrumental case , instrumentality Pa1n2. 1-4 , 42 ; ii , 3 , 18 ; iii , 2 , 45 

Ligatured hieroglyph 15 using two ligaturing components: 1. water-carrier; 2. rim-of-jar. The ‘rim-of-jar’ glyph connotes: furnace account (scribe). Together with the glyph showing ‘water-carrier’, the ligatured glyphs of kuṭi ‘water-carrier’ + ‘rim-of-jar’ can thus be read as: kuṭhi kaṇḍa kanka ‘smelting furnace account (scribe)’. 

Sign 342

Sign 12Vaiiants of Sign 12

 This hypertext signifies the hypertext reads: dul kuṭila 'cast brass' (from) bhaṭa 'warrior' Rebus: bhaṭa 'furnace'.

bhaṭa 'warrior' Rebus: bhaṭa 'furnace'.PLUS dula 'two' rebus: dul 'metal casting' PLUS kuṭi 'curve;  kuṭika— 'bent' MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin). Thus, the hypertext reads:dul kuṭila 'cast brass' (from) bhaṭa 'warrior' Rebus: bhaṭa 'furnace'.

The two parenthetical marks 

which constitute the circumscript around the ''warrior' hieroglyph are a split lozenge or oval shape 

Sign 373which is an Indus Script S

ign.

Sign 373 signifies 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 atone time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed likea four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes andformed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt komūhā akata = the Kolhes have to-day produced pig iron (Santali). Thus, Sign 373 signifies word, mũhã̄ 'bun ingot'. 

The sign occurs on a zebu, bos indicus to signify a crucible steel cake since poḷa 'zebu, bos indicus' rebus:poḷa 'magnetite, ferrite ore'.

Decipherment of Harappa zebu figurine with oval spots: magnetite ingots http://tinyurl.com/o75bok6 wherein a zebu figurine with oval spots has been presented.

 

I submit that these oval spots signify पोलाद pōlāda, 'crucible steel cake' explained also as mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali) 

See: Indus Script hypertext पोळ pōḷa, 'zebu, bos indicus' signifies pōḷa ‘magnetite, ferrous-ferric oxide Fe3O4', पोलाद pōlāda, 'crucible steel cake' https://tinyurl.com/y9so6ubv

पोलाद pōlāda, 'steel' = ukku 'wootz steel' derived from Vedic utsa 'spring'; eraka, urku 'moltencast'

Slide 33. Early Harappan zebu figurine with incised spots from Harappa. Some of the Early Harappan zebu figurines were decorated. One example has incised oval spots. It is also stained a deep red, an extreme example of the types of stains often found on figurines that are usually found in trash and waste deposits. Approximate dimensions (W x H(L) x D): 1.8 x 4.6 x 3.5 cm. (Photograph by Richard H. Meadow) http://www.harappa.com/figurines/33.html

The oval spots are shaped like the copper ingots shown on this photograh of Maysar, c. 2200 BCE:

Maysar c.2200 BCE Packed copper ingots INGOTS

mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali)

Another artifact which compares with the described shape of mūhā mẽṛhẽt 'steel ingot' is shown in the characteristic oval shape of a crucible steel buttton.

Crucible steel button. Steel smelted from iron sand in a graphite crucible.https://commons.wikimedia.org/wiki/File:Crucible_steel_button.jpg

Decipherment of the Harappa figurine on Slide 33:

 पोळ [pōḷa], 'zebu' Rebus: magnetite, citizen.(See: http://bharatkalyan97.blogspot.in/2015/08/zebu-archaeometallurgy-legacy-of-india.html )
 mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali)
 खोट (p. 212) [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. (Marathi)

The figurine signifies ingots of  पोळ [pōḷa], ‘magnetite’. This is a metalwork catalogue message in Indus Script Corpora.

The following proverb indicates the exalted status of the zebu, bos indicus which read rebus as  पोळ‘magnetite, ferrite ore’ is the life-sustaining wealth of the artisans:  ज्याची खावी पोळी त्याची वाजवावी टाळी. Of whom you eat the salt, him laud and exalt. टाळी (p. 196) ṭāḷī f (ताल S)  Beating the hands together.

There is a remarkable expression in Tamil which signifies the homonymous writing of similar sounding words as pictures in Indus Script. The expression is: போலியெழுத்து pōli-y-eḻuttu, n. < id +. 1. Syllable or letter resembling another in sound, as அய் for ஐ, அவ் for ஔ ஓர் எழுத்துக் குப் பிரதியாகஅவ்வொலியில் அமையும் எழுத்து. (நன். 124.) 2. Letter substituted for another different in sound, as in சாம்பர் for சாம்பல்; ஓர் எழுத்துக்குப் பிரதியாக வரும் எழுத்து. (நன்.)

போலியெழுத்து pōli-y-eḻuttu can thus be translated as rebus writing of Indus Script.

I suggest that since the majestic dewlap is the most characteristic feature of the zebu, the following etyma reinforce the identification of zebu,bos indicus as पोळ   pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large: पोळी   pōḷī fig. A dewlap. पोळी पिकणें g. of s. To begin to fare sumptuously; to get into good living.

The oval-shaped incised spots on the zebu figurine signify crucible steel cakes and hence may be calledपोळ   pōḷa   पोळें   pōḷēṃ   पोळा   pōḷā  पोळी   pōḷī f. n C A cake-form or flat honeycomb;  fig. Any squeezed and compressed cakeform body or mass. पोळी (p. 305) pōḷī f A plain wheaten cake: also a cake composed of rice-flour boiled and rolled up with wheaten. 2 The cake-form portion of a honeycomb. 3 fig. Any squeezed and compressed cakeform body or mass. 4 Cotton steeped in a dye of lác, lodhra &38;c., flattened into the form of a cake, and dried;--forming afterwards, with water, a sort of red ink. 5 fig. A dewlap. पोळी पिकणें g. of s. To begin to fare sumptuously; to get into good living.

The smelting processes involved in making such crucible steel cakes are expressed by the following semantics of cognate words: अहारोळी   ahārōḷī f (अहार & पोळी) A cake baked on embers.पोळणें   pōḷaṇēṃ v i To catch, burn, singe; to be seared or scorched.  पोळा   pōḷā A kindled portion flying up from a burning mass, a flake.  पोळींव   pōḷīṃva p of पोळणें Burned, scorched, singed, seared. पोळभाज   pōḷabhāja f (पोळणें&38; भाजणें To burn &38;c.) In agriculture. A comprehensive term for the operations connected with the burning of the ground.

The cultural significance  attached to the crucible steel cake may be seen from the practice of offering a cake atop the Holi festival fire which is called : होळीची पोळी (p. 527) hōḷīcī pōḷī f The right (of villagers, esp. of the मुखत्यार पाटील) of first placing a पोळी (or cake) upon the pile which is kindled at the close of the festival of the होळी. 2 The cake so designated and applied.दुपोडी पोळी (p. 237) dupōḍī pōḷī f (दु, पूड, पोळी) A पोळी or stuffed cake doubled up. 

Sign 294  is a doubling of a curve.dula 'two' rebus: dul 'metal casting' PLUS kuṭi 'curve;  kuṭika— 'bent' MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin).

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Seal 1087 inscription of 13 hieroglyphs is a Supercargo accounting of metalwork cargo from gold mint

October 17, 2019, 10:24 pm

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1087 m38 Seal Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 

dula 'two' rebus: dul 'metal casting'

kuThAru 'warehouse' rebus: kuThAru 'armourer'

kamaTha 'bow and arrow' rebus: kammaTa 'mint, coiner, coinage'

kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS sal 'splinter' rebus; sal 'workshop'

ayo 'fish' rebus aya 'iron' ayas 'metal alloy' PLUS ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'  Thus, blazing iron alloy metal.

khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coiner, mint' LUS aya 'fish' rebus: ayas 'alloy metal'. Thus,alloy metal mint.

dula 'two' rebus: dul metal casting' PLUS ayo 'fish' rebus aya 'iron' ayas 'metal alloy' 

Sign 51 bicha 'scorpion' rebus: bica 'haematite, ferrite ore' PLUS kōṇṭu angle, corner, crook. Nk. kōnṭa corner (DEDR 2054b) G. khū̃ṭṛī ʻangleʼ Rebus: kõdā 'to turn in a lathe'(B.) कोंद kōnda 'engraver, lapidary'; kunda 'fine gold'; कोंद kōnda . Thus, togher, haematite iron ore furnace.

dATu 'cross' rebus: dhatu 'mineral ore'

kanka 'rim of jar' rebus: karaṇī 'supercargo, scribe' 1. karaṇī, 'Supercargo','a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale' and 2. karṇaka, 'Helmsman' 'captain of a bagala or koṭiya, 'dhow, seafaring vessel' is signified. 

2232 Seal text

Decipherment: 

Sign 386 oval bun ingot shape PLUS notch: muh 'ingot' PLUS  खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khaṇḍa 'equipment'

ayo 'fish' rebus aya 'iron' ayas 'metal alloy' PLUS ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'  Thus, blazing iron alloy metal.

aya 'fish' rebus: ayas 'alloy metal'

loa 'ficus glomerata' rebus: loh 'copper, metal' PLUS karaNa 'ears' rebus: karaNa 'scribe, supercargo'

 kanka 'rim of jar' rebus: karaṇī 'supercargo, scribe' 1. karaṇī, 'Supercargo', 'a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale' and 2. karṇaka, 'Helmsman' 'captain of a bagala or koṭiya, 'dhow, seafaring vessel' is signified. 

2523 Seal text 

Decipherment: bell-metal workshop, alloy metal mint, alloy metal, equipment

కంసారాతి  kams-ārāti. [Skt.] n. Slayer of Kamsa, an epithet of Krishṇa. కంసర  or కంసలల kamsara. [Tel.] n. Smithery; working in gold: adj. Of the goldsmith caste. కంసలది a woman of that caste. కంసలపని the business of a gold-smith.కంసము  kamsamu. [Skt.] n. Bell metal.కంచు. kã̄sāri ʻ pewterer, brazier, coppersmith ʼ,PLUS sal 'splinter' rebus: sal 'workshop'. THus, smithery workshop.

kanac 'corner' rebus: kancu 'bronze, bell-metal' PLUS sal 'splinter' rebus: sal 'workshop' Thus, bell-metal (ingots) workshop. Note: Rhombus or bun ingot oval shape signifies muh 'ingot' mūhā mẽṛhẽt = iron smelted by the Kolhes and formeḍinto an equilateral lump a little pointed at each end;  mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Santali gloss.

ayo 'fish' rebus aya 'iron' ayas 'metal alloy' PLUS ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'  Thus, blazing iron alloy metal.

aya 'fish' rebus: ayas'alloy metal'

kaṇḍa 'arrow' khaṇḍa 'implements'
ayo7107 Lothal 46 Seal Inscription message: bharat metalworker guild.

