Itihāsa. Holi originated in Prhladpuri temple, Multan, Pakistan

March 11, 2020, 8:37 am

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https://www.academia.edu/42194441/Itih%C4%81sa._Holi_originated_in_Prahladpuri_temple_Multan_Pakistan

The original deity of Lord Narasimha was brought to India by Baba Narayan Das Batra from Multan at the time of partition in 1947. The deity is now at Haridwar (Narasimhadham Road).

https://iskcondesiretree.com/profiles/blogs/prahladpuri-temple-multan

Vishal Agarwal -- Happy Holi. Below is a picture and description of the site where Holi originated, now in Multan (Pakistan). The Murti of the Mandir was rescued in 1947 by fleeing Hindus and is worshipped in a Mandir in Haridwar today. The Suraj Kund close to Multan is another site associated with Narasingh Avatar. The city has the Jami Masjid within the fort built on top of the famous Surya Mandir (Bhaskar), the Joga Maya Mandir and another Prahladpuri temple. Multan was a holy city for Hindus before its conquest and desecration by Sunni Arabs and then Ismailis. About 1000 Hindus (Scheduled caste) still live in the district today and they celebrate Holi in whatever they can but without access to their shrine.

TrueIndology

Yesterday at 7:39 PM ·

Ancient temple where Holi originated. Now used as toilet:

This is the famous "Prahladpuri' temple" of Multan in Pakistan. This is where the Holi festival originated, according to Puranic lore.

According to Puranas, this was the place where Holika was burnt. It was believed by Hindus that this temple was built by Prahalada himself.

Multan was formerly known as Kasyapa-pura (Known to ancient Greeks as kaspapyros) meaning the "city of Kashyapa". According to Puranas, Prahalada was the son of Hiranyakashipu and grandson of Kashyapa.

This Prahladpuri temple once housed devotees and pilgrims from all over Indian subcontinent. It was a very famous pilgrimage site in the Pre Islamic Period.

This temple was first destroyed during Ghaznavid Islamic invasions in 11th century. A subsequent section of the temple was converted into the mosque of Baha’ul Haq Zakariya in 13th century. When Sikhs captured Multan in 19th century, a small temple was rebuilt at the spot. But this temple was also destroyed by Islamist mobs in 1992 in the wake of Babri demolition. A few ruined walls still remain.

Today, the neighboring people use the temple site as filthy garbage dump and open toilet. This is the condition of one of the most important Hindu temples.

https://www.facebook.com/permalink.php?story_fbid=1146304769046639&id=100010013798819

Prahladpuri Temple

پرَہْلادْپُورِی مندر

The original temple of Prahladpuri is said to have been built by Prahlada, son of Hiranyakashipu, the king of Multan (Kashya-papura) in honor of Narsing Avatar, an incarnation of Hindu deity Vishnu emerged from the pillar to save Prahlada-Gazetteer of the Multan District, 1923-24 Sir Edward Maclagan, Punjab (Pakistan). 1926. pp. 276–77. https://en.wikipedia.org/wiki/Prahladpuri_Temple,_Multan

https://www.youtube.com/watch?time_continue=14&v=fBGtIL36RbA&feature=emb_logo (3:13)

Prahlada Suryam Temple, Multan

March 11, 2020

Ancient Remains at Multain

By Sanjay Godbole

Mr. Anant Joshi, from Pune Maharashtra India resides in Sadashiv Peth, (Peth a residential sector in the city) and is the lawful owner of the temple of Lord “Narsinha” (a Hindu deity in the form of half human and half lion body e.g. incarnation of lord Vishnu).

Sanjay Godbole -- "In the March 2004, he successfully obtained a Visa permit from Pakistan and with a view to visit the original location of the incarnation of Lord Narsinha, as detailed in Hindu Mythological scriptures & visited Multan in Pakistan. He photographed some of the ancient remains and ruins of the Hindu culture. During his stay at Multan, he was presented a book in Urdu named “Tarikh-e-Multan” written by Munshi Abdul Rehman Khan and published by “Ulum-Islamia-Chahalak”. Some vital information of the ancient remains and ruins of the Hindu Culture is detailed on Page No. 480 of this book. The translation of the related Urdu matter is as follows:

Hindu Asar-Bot-E-Multan (Hindu Idols-antiquities of Multan)

In the history of the city of Multan, during the dilivu-an period , the deity called “Aditya” played a substantially vital role. That is exactly why, Multan was, in Arabia addressed as Betul-Juhet, literally means a house full of Gold. The reason is, as stated by Abdul Qassim an Arab Author, “Mohammad Bin-Quasim-got 40 Bhars of Gold (l Bhar equals 380 Maunds and 1 maund equals 40 seers or 20 Kilograms approximately) from a house in Multan.

