h

--Dotted circles and trefoil are Rgveda gāthā, 'narratives', Indus Script hieroglyphs of Potr̥ 'purifier priest', dhā̆vaḍ 'smelter of iron, copper, silver, gold'

-- -- anthropomorph bull-man is ḍhã̄gu 'bull', ḍã̄go ʻmale (of animals)ʼ rebus ṭhakkura ʻidol' ṭhākur 'blacksmith', 'deity';  ḍāṅro ʻ term of contempt for a blacksmith (Nepalese)(CDIAL 5524)

---- Jagati, jagali, cēdi is a pedestal for an idol, for e.g., to hold a śivalinga. A less frequently used name is shedu (Cuneiform: 𒀭𒆘, an.kal×bad; Sumerian: ^dalad; Akkadian, šēdu), which refers to the male counterpart of a lamassu.(Black, Jeremy; Green, Anthony (2003). An Illustrated dictionary, Gods, Demons and Symbols of Ancient Mesopotamia. The British Museum Press).https://en.wikipedia.org/wiki/Lamassu I submit that this Akkadian word shedu is cognate with the substrate Meluhha word cēdi which is a synonm of jagati, jagali, 'a pedestal for an idol, for e.g., to hold a śivalinga'. This cēdi, 'pedestal' is archaeologically evidenced from Mohenjo-daro. The trefoil decoration on the pedestal signifies dhāu 'mineral' trefoils rebus धामन् dhāman 'wealth'. In the tradition of Ancient Near East regions, including Sumer and Elam, the Akkadian, šēdu is personified in Lamassu anthropomorphs as celestial beings and venerated as the protectors of wealth. The semantics related to the representation of 'Master of Animals' derives from the exalted status of the smiths, artisans and seafaring merchants who created the wealth of a nation. In Meluhha terms, ḍhã̄gu 'bull', ḍã̄go ʻmale (of animals)ʼ rebus ṭhakkura ʻidol' ṭhākur, ḍāṅro
'blacksmith', ṭhākur 'deity'.

-- One of the group of recumbent bulls found in Telloh adorned with 'trefoil' hieroglyphs of Neo-Sumerian period (around 2150-2000 BC), is inscribed with the name of Gudea, the Second Dynasty ruler of Lagash (c. 2144–2124 BCE). Telloh is Girsu was a city of ancient Sumer, situated some 25 km (16 mi) northwest of Lagas

Lamassu winged bull amulet replica. Limestone and Quartzite composite stone Lamassu bull Dimensions:- 5.5 cm x 5.5 cm / 2-1/4 x 2-1/4 inches  Note the one-horn of the bull which evokes the one-spiny-horned young bull (unicorn) which signifies kunda singi 'fine gold, ornament gold' and 'turner, lapidary'. *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 coine(DEDR 1236)

https://www.etsy.com/in-en/listing/522754177/mesopotamia-assyrian-art-mythology?show_sold_out_detail=1

Telloh, DhiQarProvince, Iraq, Sumer
Coordinates	31°33′43.3″N 46°10′39.3″E

Ring of Gold, Carnelian, Lapis Lazuli, Tello, ancient Girsu, mid-3rd millenium BC. Louvre Museum.

An account of barley rations issued monthly to adults and children written in Cuneiform on clay tablet, written in year 4 of King Urukagina (circa 2350 BC). From Girsu, Iraq. British Museum, London.https://en.wikipedia.org/wiki/Girsu
Terracotta stamp seal with Master of Animals motif, Tell Telloh, ancient Girsu, End of Ubaid period, circa 4000 BC. Louvre Museum AO15388

Indus seal impression discovered in Telloh, a result of Indus-Mesopotamia relations.THUREAU-DANGIN, F. (1925). "SCEAUX DE TELLO ET SCEAUX DE HARAPPA". Revue d'Assyriologie et d'Archéologie Orientale. 22 (3): 99–101. JSTOR 23283916; Marshall, John (1996). Mohenjo-Daro and the Indus Civilization: Being an Official Account of Archaeological Excavations at Mohenjo-Daro Carried Out by the Government of India Between the Years 1922 and 1927. Asian Educational Services. pp. 425–426.

-- the metaphor unravels in the expression परि-ष्-कृत which means 'embellished, adorned, written down' (as for e.g., gold-bead fillets worn on the forehead and right-shoulder of Mohenjo-daro priest).

-- परि-ष्-कृत mfn. (प्/अरि-) prepared , adorned , embellished , furnished with , surrounded or accompanied by (instr. or comp.) RV. &c; purified, initiated (Monier-Williams)

-- Potr̥ 'purifier priest' is Poddār 'assayer of metals, silversmith, treasurer', dhā̆vaḍ 'smelter of iron, copper, silver, gold'

-- Archaeological evidence Paṭanāyaka 'head scribe' of Sarasvati Civilization is Potr̥ 'purifier priest', पोतदार, ପୋଦ୍ଦାର୍ Poddār 'assayer of metals, silversmith, treasurer', dhā̆vaḍ 'smelter of iron, copper, silver, gold'

This is an addendum to: 

1)    "Je tiens mon affaire!" I have got it !! Breakthrough !! Decipherment of Indus Script trefoil surprisingly unravels अश्वमेध metaphor as 'metals wealth accumulation' https://tinyurl.com/yhgrautc

2)      Archaeological & RV 10.85 evidence for writing in Rgveda times of hymns written on robes https://tinyurl.com/ykxqqck5

3)      Master of animals is a bull-man, a blacksmith, a celestial being, generator of wealth of a nation https://tinyurl.com/y29nwwof

RV 10.85.6 states:

RV_10,085.06a raibhy āsīd anudeyī nārāśaṃsī nyocanī |RV_10,085.06c sūryāyā bhadram id vāso gāthayaiti pariṣkṛtam ||

Anvaya (syntax); (During the wedding of Suryaa) raibhii 'to be recited' anudeyii 'worthy to give'; aasiit 'was'; naaraas'amsii 'praised by man' nyocanii 'the servant' (aasiit 'was') (mama) suryaayaa 'of me, suryaa'; bhadram 'beneficial, munificent' vaasah it 'the dress also' gaathayaa 'by the narratives' parishkrtam eti 'was adorned'. Meaning: The mantra to be recited during the wedding of Suryaa was worthy to give. The mantra praised by man was the servant. The munificent dress of Suryaa was adorned by the narratives.

This meaning is based on the anvaya: gaathayaa parishkrtam eti 'adorned by the narratives'.

Griffith translation:  Raibhi was her dear bridal friend, and Narasamsi led her home.

Lovely was Suryas' robe: she came to that which Gatha had adorned. [Wilson’s translation notes that Raibhi, Narasamsi and Gatha are personifications of son and praise. Raibhi is derived from rebh, to sound: Aitareya Brahmana 6.32].  

I submit that RV 10.85.6 with the expression gaathayaa parishkrtam eti 'adorned by the narratives' recounts the hieroglyphs of gold-bead fillet and trefoils adorning the Mohenjo-daro priest statue.

I submit that this Rgveda tradition of adorning the robe continues into the days of शतपथ-ब्राह्मण and Indus Script traditions of hieroglyphs in a rebus rendering of plaintexts of Meluhha as demonstrated on adorned robes of priests.

The metaphors in RV 10.85.6 involve adornments (writing) with गाथा song or आख्यान 'historical narratives'; and  नराशंस which signifies desire of people; thus, गाथा and नराशंस are personified praise and song. An expansion of the metaphor of RV 10.85.6 includes a personification of rebha 'sound': The rica states that Narasamsi led the bridal friend Raibhi to her home. Raibhi is thus a metaphorical personification of the sounds. 

Plain text of the metaphor is: Raibhi 'personified sound' comes to the robe adorned by गाथा 'song' and आख्यान 'historical narratives'. This is a signifier that rebus writing system using hieroglyphs is in vogue to present the narratives. 

Thus, the narrative of the performance of Traidhâtavî (ishti) with the use of three mineral ores is signified by the hieroglyphs of dotted circles and trefoils on the robe and adornments on the forehead and right-shoulder of gold-bead-fillets worn by the priest.

I suggest that this reference to Raibhi coming to the robe is a metaphor to convey that 'sounds' were signified by the adornments on the robe. It appears that the adornments are signifiers of song or आख्यान 'historical narratives'.

I submit that such an adornment is seen on the statue of Mohenjo-daro which signifies hieroglyphs of 
1) gold-bead fillet worn on the forehead and right shoulder; and 
2) trefoils on the tarpya heaven garment.

This submission is based on the details provided in the शतपथ-ब्राह्मण in a remarkable referene to traidhatavi needles, i.e. needles of copper, silver and gold used to decorate the robe with single dotted circle, double dotted circles and trefoils (three dotted circles fused into a flower-like adornment).

13.2.10  TENTH BRÂHMANA 
1. When they prepare the knife-paths, the Sacrificer makes for himself that passage across, a bridge, for the attainment of the heavenly world.
2. They prepare them by means of needles; the needles, doubtless, are the people (clans), and the Asvamedha is the royal power: they thus supply him with people and royal power combined. They are made of gold: the meaning of this has been explained.
3. Three kinds of needles are (used), copper ones, silver ones, and gold ones;--those of copper, doubtless, are the (principal) regions (of the compass), those of silver the intermediate ones, and those of gold the upper ones: it is by means of these (regions) they render it fit and proper. By way of horizontal and vertical (stitches 1) they are many-formed, whence the regions are many-formed; and they are of distinct form, whence the regions are of distinct form. Note: On people (clans): Viz. because of the large number and the small size (insignificance) of the needles, or wires, (and the common people). On 'stitches' (on the robe?):  It is doubtful what word, if any, has to be supplied here,--perhaps it means, by way of their being (in sewing) horizontal and vertical. The commentary is silent on this passage.
https://www.sacred-texts.com/hin/sbr/sbe44/sbe44092.htm

13.3.4 FOURTH BRÂHMANA

3. The first oblation (of blood) he offers 2 in the throat (gullet) of the Gomriga 1; for Gomrigas are cattle, and the Svishtakrit is Rudra: he thus shields the cattle from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha.
4. The second oblation 1 he offers on a horse-hoof; for the one-hoofed (animals) are cattle, and the Svishtakrit is Rudra: he thus shields the cattle from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha.
5. The third oblation he offers in an iron bowl; for the people (subjects) are of iron 2, and the Svishtakrit is Rudra: he thus shields the people from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha. Note: That is, their value--as compared with that of the king or nobles, and the Brâhmanas--is that of iron, compared with that of gold and silver; cp. XIII, 2, 2, 19. 13.2.2.18, 19: 18. And as to why there are copper (knives) for the 'paryaṅgyas,'--even as the non-royal kingmakers, the heralds and headmen, are to the king, so those 'paryaṅgyas' are to the horse; and so, indeed, is this--to wit, copper--to gold: with their own form he thus endows them.