Supercargo account: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi) -- Signed Supercargo. PLUS alloymetal copper supercargo (working with) dul khaṇḍa kolimi 'cast equipment smithy, forge' 

Field symbol:barad, balad 'ox' Rebus: bharata 'metal alloy' (5 copper, 4 zinc and 1 tin).PLUS pattar 'trough' Rebus: pattar 'guild of goldsmiths'

7107 Lothal 46 Text Signs 162, 267, 99, 48, 342, 59, 328, 254

Sig 162 kolmo 'rice plant' rebus: kolimi 'smithy, forge'

Sign 267, Sign 99 కంసారాతి  kams-ārāti. [Skt.] n. Slayer of Kamsa, an epithet of Krishṇa. కంసర  or కంసలల kamsara. [Tel.] n. Smithery; working in gold: adj. Of the goldsmith caste. కంసలది a woman of that caste. కంసలపని the business of a gold-smith.కంసము  kamsamu. [Skt.] n. Bell metal.కంచు. kã̄sāri ʻ pewterer, brazier, coppersmith ʼ PLUS sal 'splinter' rebus: sal 'workshop'.Thus, kã̄sāri  sal pewterer's workshop. śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xāl, xāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed (CDIAL 12414)

Sign48 baraḍo 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi)

Sign342 kanda kanka 'equipment supercargo'

Sign 59 aya 'fish' rebus: ayas 'alloy metal'

Sign328 loa 'ficus glomerata' rebus: loh 'copper, metal' PLUS karNika 'ears' rebus: karaNI supercargo' Thus, copper supercargo.

 Sign 254

Orthography of two notches PLUS three horizontal lines: Sign 254        Two notches PLUS three horizontal lines: dula 'pair' rebus: dul 'metal casting' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khaṇḍa 'equipment' PLUS kolom 'three' rebus: kolimi 'smithy, forge'. Thus dul khaṇḍa kolimi 'cast equipment smithy, forge'

Sign 204 hypertext dul mẽṛhẽt kuṭhii 'cast iron smelter', composed of water-carrier & hillock hieroglyphs

October 18, 2019, 12:33 am

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                                                                                                                                                Sign 16 is a hypertext wich combines Sign 12 duplicated PLUS Sign 204Sign 204 is read Meluhha rebus: Ta. meṭṭu mound, heap of earth; mēṭu height, eminence, hillock; muṭṭu rising ground, high ground, heap. Ma. mēṭu rising ground, hillock; māṭu hillock, raised ground; miṭṭāl rising ground, an alluvial bank; (Tiyya) maṭṭa hill. Ka. mēḍu height, rising ground, hillock; miṭṭu rising or high ground, hill; miṭṭe state of being high, rising ground, hill, mass, a large number; (Hav.) muṭṭe heap (as of straw). Tu. miṭṭè prominent, protruding; muṭṭe heap. Te. meṭṭa raised or high ground, hill; (K.) meṭṭu mound; miṭṭa high ground, hillock, mound; high, elevated, raised, projecting; (VPK) mēṭu, mēṭa, mēṭi stack of hay; (Inscr.) meṇṭa-cēnu dry field (cf. meṭṭu-nēla, meṭṭu-vari). Kol. (SR.) meṭṭā hill; (Kin.) meṭṭ, (Hislop) met mountain. Nk. meṭṭ hill, mountain. Ga. (S.3, LSB 20.3) meṭṭa high land. Go. (Tr. W. Ph.) maṭṭā, (Mu.) maṭṭa mountain; (M. L.) meṭā id., hill; (A. D. Ko.) meṭṭa, (Y. Ma. M.) meṭa hill; (SR.) meṭṭā hillock (Voc. 2949). Konḍa meṭa id. Kuwi (S.) metta hill; (Isr.) meṭa sand hill. (DEDR 5058) Rebus: med मृदु mṛdu, mẽṛhẽt 'iron' (Meluhha.Indian sprachbund or linguistic area)

Sign 12 duplicated is read Meluhha hypertext: dula 'pair' rebus: dul 'metal casting' PLUS kuṭi 'water-carrier' rebus: kuṭhii 'smelter'. Thus, together metalcasting smelter.

Sign 16 combines Sign 204 and Siogn 12 to construct a hypertext expression: dul mẽṛhẽt kuṭhii'icast iron smelter'

1537 m101 Seal Field symbol कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 











1537 m101 Seal Text Sign 257, 99, 322, 342, 204, 162 Meluhha rebus readings are: 

kanac 'corner' rebus: kancu 'bronze, bell-metal' PLUS sal 'splinter' rebus: sal 'workshop' Thus, bell-metal (ingots) workshop. Note: Rhombus or bun ingot oval shape signifies muh 'ingot' mūhā mẽṛhẽt = iron smelted by the Kolhes and formeḍinto an equilateral lump a little pointed at each end;  mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Santali gloss.

Sign 322 is a stylised variant of Sign 12: kuṭi 'water-carrier' rebus: kuṭhii 'smelter'

kanka 'rim of jar' rebus: karaṇī 'supercargo, scribe' 1. karaṇī, 'Supercargo', 'a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale' and 2. karṇaka, 'Helmsman' 'captain of a bagala or koṭiya, 'dhow, seafaring vessel' is signified. 

Sign 204 is read Meluhha rebus: Ta. meṭṭu mound; Kuwi (S.) metta hill; (Isr.) meṭa sand hill. (DEDR 5058) Rebus: med मृदु mṛdu, mẽṛhẽt 'iron' (Meluhha.Indian sprachbund or linguistic area)

Sign162 kolmo 'rice plant' rebus:kolimi 'smithy, forge' kole.l 'temple,smithy, forge'.

1123 m867 Seal Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 

1123 m867 Text 

Sign 204 is read Meluhha rebus: Ta. meṭṭu mound; Kuwi (S.) metta hill; (Isr.) meṭa sand hill. (DEDR 5058) Rebus: med मृदु mṛdu, mẽṛhẽt 'iron' (Meluhha.Indian sprachbund or linguistic area)

gaNDA 'four' rebus: kaND 'fire-altar' kaNDA 'equipment' PLUS kolom 'three' rebus: kolimi 'smithy, forge'. Thus, equipment forge, fire-altar.

kanka 'rim of jar' rebus: karaṇī 'supercargo, scribe' 1. karaṇī, 'Supercargo', 'a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale' and 2. karṇaka, 'Helmsman' 'captain of a bagala or koṭiya, 'dhow, seafaring vessel' is signified. 

Five Harappa tablets h707 to h711 have identical inscription Text 5280 The inscription is a variant of the inscription on m867 Seal. Thus, the Meluhha rebus reading is identical to that shown for m867 Seal.

 

1707, 4240 are identicl Seal texts
Sign 204 is read Meluhha rebus: Ta. meṭṭu mound; Kuwi (S.) metta hill; (Isr.) meṭa sand hill. (DEDR 5058) Rebus: med मृदु mṛdu, mẽṛhẽt 'iron' (Meluhha.Indian sprachbund or linguistic area)
khaṇḍa 'divisions' Rebus: kāṇḍā 'metalware';

kanka 'rim of jar' rebus: karaṇī 'supercargo, scribe' 1. karaṇī, 'Supercargo', 'a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale' and 2. karṇaka, 'Helmsman' 'captain of a bagala or koṭiya, 'dhow, seafaring vessel' is signified.  Thus, The 1707, 4240 identical texts on seals read rebus:  med मृदु mṛdu, mẽṛhẽt 'iron' kāṇḍā 'metalware'; (Signed) kaNDA kanka 'equipmen supercargo'.

3060 m279 Seal Field symbol: karibha, ibha 'elephant' rebus:karba,ib 'iron'

3060 m279 Text 

Sign 343 is Sign 342 PLUS notch: kanda kanka 'equipment Supercargo' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. Thus, the infix notch is a reinforcement of Sign 342 which signifies equiment (warehouse) Supercargo. 

dula ';two'rebus:dul 'metalcasting' PLUS 

baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati).bhaṭa 'furnace' PLUS sal 'splinter' rebus: sal 'workshop'. Thus metalcasting iron furnace workshop.

Hieroglyph: harrow: maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ 'iron'

aya 'fish' rebus: ayas 'alloy metal'

kaṇḍa 'arrow' khaṇḍa 'implements

4079 h408 Seal Field symbol:कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 

4079 h408 Text 

Sign 204 is read Meluhha rebus: Ta. meṭṭu mound; Kuwi (S.) metta hill; (Isr.) meṭa sand hill. (DEDR 5058) Rebus: med मृदु mṛdu, mẽṛhẽt 'iron' (Meluhha.Indian sprachbund or linguistic area)

khaṇḍa 'divisions' Rebus: kāṇḍā 'metalware';

dula 'two' rebus:dul 'metal casting' baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati).bhaṭa 'furnace' PLUS sal 'splinter' rebus: sal 'workshop'. Thus metalcastingiron furnace workshop.

khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coiner, mint' LUS aya 'fish' rebus: ayas 'alloy metal'. Thus,alloy metal mint.

Sign48 baraḍo 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi)

kanka 'rim of jar' rebus: karaṇī 'supercargo, scribe' 1. karaṇī, 'Supercargo', 'a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale' and 2. karṇaka, 'Helmsman' 'captain of a bagala or koṭiya, 'dhow, seafaring vessel' is signified. 

धवड dhavaḍa (Or धावड) 'smelter'.and other metalworkers catalogue their metalwork wealth products

October 18, 2019, 6:09 am

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2169 m1141 Field symbol: karibha, ibha 'elephant' rebus: karba ib 'iron'.  Sign 326 baTa 'rimless pot' rebus: baTa 'iron' bhaTa 'furnace' thus, iron furnace; kāmṭhiyɔ kāmaṭhiyo a bowman; an archer (Skt.) (CDIAL 2760) rebus: kammaṭa 'mint, coiner';  dhvajapaṭa m. ʻ flag ʼ Kāv. [dhvajá -- , paṭa -- ]Pk. dhayavaḍa -- m. ʻ flag ʼ, OG. dhayavaḍa m.(CDIAL 6899) rebus: धवड dhavaḍa (Or धावड) 'smelter'; kuṭi 'curve; rebus: कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin); koDa 'one' rebus: koD 'workshop' PLUS dhakka 'lid' rebus: dhagga 'blazing,bright' Thus, blazing bronze metal; kaNDA 'arrow' rebus: kaNDA 'equipment' PLUS kole.l 'temple' rebus:kole.l 'smithy, forge'

4229 h92 Seal Field symbol: karibha, ibha 'elephant' rebus: karba ib 'iron'.