Ester, a contemporary historian, too, has made a statement about Multan that the name of the deity called Aditya, was also “Multan” and that the deity was mounted in a Glorious palace. The location was a big market place near Thatheri Bazar and ivory Bazar. The spot was in the vicinity of the “Pralhad” Temple. Abu Zahid Safi writes about Multan that many pilgrims, after undertaking a tedious journey, lasting many months, visited Multan to obtain glimpses of this deity “Aditya” and brought with them, an incense called Chandan (Sandlewood) the famous Kamrani Dhoop, which was burnt in front of the deity. The then, price of this sandle wood incense was 200 Dinars for 1 maund (40 seers or 20 Kgs.) in 886 AD. Ibn-e-Rasta in the year 906 A.D. Writes that in Multan, there is an idol which is 2000 years old. It is here only, the descendents of “Ibn-e-Manba” dynasty rule the province (Ibn-e-Manba is a branch of Sama bin Louie) on such occassions when Indian rulers, waged war and arrived near Multan, the local and native rulers became alert and kept their Military forces ready for action and showed their valour on the battle field.

Masudi, in 905 A.D. writes that the Sultan of Islamic rule, had both the riches and military. The Sultan was having a direct control of one lac twenty thousand towns in the near vicinity of Multan, spread around on all four sides. The famous Hindu temple is here only and the suitan gets a substantial income by the sale of sandle wood, required at the temple for performing religious rituals. The sandle wood was brought to Multan from far off places. Whenever, the Hindu rulers waged war on Multan and had a winning edge, over the Muslims, they (the muslims) threatened that they would destroy the idol of the God and the Hindu Military would retreat and go back. The famous city of Kanauj was also under the control of Multan.

Hindus from Sindh province held this idol of Aditya, in a very high esteem and treated it as an emblem of the Almighty and flocked this place frequently without fail, to have glimpses of the deity .

After their arrival here, the pilgrims got their heads and beards shaved off. This deity, primafacie had live anthropoid human features and therefore, Mohammed Bin Qassim had, with a view to behead the deity, taken out his sword.

This idol was made of pure gold and was inlaid with precious stones. There was a dense forest around the temple, where the pilgrims rested under the trees.

The temple of Pralhad at Multan

This temple is within the precincts of the old fort of Multan. The popular legend states that this temple was got constructed by Bhakta Pralhad, himself. Bhakta means devotee. It is title associated with Pralhad. It is one of the ancient remains of Hindu religious centres, and faces the Shrine of Hazrat Bahul Haque-Zakeria”.

In side the temple, there was an idol of Lord Vishnu in the incarnated form of Narasinha (A half human and half lion form) A grand fete was celebrated, of Narsinha, here in every month of “Jyeshtha”. On that occasion, many fairs and pilgrimages were held. This fete was of great importance for Hindus.

Hiranyakashyapu (father of Pralhad) wished to punish Pralhad. So he got one golden pole fabricated. He heated the column from inside and tied Pralhad to it. But Lord Narasinha favoured Pralhad and got the golden pole transformed into a column made of soil and cooled it. The Lord killed Hiranyakashyapu and made Pralhad a king. Multan was earlier known as Kashyappur then. This name was subsequently changed to Pralhadpur, after Pralhad occupied the throne.

Sir Alexander Bernas” visited Multan and has mentioned that the Prahlada temple had no roof-top. In the year 1810 A.D., the Hindus collected contributions and got an acme for the temple. This acme was errected at a higher level than that of the dome of the tomb of “Hazarat Zakaria”. This led to rift and disharmony in the two communities. This was one of the first communal riots in Multan. Hindu as a result of the riots, were compelled to reduce the height of the acme, so as to bring it lower than the height of the dome over the tomb. In the year 1848 A.D., the East India companie’s English forces attacked the Multan Fort. Due to the explosives used in and from the artillery, the structure of the temple was badly damaged and the very existence of this ancient structure went into Jeopardy. In the year 1853 A.D. the Temple was conventionally put into non-use and was put out of vogue. The temple finally was reinstated and restored, by using the funds, gathered by way of public contributions. The temple was in a fairly good shape till the year 1992 A.D. This intact temple was destroyed by the Muslims of Multan as a revenge of the Babri Masjid episode on 6th of Dec. 1992. This day, only stray remains of the walls of the temple exist in a dilapidated state.