19. And as to why there are iron ones for the others,--the other animals, indeed, are the peasantry, and this--to wit, iron--is a form of the peasantry: he thus combines the peasantry with the peasantry. On a rattan mat (lying) north (of the Âhavanîya) they cut the portions of the horse(-flesh); for the horse is of anushtubh nature, and related to the Anushtubh is that (northern) quarter: he thus places that (horse) in its own quarter. And as to (his doing so) on a rattan mat,--the horse was produced from the womb of the waters 1, and the rattan springs from the water: he thus causes it to be possessed of its own (maternal) womb.

 Udavasânîyâ (closing offering) includes Traidhataviya ishti (Yajna involving three minearal ores): 

13.6.2.17. ...The Traidhâtavî is the final offering (Udavasânîyâ): the mystic import is the same (as before 1). (Note: The process is as set forth in  V, 5, 5, 6 seqq. As noted in V.5.5.7, the Traidhâtavî ends with presentation of gold coins. Such gold coins are either tied as gold-bead-fillets on the forehead and right shoulder of the priest or stitched on as embroidered adornments on the robe of the priest.

5:5:5:

6. And that which had been his (Vritra's) seat, his retreat, that he shattered, grasping it and tearing it out 1 Cf. III, 2, 1, 28.: it became this offering. And because the science (the Veda) that lay in that retreat was, as it were, a threefold (tridhâtu) one, therefore this is called the Traidhâtavî (ishti).

7. And as to why the oblation is one for Indra and Vishnu, it is because Indra raised the thunderbolt, and Vishnu stood by him.

8. And why it is (a cake) on twelve potsherds,--there are twelve months in the year, and the offering is of equal measure with the year: therefore it is one of twelve potsherds.

9. He prepares it of both rice and barley. He first puts on (the fire) a ball of rice, that being a form (symbol) of the Yagus-formulas; then one of barley, that being a form of the Rik-verses; then one of rice, that being a form of the Sâman-hymns. Thus this is made to be a form of the triple science: and this same (offering) becomes the Udavasânîyâ-ishti (completing oblation) for the performer of the Râgasûya.

...

11. And, verily, he who performs the Râgasûya gains for himself all sacrificial rites, all offerings, even the spoonful-oblations; and this offering, the Traidhâtavî (ishti), is instituted by the gods: 'May this offering also be performed by me, may I be consecrated by this one also!' thus he thinks, and therefore this is the completing offering for him who performs the Râgasûya.

...

16. Three gold pieces of a hundred mânas 2 each are the sacrificial fee for this (offering). He presents them to the Brahman; for the Brahman neither performs (like the Adhvaryu), nor chants (like the Udgâtri), nor recites (like the Hotri), and yet he is an object of respect. And with gold they do nothing 3, and yet it is an object of respect: therefore he presents to the Brahman three gold pieces of a hundred mânas each.

Note: 

According to Sâyana, these 'satamânas' are similar to the round plate worn by the king during the Consecration-ceremony; see p. 104, note 2. These plates (as the 'rukmas' generally, VI, 7, 1, 2 seq.) were apparently used for ornament only, not as coins.

SIXTH BRÂHMANA.

THE STUDY OF THE VEDA. 11:5:6:8  And, verily, the precepts 1, the sciences 2, the dialogue 3, the traditional myths and legends 4, and the Nârâsamsî Gâthâs 5 are honey-offerings to the gods; and whosoever, knowing this, studies day by day the precepts, the sciences, the dialogue, the traditional myths and legends, and the Nârâsamsî Gâthâs, for his lesson, satisfies the gods with honey-offerings; and, being satisfied, they satisfy him by (granting him) security of possession, by life-breath, by seed, by his whole self, and by all auspicious blessings; and rivers of ghee and rivers of honey flow for his Fathers, as their accustomed draughts.https://www.sacred-texts.com/hin/sbr/sbe44/sbe44030.htm Notes: Itihâsa-purâna: the Itihâsa, according to Sâyana, are cosmological myths or accounts, such as 'In the beginning this universe was nothing but water,'&c.; whilst as an instance of the Purâna (stories of olden times, purâtanapurushavrittânta) he refers to the story of Purûravas and Urvasî.  Or, the Gâthâs and Nârâsamsîs. Sâyana, in the first place, takes the two as one, meaning 'stanzas (or verses) telling about men;' but he then refers to the interpretation by others, according to which the Gâthâs are such verses as that about 'the great snake driven from the lake' (XI, 5, 5, 8); whilst the Nârâsamsîs would be (verses 'telling about men') such as that regarding Ganamegaya and his horses (XI, 5, 5, 12). On Aitareyâr. II, 3, 6, 8, Sâyana quotes 'prâtah prâtar anritam to vadanti' as an instance of a Gâthâ.

These metaphors indicate the use of iron, copper, silver and gold equipment in the Yajna process.

The rica says that गाथा adorned the robe of Surya to which came Raibhi. रेभ्   rēbh रेभ् 1 Ā. (रेभते) 1 To sound, make a noise. -2 To low (as cows).   रेभ   rēbha रेभ a. Ved. 1 Crackling. -2 Sounding loudly; cf. Ki.15.16. -भः 1 A praiser. -2 A talker.   रेभणम्   rēbhaṇam रेभणम् The lowing of kine.(Apte) रेरेभ शब्दे भ्वा० आत्म० अक० सेट् । रेभते अरेभिष्ट । ऋदित्चङि न ह्रस्वः ।https://sa.wikisource.org/wiki/वाचस्पत्यम् 

रेभ, ङ ऋ शब्दे । इति कविकल्पद्रुमः ॥ (भ्वा०-आत्म०-अक०-सेट् ।) ङ, रेभते रिरेभे । ऋ,अरिरेभत् । इति दुर्गादासः ॥रेभणं, क्ली, (रेभ शब्दे + भावे ल्युट् ।) गवांध्वनिः । इति त्रिकाण्डशेषः ॥ https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः

1) गा* थ m. a song RV. i , 167 , 6 and ix , 11 , 4 SV.; गा* था id. (RV); f. a verse , stanza (especially one which is neither ऋच् , nor सामन् , nor यजुस् , a verse not belonging to the वेदs , but to the epic poetry of legends or आख्यानs , such as the शुनःशेप-आख्यान or the Suparn2. ) AV. TS. TBr. S3Br. &c; f. the metrical part of a सूत्र (Bauddham literature); N. of the आर्या metre (Monier-Williams)

2) नराशंस/ नरा m. ( रा-श्?) "the desire or praise of men(?)"; नराशंस पु० १ यज्ञे २ अग्नौ च । “नराशंस महिमानमि-त्यृचमधिकृत्य निरु० ८ । ३ उक्तं यथा “नरांशसो यज्ञइति कात्यकः । नरा अस्मिन्नासीनाः शंसन्ति, अग्निरितिशाकपूणिर्नरैः प्रशस्यो भवति” । तेनोभयनिरुक्तेः उभयार्थता“देव इन्द्रो नराशंसस्त्रिवरूथः” यजु० २१ । ५५ “नरा-शंसो देवोऽनुयाजरूपी यज्ञः” वेददी० “नराशंसो अग्ने”यजु० २७ । १३ “नराशंसः नरैरृत्विग्भिराशंस्यते स्तूयतेनराशंसः अग्निः” वेददी० ।आ + शन्स--भावे घञ् ६ त० । ३ नराणाभाशंसने पु० “जुष्टां नराशंसाय प्रजा वै नराः” शत० ब्रा० १ । ५ । १ । २० “यथा सर्वे-ऽपि नराः शंसन्ति तथाविधशंसनाय प्रियामिति” भाष्यम्अस्य वनस्पत्या० युगपत् उभयपदे प्रकृतिस्वरः । https://sa.wikisource.org/wiki/वाचस्पत्यम्

तनूनपात्, [द्] पुं, (तनूनपं घृतं अत्तीति । अद् +विच् क्विबित्येके । यद्बा, तनूं स्वशरीरं न पातयतीति । पत + णिच् + क्विप् । “नभ्राण्नपात् ।”६ । ३ । ७५ । इति निपातितः ।) अग्निः ।(यथा, ऋग्वेदे । ३ । २९ । ११ ।“तनूनपादुच्यते गर्भ आसुरोनराशंसो भवति यद्बिजायते ॥”)चित्रकवृक्षः । इत्यमरः । २ । ४ । ८० ॥

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

According to Sayana (RV I.13), there are 12 āprī sukta. Of the ten  āprī sukta, R̥gveda commented by Gargya Narayana, RV I.13 and I.142 invoke Narāśaṁsa and Tanūnapāt manifestations of Agni. RV I.188, III.4, IX.5 and X.110 invoke only Tanūnapāt manifestation. RV II.3, V.5, VII.2 and X.70 invoke only Narāśaṁsa manifestation. 

Vācaspatyam explains that ten āprī sukta have unique manifestations to adore Agni, starting with the adoration of samidh and take different forms of expression, specific to specific Gotra:  गोत्रभेदेनभिन्नरूपाः. This indicates that the the so-called family-books are, in fact, pre-dated by specific gotra-lineages.

नाराशंस   mf(/ई)n. (fr. न्/अरा-श्/अंस) relating to the praise of a man or men , laudatory ,eulogistic (as a hymn , tale &c ) TS. Br. Ya1jn5. &c; ; m. N. of partic. सोम libations VS. TBr. &c; m. pl. of a class of पितृs or Manes ib.; ; m. (also) a सोम vessel.तनू—नपात् m. (त्/अनू-) " son of himself , self-generated (as in lightning or by the attrition of the अरणिs cf. Nir. viii , 5) ", a sacred N. of Fire (chiefly used in some verses of the आप्री hymns) RV. (acc. °पातम् , x , 92 , 2) AV. v , 27 , 1 VS. v , 5 (dat. °प्त्रे ; = TS. i , 2 , 10 , 2) AitBr. ii , 4 S3Br. i , 5 , 3 ; iii (gen. °प्तुर् , 4 , 2 , 5 irr. nom. °प्ता [only etymological cf. 4 , 2 , 5] 4 , 2 , 11) Hit.; fire (in general)(Hcat.); name of शिव (Monier-Williams).