4229 h92 Text Signs 89, 99, 173, 60, 398, 48, 15

Sign 69 kolom 'three' rebus:kolimi 'smithy, forge'

Sign 99 sal 'splinter' rebus: sal 'workshop'

Sign 171 maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt,med 'iron' (Mu.Ho.) med 'copper' (Slavic) Duplicated:dula 'pair' rebus:dul 'metalcasting'. Thus, cast iron......

Sign 60:Circumscript gaNDa 'four' rebus: kaNDa 'equipment' PLUS aya 'fish' rebus: ayas 'alloy metal'; thus, alloy metal equipment.

Sign 398 *pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, puti, pũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ(CDIAL 8403) Rebus:potR 'purifier' PLUS LID hieroglyph: *ḍhakk ʻ cover ʼ. 2. *ḍhaṅk -- . [Cf. ḍhakkana -- n. ʻ shutting ʼ Śīl.]1. Pk. ḍhakkaï ʻ shuts ʼ; S. ḍhakaṇu ʻ to cover ʼ; L. ḍhakkaṇ ʻ to imprison ʼ; P. ḍhakkṇā ʻ to cover ʼ, Ku. ḍhakṇo, N. ḍhāknu, A. ḍhākiba, B. ḍhākā, Bhoj. ḍhākal, OMarw. ḍhakaï; -- Pk. ḍhakkiṇī -- f. ʻ lid ʼ, S. ḍhakkaṇī f., P. ḍhakṇā m., ˚ṇī f., WPah. bhad. ḍhakkaṇ n., Ku. ḍhākaṇ, N. ḍhakni, A. ḍhākni, B. ḍhākan, ḍhāknā, ˚ni; Bi. ḍhaknā ʻ cover of grain -- pot ʼ, Mth. ḍhākni; Bhoj. ḍhaknī ʻ lid ʼ. -- Poss. K. ḍākürü f. ʻ wide shallow basket ʼ; N. ḍhāki ʻ basket ʼ, ḍhākar ʻ a kind of large basket ʼ; Bi. mag. ḍhākā ʻ large open basket ʼ; -- P. ḍhakkā m. ʻ pass between two hills ʼ.

2. Pk. ḍhaṁkissaï ʻ will cover ʼ; Kho. (Lor.) ḍaṅgeik ʻ to cover, shut, bury ʼ; Phal. ḍhaṅg -- ʻ to bury ʼ; Or. ḍhaṅkibā ʻ to cover ʼ, H. ḍhã̄knā, Marw. ḍhã̄kṇo, G. ḍhã̄kvũ, M. ḍhã̄kṇẽ; -- Pk. ḍhaṁkaṇa -- n., ˚ṇī -- f. ʻ cover, lid ʼ, Or. ḍhāṅkuṇi, H. ḍhãknī f., G. ḍhã̄kṇũ n., ˚ṇī f., M. ḍhã̄kaṇ n., ḍhã̄kṇī f.

Addenda: *ḍhakk -- 1: S.kcch. ḍhakṇū ʻ to cover, shut (a door) ʼ, WPah.kṭg. (kc.) ḍhàkṇõ, Garh. ḍhakṇu; A. ḍhākiba (phonet. dh -- ) ʻ to cover ʼ, G. ḍhākvũ, M. ḍhākṇẽ. (CDIAL 5574) Rebus: Blazing,bright: *dhagg ʻ throb, glitter ʼ. [Cf. dhagiti ʻ at once ʼ Kād., dhagad -- dhagiti ʻ crack! ʼ HPariś., and *ḍag -- 1] Pk. dhagadhagaï ʻ flares ʼ, dhagadhaggamāṇa -- , dhaggīkaya -- ʻ blazing ʼ; H. dhagdhagānā ʻ to throb, glitter ʼ; G. dhagdhagvũ ʻ to burn fiercely ʼ; M. dhagdhagṇẽ ʻ id., to beat (of heart) ʼ; -- S. dhakdhaki f. ʻ palpitation ʼ; N. dhakāunu ʻ to pant ʼ; B. dhak ʻ sudden blaze ʼ, dhakdhakāna ʻ to throb, glitter ʼ; Or. dhaka ʻ blaze ʼ, dhakadhaka ʻ throbbing, blazing ʼ; H. dhakdhakānā, dhadhaknā ʻ to blaze ʼ, G. dhakdhakvũ; M. dhakdhakṇẽ ʻ to palpitate ʼ.*dhaṅga -- ʻ defective ʼ see *ḍagga -- 2.Addenda: *dhagg -- : Ko. dhaggu ʻ heat ʼ, dhagdhagu ʻ blazing heat ʼ.(CDIAL 6704)

Sign48 baraḍo 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi)

kanda kanka 'equipment Supercargo'  PLUS Sign 12 kuṭi 'water-carrier' rebus: kuṭhi 'smelter'

1113 m169 Seal Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 

1113 m169 Text Signs 94, 123, 124, 112, 197, 342

Sign 94: Two slanted strokes PUS ONE: koDa 'one' rebus: koD 'workshop' dula 'pair' rebus: dul 'metalcasting' PLUS dhAla 'slanted' rebus: dhALaka 'large ingot'; thus, ingot workshop in kolom 'three' rebus; kolimi 'smithy, forge'

Sign 123: Slice hieroglyph: kuṭi = a. slice, a bit, a small piece' (Santali) rebus: kuṭhi 'smelter'

Sign 124: slant + notch:dhAla 'slanted' rebus: dhALaka 'large ingot' PLUS Sign 97 खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. Thus, Sign 124 signifies ingots and equipment.

Sign 112 4+3 hieroglyph: gaNDA 'four' rebus: kaNDa 'equipment' PLUS kolom 'three' rebus: kolimi'smithy, forge'. Thus, equipment smithy.

Sign 197  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. mãṛyā, manyā 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, mãṛuā, maṛ˚, 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. maṁḍavo, māḍhivo 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. mã̄ḍhā, māṛhā, mãḍhā 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) Rebus: maṇḍā 'warehouse, workshop' (Konkani) 

kanda kanka 'equipment Supercargo' 

1385 Pict49 Seal Pict-49 Uncertain animal with dotted circles on its body.  

Slanted stroke shown in front of the animal: Sign 124: slant + notch:dhAla 'slanted' rebus: dhALaka 'large ingot' 

The ligature of tooth, tusk to the nose of the kid is a semantic determinative: dAnta 'tusk' rebus:dhatu 'mineral ore' (used in the process of smelting as described in the hieroglyphs of dotted circles which signify धवड dhavaḍa (Or धावड) 'smelter'.

kid PLUS dotted circles:maraka 'kid' (Telugu: rebus:marakaka loha ' Ta. maṟi young of sheep, horse, deer, etc., female of sheep, horse, deer, etc., sheep, deer. Ma. maṟi offspring, the young of animals, a young deer. Ko. mayr young of animals except cattle. To. maṟy young of animals (except buffaloes) and birds. Ka. maṟi the young of any animal (excepting kine and buffaloes), a young child, a shoot, sapling. Tu. mari a young animal. Te. maṟaka a kid; -marālu, in: manu-marālu granddaughter (cf. 4715). Go. (Tr. W. Ph.) marrī (pl. mark), (A.) mari, (Mu.) marri/marr (pl. mark), (Ma.) mar̥i son (Voc. 2713); (Koya Su.) merka female young of goat (< Te. maṟaka). Konḍa maṟin (pl. -ku) son; maṟisi id. (referring to 3rd person); (Sova dial.) mēmar koṛo boychild; (BB) mē-mari husband, man (for mē-, see 4791). Pe. mazi son; meyhi id. (referring to 3rd person). Manḍ. tāmji his son. Kui mrīenju (pl. mrīka) son; mrao, mrau daughter; (K.) mrienji son; mṛāga (pl. -ska) daughter. Kuwi (F.) miresi (pl. mirka) son; (S.) mrīesi son, nephew; anḍa mrīesi servant; (Su.) mir'esi (pl. mirka) son; māŋga (pl. māska) daughter. Br. mār son, boy, lad; masiṛ daughter. (DEDR 4264) Rebus: rebus marakaka'copper alloy, calcining metal' .PLUS Dotted circle: dAya 'throw of one in dice' rebus:dhAi 'mineral ore' PLUS vaTTa 'circle';together, rebus धवड dhavaḍa m (Or धावड) A class or an individual of it. They are smelters of iron.धावडी   dhāvaḍī a Relating to the class धावड. Hence 2 Composed of or relating to iron

1385 Pict49 Text Signs 86, 98, 347, 342

koda 'one' rebus:koD 'workshop' (See decipherment of slanted slope: Sign 124: slant + notch:dhAla 'slanted' rebus: dhALaka 'large ingot' )

Sign 97 खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. 

Sign 147 Duplicated Sign 162 dula 'pair' rebus: dul 'metalcasting' PLUS  kolmo 'rice plant' rebus: kolimi 'smithy, forge'

Sign 342 kanda kanka 'equipment Supercargo' 

2929 Incised on pottery Liine 1 Signs 87, 343, 97, 169 

Sign97 dula 'pair' rebus dul 'metalcasting

Sign 343 is Sign 342 PLUS notch: kanda kanka 'equipment Supercargo' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. Thus, the infix notch is a reinforcement of Sign 342 which signifies equiment (warehouse) Supercargo. 

Sign 97 खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. 

Sign 169 pajhaṛ = to sprout from a root (Santali); Rebus:pasra 'smithy, forge' (Santali).

Line 2 Sign 95, 162  kolmo 'rice plant' rebus: kolimi 'smithy, forge' gaNDa 'four' rebus: kanda 'fire-altar' kanda 'equipent'

Line 3  Variant khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coiner, mint' LUS aya 'fish' rebus: ayas 'alloy metal'. Thus,alloy metal mint.