The Suraj Kund of Multan

This Surya-kund temple is situated at a distance of 3 kms from Multan. Here is a kund (water tank) which is 10 feet deep and 132 feet long. During the Sikh regime, Shri. Savanmal, got all the four walls, surrounding the tank, constructed. As the legend from the Hindu scripture goes, Lord Narasinha, drank water from this Kunda after he relieved Pralhad from the clutches of Hirankashyapu.

The Sun God (Aditya) Surya Devata (Deity) was worshipped at this temple. This place was considered as the second important ancient place in Multan.

The temple of Totalamai

Totlamai (Mai means mother) is the third important and sacred spot for Hindus in Multan and is situated inside of the Haram Darwaza. In olden days the cities and towns were protected from outside attacks by constructing surrounding walls from all sides and only a few entry points were provided which were called Fasil Ka Darvaza.

This temple is called the temple of Totlamai. The deity here is Goddess “Totla. The Mughal King Aurangzeb had thrown the idole of the deity in a well here. The Chief priest of the temple at that times was an expert in Ayurvedic medicines and he treated the son of Aurangzeb and got him cured completely. The priest, as a reward, requested Aurangzeb for the idol of Goddess Totlamai and by royal order, the same was returned to him. The deity was subrogated in the temple. Shri. Savanmal richly contributed for the restoration work.

The temple of Goddess Jog Maya

This Jogmaya Mandir happens to be the fourth important and sacred religious place in Multan. It is very near from Multan Railway Station and was initially in the form of a stone pedestal. During the regime of Deewan Savanmal (Deewan-Chief Administrator) the temple was errected and Mr. Mulraj completed this construction work.

As per the Hindu Mythological Scripture in Mulsthana i.e. Multan, when Lord Narasinha incarnated, many Gods and Goddesses arrived there on the occasion to felicitate him, and amongst them Goddess Jogmaya was one who decided to inhabit and remain present at the spot forever. Here the Navaratri festival was celebrated in the months of Chaitra and Ashwin ( from Hindu calendar months) every year.

RAMTEERTH

This is the fifth important and sacred place in Multan for Hindus. This is the abode of Lord (God) Ramchandra. There is a Kund (Water tank). Which is situated near the place. This is situated on the outside of Delhi Darwaza (Gate) and near Melsi-Duniyapur highway. During the regime of Maharaja Ranjeet Singh, the Kund and the temple were constructed. The festival is celebrated here on the full moon night in the month of Bhadrapada.

Narsinhapuri Mandir

Since this temple was inside the precincts of Multan Fort, the priests could not enter the temple, except for the pre-scheduled timings on account of the restrictions on visiting hours. To remove the cause of this pre-decamental inconvenience, the priest of the temple, got a new temple errected near the sabji mandi and subrogated an idol of Narsinha incarnation. Afterwards, a wealthy devotee of Multan renovated this temple into an elegant and modern one at a cost of rupees ten thousand.

The Other old remains at Multan

Apart from the above, there are a few religiously important remains at Multan. These include the Samadhi of Savanmal outside the gate of the fort. Dnyanshala at Delhi gate, a Kund for the use of Pathashala (School), the Jain temple at Chodisara market and a temple of Lord Shiva.

The Hanuman temple in the Chowk area is also very famous. This temple was utilized as a safe refuge, for Hindus during communal riots. The other defence implements and weapons needed during such periods of riots were also stored over here. These implements were mainly used for retaliatory purposes. The Dnyanshala, referred to above topped the list of such hideouts.

*(The author is a noted Archeologist, based in Pune)

Source: Kashmir Sentinel"

http://ikashmir.net/sgodbole/multan.html

Ruins of Prahladpuri Temple

नरसिंहकेइसपहलेमंदिरसेजुड़ाहैइतिहास

मानाजाताहैकिहोलीकीशुरुआतभारतमेंनहींबल्किपाकिस्तानसेहुई. इसकेपीछेबेहदहीखासवजहबताईजातीहैऔरवोहैपाकिस्तानकेमुल्तानशहरमेंमौजूदप्रल्हादपुरीमंदिर (Prahladpuri Temple).