नराशंसः   narāśaṃsḥ नराशंसः 1 A yajna. -2 Agni. नरा* शंस m. (°रा*श्°?) " the desire or praise of men(?) " , a mystic. N. of अग्नि (esp. in the आप्री hymns , besides or instead of तनू-नपात् q.v.) RV. VS. TS. Br.; 

(rarely) of पूषन् e.g. RV. i , 164 , 3 ; x. 64 , 3; नर men,people; the primeval Man or eternal Spirit pervading the universe (always associated with नारायण , " son of the primeval man " ; both are considered either as gods or sages and accordingly called देवौ , ऋषी , तापसौ &c ; in ep. poetry they are the son , of धर्म by मूर्ति or अ-हिंसा and emanations of विष्णु , अर्जुन being identified with नर , and कृष्ण with नारायण) Mn. (cf. -सूनु) MBh. Hariv. Pur.; (pl.) a class of myth. beings allied to the गन्धर्वs and किं-नरs MBh. Pur. (Apte.Monier-Williams)

आ-प्री P. (-प्रीणाति Aitareya Brāhmaṇa ii , 4 ; aor. Subj. 2. sg. -पिप्र्/अयस् RV. ii , 6 , 8) to satisfy , conciliate , propitiate , please RV. TS. S3Br.  ; to address or invoke with the आप्री (» below) verses (Aitareya Brāhmaṇa;  Śatapatha Brāhmaṇa): A1. (impf. आ*प्रीणीत) to amuse one's self , be delighted or pleased  (तैत्तिरीय संहिता; लाट्यायन Śrautasūtra) f. gaining one's favour , conciliation , propitiation; f. pl. (-प्र्/इयस् [ AV. xi , 7 , 19] and -प्र्यस् [नारायण]) N. of particular invocations spoken previous to the offering of oblations (according to आश्वलायन-श्रौत-सूत्र. iii , 2 , 5 seqq. they are different in different schools ; e.g. स्/अमिद्धो अग्न्/इर् RV. v , 28 , 1, in the school of शुनक ; जुष्/अस्व नः RV. vii , 2 , 1, in that of वसिष्ठ ; स्/अमिद्धो अद्य्/अ RV. x , 110 , 1, in that of others ; नारायण on this passage gives ten hymns belonging to different schools ; » also  Sāyaṇa on RV. i , 13 [स्/उसमिद्धो न /आ वह , the आप्री-hymn of the school of कण्व] , who enumerates twelve आप्रीs and explains that twelve deities are propitiated ; those deities are personified objects belonging to the fire-sacrifice , viz. the fuel , the sacred grass , the enclosure , &c , all regarded as different forms of अग्नि ; hence the objects are also called आप्रीs , or , according to others , the objects are the real आप्रीs , whence the hymns received their names) (अथर्व-वेद; तैत्तिरीय-संहिता;आश्वलायन-श्रौत-सूत्र)(Monier-Williams).

Gargya Narayana's commentary mentions the following 10 āprī sukta. 

Āprīsūkta	Ṛṣi	Gotra
1.13	Medhātithi Kāṇva	Kāṇva
1.142	Dīrghatamā Aucathya	Āngirasa
1.188	Agastya MaitrāvaruṇI	Agastya
2.3	Gṛtsamada Śaunahotra	Śaunaka
3.4	Viśvāmitra Gāthina	Kauśika
5.5	Vasuśruta Ātreya	Ātreya
7.2	Vasiṣṭha MaitrāvaruṇI	Vāsiṣṭha
9.5	Asita or Devala Kāśypa	Kāśypa
10.70	Sumitra Vādhryaśva	Bharata
10.110	Rāma Jāmadagnya or Jamadagni	Bhārgava

This is evidence that the lovely dress was adorned. This ‘adornment’ is explained as embroidering the garment with hieroglyphs (or writing).

A. Vase from Oxus civilization (BMAC) depicting figures similar to the Harappan 'priest king' sculpture, dated to 2300-1900 BCE with Sketch of the same. The men in top row are seated like this Harappan sculpture (B.) & dressed like this Harappan 'priest king' (C.).Harappan and Oxus civilization had close connections, many Indian objects were exported to Oxus civilization. We can even imagine a common culture, where BMAC was ''proto-Avestan'' related .Source: https://tinyurl.com/y9lj2f8n 

The cloth (shawl worn by the priest) is potti 'cloth' rebus: Potr̥ 'purifier priest' of R̥gveda.

Harappan male ornament styles. After Fig.6.7 in Kenoyer, JM, 1991, Ornament styles of the Indus valley tradition: evidence from recent excavations at Harappa, Pakistan in: Paleorient, vol. 17/2 -1991, p.93 Source: Marshall, 1931: Pl. CXVIII
http://a.harappa.com/sites/g/files/g65461/f/Kenoyer1992_Ornament%20Styles%20of%20the%20Indus%20Valley%20Tradition%20Ev.pdf

This monograph presents archaeological evidence that 1) the robe of a priest was similarly adorned with the hieroglyphs of dotted circles and trefoils and 2) the dotted circles and trefoils as ciphertexts of Indus Script are read rebus in Meluhha plaintexts.

Indus Script is परि-ष्-कृत'embellished' on tārpya तार्प्यRgveda garment of Mohenjo-daro priest with trefoils which unravel the metaphor of Rgveda metaphor of traidhātavī इष्टि 

Clearly, the wearing a fillet on the shoulder and wearing a dress with trefoil hieroglyphs made the figure of some significance to the community.

पोत्रम्   pōtram signifies a ploughshare as shown on the narrative on the Bactria vase. This is a semantic reinforcer of पोत्रम्   pōtram the office of purifier priest in Soma Yajna.

The person with a raised hand and a tablet on the other hand signifies पोतः   pōtḥ पोतः  -वणिज् m. a sea-faring merchant; धत्ते पोतवणिग्जनैर्धनदतां यस्यान्तिके सागरः Śiva B. 29.89. 

पोत्रम्   pōtram पोत्रम् [पू-त्र] 1 The snout of a hog; धृतविधुरधरं महावराहं गिरिगुरुपोत्रमपीहितैर्जयन्तम् Bk.1.6; Ki.13.53. -2 A boat, ship. -3 A plough share. -4 The thunderbolt. -5 A garment. -6 The office of the Potṛi. -Comp. -आयुधः a hog, boar.

https://www.harappa.com/sites/default/files/styles/galleryformatter_slide/public/priest-king-painted-3.jpg?itok=z4uEk1Yq

MIHO MUSEUM

PASSED through, the fleece in thousand streams the Soma, purified, flows on
To Indra's, Viyu's special place. (RV IX.13.1) अवि mf. a sheep RV. (mentioned with reference to its wool being used for the सोम strainer) AV.; mf. the woollen सोम strainer RV.; mfn. ( √ अव्) , favourable , kindly disposed AV. v , 1 , 9 (Monier-Williams)

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

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

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

It has been suggested at 

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

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

 Single strand (one dotted-circle)

Two strands (pair of dotted-circles)

Three strands (three dotted-circles as a trefoil)

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

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

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

Ta. vaṭam cable, large rope, cord, bowstring, strands of a garland, chains of a necklace; vaṭi rope; vaṭṭi (-pp-, -tt-) to tie. Ma. vaṭam rope, a rope of cowhide (in plough), dancing rope, thick rope for dragging timber. Ka. vaṭa, vaṭara, vaṭi string, rope, tie. Te. vaṭi rope, cord. Go. (Mu.) vaṭiya strong rope made of paddy straw (Voc. 3150). Cf. 3184 Ta. tār̤vaṭam. / Cf. Skt. vaṭa- string, rope, tie; vaṭāraka-, vaṭākara-, varāṭaka- cord, string; Turner, CDIAL, no. 11212. (DEDR 5220)  vaṭa2 ʻ string ʼ lex. [Prob. ← Drav. Tam. vaṭam, Kan. vaṭi, vaṭara, &c. DED 4268]N. bariyo ʻ cord, rope ʼ; Bi. barah ʻ rope working irrigation lever ʼ, barhā ʻ thick well -- rope ʼ, Mth. barahā ʻ rope ʼ.(CDIAL 11212)

I suggest that the expression dhā̆vaḍ 'smelter' signified by trefoil or three strands is a semantic duplication of the parole words: dhāī 'wisp of fibre' PLUS vaṭa, vaṭara, vaṭi string, rope, tie. Thus, it is possible that the trefoil as a hieroglyph-multiplex was signified in parole by the expression dhā̆vaḍ 'three strands' rebus: dhā̆vaḍ 'smelter'.

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

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

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

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

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

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

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

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

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

पोतृ m. One of the sixteen officiating priests at a sacrifice (assistant of the priest called ब्रह्मन्). पोत्रम् [पू-त्र] The office of the Potṛi. ब्रह्मन् m. one of the 4 principal priests or ऋत्विज्as (the other three being the होतृ , अध्वर्यु and उद्गातृ ; the ब्रह्मन् was the most learned of them and was required to know the 3 वेदs , to supervise the sacrifice and to set right mistakes ; at a later period his functions were based especially on the अथर्व-वेद) RV. &c होतृ m. (fr. √1. हु) an offerer of an oblation or burnt-offering (with fire) , sacrificer , priest , (esp.) a priest who at a sacrifice invokes the gods or recites the ऋग्-वेद , a ऋग्-वेद priest (one of the 4 kinds of officiating priest »ऋत्विज् , p.224; properly the होतृ priest has 3 assistants , sometimes called पुरुषs , viz. the मैत्रा-वरुण , अच्छा-वाक, and ग्रावस्तुत् ; to these are sometimes added three others , the ब्राह्मणाच्छंसिन् , अग्नीध्र or अग्नीध् , and पोतृ , though these last are properly assigned to the Brahman priest ; sometimes the नेष्टृ is substituted for the ग्राव-स्तुत्) RV.&c नेष्टृ  m. (prob. fr. √ नी aor. stem नेष् ; but cf. Pa1n2. 3-2 , 135 Va1rtt. 2 &c ) one of the chief officiating priests at aसोम sacrifice , he who leads forward the wife of the sacrificer and prepares the सुरा (त्वष्टृ so called RV. i , 15 , 3) RV. Br. S3rS. &c अध्वर्यु m. one who institutes an अध्वर any officiating priest a priest of a particular class (as distinguished from the होतृ , the उद्गातृ , and the ब्रह्मन् classes. The अध्वर्युpriests " had to measure the ground , to build the altar , to prepare the sacrificial vessels , to fetch wood and water , to light the fire , to bring the animal and immolate it " ; whilst engaged in these duties , they had to repeat the hymns of the यजुर्-वेद , hence that वेद itself is also called अध्वर्यु)pl. (अध्वर्यवस्) the adherents of the यजुर्-वेद; उद्-गातृ m. one of the four chief-priests (viz. the one who chants the hymns of the सामवेद) , a chanterRV. ii , 43 , 2 TS. AitBr. S3Br. Ka1tyS3r. Sus3r. Mn. &c 

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

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

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

http://www.harappa.com/indus/43.html Seated male sculpture, or "Priest King" from Mohenjo-daro (41, 42, 43). Fillet or ribbon headband with circular inlay ornament on the forehead and similar but smaller ornament on the right upper arm. The two ends of the fillet fall along the back and though the hair is carefully combed towards the back of the head, no bun is present. The flat back of the head may have held a separately carved bun as is traditional on the other seated figures, or it could have held a more elaborate horn and plumed headdress.