8033 Kalibangan 54 Seal

8033 Kalibangan 54 Text Signs 171, 99, 278 

Sign 171  maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt,med 'iron' (Mu.Ho.) med 'copper' (Slavic)

sal 'splinter' rebus: sal 'workshop

Sign 278 Circumscript:gaNDA 'four' rebus:kanda 'fire-altar'kaNDA 'equipment' PLUS kanac 'corner' rebus: kancu 'bronze, bell-metal' Note: Rhombus or bun ingot oval shape signifies muh 'ingot' mūhā mẽṛhẽt = iron smelted by the Kolhes and formeḍinto an equilateral lump a little pointed at each end;  mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Santali gloss.

h892AB, 4451Text Side A: baTa 'rimless pot' rebus: baTa 'iron' bhaTa 'furnace' PLUS gaNDa 'four' rebus: kaNDA 'equipment'.Thus, equipment furnace.

SideB:

Sign48 baraḍo 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi) PLUS manDA 'framework' rebus: maNDA 'warehouse' PLUS kanda kanka 'equipment supercargo' PLUS currycomb hieroglyph: Sign 176Hieroglyph: currycomb: खरारा   kharārā m ( H) A currycomb. 2 Currying a horse. ख0 खाजवीत नगारा वाजवीत-येतो-फिरतो &c. Used of a low vagabond or idler.(Marathi)

Rebus: wealth-accounting ledgers -- kharada खरडें 'daybooks' Hieroglyph: Currycomb, scraper: khareḍo 'a currycomb' (Gujarati); खरड्या   kharaḍyā a (खरडणें) That writes or shaves rudely and roughly; a mere quill-driver; a very scraper. khareḍo = a currycomb (Gujarati) खरारा [ kharārā ] m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: 1. करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 2. kharādī ‘ turner’ (Gujarati) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi). 

h469 4138 Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 

sal 'splinter' rebus: sal 'workshop' PLUS notch:Sign 97 खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. . Thus, equipment workshop.

karã̄ n. pl. wristlets, bangles Rebus: khAr 'blacksmith, iron worker'.

Sign 147 Duplicated Sign 162 dula 'pair' rebus: dul 'metalcasting' PLUS  kolmo 'rice plant' rebus: kolimi 'smithy, forge'

kanda kanka 'equipment supercargo'

m917 Seal 1224 (Not illustrated)

Framework:maNDA 'framework' rebus: manDA 'warehouse' PLUS text message:  

h179A, B 4307 Pict-83: Person wearing a diadem or tall W head-dress standing within an ornamented arch; there are two stars on either side, at the bottom of the arch.

Sign48 baraḍo 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi)

kāmṭhiyɔ kāmaṭhiyo a bowman; an archer (Skt.) (CDIAL 2760) rebus: kammaṭa 'mint, coiner' ...

Sign 342 kanda kanka 'Equipment supercargo'

5252, 4321, 5389 three sealings5252 Sealing h199A, h200A, h201A









5252 Sealing h199B, h200B, h201B







5252 Sealing h199 Text aya 'fish' rebus: ayas 'alloy metal' PLUS khambhaṛā 'fish-fin' rebus: .ayo kammaTa 'alloymetal mint'
*ḍhakk ʻ cover ʼ. 2. *ḍhaṅk -Rebus: - dhadhaknā ʻ to blaze ʼ;thus, blazing, bright alloy metal
dula 'pair' rebus: dul 'metalcasting' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'; thus, metalcasting smithy
kanda kanka 'equipment Supercargo'
kanda kanka 'equipment Supercargo' PLUS kolom 'three' rebus: kolimi 'smithy, forge'. Thus, smithy supercargo.
baTa 'rimless bot' rebus: baTa 'iron', bhaTa 'furnace'

m3351 m550 A,B Copper plate Field symbol: kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kole.l 'smithy, foge, temple in Kota village'.

1120 m124 Field symbol: Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. 

dula 'two' rebus: dul 'metal casting' PLUS aya 'fish' rebus: ayas 'alloy metal'. Thus,alloy metal metalcasting.

Sign 296 is a variant of   

Duplicated curves: dula 'two' rebus; dul'metal casting' PLUS kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass'  Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥकौटिलिकः 1 A hunter.-2 A blacksmith  Thus hypertext of Sign 294 signifies bronze castings. [bronze castings]

PLUS Sign 342 kanda kanka 'equipment supercargo'

Harappa #5087 Fish + notch: aya 'fish' rebus; ayas 'alloy metal' PLUS Sign 97 खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khāṇḍā 'equipment'. 

Sign 327 loa 'ficus glomerata' rebus: loh 'copper, metal' PLUS karaNa 'ears' rebus: karaNa 'scribe'

Sign 128 crook:

मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) Rebus 1: meḍ 'iron' (Ho.Mu.) Rebus 2: medho 'helper of a merchant'

Sign 342 kanda kanka 'equipment supercargo'.

Bronze sunrise Sit Shamsi of Susa is visual image of Veda sacred fire-prayers signified by काण्डर्षितर्पण oblations to ancestor equipment makers

October 19, 2019, 10:29 pm

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https://tinyurl.com/y5gwp44f

Sit Shamsi bronze was discovered in the area of the Ninhursag temple on the Acropole, Susa. 

Akkadian name for this Elamite bronze object in an Elamite inscription! based on काण्डर्षितर्पण Jaiminīya Sāmaveda tradition. Soma is one of the four काण्डर्षि ancestors venerated. A synonym of Soma is amśu (RV) cognate ancu'iron' (Tocharian)

12th century BCE Tell of the Acropolis, Susa J. de Morgan excavations, 1904-05 Sb 2743 Louvre. The base measures 60 X 40 cm. Behind one of the adorants are the following objects:a big jar (H), a water reservoir, two square tubs (I,J),three tree stalks without branches (K),a  stèle connected to a platform (M) with raised edges. 

Elamite craftsmen diplayed brilliant and new metallurgical techniques for the execution of large monuments, statues and reliefs.

Model of a place of worship, called the Sit-shamshi or "(ceremony of) sunrise" 12th century BCE Susa, Tell of the Acropolis Bronze

-- Sit Shamshi 'bronze sunrise' of Susa is Vedic काण्डर्षितर्पण purification by water oblations & the Sun, veneration of ancestors who created wealth-resources of equipment, etc. An Elamite inscription tells us the name of the piece's royal dedicator and its meaning in part: "I Shilhak-Inshushinak, son of Shutruk-Nahhunte, beloved servant of Inshushinak, king of Anshan and Susa [...], who made the kingdom grow, protector of Elam, I made a bronze sunrise." The inscription on the model is in Akkadian. So, Gian Pietro Basello exclaims: "So, an Akkadian name for an Elamite object in an Elamite inscription !" We may add, 'So, an Akkadian name for an Elamite object in an Elamite inscription in the Vedic tradition !!' See the reading of the inscription at http://www.elamit.net/elam/sit_handout.pdf This is how Gian Pietro Basello asks: [quote] Sit Shamshi an Akkadian loan-word in Elamite? "Do you know this object? I hope so. It is perhaps the most stimulating object found in the entire Ancient Near East, even if handbooks on Mesopotamian art do not talk much about it. It is a three-dimensional bronze model whose base measures 60 X 40 cm, excavated in the 1904-05 campaign by the French Mission at Susa. The scene is focused on two squatted human figures: one stretches its hands out, the other seems to be pouring water over them from a jug. Around them, there are possibly some kinds of altars, a large vessel, two basins, a stela and three trunks of trees. This act, perhaps a cultic scene which took place in the second half of the 12th century BCE, was fixed for eternity by will of Shilhak-Inshushinak (1140-1120 BCE), king of Anshan and Susa, according to the short inscription in a corner of the base. If you are so lucky as to run into a picture of it (unless you are directly visiting the Louvre Museum), looking at the caption you would learn that the name commonly given to this object is sit shamshi. Actually , this name, meaning 'the rising of the sun, sunrise' in Akkadian, appears in lines 5-6 of the inscription. But only in the unlikely event that you are both in front of the Louvre showcase with the sit shamshi in and an 'Elamist', i.e. a specialist in Elamite studies, you could go further in reading the inscription, though even an Elamist, having been ready to interpret the most stereotyped Akkadian inscription -- you know, Akkadian was very spread in Susiana --, so even an Elamist will jolt becoming aware of the language of the text. Apart from brushing up the revered edition by Scheil (1909) or Konig (1965), this is the only way to learn that the inscription is compiled in Elamite language. So, an Akkadian name for an Elamite object in an Elamite inscription!" (Gian Pietro Basello, 2003, Loan-words in Achaemenid Elamite: the spelling of old Persian Month-names, in: 5th European Conf. of Iranian Studies, October 10th 2003 http://digilander.libero.it/elam2/elam/basello_sie2003.pdf ) See:

https://www.scribd.com/doc/254053980/Basello-Gian-Pietro-2003-Loan-words-in-Achaemenid-Elamite-the-spellings-of-old-Persian-month-names[unquote]

The 3D Model from Susa called Sit-shamshi: An essay of interpretation

by Gian Pietro Basello

"Sit shamshi is the name used in an inscription of the Middle Elamite king Shilhak-Inshushinak (ca. 1150-1120 BC) to refer to its textual support, a bronze model (base 60 × 40 cm) representing in three dimensions two squatted individuals, one pouring a liquid over the hands of the other, in an open space with buildings, trees and other installations. The common interpretation of this name (meaning ‘sunrise’ in Akkadian) has become also the key for the understanding of the whole scene, supposedly a ritual ceremony to be performed at the sunrise in a sacred precint. 

From one hand, I would like to discuss the interpretation of sit shamshi as an Akkadian syntagm, considering that the inscription is written in Elamite and that sit e sham- are also known as Elamite terms. On the other hand, I would like to have feedback from scholars skilled in ritual texts from Mesopotamia, trying also to understand if there is some further element in support of the sunrise ritual interpretation. 

http://www.academia.edu/1706512/The_3D_Model_from_Susa_called_Sit-shamshi_An_essay_of_interpretation

Gian Pietro Basello is justified in his exclamatory and laudaory references to the Sit Shamsi bronze objec. He will be thrilled by the links the object provides to Veda sacred prayers to fire and Sun divinities.

Shilhak-in-Shushinak and ceremony of the sun mentioned on the Akkadian inscription dates the inscription to 12th century BCE. It is possible that the model itself might have been made at an earlier date. One adorant sprinkles water on the palms of another also kneeling in adoration in front. It is a process of purification paralleling the purification of metals in a smelter and a furnace or crucible. 

The thesis of this monogra;ph is that a Vedic ceremony of the rising sun is signified on a bronze model with Indus Script hieroglyphs, dated Susa, 12th cent. BCE.