Written by: रेणुचौहान, Updated: 19 मार्च, 2019 5:13 PM

होलीकाइतिहास

नईदिल्ली:

21 मार्चकोपूरेदेशमेंहोली (Holi) बड़ीहीधूमधामसेमनाईजाएगी. इससेपहले 20 मार्चकीशामकोहोलिकादहन (Holika Dahan) कियाजाएगा. होली (Holi 2019) केइसपर्वमेंपकवानोंकेसाथ-साथहरतरफरंगोंकीबौछारहोतीहै. लेकिनक्याआपकोमालूमहैकिभारतकेइससबसेप्रसिद्धत्योहारकासंबंधपाकिस्तानसेहै? मानाजाताहैकिहोलीकीशुरुआतभारतमेंनहींबल्किपाकिस्तानसेहुई. इसकेपीछेबेहदहीखासवजहबताईजातीहैऔरवोहैपाकिस्तानकेमुल्तानशहरमेंमौजूदप्रल्हादपुरीमंदिर (Prahladpuri Temple).

मानाजाताहैकिहिरण्यकश्यपकेबेटेप्रल्हादनेभगवाननरसिंह (विष्णुकेअवतार) केसम्मानमेंएकमंदिरबनवाया, जोफिलहालपाकिस्तानकेशहरमुल्तानमेंआताहै. भगवाननरसिंहनेहीखंभेमेंअपनेदर्शनदेकरभक्तप्रल्हादकीजानबचाईथी. इसीमंदिरसेहोली (Holi) कीशुरुआतहुई. यहांदोदिनोंतकहोलिकादहन (Holika Dahan) उत्सवऔरहोलीपूरेनौदिनोंतकमनाईजातीथी.

Surf Excel सेहुईइतनीनफरतकिलोगोंने Microsoft Excel केसाथकरदियाऐसा

पाकिस्तानकेमुल्तानमेंमौजूदप्रल्हादपुरीमंदिर

इसजगहपरभारतमेंमनाईजानेवालीजनमाष्टमी (Janmashtami) कीतरहहोलीवालेदिनमटकीफोड़ीजातीहै. मटकीकोऊंचाईपरलटकायाजाताहै. फिरपिरामिडकेआकार में एककेऊपरएक चढ़करमटकीफोड़ीजातीहै. खासबात, इसमटकीमेंभीमक्खनऔरमिश्रीभरीहोतीहै. पाकिस्तानकेमुल्तानमेंइसपर्वकोचौक-पूर्णात्योहारकहाजाताहै.

वहीं, आपकोबतादेंभगवाननरसिंहकेइसपहलेमंदिरकोनुकसानपहुंचाया गया. स्पीकिंगट्री केमुताबिकभारतमेंबाबरीमस्जिद (Babri Masjid) कोगिरानेकेबादपाकिस्तानमेंकईहिंदूमंदिरोंकोगिरायागया, जिनमेंसेएकप्रल्हादपुरीमंदिरभीथा.

लेकिनअबइसमंदिरमेंरखीभगवाननरसिंहाकीमूर्तिहरिद्वारमेंहै, जिसेबाबानारायणदासबत्राभारतलेकरआए. नारायणदासप्रसिद्धवयोवृद्धसंतहैं, जिन्होंनेभारतमेंकईस्कूलोंऔरकॉलेजोंकानिर्माणकराया. समाजकेउत्थानकेलिएकिएगएकार्योंकेलिएउन्हेंसाल 2018 मेंपद्मश्रीसेभीनवाज़ागया.

https://khabar.ndtv.com/news/faith/holi-2019-first-narasimha-prahladpuri-temple-in-multan-pakistan-2007569

↧

itihasa. Rajatarangini. Temples of Kashmir Part 1 -- Dr. Nagaswamy

March 13, 2020, 3:04 am

≫ Next: Indus Script seals of guild-masters and ଲୋହଳ— Lohaḻa 'ironsmiths' m296, m417

≪ Previous: Itihāsa. Holi originated in Prhladpuri temple, Multan, Pakistan

Temples of Kashmir Part 1 by Padma Bhushan awardee Dr. Nagaswamy

In Part 1, Dr. Nagaswamy rips into Arundhati Roy's ignorance of Kashmir and cites how the city of Sri Nagara was established and by who.