Two holes beneath the highly stylized ears suggest that a necklace or other head ornament was attached to the sculpture. The left shoulder is covered with a cloak decorated with trefoil, double circle and single circle designs that were originally filled with red pigment. Drill holes in the center of each circle indicate they were made with a specialized drill and then touched up with a chisel. Eyes are deeply incised and may have held inlay. The upper lip is shaved and a short combed beard frames the face. The large crack in the face is the result of weathering or it may be due to original firing of this object.

Material: white, low fired steatite
Dimensions: 17.5 cm height, 11 cm width
Mohenjo-daro, DK 1909
National Museum, Karachi, 50.852

dāya 'dotted circle, role of dice of one is the centre-piece of the early Gandhara punchmarked silver coin with a six-armed wheel, a vajra, thunderbolt metallic weapon, ca. 6th century BCE. The dot in the circle signifies silver. The punchmarked coin is made of silver. The circle is vaṭa. Together, with dāya, the single dot within circle, the hypertext signifier is dhāvḍī ʻdhāvaḍ 'smelting, smelter' - a key metallurgical repertoire of the Gandhara mint which issued the punchmarked coin, the paharaṇa mudrā 'struck' coins .

goṭi, ‘silver, laterite’ are signified by goṭa, ‘seed’ hieroglyph. gōṭh गोठ् । अष्टापदम्, इष्टफलम् f. (sg. dat.gōṭi गोटि), a kind of chequered cloth of thirty-six squares for playing chess, causar, or similar game, a dice-board; an aim, desired object. -- marüñü-- मर&above;ञू‍&below; । इष्टावाप्तिः f.inf. to obtain a desired object, achieve one's object.(Kashmiri)

Hieroglyph: seed, something round: *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. goṭf. 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. koṭṭai seed of any kind not enclosed in chaff or husk, nut, stone, kernel; testicles; (RS, p. 142, items 200, 201) koṭṭāṅkacci, koṭṭācci coconut shell. Ma. koṭṭakernel of fruit, particularly of coconut, castor-oil seed; kuṟaṭṭa, kuraṭṭa kernel; kuraṇṭi stone of palmfruit. Ko. keṭ testes; scrotum. Ka. koṭṭe, goṟaṭe stone or kernel of fruit, esp. of mangoes; goṭṭa mango stone. Koḍ. koraṇḍi id. Tu. koṭṭè kernel of a nut, testicles; koṭṭañji a fruit without flesh; koṭṭayi a dried areca-nut; koraṇtu kernel or stone of fruit, cashew-nut; goṭṭu kernel of a nut as coconut, almond, castor-oil seed. Te. kuriḍī dried whole kernel of coconut. Kol. (Kin.) goṛva stone of fruit. Nk. goṛage stone of fruit. Kur. goṭā any seed which forms inside a fruit or shell. Malt. goṭa a seed or berry. / Cf. words meaning 'fruit, kernel, seed' in Turner, CDIAL, no. 4271 (so noted by Turner).(DEDR 2069) Rebus: khōṭa 'alloy ingot' (Marathi)

దాయము (p. 588) dāyamu dāyamu. [Skt.] n. Heritage. పంచుకొనదగినతంత్రిసొమ్ము. Kinship, heirsh జ్ఞాతిత్వము. A gift, ఈవి. దాయము, దాయలు or దాయాలు dāyamu. [Tel.] n. A certain game among girls. గవ్వలాట; గవ్వలు పాచికలు మొదలగువాని సంఖ్య. (Telugu)

Marshall 1931: 356-7, pl. XCVIII

ஏர்த்தாயம் ēr-t-tāyam , n. < id. +. Ploughing in season; பருவகாலத்துழவு. (W.)காணித்தாயவழக்கு kāṇi-t-tāya-vaḻakku, n. < id. +. Dispute between coparceners about hereditary land; பங்காளிகளின் நிலவழக்கு. (J.)தர்மதாயம் tarma-tāyam , n. < id. + dāya. Charitable inams; தருமத்துக்கு விடப்பட்ட மானியம். (G. Sm. D. I, ii, 55.)தாயம் tāyam 

Source: Marshall, 1931: Pl. CXVIII. Harappan male ornament styles. After Fig.6.7 in Kenoyer, JM, 1991, Ornament styles of the Indus valley tradition: evidence from recent excavations at Harappa, Pakistan in: Paleorient, vol. 17/2 -1991, p.93. The hair of the priest is parted in the middle. Hair is secured by a fillet.whose long ends hang from behind the head. Gold fillet have been found including one with the hieroglyph of 'standard device'.

 Single strand (one dotted-circle)

Two strands (pair of dotted-circles)

Three strands (three dotted-circles as a trefoil)

Ardeleanu-Jansen's reconstruction of the Priest-king (After Ardeleanu-Jansen, A., 'The sculptural art of the Harappan culture' in M Jansen et al, ed., Forgotten cities on the Indus: early cvilization in Pakistan from the 8th to the 2nd millennium BCE, Mainz: Verlag Philipp von Zabern, 1991.) "Seated male sculpture, or "Priest King" from Mohenjo-daro. Fillet or ribbon headband with circular inlay ornament on the forehead and similar but smaller ornament on the right upper arm. The two ends of the fillet fall along the back and though the hair is carefully combed towards the back of the head, no bun is present. The flat back of the head may have held a separately carved bun as is traditional on the other seated figures, or it could have held a more elaborate horn and plumed headdress. Two holes beneath the highly stylized ears suggest that a necklace or other head ornament was attached to the sculpture. The left shoulder is covered with a cloak decorated with trefoil, double circle and single circle designs that were originally filled with red pigment. Drill holes in the center of each circle indicate they were made with a specialized drill and then touched up with a chisel. Eyes are deeply incised and may have held inlay. The upper lip is shaved and a short combed beard frames the face. The large crack in the face is the result of weathering or it may be due to original firing of this object.Material: white, low fired steatite 

Seated Man L-950 is Priest-King DK-1909, Bearded Man HR-910 Figure 6.6

"Seated male sculpture, or "Priest King" from Mohenjo-daro. Fillet or ribbon headband with circular inlay ornament on the forehead and similar but smaller ornament on the right upper arm. The two ends of the fillet fall along the back and though the hair is carefully combed towards the back of the head, no bun is present. The flat back of the head may have held a separately carved bun as is traditional on the other seated figures, or it could have held a more elaborate horn and plumed headdress. Two holes beneath the highly stylized ears suggest that a necklace or other head ornament was attached to the sculpture. The left shoulder is covered with a cloak decorated with trefoil, double circle and single circle designs that were originally filled with red pigment. Drill holes in the center of each circle indicate they were made with a specialized drill and then touched up with a chisel. Eyes are deeply incised and may have held inlay. The upper lip is shaved and a short combed beard frames the face. The large crack in the face is the result of weathering or it may be due to original firing of this object.Material: white, low fired steatite

Seated Man L-950 is Priest-King DK-1909, Bearded Man HR-910 Figure 6.6

Seated male sculpture, or "Priest King" from Mohenjo-daro(41,42,43). Fillet or ribbon headband with circular inlay ornament on the forehead and similar but smaller ornament on the right upper arm. The two ends of the fillet fall along the back and though the hair is carefully combed towards the back of the head, no bun is present. The flat back of the head may have held a separately carved bun as is traditional on the other seated figures, or it could have held a more elaborate horn and plumed headdress.

Two holes beneath the highly stylized ears suggest that a necklace or other head ornament was attached to the sculpture. The left shoulder is covered with a cloak decorated with trefoil, double circle and single circle designs that were originally filled with red pigment. Drill holes in the center of each circle indicate they were made with a specialized drill and then touched up with a chisel. Eyes are deeply incised and may have held inlay. The upper lip is shaved and a short combed beard frames the face. The large crack in the face is the result of weathering or it may be due to original firing of this object.

Material: white, low fired steatite
Dimensions: 17.5 cm height, 11 cm width
Mohenjo-daro, DK 1909
National Museum, Karachi, 50.852
Marshall 1931: 356-7, pl. XCVIII

https://www.harappa.com/slide/priest-king

“Ardeleanu-Jansen’s Reconstruction. Ardeleanu-Jansen has recreated an interesting reconstruction of the priest-king as a statue of a seated man with his left leg raised and bent at the knee (Figure 6.7). This is a posture assumed by other statuary found at Mohenjo-daro; one of which I have named the ‘Seated Man’, another, the ‘Sad Man’, as well as figures from Bactria (Figure 6.8). Parpola's thoughts. A. Parpola attempts to demonstrate that the robe of the priest-king is something called the tārpya, found in Vedic ritual and said to be the garment of the divine king Varuna. Parpola postulates that this statue is a representation of a seated deity, which had an elaborate, changeable headdress of the type he proposes is found on the Mahayogi seal...The Seated Man (L-950). A headless seated male statue made of gray alabaster was found by Mackay at L Area on the southern half of the mound of the Great Bath. It has been attributed to the Late Period (Figure 6.5)…This is the one statue from Mohenjo-daro that clearly is seated and costumed in the same manner as those seen in Bactrian art (Figure 8), and the pose has been proposed by Ardeleanu-Jansen for the priest-king. This admits the possibility that the Mohenjo-daro representations are of Bactrians. The men on the Bactrian vase are ‘floating’ in the sky above other men behind plows being pulled by Bos Taurus, not the Indian zebu. Everyone looks perfectly at home. Of course, the dress could be Harappan and the Bactrian vase could represent ‘Harappans’ floating in the sky above the plowmen. But nowhere else in the art of the Mature Harappan do we find this form of dress, so the balance tips a bit toward the notion that the Seated Man from L Area, and the priest-king, if Ardeleanu-Jansen is correct, represent Bactrians at Mohenjo-daro in the Late Period there. This might be late enough to somehow figure in the contacts between the Indus Civilization and the Bactria-Margiana-Archaeological Complex, and the Middle Asian Interaction sphere.” (Gregory L. Possehl, 2002,The Indus Civilization: A Contemporary Perspective, Rowman Altamira, 11-Nov-2002, pp.115-116). 

See:Parpola, Asko, 1985. The Sky-Garment: A study of the Harappan religion and its relation to the Mesopotamian and later Indian religions. (Studia Orientalia 57.) Helsinki: The Finnish Oriental Society. 25 cm, 216 pp. + 35 figs.

https://www.academia.edu/18966478/Parpola_Asko_1985._The_Sky-Garment_A_study_of_the_Harappan_religion_and_its_relation_to_the_Mesopotamian_and_later_Indian_religions._Studia_Orientalia_57._Helsinki_The_Finnish_Oriental_Society._25_cm_216_pp._35_figs

Trefoil designs on the shawl garment of the 'priest' Mohenjo-daro statue. The left shoulder is covered with a cloak decorated with trefoil, double circle and single circle designs that were originally filled with red pigment. Drill holes in the center of each circle indicate they were made with a specialized drill and then touched up with a chisel.  Material: white, low fired steatiteDimensions: 17.5 cm height, 11 cm width Mohenjo-daro, DK 1909 National Museum, Karachi, 50.852 Marshall 1931: 356-7, pl. XCVIII

The trefoil hieroglyph on the priest's shawl, on the body of a bull calf and on the base pedestal of a s'ivalinga is comparable to the hieroglyph which appears on painted lid or dish -- in the context of venerating the dead. This points to reverence for ancestors.