This monograph posits that  काण्डर्षितर्पण of Veda tradition is offering of water oblations to ancestor equipment makers; is also a veneration of seeking blessings from the rishis and ancestors who are he authors of the काण्ड of the Veda and protectors of dharma tradition.. The monograph demonstrates that this tradition is archaeologically attgested Sit Shamsi bronze model of worship with water oblations, in front of ziggurat-shaped, step-pyramid ziggurat temple and kole.l 'temple, smithy, forge'.

The hieroglyphs on the Sit Shamsi bronze are read rebus as Meluhha hieroglyphs and hypertexts, thus pointing to the presence by migrant artisans and merchants who went out of Sarasvati River Basin into Susa.

Meluhha seafaring merchants and artisans moved into Susa traversing the navigable waterway of Sarasvati River and the maritime seafaring route of Persian Gulf..

 -- archaeological evidence for prātaḥsandhyā vandanam 'prayer of sunrise' by metalwork artisans, 12th cent.BCE 

-- sit shamsi bronze model is an Indus Script hypertext expressions containing detailed signifiers of metalwork in mint, smithy, forge

-- kole.l 'temple, smithy, forge' to process अष्टन्-लोहकम् 'eight metals'

-- ceremony offering prayers to the Sun takes place in front of the kole.l 'smithy, forge' and kole.l 'temple,ziggurat'

--offering prayers are signified by pouring water as ablations from the hands of the worshippers; the signifier is: काण्ड 'water' rebus: काण्ड 'equipment, arrow'

--offering spaces and structures are signified by a skámbha and four कुण्डम् kunḍam

-- a large storage pot with a rim is signified rebus: kanda kanka rebus काण्ड 

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;thus, the expression signifies rebus:  'equipment supercargo' (Marathi).

-- काण्डऋषि who are specifically offered water oblations are four in number;they are: 1. प्रजा--पति 'lord of creatures'; 2. सोम 'personified as one of the most important of Vedic divinities , to whose praise all the 114 hymns of the 9th book of the RV. besides 6 in other books and the whole SV. are dedicated';3. अग्नि 'gold, divinity of fire'; 4. विश्वे देवाः 'all the divinities; of a class of deceased ancestors'. Collectively, the four काण्डऋषि constitute the रत्नी and देवजी. I submit that the water oblations offered to four specific काण्डर्षि signify prayers to wealth resource creators, i.e. those who have pioneered production of metal equipment and embedded gemstones and lapidary jewellery such as those signified by two unique hieroglyphs: monkey dressed as woman and monkey dressed as man:: रत्नी   ratnī f (रत्न) In monkey-sports. A term given to the female monkey habited as a woman; देवजी or देवजीधसाडा   dēvajī or dēvajīdhasāḍā or ड्या m A name given to the male monkey (in monkey-sports) which is accoutred as a man. The female is termed रत्नी.    धसाडा   dhasāḍā a Coarse and thick--thread, grass, कड- बा &c; m A piece of stubble, a stub, stump, snag. The two hieroglyphs signifying monkeys dressed as woman and man and offered as wealth tributes of gems and precious stones are seen on the Black Obelisk inscription of Shalamaneseer III together with four friezes of wealth resource signifier hieroglyphs, rebus: karba, ib 'iron': Ta. ayil iron. Ma. ayir, ayiram any ore. Ka. aduru native metal. Tu. ajirda karba very hard iron.(DEDR 192)

--  काण्डऋषि तर्पण are annual celebrations venerating sages in the Jaiminīya Sāmaveda tradition because one of the four ऋषि specifically offered water oblutions is Soma. I submit that this Sāmaveda tradition of venerating ancestors who processed Soma as wealth is exemplified by the water oblations ceremony represented in visual images on the hieroglyph narratives of Sit Shamsi bronze. The central narrative is offering of kāṇḍa 'water' to Sun divinity. The rebus rendering of kāṇḍa 'water' is rebus: kāṇḍa 'bow and arrow (implements)'. Thus, काण्डऋषि तर्पण is celebrated on Sit Shamsi bronze narratives as veneration of ancestors who made metalwork products as wealth-producers for the community.

ṛṣiḥ ऋषिःA sanctified sage, saint, an ascetic, anchorite; (there are usually three classes of these saints; देवर्षि, ब्रह्मर्षि and राजर्षि; sometimes four more are added; महर्षि, परमर्षि, श्रुतर्षि and काण्डर्षि.(Apte)  *kāṇḍakara ʻ worker with reeds or arrows ʼ. [kāˊṇḍa -- , kará -- 1]L. kanērā m. ʻ mat -- maker ʼ; H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers ʼ.kāˊṇḍīra ʻ armed with arrows ʼ Pāṇ., m. ʻ archer ʼ lex. [kāˊṇḍa -- ]H. kanīrā m. ʻ a caste (usu. of arrow -- makers) ʼ.(CDIAL 3024, 3026). I suggest a rebus rendering of काण्डर्षि 'a sanctified sage, maker of metal equipment'; maker of (Santali) or, 

मृदु काण्डः ण्डम् 'iron implements' (Skt.) 

कांड ऋषि lit. 'equipment, yajna ray of light'm. ( √2. ऋष् Comm. on Un2. iv , 119 ; ऋषति ज्ञानेन संसार-पारम् T. ; perhaps fr. an obsolete √ऋष् for √दृश् , " to » ? " cf. ऋषि-कृत्) , a singer of sacred hymns , an inspired poet or sage , any person who alone or with others invokes the deities in rhythmical speech or song of a sacred character (e.g. the ancient hymn-singers कुत्स , अत्रि , रेभ , अगस्त्य , कुशिक , वसिष्ठ , व्य्-श्व) RV. AV. VS. &c; the ऋषिs were regarded by later generations as patriarchal sages or saints , occupying the same position in India history as the heroes and patriarchs of other countries , and constitute a peculiar class of beings in the early mythical system , as distinct from gods , men , असुरs , &c AV. x , 10 , 26 S3Br. AitBr. Ka1tyS3r. Mn. &c; they are the authors or rather seers of the Vedic hymns i.e. according to orthodox Hindu ideas they are the inspired personages to whom these hymns were revealed , and such an expression as " the ऋषि says " is equivalent to " so it stands in the sacred text "; seven ऋषिs , सप्त ऋषयः , or सप्तऋषयः or सप्तर्षयः , are often mentioned in the ब्राह्मणs and later works as typical representatives of the character and spirit of the pre-historic or mythical period; in S3Br. xiv , 5 , 2 , 6 their names are given as follows , गोतम , भरद्वाज , विश्वा-मित्र , जमदग्नि , वसिष्ठ , कश्यप ,and अत्रि; in MBh. xii , मरीचि , अत्रि , अङ्गिरस् , पुलह , क्रतु , पुलस्त्य , वसिष्ठ are given as the names of the ऋषिs of the first मन्वन्तर , and they are also called प्रजापतिs or patriarchs; the names of the ऋषिs of the subsequent मन्व्-न्तरs are enumerated in Hariv. 417 ff.; afterwards three other names are added , viz. प्रचेतस् or दक्ष , भृगु , and नारद , these ten being created by मनु स्वायम्भुव for the production of all other beings including gods and men A1s3vS3r. MBh. VP. &c

ṛṣiḥ ऋषिः [cf. Uṇ.4.119] 1 An inspired poet or sage, a singer of sacred hymns, (e. g कुत्स, वसिष्ठ, अत्रि, अगस्त्य &c.). (These Ṛiṣis form a class of beings distinct from gods, men, Asuras &c. (Av.1.1.26). They are the authors or seers of the Vedic hymns; ऋषयो मन्त्रद्रष्टारो वसिष्ठादयः; or, according to Yāska, यस्य वाक्यं स ऋषिः, i. e. they are the persons to whom the Vedic hymns were revealed. In every Sūkta the ऋषि is mentioned along with the देवता, छन्दस् and विनियोग. The later works mention seven Ṛiṣis or saptarṣis whose names, according to Śat. Br., are गौतम, भरद्वाज, विश्वामित्र, जमदग्नि, वसिष्ठ, कश्यप and अत्रि; according to Mahābhārata, मरीचि, अत्रि, अङ्गिरस्, पुलह, क्रतु, पुलस्त्य and वसिष्ठ; Manu calls these sages Prajāpatis or pro- genitors of mankind, and gives ten names, three more being added to the latter list, i. e. दक्ष or प्रचेतस्, भृगु and नारद. In astronomy the seven Ṛiṣis form the constellation of "the Great Bear"); यत्रा सप्त ऋषीन् पर एकमाहुः Rv.1.82.2. -2 A sanctified sage, saint, an ascetic, anchorite; (there are usually three classes of these saints; देवर्षि, ब्रह्मर्षि and राजर्षि; sometimes four more are added; महर्षि, परमर्षि, श्रुतर्षि and काण्डर्षि. -3 A ray of light. -4 An imaginary circle. -5 A hymn (मन्त्र) composed by a Ṛiṣi; एतद्वो$स्तु तपोयुक्तं ददामीत्यृषि- चोदितम् Mb.12.11.18; -6 The Veda; P.III.2.186. -7 A symbolical expression for number seven. -8 Life; Bhāg.1.87.5. -9 The moon. (Apte)

Sit Shamsi bronze, morning libations to Sun divinity, as Meluhha metalwork with Indus writing hieroglyphs transmitted along the Tin Road of Antiquity between Hanoi and Haifa

Mirror: https://tinyurl.com/y433q98k 

Does the काण्ड 'arrow' memorial stele topped by two śikhara (ziggurat) signify veneration of Veda tradition of काण्डर्षितर्पण water oblations and Veda sacred fire-prayers? The answer lies in the meanings conveyed by Sit Shamsi bronze of 12th cent. BCE -- documenting bronze age metalwork processes, producing काण्ड 'equipment'. The stele (Figure H below) shown on Sit Shamsi is comparable to the śivalinga discovered by MS Vats in Harappa.

( Lingam excavated in 1920 - Report of Archaeological Excavations at Harappa Carried Out by M.S.Vats Between 1920-21 & 1933-34 )[ काण्ड 'arrow' shrine, Tell of Acropolis, Susa (I suggest that this is a rebus reading of the three stalks shown on Sit Shamsi bronze which signify कांडें [ kāṇḍēṃ ] n (कांड S)  kāṇḍa, kã̄ṛ ʻstalk, arrowʼ(CDIAL 3023) rebus: khaṇḍa 'implements' (Santali)

Three stalks are shown (Figure M below)  in front of the water tank (Great Bath replica?) which are Indus Script hieroglyphs read rebus in Meluhha:

Source: http://tinyurl.com/cj53a4b

There are two ziggurats: one is a dagoba (dhatugarbha) in three tiers, the other is a kuThi 'smelter'. Two linga stambhas flank the ziggurat. In front of the ziggurat is a table with six narrow hollows, perhaps to hold flagposts or bronze standards comparable to those taken on processions shown on cylinder seals or Indus Script tablets. The ziggurat is flanked by 8 round objects, 4 on either side as offerings of bronze bun-ingots to the divine. Also flanking the ziggurat are two linga stambhas.