Sahil Mishra

March 13, 2020https://www.youtube.com/watch?time_continue=58&v=6KeufUNHAvE&feature=emb_logo (38:20)

↧

Indus Script seals of guild-masters and ଲୋହଳ— Lohaḻa 'ironsmiths' m296, m417

March 13, 2020, 3:24 am

≫ Next: Indus Script Writing tools फडनिशी. Kernos ring 'ink-pot' maśĭ̄ of iron oxyhydroxide PLUS hieroglyph ib 'needle' rebus: ib 'iron'ṭã̄k pen-nib, ṭaksāḷī 'mint-master'

≪ Previous: itihasa. Rajatarangini. Temples of Kashmir Part 1 -- Dr. Nagaswamy

https://tinyurl.com/wehlb2t

Hieroglyph: ଲୋହଳ— Lohaḻa The principal link in a chain. (Oriya)

Rebus: lōhakāra m. ʻ iron -- worker ʼ, ˚rī -- f., ˚raka -- m. lex., lauhakāra -- m. Hit. [lōhá -- , kāra -- 1]Pa. lōhakāra -- m. ʻ coppersmith, ironsmith ʼ; Pk. lōhāra -- m. ʻ blacksmith ʼ, S. luhā̆ru m., L. lohār m., ˚rī f., awāṇ. luhār, P. WPah.khaś. bhal. luhār m., Ku. lwār, N. B. lohār, Or. lohaḷa, Bi.Bhoj. Aw.lakh. lohār, H. lohār, luh˚ m., G. lavār m., M. lohār m.; Si. lōvaru ʻ coppersmith ʼ.Addenda: lōhakāra -- : WPah.kṭg. (kc.) lhwāˋr m. ʻ blacksmith ʼ, lhwàri f. ʻ his wife ʼ, Garh. lwār m.(CDIAL 11159) ଲୋହଳ— Lohaḻa ସଂ. ବି (ଲୋହ+ଲା ଧାତୁ=ପାଇବା+କର୍ତ୍ତୃ. ଅ)— 1। ଲୋହକାର; କମାର—1. Ironsmith. 2। ଶୃଙ୍ଖଳର ପ୍ରଧାନ ମୂଦିଆ—2. The principal link in a chain. ସଂ. ବିଣ— 1। ଖନା—1. Lisping. 2। ଅଷ୍ଫୁଟବାକ୍; ଅବ୍ଯକ୍ତଭାଷୀ; ଦରୋଟି କଥା କହୁଥିବା— 2. Speaking inarticulately. 3। ଲୌହନିର୍ମିତ— 3. Made of iron (M.W.) †*lōhahala -- ʻ ploughshare ʼ. [lōhá -- , halá -- ]WPah.kṭg. lhwāˋḷ m. ʻ ploughshare ʼ, J. lohāl ʻ an agricultural instrument ʼ; rather < †*lōhaphāla -- .(CDIAL 11163a)

Hieroglyph: kaḍī a chain; a hook; a link (G.); kaḍum a bracelet, a ring (G.) Rebus: kaḍiyo [Hem. Des. kaḍaio = Skt. sthapati a mason] a bricklayer; a mason; kaḍiyaṇa, kaḍiyeṇa a woman of the bricklayer caste; a wife of a bricklayer (G.)

the two links of a chain shown on m296 seal as कटक kaṭaka 'link of a chain' rebus: कटकम् kaṭakam 'caravan, an army, a camp' (from a gold-silversmith mint) working with eraka, 'moltencast metals', ayas 'metal alloys', metal equipment [ayaskāṇḍa ‘a quantity of iron,excellent iron’ (Pāṇ.gaṇ)] in a kole.l 'smithy/forge'; 'temple'.

-- కమటము kamaṭa 'portable furnace' rebus: kammaṭa 'mint'.

कटकः कम् kaṭakḥ kam कटकः कम् 1 A bracelet of gold; कटकाकृतिमुपमृद्य स्वस्तिकः क्रियन्ते Mbh. on I.1.1. आबद्धहेमकटकां रहसि स्मरामि Ch. P.15; Śi.16.77; कटकान्यूर्मिकाश्चापि चित्ररत्न- चयाङ्किताः Śiva. B.17.44. -2 A zone or girdle. -3 A string. -4 The link of a chain. -5 A mat. -6 sea- salt.-9 An army, a camp; आकुल्यकारि कटकस्तुरगेण तूर्णम् Śi.5.59; Mu.5. -1 A royal capital or metropolis (राजधानी). -11 A house or dwelling. -12 A circle or wheel. -13 A ring placed as an ornament upon an elephant's tusk. -14 N. of the capital of Orissa. -Comp. -गृहः A lizard.
Ta. kaṭikai bolt, sliding catch. Ma. kaṭika peg tied to the well-rope to prevent its slipping from the bucket. Te. gaḍacīla wooden pin with which a bucket is fastened to the pole of a picottah.(DEDR 1130)