There are also beads with the trefoil pattern.

https://www.bridgemanimages.com/en-GB/asset/162921/harappan/bracelet-from-mohenjo-daro-indus-valley-pakistan-c-3000-bc-polished-stone? National Museum, Delhi. One of the beads has trefoil designs.

"Inlaid bead. No. 53 (L445). (See also Pl. CLII,17) Steatite. An exceptionally fine bead. The interiors of the trefoils were probably filled in with either paste or colour. The former is the more probable, for in the base of each foil there is a small pitting that may been used for keying a coloured paste. The depth of the cutting is 0.05 inch. Level, 3 feet below surface. late Period. Found in Chamber 27, Block 4, L Area. The most interesting of these beads are those with the trefoil pattern, which also occurs on the robe worn by the statue pictured in Pl. XCVIII. The trefoils on both the beads and statue are irregular in shape and in this respect differ from the pattern as we ordinarily know it. (For another example of this ornamentation, see the bull illustrated in Jastrow, Civilization of Babylonia and Assyria, pl. liii, and the Sumerian bull from Warka shown in Evans, Palace of Minos, vol. ii, pt. 1, p.261, fig. 156. Sir Arthus Evans has justly compared the trefoil markings on this latter bull with the quatrefoil markings of Minoan 'rytons', and also with the star-crosses on Hathor's cow. Ibid., vol. i, p.513. Again, the same trefoil motif is perhaps represented on a painted sherd from Tchechme-Ali in the environs of Teheran. Mem. Del. en Perse, t.XX, p. 118, fig. 6)."(John Marshall, opcit., p.517)

See: https://tinyurl.com/gmqdaeu Trefoil Indus Script hieroglyph signifies dhā̆vaḍ 'smelter' dhāu 'ore'. त्रिधातुः (magnetite, hematite, laterite) is an epithet of Gaṇeśa 

See: https://tinyurl.com/yaowsmt6 A 'Priest King' at Shahr-i Sokhta? -- Massimo Vidale. Some images of Potr̥, 'priests' as dhāvaḍa  'smelters' IndusScript hypertexts Vidale's full paper may be seen at https://www.sciencedirect.com/science/article/pii/S2352226717301083#fn0035

The paper discusses the published fragment of a statuette made of a buff-grey limestone, recently found on the surface of Shahr-i Sokhta (Sistan, Iran) and currently on exhibit in a showcase of the archaeological Museum of Zahedan (Sistan-Baluchistan, Iran). Most probably, it belongs to a sculptural type well known in some sites of Middle and South Asia dating to the late 3rd-early 2nd millennium BCE - a male character sitting on the right heel, with the left hand on the raised left knee, and a robe leaving bare the left shoulder. Preliminary comments on the cultural, historical and chronological implications of this important find are included. 

https://www.sciencedirect.com/science/article/pii/S23522267173

One badge used had a bangle with trefoil hieroglyph.

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

minerals'.

Terracotta bangle fragments decorated with red trefoils outlined in white 

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

shows both sides of the two fragments 

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

Detail of terracotta bangle with red and white trefoil on a green background (H98-3516/8667-01 from Trench 43). Trefoil motifs are carved on the robe of the so-called "priest-king" statuette from Mohenjo-daro and are also known from contemporary sites in western Pakistan, Afghanistan, and southern Central Asia. Source: https://www.harappa.com/blog/jewelry-mohenjo-daro

Trefoils painted on steatite beads, Harappa (After Vats, Pl. CXXXIII, Fig.2)

Trefoil Decorated bead. Pl. CXLVI, 53 (Marshall, opcit.)

Trefoil decoration on bangles:

Hieroglyph-multiplex of dotted circles as 'beads': kandi 'bead' Rebus: kanda 'fire-altar' khaNDa 'metal implements'. Alternative: dotted circles as dice: dhāv, dāya 'one in dice' + vaṭṭa 'circle' rebus धावड dhāvaḍa 'red ferrite ore smelter'

Trefoil Hieroglyph-multiplex as three dotted circles: kolom 'three' Rebus: kole.l kanda 'temple fire-altar'. Alternative 1: kole.l धावड dhāvaḍa 'temple PLUS red ferrite ore smelter'; Alternative 2: tri-धावड dhāvaḍa 'smelter of three dhatu 'minerl ores'.

(After Fig. 18.10 Parpola, 2015, p. 232) (a) Neo-Sumerian steatite bowl from Ur (U.239), bearing symbols of the sun, the moon (crucible), stars and trefoils (b) Fragmentary steatite statuette from Mohenjo-daro. After Ardeleanu-Jansen 1989-205, fig. 19 and 196, fig. 1 Steatite statue fragment; Mohenjodaro (Sd 767); trefoil-decorated bull; traces of red pigment remain inside the trefoils. Parpola, 1994, p. 213.

a. 

 koṭhārī ʻcrucibleʼ (Old Punjabi) rebus: kuṭhāru 'armourer' PLUS sun: arka 'sun' rebus: arka 'gold' eraka'moltencast copper'; [ mēḍha ] 'polar' star' rebus: mēḍhā, 'yajña, dhanam'

1. A finely polished pedestal.  Dark red stone. Trefoils. (DK 4480, After Mackay 1938: I, 412; II, pl. 107:35; Parpola, 1994, p. 218.) National Museum, Karachi. Stone base for Sivalinga.Tre-foil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone.

2. Two decorated bases and a lingam, Mohenjodaro. Trefoil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone; National Museum of Pakistan, Karachi; After Mackay 1938: I, 411; II, pl. 107:35; Parpola, 1994, p. 218. "In an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I" 

Lingam, grey sandstone in situ, Harappa, Trench Ai, Mound F, Pl. X (c) (After Vats). "In an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I... in this jar, six lingams were found along with some tiny pieces of shell, a unicorn seal, an oblong grey sandstone block with polished surface, five stone pestles, a stone palette, and a block of chalcedony..." (Vats, EH, p. 370)

See:   

Skambha (Sivalinga) temple in Dholavira consistent withdeciphered Indus Script Sign Board. Evidence for Sivaworship. http://tinyurl.com/qetwb4l

Hieroglyph: kolmo 'three' Rebus: kolimi 'smithy'; kolle 

'blacksmith'; kole.l 'smithy, temple' (Kota) Trefoil Hieroglyph-multiplex as three dotted circles: kolom 'three' Rebus: kole.l kanda 'temple fire-altar'. Alternative: kole.l धावड dhāvaḍa 'temple PLUS red ferrite ore smelter'.

Trefoils painted on steatite beads, Harappa (After Vats, Pl. CXXXIII, Fig.2)

Meluhha artisans, Indus script writers draw circles with small radii to signify dhātu, dhāv 'mineral' hypertexts

Dotted circle as Indus Script hypertext  धावड dhāvaḍa 'red ferrite ore smelter'

kolom 'three' rebus: kolimi 'smithy, forge'. Thus, three dotted circles (trefoil) signify  

dhāvaḍa kolimi 'smelter smithy, forge'.

वृत्त [p= 1009,2] mfn. turned , set in motion (as a wheel) RV.; a circle; vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vr̥t1] 1. Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ; L. (Ju.) vaṭ m. ʻ anything twisted ʼ; Si. vaṭa ʻ round ʼ, vaṭa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va'ʻ round ʼ GS 58; -- Paš.ar. waṭṭəwīˊk, waḍḍawik ʻ kidney ʼ ( -- wĭ̄k vr̥kká -- ) IIFL iii 3, 192?(CDIAL 12069) வட்டம்போர் vaṭṭam-pōr, n. < வட்டு +. Dice-play; சூதுபோர். (தொல். எழுத். 418, இளம்பூ.)வட்டச்சொச்சவியாபாரம் vaṭṭa-c-cocca-viyāpāram, n. < id. + சொச்சம் +. Money-changer's trade; நாணயமாற்று முதலிய தொழில். Pond. வட்டமணியம் vaṭṭa-maṇiyam, n. < வட் டம் +. The office of revenue collection in a division; வட்டத்து ஊர்களில் வரிவசூலிக்கும் வேலை. (R. T.) వట్ట (p. 1123) vaṭṭa vaṭṭa. [Tel.] n. The bar that turns the centre post of a sugar mill. చెరుకుగానుగ రోటినడిమిరోకలికివేయు అడ్డమాను. వట్టకాయలు or వట్టలు vaṭṭa-kāyalu. n. plu. The testicles. వృషణములు, బీజములు. వట్టలుకొట్టు to castrate. lit: to strike the (bullock's) stones, (which are crushed with a mallet, not cut out.) వట్ర (p. 1123) vaṭra or వట్రన vaṭra. [from Skt. వర్తులము.] n. Roundness. నర్తులము, గుండ్రన. వట్ర. వట్రని or వట్రముగానుండే adj. Round. గుండ్రని.

धाव (p. 250) dhāva m f A certain soft, red stone. Baboons are said to draw it from the bottom of brooks, and to besmear their faces with it.  धवड (p. 249) dhavaḍa m (Or धावड) A class or an individual of it. They are smelters of iron. धावड (p. 250) dhāvaḍa m A class or an individual of it. They are smelters of iron. धावडी (p. 250) dhāvaḍī a Relating to the class धावड. Hence 2 Composed of or relating to iron. 

"Kashi, Kakar Wari Ajrak, Naar Ji Ajrak, Dabli wari, Taidi, Hansho Wall are the main verities of Ajrak. Today in Sindh Ajraks are made mainly in Bhitt Shah, Tando Adam, Tando Mohammad Khan, Matli and Sukkur. Block printing is the original form of Ajrak making...History: Ajrak is a block printed shawl in Sindh, Pakistan; Kutch, Gujarat; and Barmer, Rajasthan in India. The shawls display special designs and patterns made using block printing stamps of wood. Common colours used while making these patterns may include but are not limited to blue, red, black, yellow and green. Over the years, ajrak have become a symbol of Sindhi culture and traditions." 

If one end of a tape or belt is turned over three times and then pasted to the other, a trefoil knot results. (Shaw, George Russell (MCMXXXIII). Knots: Useful & Ornamental, p.11.)