 The ceremony is in front of a ziggurat, a stepped-pyramid shaped temple.

kole.l 'smithy, forge' a rectangular two-storeyed structure fronting a stepped ziggurat, शिखर, 'tower', a three-stepped pyramid-type structure which is kole.l 'temple'.rebus for kole.l 'smithy, forge'. The ceremony for the rising sun is performed in front of both these structures.which face each other.

Eight wedges (domes or semi-circular lumps) flank the 'ziggurat, temple' These eight domes signify: eight metals and eight sentiments:aṣṭan अष्टन् num.-रसाः the 8 sentiments in dramas &c.; शृङ्गारहास्यकरुणरौद्रवीरभयानकाः । बीभत्साद्भुतसंज्ञौ चेत्यष्टौ नाटये रसाः स्मृताः ॥ K. P.4 (to which is sometimes added a 9th Rasa called शान्त; निर्वेदस्थायिभावो$स्ति शान्तो$पि नवमो रसः ibid.); ˚आश्रय a. embodying or representing the eight sentiments; V.2.18. -लवणानि अजमोदा, आम्लवेतस, एलची (cardamom), Black salt (Mar. पादेलोण), Garcinia Mangostona (Mar. आमसोल), Cinnamo- mum aromaticum (Mar. दालचिनी), Black peppar (Mar. मिरीं). -लोहकम् a class of 8 metals; सुवर्णं रजतं ताम्रं सीसकं कान्तिकं तथा । वङ्गं लौहं तीक्ष्णलौहं लौहान्यष्टाविमानि तु ॥ (Apte) 
skámbha and कुण्डम् kunḍam: pillar and altar, personified fulcrum of the universe and  consecrated fire-pitsस्कम्भ m. a prop , support , pillar , buttress , fulcrum , the Fulcrum of the Universe (personified in AV. x , 7 and x , 8 , and identified with ब्रह्मन् , the Supreme Being , as well as with पुरुष ; » Muir's Sanskrit Texts , v , 378) RV. AV. skámbhana n. ʻ prop, pillar ʼ RV., skambhanīˊ -- f. VS. [√skambh] M. khã̄bṇī f. ʻ small post ʼ; -- G. khāmṇiyũ n. ʻ one of the ropes with which bucket is let down a well ʼ (i.e. from the post?); -- Or. khamaṇa ʻ pit, hole, waterchannel, lowland at foot of mountain ʼ; G. khāmṇũ n. ʻ small depression to stand round -- bottomed vessel in, basin at root of a tree for water ʼ: semant. cf. kūˊpa -- 1 and skambhá -- 1.(CDIAL 13644)skambhá1 m. ʻ prop, pillar ʼ RV. 2. ʻ *pit ʼ (semant. cf. kūˊpa -- 1). [√skambh]1. Pa. khambha -- m. ʻ prop ʼ; Pk. khaṁbha -- m. ʻ post, pillar ʼ; Pr. iškyöp, üšköb ʻ bridge ʼ NTS xv 251; L. (Ju.) khabbā m., mult. khambbā m. ʻ stake forming fulcrum for oar ʼ; P. khambh, khambhā, khammhā m. ʻ wooden prop, post ʼ; WPah.bhal. kham m. ʻ a part of the yoke of a plough ʼ, (Joshi) khāmbā m. ʻ beam, pier ʼ; Ku. khāmo ʻ a support ʼ, gng. khām ʻ pillar (of wood or bricks) ʼ; N. khã̄bo ʻ pillar, post ʼ, B. khām, khāmbā; Or. khamba ʻ post, stake ʼ; Bi. khāmā ʻ post of brick -- crushing machine ʼ, khāmhī ʻ support of betel -- cage roof ʼ, khamhiyā ʻ wooden pillar supporting roof ʼ; Mth. khāmh, khāmhī ʻ pillar, post ʼ, khamhā ʻ rudder -- post ʼ; Bhoj. khambhā ʻ pillar ʼ, khambhiyā ʻ prop ʼ; OAw. khāṁbhe m. pl. ʻ pillars ʼ, lakh. khambhā; H. khām m. ʻ post, pillar, mast ʼ, khambh f. ʻ pillar, pole ʼ; G. khām m. ʻ pillar ʼ, khã̄bhi, ˚bi f. ʻ post ʼ, M. khã̄b m., Ko. khāmbho, ˚bo, Si. kap (< *kab); -- X gambhīra -- , sthāṇú -- , sthūˊṇā -- qq.v.2. K. khambürü f. ʻ hollow left in a heap of grain when some is removed ʼ; Or. khamā ʻ long pit, hole in the earth ʼ, khamiā ʻ small hole ʼ; Marw. khã̄baṛo ʻ hole ʼ; G. khã̄bhũ n. ʻ pit for sweepings and manure ʼ.*skambhaghara -- , *skambhākara -- , *skambhāgāra -- , *skambhadaṇḍa -- ; *dvāraskambha -- .Addenda: skambhá -- 1: Garh. khambu ʻ pillar ʼ. (CDIAL 13639)

Source: http://www.virtualsecrets.com/sumerian.html

There are four agni-kuṇḍa-s 'Veda fire-altars' and a Śivalinga (stele) which is a Skambha, signifier of a fiery-pillar of light and flame (AV X.7)

Altar bronze table with Indus Script hieroglyphs

Table decorated with serpents and deities bearing vessels spouting streams of water 14th century BCE Tell of the Acropolis, Susa, Iran Bronze H. 19.5 cm; W. 15.7 cm; L. 69.5 cm Jacques de Morgan excavations, 1898 Sb 185

This table, edged with serpents and resting on deities carrying vessels spouting streams of water, is a yajna altar. 

नाग serpents signify rebus: tin and lead.Overflowing pot shown on the table is an Indus Script hypertext as demonstrated in rebus Meluhha readings:

Indus Script hypertext: (water) overflowing pot

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

PLUS காண்டம்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16). Rebus, together: lohāṇḍā ‘metal tools, pots and pans’ (Marathi).  Thus, copper, tin and lead metal artifacts are signified by the hieroglyphs on the altar table.

See:

Overflowing pot of m1656 pectoral and on Ibni Sharrum cylinder seal signifies Indus Script hypertext lokhaṇḍa 'metal tools, pots and pans, metalware' https://tinyurl.com/y6psctdw

"Pendant or medallion [from Mohenjo-daro] pictures the unicorn combined with many sacred symbols of the Indus religion. The body of the figure has a womb-shaped symbol in its belly, the same motif is elaborated to form the frame for the pendant, which is also a common design for shell inlay. Two leaf shapes of the sacred pipal tree are depicted at the animals shoulders and rump. A ritual offering stand is placed in front of the image. The deeply incised frame and the symbols on the unicorn would have been set with inlay." (J.M. Kenoyer, Indus Civilization, p. 188) 

https://www.harappa.com/blog/unicorn-pendant 

m1656 Mohenjodro Pectoral. The body of the young bull has the pictograph signified on the body. Arka flipped vertically and signified on the body of the young bull on pectoral, as shown below. The young bull signifies Hieroglyph: kõda 'young bull-calf'.  Rebus: kundaṇa 'fine gold'; kār-kund 'manager'. 

The overflowing pot atop the one-horned young bull is an Indus Script hypertext. Thus, the overflowing pot is a hypertext to signify metal tools, pots and pans of copper, made by .the young bull kār-kunda 'manager' who works as an artisan with the metallurgical competence of 'lapidary, goldsmith, turner' in mint.

Ziggurat on Sit Shamsi and veneration of karandi 'fire-god' (Remo)

Ziggurat on Sit Shamsi is a multi-tiered pyramid temple, flanked by two skambha and two rows of four wedges.  

karandi 'fire-god' 

It is a conjecture hat the top of the ziggurat (temple) had a pointed spike to signify the fire-divinity (comparable to the spike venerated on Tukulti Ninurta fire-altar of Ishtar temple).

Vorderasiatisches Museum, Berlin

Symbolizing Nusku, the god of light, a thin, bright rod elicits the adoration of the Assyrian king Tukulti-Ninurta in this relief, carved on one side of a stone altar dating from the 13th century B.C.E.Veneraton of the stalk. Ishtar temple. Altar for fire-god karaṇḍi (of Tukulti-Ninurta I, Assur).(Hieroglyph: karaḍi 'safflower' had been deified. Veneration of the stambha. karaḍi 'safflower' Rebus: karandi 'fire-god' (Remo)

Two ziggurats (śikhara) signify: 1) kole.l 'temple',

dagoba, 'dhatu garbha'; and 2) kole.l 'smithy, forge'

A large stepped structure/altar/ziggurat (A) and small stepped structure/altar or temple (B) may be denoted by the gloss: kole.l. The large stepped structure (A) may be dagoba, lit. dhatu garbha 'womb of minerals' evoking the smelter which transmutes earth and stones into metal and yields alloyed metal castings with working in fire-altars of smithy/forge: kolami. It is imperative that the stupa in Mohenjo-daro should be re-investigated to determine the possibility of it being a ziggurat of the bronze age, comparable to the stepped ziggurat of Chogha Zambil (and NOT a later-day Bauddham caitya as surmised by the excavator, John Marshall).

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) Six hollows for offerings in front of the ziggurat. baTa 'six' Rebus: baTa 'furnace'. Also, षष् 'six' ष़डशीतिः 'passages of the sun'. Numeral bhaṭa 'six' is an Indus Script cipher, rebus bhaṭa ‘furnace’; baṭa 'iron'.