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

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

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

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

It has been suggested at 

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

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

 Single strand (one dotted-circle)

Two strands (pair of dotted-circles)

Three strands (three dotted-circles as a trefoil)

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

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

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

Ta. vaṭam cable, large rope, cord, bowstring, strands of a garland, chains of a necklace; vaṭi rope; vaṭṭi (-pp-, -tt-) to tie. Ma. vaṭam rope, a rope of cowhide (in plough), dancing rope, thick rope for dragging timber. Ka. vaṭa, vaṭara, vaṭi string, rope, tie. Te. vaṭi rope, cord. Go. (Mu.) vaṭiya strong rope made of paddy straw (Voc. 3150). Cf. 3184 Ta. tār̤vaṭam. / Cf. Skt. vaṭa- string, rope, tie; vaṭāraka-, vaṭākara-, varāṭaka- cord, string; Turner, CDIAL, no. 11212. (DEDR 5220)  vaṭa2 ʻ string ʼ lex. [Prob. ← Drav. Tam. vaṭam, Kan. vaṭi, vaṭara, &c. DED 4268]N. bariyo ʻ cord, rope ʼ; Bi. barah ʻ rope working irrigation lever ʼ, barhā ʻ thick well -- rope ʼ, Mth. barahā ʻ rope ʼ.(CDIAL 11212)

I suggest that the expression dhā̆vaḍ 'smelter' signified by trefoil or three strands is a semantic duplication of the parole words: dhāī 'wisp of fibre' PLUS vaṭa, vaṭara, vaṭi string, rope, tie. Thus, it is possible that the trefoil as a hieroglyph-multiplex was signified in parole by the expression dhā̆vaḍ 'three strands' rebus: dhā̆vaḍ 'smelter'.

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

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

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

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

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

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

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

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

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

पोतृ m. One of the sixteen officiating priests at a sacrifice (assistant of the priest called ब्रह्मन्). पोत्रम् [पू-त्र] The office of the Potṛi. ब्रह्मन् m. one of the 4 principal priests or ऋत्विज्as (the other three being the होतृ , अध्वर्यु and उद्गातृ ; the ब्रह्मन् was the most learned of them and was required to know the 3 वेदs , to supervise the sacrifice and to set right mistakes ; at a later period his functions were based especially on the अथर्व-वेद) RV. &c होतृ m. (fr. √1. हु) an offerer of an oblation or burnt-offering (with fire) , sacrificer , priest , (esp.) a priest who at a sacrifice invokes the gods or recites the ऋग्-वेद , a ऋग्-वेद priest (one of the 4 kinds of officiating priest »ऋत्विज् , p.224; properly the होतृ priest has 3 assistants , sometimes called पुरुषs , viz. the मैत्रा-वरुण , अच्छा-वाक, and ग्रावस्तुत् ; to these are sometimes added three others , the ब्राह्मणाच्छंसिन् , अग्नीध्र or अग्नीध् , and पोतृ , though these last are properly assigned to the Brahman priest ; sometimes the नेष्टृ is substituted for the ग्राव-स्तुत्) RV.&c नेष्टृ  m. (prob. fr. √ नी aor. stem नेष् ; but cf. Pa1n2. 3-2 , 135 Va1rtt. 2 &c ) one of the chief officiating priests at aसोम sacrifice , he who leads forward the wife of the sacrificer and prepares the सुरा (त्वष्टृ so called RV. i , 15 , 3) RV. Br. S3rS. &c अध्वर्यु m. one who institutes an अध्वर any officiating priest a priest of a particular class (as distinguished from the होतृ , the उद्गातृ , and the ब्रह्मन् classes. The अध्वर्युpriests " had to measure the ground , to build the altar , to prepare the sacrificial vessels , to fetch wood and water , to light the fire , to bring the animal and immolate it " ; whilst engaged in these duties , they had to repeat the hymns of the यजुर्-वेद , hence that वेद itself is also called अध्वर्यु)pl. (अध्वर्यवस्) the adherents of the यजुर्-वेद; उद्-गातृ m. one of the four chief-priests (viz. the one who chants the hymns of the सामवेद) , a chanterRV. ii , 43 , 2 TS. AitBr. S3Br. Ka1tyS3r. Sus3r. Mn. &c 

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

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

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

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

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

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

These powerful narratives are also validated -- archaeologically attested -- by the discovery of Mohenjo-daro priest wearing  (on his forehead and on the right shoulder) fillets of a dotted circle tied to a string and with a uttarīyam decorated with one, two, three dotted circles. The fillet is an Indus Script hypertext which reads: dhã̄i 'strand' PLUS vaṭa 'string' rebus: dhāvaḍ 'smelter'. The same dotted circles enseemble is also shown as a sacred hieroglyph on the bases of Śivalingas found in Mohenjo-dar. The dotted circles are painted with red pigment, the same way as Mosonszentjanos dice are painted with red iron oxide pigment.

It is possible to decipher the hieroglyphs using the rebus-metonymy layered cipher of Indus writing system. 

The Meluhha semantics of objects signified by these three hieroglyphs are related to metalwork guild.

Trefoil hieroglyph or three 'beads, orifice' 

kolom 'three' (Munda) Rebus: kolami 'smithy, forge'. The triplicate  composing the trefoil is a semantic determinant of the signified object: smithy, forge.

*pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, puti, pũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá -- 1.(CDIAL 8403) பொத்தல் pottal , n. < id. [K. poṭṭare, M. pottu, Tu. potre.] 1. Hole, orifice. 

Rebus: Soma priest, jeweller's polishing stone

पोतृ pōtṛ " Purifier " , Name of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman (Rigveda) pōtrá1 ʻ *cleaning instrument ʼ (ʻ the Potr̥'s soma vessel ʼ RV.). [√pū] Bi. pot ʻ jeweller's polishing stone ʼ? -- Rather < *pōttī -- .(CDIAL 8404) pōtṛ पोतृ m. 1 One of the sixteen officiating priests at a sacrifice (assistant of the priest called ब्रह्मन्). -2 An epithet of Viṣṇu.

A dotted circle (three of which constitute a trefoil) is also associated with the standard device frequently shown in front of a one-horned young bull:

Gold fillet showing sacred device--- sangaḍa. 

Gold fillet depicting the standard device, Mohenjo-daro, 2600 BCE. [Source: Page 32 in: Deo Prakash Sharma, 2000, Harappan seals, sealings and copper tablets, Delhi, National Museum]. At a Marshall, MIC, Pl. CLI are specimens of fillets consisting of thin bands of beaten gold with holes for cords at their ends.
Gold fillet, Mohenjo-daro, with Indus script hypertext of dotted circles, lathe, brazier signify पोतृ purifier priest of kole.l 'smithy, temple'.

dāntā 'ivory' rebus dhāˊtu 'ore of red colour' (Rigveda)

See the dotted circle hieroglyph on the bottom of the sacred device, sangaḍa.

Ta. po (-pp-, -tt-) to perforate, puncture, make a hole; poy (-v-, -t-) to be hollowed; n. tubularity, hole, hollow or recess in tree; potir (-pp-, -tt-) to pierce; potu (-v-, -nt-) to be perforated; (-pp-, -tt-) to bore, pierce; potumpu 
hole, hollow in a tree, pit, cave; pottu hole, rat-hole, hollow in a tree, rent or puncture, defect; pottal, pottai hole, orifice, defect; pottilam hole in a tree; 
pōttu, pontar, pontu hole, hollow; pōṉ cave. Ma. pottu hole in the ground, cavity, hollow hand; pōtu a hole as in worm-eaten wood. Pa. botta id.; potpa, poppa a chisel.Go.boḍga hole Konḍa (BB) pot- (-t-) to bore, perforate. Pe. pot- (-t-) id. Kuipospa (post-) to pierce, bore a hole, mortise; n. act of piercing, mortising; pondo hole; ? bojo wood dust resulting from dry rot. Kuwi (F.) pōthali
 to hollow out; (S.) poth'nai to hole; (Isr.) pot- (-h-) to make a hole (in wood, etc.)(DEDR 4452) போத்து² pōttu, n. < பொத்து. 1. Hole, hollow; பொந்து. 2. Lair of a beast; விலங்கு துயிலிடம். (பிங்.) 3. Vice, fault, as hollowness of mind; மனக்குற்றம். போத்தறார் புல்லறிவினார் (நாலடி, 351).

Ta. poṭṭu drop, spot, round mark worn on forehead. Ma. poṭṭu, poṟṟu a circular mark on the forehead, mostly red. Ka. boṭṭu, baṭṭu drop, mark on the forehead. Koḍ. boṭṭï round mark worn on the forehead. Tu.boṭṭa a spot, mark, a drop; (B-K.) buṭṭe a dot. Te. boṭṭu a drop, the sectarian mark worn on the forehead. Kol.(SR.) boṭla drop. Pa. boṭ id. Ga. (P.) boṭu drop, spot. Konḍa boṭu 
drop of water, mark on forehead. Kuwi (F.) būttū, (Isr.) buṭu tattoo.(DEDR 4492)

Ta. potti garment of fibres, cloth. Ka. potti cloth. Te. potti bark, a baby's linen, a sort of linen cloth; pottika a small fine cloth; podugu a baby's linen. Kol. (SSTW)
 pot sari. Pa. bodgid a short loincloth. / Cf. Skt. potikā-, Pkt. potti-, pottiā-, etc.; Turner, CDIAL, no. 8400.(DEDR 4515) pōta2 m. ʻ cloth ʼ, pōtikā -- f. lex. 2. *pōtta -- 2 (sanskrit- ized as pōtra -- 2 n. ʻ cloth ʼ lex.). 3. *pōttha -- 2 ~ pavásta<-> n. ʻ covering (?) ʼ RV., ʻ rough hempen cloth ʼ AV. T. Chowdhury JBORS xvii 83. 4. pōntī -- f. ʻ cloth ʼ Divyāv. 5. *pōcca -- 2 < *pōtya -- ? (Cf. pōtyā = pōtānāṁ samūhaḥ Pāṇ.gaṇa. -- pṓta -- 1?). [Relationship with prōta -- n. ʻ woven cloth ʼ lex., plōta -- ʻ bandage, cloth ʼ Suśr. or with pavásta -- is obscure: EWA ii 347 with lit. Forms meaning ʻ cloth to smear with, smearing ʼ poss. conn. with or infl. by pusta -- 2 n. ʻ working in clay ʼ (prob. ← Drav., Tam. pūcu &c. DED 3569, EWA ii 319)]1. Pk. pōa -- n. ʻ cloth ʼ; Paš.ar. pōwok ʻ cloth ʼ, pōg ʻ net, web ʼ (but lauṛ. dar. pāwāk ʻ cotton cloth ʼ, Gaw. pākIIFL iii 3, 150).2. Pk. potta -- , ˚taga -- , ˚tia -- n. ʻ cotton cloth ʼ, pottī -- , ˚tiā -- , ˚tullayā -- , puttī -- f. ʻ piece of cloth, man's dhotī, woman's sāṛī ʼ, pottia -- ʻ wearing clothes ʼ; S. potī f. ʻ shawl ʼ, potyo m. ʻ loincloth ʼ; L. pot, pl. ˚tã f. ʻ width of cloth ʼ; P. potṛā m. ʻ child's clout ʼ, potṇā ʻ to smear a wall with a rag ʼ; N. poto ʻ rag to lay on lime -- wash ʼ, potnu ʻ to smear ʼ; Or. potā ʻ gunny bag ʼ; OAw. potaï ʻ smears, plasters ʼ; H. potā m. ʻ whitewashing brush ʼ, potī f. ʻ red cotton ʼ, potiyā m. ʻ loincloth ʼ, potṛā m. ʻ baby clothes ʼ; G. pot n. ʻ fine cloth, texture ʼ, potũ n. ʻ rag ʼ, potī f., ˚tiyũ n. ʻ loincloth ʼ, potṛī f. ʻ small do. ʼ; M. pot m. ʻ roll of coarse cloth ʼ, n. ʻ weftage or texture of cloth ʼ, potrẽ n. ʻ rag for smearing cowdung ʼ.3. Pa. potthaka -- n. ʻ cheap rough hemp cloth ʼ, potthakamma -- n. ʻ plastering ʼ; Pk. pottha -- , ˚aya -- n.m. ʻ cloth ʼ; S. potho m. ʻ lump of rag for smearing, smearing, cloth soaked in opium ʼ.
4. Pa. ponti -- ʻ rags ʼ.Addenda: pōta -- 2. 2. *pōtta -- 2: S.kcch. potyo m. ʻ small dhoti ʼ.(CDIAL 8400).

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. povām. 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.pōtādhāna -- , *pōtādhāra -- ; *vīrapōta -- , *sarpapōtala -- .Addenda: pōta -- 1. 10. *phōtta -- : WPah.kṭg. phɔ́təṛ m. ʻ penis, scrotum ʼ, J. pothaṛ m. ʻ penis ʼ.(CDIAL 8399)  Ta. pōttu male of animals (cattle, tiger, deer), some birds (peafowl, heron, etc.), some aquatic animals (crocodile, etc.). Ma. pōttu male buffalo. Ka. pōta, hōta, hōtu, hōntu he-goat. Koḍ. (Cole) pōtu goat. Te. pōtumale buffalo, male of an animal or bird. Kol. po·t cock. Nk. phōt id. Pa. pōt male of birds. Go. (S. Ko.) pōt, (Ma.) pōtal male of animals (Voc. 2441). Konḍa pōt id. Kui (K.) pōtu id. 

Kuwi (F.) pōtū male of some animals and birds; (S.) pōtu male of some animals, of trees; (Su.) pōtu male of animals; (Isr.) pōtu male of an animal, young male animal.(DEDR 4586)  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).போத்து¹ pōttu, n. cf. pōta. [T. pōtu, M. pōttu.] 1. Male of animals, especially cattle, tigers, deer; பெற்றம், எருமை, புலி, மரை, புல்வாய் முதலிய விலங்கேற்றின் பொது. (பிங்.) (தொல். பொ. 597.) 2. Male of peafowl, herons and some other birds; மயில் எழால் என்பவற் றின் ஆண். (தொல். பொ. 598.) 3. Male of aquatic animals, as crocodile, etc.; முதலை, சுறாப்போன்ற நீர்வாழ்சாதியின் ஆண். (தொல். பொ. 597.) (பிங்.) 4. Sapling; ஓரறிவுயிரி னிளமை. (தொல். பொ. 580.) 5. Tender branch or shoot of a tree; புதுக்கிளை. மரம் போத்துவிட்டிருக்கிறது.

*pōttī ʻ glass bead ʼ. Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, puti, pũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá -- 1.(CDIAL 8403)

pōtrá1 ʻ *cleaning instrument ʼ (ʻ the Potr̥'s soma vessel ʼ RV.). [√pū] Bi. pot ʻ jeweller's polishing stone ʼ? -- Rather < *pōttī -- .(CDIAL 8404)  போத்தி pōtti, n. < போற்றி. 1. Grandfather; பாட்டன். Tinn. 2. Brahman temple-priest in Malabar; மலையா

ளத்திலுள்ள கோயிலருச் சகன்.

Ta. pottu (potti-) to light (as a fire). Kurub. (LSB 1.12) potte a torch of leaves. Ko. pot- (poty-) to light (as a fire); pot torch made of a bundle of thin sticks. Ka. pottu to be kindled, catch fire, flame; be burnt (as rice, etc., at the bottom of the vessel), be boiled or baked too much; n. flaming; pottige flaming, flame. Tu.pottuni to burn (intr.); pottāvuni, pottāḍruni to light, kindle, burn; potta hot, burning; potturuni, potruni to kindle, set fire, incite to a quarrel. Go. (A. Y.) pot-, (Tr.) pattānā, (Ch.) patt-, (Mu.) pat-/patt-, (Ma.) pot- to burn, blaze; (Tr. Ph.) pacānā to make a bright light; (SR.) potusānā to light (Voc. 2384).(DEDR 4517).

Ta. pōtikai capital of a pillar, stake. Ma. pōtika capital of a pillar, prop, support of a king-post. Ka.bōdige, bōduge capital of a pillar. Koḍ. po·ti niche over a door. Tu. bōdigè id., architrave. Te. bōdiya, bōdetrunk of a tree, cornice. (DEDR 4585)

Kot Diji type seals with concentric circles from (a,b) Taraqai Qila (Trq-2 &3, after CISI 2: 414), (c,d) Harappa(H-638 after CISI 2: 304, H-1535 after CISI 3.1:211), and (e) Mohenjo-daro (M-1259, aftr CISI 2: 158). (From Fig. 7 Parpola, 2013).

Distribution of geometrical seals in Greater Indus Valley during the early and *Mature Harappan periods (c. 3000 - 2000 BCE). After Uesugi 2011, Development of the Inter-regional interaction system in the Indus valley and beyond: a hypothetical view towards the formation of the urban society' in: Cultural relagions betwen the Indus and the Iranian plateau during the 3rd millennium BCE, ed. Toshiki Osada & Michael Witzel. Harvard Oriental Series, Opera Minora 7. Pp. 359-380. Cambridge, MA: Dept of Sanskrit and Indian Studies, Harvard University: fig.7.

Dotted circles and three lines on the obverse of many Failaka/Dilmun seals are read rebus as hieroglyphs: 

Hieroglyph: ḍāv m. ʻdice-throwʼ rebus: dhāu 'ore'; dã̄u ʻtyingʼ, ḍāv m. ʻdice-throwʼ read rebus: dhāu 'ore' in the context of glosses: dhā̆vaḍ m. ʻa caste of iron -smelters', dhāvḍī ʻcomposed of or relating to ironʼ. Thus, three dotted circles signify: tri-dhāu, tri-dhātu 'three ores' (copper, tin, iron).

A (गोटा) gōṭā Spherical or spheroidal, pebble-form. (Marathi) Rebus: khoṭā ʻalloyedʼ (metal) (Marathi) खोट [khōṭa] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge (Marathi). P. khoṭ  m. ʻalloyʼ  (CDIAL 3931) goTa 'laterite ferrite ore'.

 

m0352 cdef

"The embroidered circles and trefoils as lnages of fireplaces The vedie bãrpya garment,  then, as decorated with images of dhisjmyas resembling the circular patterns on the Harappan priest-king’s garment." (Parpola, opcit., p.55)

 धिष्ण्य m. (f(आ). only RV. iv , 3 , 6 ; n. MBh. i , 7944) a sort of subordinate or side-altar (generally a heap of earth covered with sand on which the fire is placed , and of which 8 are enumerated , viz. besides the आग्नीध्रीय [in the आग्नीध्र] those in the सदस् [see s.v.] belonging to the होतृ , the मैत्रा-वरुण or प्र-शस्तृ , the ब्राह्मणाच्छंसिन् , the पोतृ , नेष्टृ and अच्छा-वाक ; and the मार्जालीय) Br. S3rS. &c (cf. कॢप्त-) &c

The + glyph of Sibri evidence is comparable to the large-sized 'dot', dotted circles and + glyph shown on this Mohenjo-daro seal m0352 with dotted circles repeated on 5 sides A to F. Mohenjo-daro Seal m0352 shows dotted circles in the four corners of a fire-altar and at the centre of the altar together with four raised 'bun' ingot-type rounded features. Rebus readings of m0352 hieroglyphs:

dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'

1. Round dot like a blob -- . Glyph: raised large-sized dot -- (gōṭī ‘round pebble);goTa 'laterite (ferrite ore)

2. Dotted circle khaṇḍa ‘A piece, bit, fragment, portion’; kandi ‘bead’;

3. A + shaped structure where the glyphs  1 and 2 are infixed.  The + shaped structure is kaṇḍ  ‘a fire-altar’ (which is associated with glyphs 1 and 2)..

Rebus readings are: 1. khoṭ m. ʻalloyʼgoTa 'laterite (ferrite ore); 2. khaṇḍā ‘tools, pots and pans and metal-ware’; 3. kaṇḍ ‘furnace, fire-altar, consecrated fire’.

Four ‘round spot’; glyphs around the ‘dotted circle’ in the center of the composition: gōṭī  ‘round pebble; Rebus 1: goTa 'laterite (ferrite ore); Rebus 2:L. khoṭf ʻalloy, impurityʼ, °ṭā ʻalloyedʼ, awāṇ. khoṭā  ʻforgedʼ; P. khoṭ m. ʻbase, alloyʼ  M.khoṭā  ʻalloyedʼ (CDIAL 3931) Rebus 3: kōṭhī ] f (कोष्ट S) A granary, garner, storehouse, warehouse, treasury, factory, bank. khoṭā ʻalloyedʼ metal is produced from kaṇḍ ‘furnace, fire-altar’ yielding khaṇḍā ‘tools, pots and pans and metal-ware’. This word khaṇḍā is denoted by the dotted circles.

Front and Rear views.https://www.kornbluthphoto.com/images/LouvreManBull_1.jpg

Recumbent bull with man's head,Department of Near Eastern Antiquities: Mesopotamia,Louvre

• Statuette of an androcephalous bull
  Neo-Sumerian period
• Chlorite with inlays
  H. 12.10 cm; W. 14.90 cm; D. 8 cm
• Acquired in 1898 , 1898
  AO 2752
• Images of human-headed bulls are found throughout Mesopotamian history. Several statuettes dating from the late third millennium BC show a bearded creature wearing the divine horned headdress, lying down with its head turned to the side. They have been found at various Sumerian sites, the majority from Telloh.

  The human-headed bull

  The animal is shown lying, its head turned to the side and its tail underneath its right hoof. On its head is the divine headdress with three pairs of horns. It has a man's face with large elongated eyes, a beard covering half its cheeks and joining with the mustache before cascading down over its breast, where it ends in small curls, and long ringlets framing its face. The ears, however, are a bull's, though fleecy areas at the shoulders and hindquarters seem to suggest the animal is actually a bison. Another example in the Louvre displays particularly fine workmanship, the eyes and the whole body being enriched with decorative elements, applied or inlaid in trilobate and lozenge-shaped cavities (in the hooves). There is a small group of these recumbent bulls dating from the Neo-Sumerian period (around 2150-2000 BC), one of which is inscribed with the name of Gudea, the Second Dynasty ruler of Lagash. In the Neo-Assyrian period (9th-6th centuries BC), the human-headed bull, now with a pair of wings, becomes the guardian of the royal palace, flanking the doors through which visitors entered. This creature was a lamassu, a benevolent protective spirit generally associated with the sun-god Shamash.