Six such pit furnaces are signified by the six hollows in front of the ziggurat of Sit Shamsi bronze. These are signified by the synonym of bhaṭa::कुण्ड a vessel for coals (रामायण. v , 10 , 16) (Monier-Williams).agniḥ अग्निः -कुण्डम [अग्नेराधानार्थं कुण्डम्] an enclosed space for keeping the fire, a fire-vessel.(Apte) కుండము  kunḍamu. [Skt.] n. An earthen pot. A pit or pot for receiving and preserving consecrated fire. A fire pit నిప్పుల గుండము.గుండము  gunḍamu. [Tel.] n. A pit, a fire pit. నిప్పులగుంట.కంబము  kambamu. [from Skt. స్తంభము] n. A pillar or post. The stem of a tree. దివ్వెకంబము a candlestick. కంబమయ్య or కంబమురాయడు kambam-ayya. n. The god Narasimha who manifested himself to హిరణ్యకశిప in a pillar. See ప్రహ్లాదచరిరత్ర. కంబవల్లి kamba-valli. n. Worship of a pillar performed on the last day of an ఉపనయన ceremony. కంబబాణములు kamba-bāṇamulu. n. Fireworks fixed on posts.. ..                                                                                            

Two khambha 'pillars' signify two khāmār 'barn, warehouse'; eight wedges signify अष्टन्-धातुःkaraḍā hard alloys of eight metals

The pair of lingas (D and D') have indentations at the tip of the stone pillars. These indentations might have held lighted earthen lamps (deepam) to connote the lingas as pillars of light. (AV X.7). 

skambhá1 m. ʻ prop, pillar ʼ RV. 2. ʻ *pit ʼ (semant. cf. kūˊpa -- 1). [√skambh]
1. Pa. khambha -- m. ʻ prop ʼ; Pk. khaṁbha -- m. ʻ post, pillar ʼ; Pr. iškyöp, üšköb ʻ bridge ʼ NTS xv 251; L. (Ju.) khabbā m., mult. khambbā m. ʻ stake forming fulcrum for oar ʼ; P. khambh, khambhā, khammhā m. ʻ wooden prop, post ʼ; WPah.bhal. kham m. ʻ a part of the yoke of a plough ʼ, (Joshi) khāmbā m. ʻ beam, pier ʼ; Ku. khāmo ʻ a support ʼ, gng. khām ʻ pillar (of wood or bricks) ʼ; N. khã̄bo ʻ pillar, post ʼ, B. khām, khāmbā; Or. khamba ʻ post, stake ʼ; Bi. khāmā ʻ post of brick -- crushing machine ʼ, khāmhī ʻ support of betel -- cage roof ʼ, khamhiyā ʻ wooden pillar supporting roof ʼ; Mth. khāmh, khāmhī ʻ pillar, post ʼ, khamhā ʻ rudder -- post ʼ; Bhoj. khambhā ʻ pillar ʼ, khambhiyā ʻ prop ʼ; OAw. khāṁbhe m. pl. ʻ pillars ʼ, lakh. khambhā; H. khām m. ʻ post, pillar, mast ʼ, khambh f. ʻ pillar, pole ʼ; G. khām m. ʻ pillar ʼ, khã̄bhi, ˚bi f. ʻ post ʼ, M. khã̄b m., Ko. khāmbho, ˚bo, Si. kap (< *kab); -- X gambhīra -- , sthāṇú -- , sthūˊṇā -- qq.v.
2. K. khambürü f. ʻ hollow left in a heap of grain when some is removed ʼ; Or. khamā ʻ long pit, hole in the earth ʼ, khamiā ʻ small hole ʼ; Marw. khã̄baṛo ʻ hole ʼ; G. khã̄bhũ n. ʻ pit for sweepings and manure ʼ.*skambhaghara -- , *skambhākara -- , *skambhāgāra -- , *skambhadaṇḍa -- ; *dvāraskambha -- .Addenda: skambhá -- 1: Garh. khambu ʻ pillar ʼ.*skambhaghara ʻ house of posts ʼ. [skambhá -- 1, ghara -- ]B. khāmār ʻ barn ʼ; Or. khamāra ʻ barn, granary ʼ: or < *skambhākara -- ?(CDIAL 13639, 13641)

खोट   khōṭa f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. Hence 2 A lump or solid bit (as of phlegm, gore, curds, inspissated milk); any concretion or clot. खोटीचा Composed or made of खोट, as खोटीचें भांडें. Wedge is a piece of metal, wood, rubber, etc. with a pointed edge at one end and a wide edge at the other. Rebus:  गोटी   gōṭī A lump of silver: as obtained by melting down lace or fringe.The eight wedges lining either side of the ziggurat may denote: <tamja-n+m>(L)  {N} ``eight years''.  #48162. <tamji>(L)  {N} ``^eight''.  *^V008 Kh.<tham>.  #64641.Rebus: tam(b)ra 'copper'. If this surmise is valid, the ziggurat might have been stupa called dhatu-garbha or dagoba or dagaba. aṣṭan अष्टन् num.-धातुः the eight metals taken collectively; स्वर्णं रूप्यं च ताम्रं च रङ्गं यशदमेव च । शीसं लौहं रसश्चेति धातवो$ष्टौ प्रकीर्किताः ॥ करडा [ karaḍā ] m The arrangement of bars or embossed lines (plain or fretted with little knobs) raised upon a तारof gold by pressing and driving it upon the अवटी or grooved stamp. Such तार is used for the ornament बुगडी, for the hilt of aपट्टा or other sword &c. Applied also to any similar barform or line-form arrangement (pectination) whether embossed or indented; as the edging of a rupee &c. The embossed lines of 4+4 (8) balls flank the ziggurat on Sit Shamshi bronze are thus rebus: करडा [ karaḍā ] Hard from alloy--iron, silver &c signifiers of hard alloy ingots of eight metals.

The ziggurat shown on the Sit-Shamshi bronze compares with a ziggurat which might have existed in the Stupa mound of Mohenjodaro (lit. mound of the dead), indicating the veneration of ancestors in Susa and Meluhha in contemporaneous times.Some glyphics of the bronze model have parallels in Indian hieroglyphs. Glyph: 'stump of tree': M. khũṭ m. ʻstump of tree’; P. khuṇḍ, °ḍā m. ʻpeg, stumpʼ; G. khū̃ṭ f. ʻlandmarkʼ, khũṭɔ m., °ṭī f. ʻ peg ʼ, °ṭũ n. ʻstumpʼ (CDIAL 3893). Allograph: (Kathiawar) khũṭ m. ʻBrahmani bullʼ(G.) Rebus: khũṭ 'community, guild' (Munda) 

Ziggurats of Mohenjo-daro and Tchogha Zanbil

Ziggurat model. Sit Shamshi bronze. Ziggurat. Mohenjo-daro.

Elamite ziggurat of Tchogha zanbil

Water oblations, kaṇḍa large storage pot  storing lōkhaṇḍa, mẽṛhẽt khaṇḍa

 'metal equipment'

The prayer involved lo ‘pouring (water) oblation’ (Munda) for the setting sun. Rebus: loh ‘copper’ (Santali) The glyphic representations connote a guild of coppersmiths in front of a ziggurat, temple and is a veneration of ancestors. The authors of the bronze model seem to have interacted with the groups of artisans of Mohenjo-daro who had a ziggurat in front of the ‘great bath’.

Rebus: लोखंडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith. (Marathi). The four hemi-spheres (C and C') linked to each stone pillar (D and D') have been explained as Meluhha hieroglyphs read rebus: 

Metaphor: Sh. K.ḍoḍ. lō m. ʻ light, dawn ʼ; L. awāṇ. lō ʻ light ʼ; P. lo f. ʻ light, dawn, power of seeing, consideration ʼ; WPah. bhal. lo f. ʻ light (e.g. of moon) ʼ.(CDIAL 11120). lo 'penis' Rebus: loh 'copper, metal' Rebus: kanda 'fire-trench' used by metalcasters

Rebus: gaṇḍu 'manliness' (Kannada); 'bravery, strength' (Telugu) 

Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi)

Together, hieroglyphs: lo + gaṇḍa. Rebus: लोखंड [ lōkhaṇḍa ] 'metalwork'

kolmo kaṇḍa 'three stalks' Rebus: kolimi kaṇḍa 'smithy/forge implements'. Three stalks. Sit Shamshi model. kolom 'three' Rebus: kolimi 'smithy, forge' kole.l 'temple' kolle 'blacksmith' pattar 'water-trough' rebus: pattar 'goldsmith guild'.

कांडें [ kāṇḍēṃ ] n (कांड S) A joint or knot, an articulation. 2 The portion included between two knots, an internodation. 3 A piece (as of sugarcane or bamboo) comprising three or four knots. 4 The whole stem or trunk of a plant, or esp. up to the shooting of the branches. 5 fig. A measure of length,--a pole, stick, straw, thread, any thing (of definite or indefinite length) taken to measure with: also the measure so taken. v घे. Hence A section or defined portion (of a long wall, of an elevated platform sometimes appended to a draw-well, of a raised पाट or plantation-watercourse, of any long line of masonry). 6 A creeping plant old, dry, and stiff. 7 Stalks and heads of corn once trodden or thrashed (as thrown or reserved for a second treading or thrashing). 8 A young plant (of नाचणी, वरी &c.) fit to be transplanted. 2 A disease attacking the finger-joints. अडचा कांड्यावर येणें (Because two large and one small कांडीं or joints are the amount of a stalk of wheat.) To be ready to throw out the ear (to shoot the hose)--wheat. 2 fig. To be nubile or ready for a spouse;--said of a boy or a girl.कांडें पेरें लावणें or लावून पाहणें To compare together the foot of a person (suspected to be a murderer, thief &c.) with a footprint. And कांडे पेरें मिळणें, कमीज्यास्त होणें &c. expresses their agreement or disagreement. Hence ह्याचें त्याचें कांडें पेरें मिळालें Said of two persons of mutual resemblance. कांडें पेरें घेणें to take the measurement of. कांडें पेरें पाहून After observing the joints and points. Said in purchasing cattle &c.

Three stakes on Sit-Shamshi bronze.

Three jagged sticks on the Sit Shamshi bronze, in front of the water tank (Great Bath replica?) If the sticks are orthographic representations of 'forked sticks' and if the underlying language is Meluhha (mleccha), the borrowed or substratum lexemes which may provide a rebus reading are:

kolmo 'three'; rebus; kolami 'smithy' (Telugu)

Glyph: मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock. मेढा [ mēḍhā ] m A stake, esp. as forked. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.(Marathi)(CDIAL 10317) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Vikalpa: P. khuṇḍ, °ḍā m. ʻ peg, stump ʼ;  khuṇṭ ‘stump’. Rebus: 1. khũṭ ‘community, guild’ (Mu.) 2. Skt. kuṇḍa- round hole in ground (for water or sacred fire).