  A base for a vessel, or for a statue of a deity?

  An elongated cavity of irregular shape in the middle of the back of this statuette, also found in other examples, might have been intended to hold a removable offering bowl, as illustrated in Mesopotamian iconography. The Louvre has a statuette of a dog from Telloh, inscribed with the name of Sumu-ilum, king of Larsa in the 19th century BC, which has a mortice in the back into which fits an unpolished tenon supporting a small oval cup. It may be that the statuette was subsequently adapted to this use. Relief depictions also show a seated deity (usually the sun-god Shamash) with his foot on the back of a similar hybrid creature, which might suggest that they served as bases for statuettes of gods. Another statuette of a recumbent human-headed bull has two horizontal perforations in the narrower forequarters, suggesting that these might have served to attach a small lid.

  Steatite: a popular stone in the reign of Gudea

  Steatite, the soft stone used for this statuette, was the material frequently chosen in the reign of Gudea to make precious objects connected with cultic rituals, such as libation vessels and offering dishes. Statuettes representing worshippers were also carved from this stone, generally depicting members of the royal family, such as the statuette of a woman with a scarf, or high-ranking dignitaries.

  Bibliography

  André-Salvini B., "Art of the first cities : The Third millenium B.C. from the Mediterranean to the Indus", Exposition, New York, The Metropolitan Museum of Art, 8 mai-17 août 2003, p. 440, n 313. 
  Barrelet M., "Taureaux et symbolique solaire", in Revue d'Assyriologie et d'Archéologie orientale, 48, Paris, Presses Universitaires de France, 1954, pp. 16-27.
  Caubet A., "Exposition des quatre grandes civilisations mondiales : La Mésopotamie entre le Tigre et l'Euphrate", Exposition itinérante, Setagaya, Musée d'art de Setagaya, 5 août 2000-3 décembre 2000, Fukuoka, Musée d'art asiatique de Fukuokua, 16 décembre 2000- 4 mars 2001, Tokyo : NKH, 2000, n 120.
  Heuzey L., "Le taureau chaldéen androcéphale et la sculpture à incrustations", Monuments Piot, VII, 1900-1901, pp. 7-11 et planche I.
  Parrot A., Tello, vingt campagnes de fouilles (1877- 1933), Paris, Albin Michel, 1948, p. 146, fig. 12b.
  Huot J.-L., "The Man-Faced Bull L. 76. 17 of Larsa", in Sumer, 34, Bagdad, State Organization of Antiquities and Heritage, 1978, pp. 106- 108, fig. a.
  Spycket A., La statuaire du Proche-Orient ancien, Leyde, Brill, 1981, p. 220, n 184, pl. 147.
• https://www.louvre.fr/en/oeuvre-notices/recumbent-bull-mans-head

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

At the time of Gudea and the Third Dynasty of Ur (ca.2100-2000)' when trefoil inlays decorate a couple of small reclining bulls with a bearded human head, made of steatite

and bituminous stones' and found at Lagash(Tello) in Sumer.

"Images of human-headed bulls are found throughout Mesopotamian history. Several statuettes dating from the late third millennium BC show a bearded creature wearing the divine horned headdress, lying down with its head turned to the side. They have been found at various Sumerian sites, the majority from Telloh. “C.J.Gadd (quoted by Mackay 1931: I, 356 fn. 2) thought that the Sumerian bu1ls with trefoils are representations of the BuÌl-of Heaven(a Babylonian name for one of the constellations) and therefore the trefoils represent stars. The Bull of Heaven (GU4-AN-NA = ãlu) figures in the epic of Gilgamesh. (Parpola, opcit, p.28)

Crete. Cow-head rhython with trefoil decor.

1 G. Contenau, Manual d'archeologie orientale, II, Paris, 1931, p. 698-9.

2 ibid. and A. Evans, the Palace of Mines, II, 1928, p. 261

3 The Babylonian Legends of the Creation (Brit. Mus. 1931), p. 59; Antiquaries Journal, III, 1923, p.331

4 Evans, op cit. I, 1921, pp. 513-14

5 ibid. IV, 1935, p. 315

miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120)

Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Munda) 

Late Harappan Period dish or lid with perforation at edge for hanging or attaching to large jar. It shows a Blackbuck antelope with trefoil design made of combined circle-and-dot motifs, possibly representing stars. It is associated with burial pottery of the Cemetery H period, dating after 1900 BC. Credit Harappa.com

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

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

Trefoil Hieroglyph-multiplex as three dotted circles: kolom 'three' Rebus: kole.l kanda 'temple fire-altar'. Alternative: kole.l धावड dhāvaḍa 'temple PLUS red ferrite ore smelter'.

Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Munda) Dotted circle signifies पोतृ, m. "Purifier" 

Thus, the plate inscription signifies iron smelter.

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

Funeral couch of Tutankhamen (1336 BC - 1327 BCE) features cow with solar disc and inlay blue glass trefoils decorating the body. Said to represent Goddess Hathor.

"An inscription from The Book of the divine cow found in the Burial chamber alludes to its sacred function as a solar barque for bearing the pharaoh to the heavens...Hieroglyphs carved on the footboard promise the protection of Isis and the endurance of Osiris."http://www.kingtutexhibit.com/catalogs/tutankhamun_catalog.pdf

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



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



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

Sumerian marble calf with inlaid trefoils of blue stone. From the late Uruk era, Jemdet Nasr cira 3300 - 2900 B.C.E 5.3 cm. long; Vorderasiatisches Museum, Berlin; Parpola, 1994, p. 213. Trefoil inlay decorated on a bull calf. Uruk (W.16017) ca. 3000 BCE. 

Trefoils are cut into stone surface and inlaid with lapis lazuli and carnelian. These are found on several small amulets from Sumer, having the shape of reclining bulls; they are from Uruk dated to te Jemdet Nasr period, ca. 3100-2900 BCE.

kõdā 'young bull calf' Rebus: kõdā 'turner-joiner' (forge); kundaṇa 'fine gold'.

damkom = a bull calf (Santali) Rebus: damha = a fireplace; dumhe = to heap, to collect together (Santali)

Trefoil Hieroglyph-multiplex as three dotted circles: kolom 'three' Rebus: kole.l  kanda 'temple fire-altar'. Alternative: kole.l धावड dhāvaḍa 'temple PLUS red ferrite ore smelter'.

Artifacts from Jiroft.

Ivory combs. Turkmenistan.


Ivory objects. Sarasvati Civilization

Tablets.Ivory objects. Mohenjo-daro.

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

நெற்றிப்பட்டம் neṟṟi-p-paṭṭam, n. < id. +. Thin plate of metal worn on the forehead, as an ornament or badge of distinction; நுதலி லணியும் பட்டம். (W.) 

பட்டம்² paṭṭam, n. < paṭṭa. 1. Plate of gold worn on the forehead, as an ornament or badge of distinction; சிறப்புக்கு அறிகுறியாக நெற்றி யிலணியும் பொற்றகடு. பட்டமுங் குழையு மின்ன (சீவக. 472). 2. An ornament worn on the forehead by women; மாதர் நுதலணி. பட்டங் கட்டிப்பொற்றோடு பெய்து (திவ். பெரியாழ். 3, 7, 6). 3. Title, appellation of dignity, title of office; பட்டப்பெயர். பட்டமும் பசும்பொற் பூணும் பரந்து (சீவக. 112). 4. Regency; reign; ஆட்சி. 5. Fasteners, metal clasp; சட்டங்களை இணைக்க உதவும் தகடு. ஆணிகளும் பட்டங்களுமாகிய பரிய இரும்பாலேகட்டி (நெடுநல். 80, உரை). High position; உயர் பதவி. (பிங்.) 

Ta. paṭṭaṭai, paṭṭaṟai anvil, smithy, forge. Ka. paṭṭaḍe, paṭṭaḍi anvil, workshop. Te. paṭṭika, paṭṭeḍa anvil; paṭṭaḍa workshop(DEDR 3865)

meḍhi 'tied rope' rebus: meḍ 'iron' med 'copper' (Slavic)

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

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

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

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

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

phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

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

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

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

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

फड (p. 313) phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nach house, गाण्याचा or 

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

Circular seal, of steatite, from Bahrein, found at Lothal.A Stamp seal and its impression from the Harappan site of Lothal north of Bombay, of the type also found in the contemporary cultures of southern Iraq and the Persian Gulf Area. http://www.penn.museum/sites/expedition/archaeology-in-india/

http://www.penn.museum/sites/expedition/shipping-and-maritime-trade-of-the-indus-people/

Neo-Sumerian Statuette of an Androcephalous Bull, C. 2350-2000 BCE  Mesopotamian lama deity, a bull with a human head, kind, protective spirits associated with the great sun god Shamash. In one inscription, an Assyrian king called upon lama deities to "turn back an evil person, guard the steps, and secure the path of the king who fashioned them." 2100-2000 BCE Serpentine, a smooth green stone the color of life-giving water in a desert area. The hollowed-out shapes on the body originally were inlaid with pearly shell or lapis lazuli.

At the time of Gudea and the Third Dynasty of Ur (ca.2100-2000)' when trefoil inlays decorate a couple of small reclining bulls with a bearded human head, made of steatite

and bituminous stones' and found at Lagash(Tello) in Sumer.

"Images of human-headed bulls are found throughout Mesopotamian history. Several statuettes dating from the late third millennium BC show a bearded creature wearing the divine horned headdress, lying down with its head turned to the side. They have been found at various Sumerian sites, the majority from Telloh. “C.J.Gadd (quoted by Mackay 1931: I, 356 fn. 2) thought that the Sumerian bu1ls with trefoils are representations of the BuÌl-of Heaven(a Babylonian name for one of the constellations) and therefore the trefoils represent stars. The Bull of Heaven (GU4-AN-NA = ãlu) figures in the epic of Gilgamesh. (Parpola, opcit, p.28)

Crete. Cow-head rhython with trefoil decor.

1 G. Contenau, Manual d'archeologie orientale, II, Paris, 1931, p. 698-9.

2 ibid. and A. Evans, the Palace of Mines, II, 1928, p. 261

3 The Babylonian Legends of the Creation (Brit. Mus. 1931), p. 59; Antiquaries Journal, III, 1923, p.331

4 Evans, op cit. I, 1921, pp. 513-14

5 ibid. IV, 1935, p. 315

miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120)

Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Munda) 

See: 

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

http://tinyurl.com/z3x7zev