Thus, three jagged sticks on the Sit Shamshi bronze may be decoded as khũṭ kolami ‘smithy guild’ or, kuṇḍa kollami ‘sacred fire smithy’ or, meḍ kolami 'iron (metal) smithy'. 'Iron' in such lexical entries may refer to 'metal'.
https://www.youtube.com/watch?time_continue=1&v=3WfuhPYTP0s

Shamash, sun divinity of ANE 3rd m. BCE is derived from षष् + ऋतुः six seasons linked to Sun's passage into 6 zodiacal signs

October 20, 2019, 6:14 am

≫ Next: Shamash 'Sun'& Sit Shamshi 'bronze sunrise' derive from षष् + अशीतिमुख, six passages of the Sun into zodiacal signs to signify six seasons

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https://tinyurl.com/yxfccy5o

This is an addendum to the decipherment of Adda, the scribe's cylinder seal which contains Indus Script hieroglyphs:

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Sun temple at Sippar, Šamaš on Adda seal with Indus Script Hypertexts are celebrations of ahan-gār, 'thunderbolt-maker, metalworker' https://tinyurl.com/ybea9aps 

-- Sun's passage into 6 zodiacal signs -- Taurus, Cancer, Virgo, Sagittarius, Gemini and Pisces -- explains the six seaons of Ancient Hindu solar calendar; the six seasons are: वसन्त, ग्रीष्म, वर्षा, शरद्, हेमन्त and शिशिर -- rendered in English as Spring, Summer, Rainy, Autumn, Fall Winter and Winter seasons

-- षष् + ऋतुः (षड्--ृतु  ) of सूर्यसिद्धान्त; which explains six seasons in Hindu calender also yields: Hitt. dšiuš `(sun)god which is cognate with Shamash 'sun divinity' in Ancient Near East in vogue since 3rd millennium BCE.

This is one conclusive evidence of Sanskrit term related to astronomical solar calendar entering into Ancient Near East and Indo-European language families, through Hittite.

शुष्णः   śuṣṇḥ शुष्णः [शुष्-नः कित् Uṇ.3.12], शुष्मः   śuṣmḥ शुष्मः [शुष्-मन् किच्च] 1 The sun. -2 Fire. शुष्मन्   śuṣman शुष्मन् m. 1 Fire; Śi.14.22; सार्धं तेनानुजेनाप्रतिहतगतिना मारुतेनेव शुष्मा Śiva B.2.68; ऋतुशुष्ममहोष्मभिः N.17.168 -2 Light, lustre. शोषयित्नुः   śōṣayitnuḥ शोषयित्नुः [शुष्-इत्नुच् Uṇ.3.29] The sun. śōṣḥ शोषः [शुष्-घञ्] Drying up, dryness; शोषिणी   śōṣiṇī शोषिणी Ether.

ṣaṣ षष् num. a. (used in pl., nom. षट्; gen. षण्णाम्) Six;  -अशीत (षडशीत) eighty-sixth. -अशीतिः f. (-ष़डशीतिः) 1 eighty-six. -2 N. of the four passages of the sun from one zodiacal sign to the other; -ऋतुः m. pl. the six seasons (i. e. वसन्त, ग्रीष्म, वर्षा, शरद्, हेमन्त and शिशिर).(Apte) षड्-शीति-मुख n. (or f(आ). scil. गति) the sun's entrance into the four signs (Pisces , Gemini , Virgo , and Sagittarius) सूर्यसिद्धान्त; षड्--ृतु m. pl. the six seasons (Monier-Williams) 

In Indian calendrical reckoning, there are six seasons which occur as the sun's passage into spcific zodial signs occur as follows:

(Mid March to Mid May)                       वसतं ऋतू    Spring            Taurus

Mid May – Mid July)                             ग्रीष्म ऋतू    Sumer             Cancer

Mid July – Mid September)                  वर्षा ऋतू     Rainy              Virgo

(Mid September – Mid November)       शरद ऋतू    Autumn          Sagittarius

Mid November – Mid January)             हेमन्त ऋतू   Fall winter      Gemini

(Mid January – Mid March)                  शिशिर ऋतू  Winter             Pisces

 

Jan 20, 2019: Sun enters sign Aquarius (300^o) 

Feb 18, 2019: Sun enters sign Pisces (330^o)

Mar 20, 2019: Sun enters sign Aries (0^o)

April 20, 2019: Sun enters sign Taurus (30^o)

May 21, 2019: Sun enters sign Gemini (60^o)

June 21, 2019: Sun enters sign Cancer (90^o)

July 23, 2019: Sun enters sign Leo (120^o)

Aug 23, 2019: Sun enters sign Virgo (150^o)

Sep 23, 2019: Sun enters sign Libra (180^o)

Oct 23, 2019: Sun enters sign Scorpio (210^o)

Nov 22, 2019: Sun enters sign Sagittarius (240^o)

Dec 22, 2019: Sun enters sign Capricorn (270^o)

Alb. cognate (*tiwali) diel `sun' corresponds to Luvian: tiwali(ya)- `of the Sun-(god)' and Hitt. ^dšiuš `(sun)god'.
Hitt. <sup>d</sup>šiuš `(sun)god', Luvian ^DŠiwata- `Sun-god' Attestations: [VSg] <sup>D</sup>Ši-wa-ta: KBo XXII 137 iii 8.
Commentary: Hittitized version of Luvian <sup>D</sup>Tiwat-; tiwali(ya)- `of the Sun-(god)' Attestations: [VSg] ti-wa-a-li-ya: 45 ii 18, ti-wa-li-ya: 48 ii 11; XV 35 i 21; KBo VIII 69,5.https://academiaprisca.org/indoeuropean.html
Version of the ancient star/Sun symbol of Shamash

God of the sun, justice, morality, and truth. Representation of Shamash from the Tablet of Shamash (c. 888 – 855 BC), showing him sitting on his throne dispensing justice while clutching a rod-and-ring symbol

Old Babylonian cylinder seal impression depicting Shamash surrounded by worshippers (c. 1850-1598 BCE)

Cylinder seal TT  of a scribe named Adda, showing Šamaš cutting through mountains on the horizon so he can rise in the morning; ca. 2300-2200 BCE (BM 89115). 

Detail of a cylinder seal from Sippar (2300 BC) depicting Shamash with rays rising from his shoulders and holding a saw-toothed knife with which he cuts his way through the mountains of the east at dawn (British Museum)

British Museum. 89115 Adda seal."Impression of greenstone cylinder seal; hunting god (full-face) with a bow and an arrow (?) over his shoulder; a quiver with tassel attched hands on his back. On the left hand mountain stands a small tree and Ishtar (full-face), armed with weapons including an axe and a mace rising from her shoulders, winged and holding a bush-like object probably a bunch of dates above the sun-god's head. The sun-god Shamash with rays, holding a serrated blade, is just begining to emerge from between two square topped moutains. The water god Ea stands to the right with one foot placed on the right hand mountain; he stretches out his right hand towards an eagle, probably the Zu bird who stole the tablets of destiny, a couchant bull lies between his legs and streams of water and fish flow from his shoulders. Behind him stands his two-faced attendant god Usimu with his right hand raised. All wear multiple-horned head-dresses. The male figures are bearded and Usimu has a double beard. He wears a flouched skirt, Ea and Ishtar both wear flouched robes and the fourth complete figure wears a striped skirt which either has a cod-piece or is hitched up in front. This god wears his hair in a long curl down the left side, reminiscent of those worn by bull-men and Ishtar has two similar curls hanging down, one on either side, while Ea and Shamash wear their hair in a triple bun. The scales of the moutain are continued in a horizontal band all round the lower part of the seal and it is on this band that the figures are standing. Terminal, a two line inscription in a frame; a lion pacing towards the right and roaring; slightly concave."

https://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?partid=1&assetid=579447001&objectid=368706

2300 BCE. Found/Acquired: Sippar (?)(Asia,Middle East,Iraq,South Iraq,Sippar 

• Height: 3.9 centimetres Diameter: 2.55 centimetres Height:  .5 centimetres Diameter: 1 inches

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"Greenstone cylinder seal. A hunting god (full-face) has a bow and an arrow (?) over his shoulder; a quiver with tassel attached hangs on his back. On the left hand mountain stands a small tree and Ishtar (full-face) who is winged and armed with weapons including an axe and a mace rising from her shoulders. She is holding a bush-like object, probably a bunch of dates, above the sun-god's head. The sun-god Shamash with rays, holding a serrated blade, is just begining to emerge from between two square topped moutains. The water god Ea stands to the right with one foot placed on the right hand mountain. He stretches out his right hand towards an eagle, probably the Zu bird who stole the tablets of destiny. A couchant bull lies between his legs and streams of water and fish flow from his shoulders. Behind him stands his two-faced attendant god Usimu with his right hand raised. All wear the multiple-horned head-dresses of deities. The male figures are bearded and Usimu has a double beard and wears a flounced skirt. Ea and Ishtar both wear flounced robes and the fourth complete figure wears a striped skirt which either has a cod-piece or is hitched up in front. This god wears his hair in a long curl down the left side, reminiscent of those worn by bull-men and Ishtar has two similar curls hanging down, one on either side, while Ea and Shamash wear their hair in a triple bun. The scales of the mountain are continued in a horizontal band all round the lower part of the seal and it is on this band that the figures are standing. There is a two line inscription in a frame and below it a lion is pacing towards the right and roaring. The cylinder is slightly concave in shape."

https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?assetId=32572001&objectId=368706&partId=1

Decipherment of seal of Adda, the scribe

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

Goddess Ishtar stands on a lion and holds a bow, god Shamash symbol at the upper right corner, from Southern Mesopotamia, Iraq

Akkadian šamaš "Sun" is cognate to Phoenician: 𐤔𐤌𐤔 šmš,Classical Syriac: ܫܡܫܐ‎ šemša, Hebrew: שֶׁמֶשׁ‎ šemeš and Arabic: شمس‎ šams.

 Akkadian rendition^[1][2] of Sumerian ^dUD 𒀭𒌓 "Sun", ( Kasak, Enn; Veede, Raul (2001). Mare Kõiva; Andres Kuperjanov (eds.). "Understanding Planets in Ancient Mesopotamia (PDF)")

"Utu, later worshipped by East Semitic peoples as Shamash, is the ancient Mesopotamian god of the sun, justice, morality, and truth, and the twin brother of the goddess Inanna, the Queen of Heaven. His main temples were in the cities of Sippar and Larsa. He was believed to ride through the heavens in his sun chariot and see all things that happened in the day. He was the enforcer of divine justice and was thought to aid those in distress." (https://en.wikipedia.org/wiki/Utu)