कटकिन् kaṭakin कटकिन् m. A mountain. कटकः कम् kaṭakḥ kam -7 The side or ridge of a mountain; प्रफुल्लवृक्षैः कटकैरिव स्वैः Ku.7.52; R.16.31. -8 Table-land; स्फटिककटकभूमिर्नाटयत्येष शैलः Śi.4.65. (Apte) कटक mn. a royal camp Katha1s. Hit. &c; an army; mn. a multitude , troop , caravan Das3.; mn. collection , compilation Ka1d. 40 , 11; mn. N. of the capital of the Orissa (Cuttack)(Monier-Williams)

शृङ्गिन् 'horned' (RV)(Monier-Williams)शृङ्गिन् śṛṅgin शृङ्गिन् a. (-णी f.) [शृङ्गमस्त्यस्य इनि] 1 Horned.(Apte) Rebus: शृङ्गि gold used for ornaments (also -कनक) (Monier-Williams) शृङ्गिः śṛṅgiḥ शृङ्गिः Gold for ornaments śṛṅgī शृङ्गी Gold used for ornaments (Apte)

Two शृङ्खला 'chain links' are also shown on an Indus Script seal (m296) together two 'unicorn' heads in profile.

These are: two ଲୋହଳ— Lohaḻa The principal link in a chain. (Oriya)

Image result for unicorns nine ficus leaves indus script

Seal impression of m296

The horns are spiny. Such spiny horns are signified by the Santali word singhin cognate with शृङ्गिन् 'horned' (RV)(Monier-Williams)शृङ्गिन् śṛṅgin शृङ्गिन् a. (-णी f.) [शृङ्गमस्त्यस्य इनि] 1 Horned.(Apte)

Rebus readings are: शृङ्गि gold used for ornaments (also -कनक) (Monier-Williams) शृङ्गिः śṛṅgiḥ शृङ्गिः Gold for ornaments śṛṅgī शृङ्गी Gold used for ornaments (Apte)

Two heads of 'horned young bulls': dol 'likeness, picture, form' (Santali) dula 'pair' Rebus: dul 'cast iron' (Santali) dul ‘to cast metal in a mould’ (Santali) dul meṛeḍ cast iron (Mundari. Santali) PLUS kunda singi 'horned young bull' rebus: kunda singi 'fine gold, ornament gold'. kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). --khasüñ^ü --खस॑ञू॒ । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 1033, where the causal form of the verb is used.

Hieroglyphs: śr̥ṅkhala m.n. ʻ chain ʼ rebus शृङ्गिः śṛṅgiḥ शृङ्गिः Gold for ornaments śṛṅgī शृङ्गी Gold used for ornaments PLUS kaṛā 'ring' (Punjabi) rebus: khār 1 खार् । लोहकारः 'blacksmith, ironsmith' (Kashmiri) Pair: dul khār 'metalcaster smith'.PLUS Hieroglyph of portable furnace with round pebbles: गोटी [ gōṭī ] f (Dim. of गोटा) A roundish stone or pebble. 2 A marble Rebus: गोटी [ gōṭī ] f (Dim. of गोटा) A lump of silver: as obtained by melting down lace or fringe. Thus, the hypertext reads: dul gōṭī śṛṅgi khār 'silver, ornament gold metalcaster smith'.

Hieroglyph:Nine, ficus leaves: 1.loa 'ficus glomerata' (Santali) no = nine (B.) on-patu = nine (Ta.) rebus: lo 'iron' (Assamese) loa ‘iron’ (Gypsy) lauha = made of copper or iron (Gr.S'r.); metal, iron (Skt.); lohakāra = coppersmith, ironsmith (Pali);lohāra = blacksmith (Pt.); lohal.a (Or.); loha = metal, esp. copper orbronze (Pali); copper (VS.); loho, lo = metal, ore, iron (Si.) loha lut.i = iron utensils and implements (Santali) ଲୋହକାର; କମାର—1. Ironsmith.

kamaṛkom ‘ficus’ (Santali); Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭamcoinage, mint. Ka. kammaṭa id.; kammaṭi a coiner (DEDR 1236)

Hieroglyph: Semantic determinative of portable furnace:

కమటము kamaṭamu kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి. "చ కమటము కట్లెసంచియొరగల్లును గత్తెర సుత్తె చీర్ణముల్ ధమనియుస్రావణంబు మొలత్రాసును బట్టెడ నీరుకారు సా నము పటుకారు మూస బలునాణె పరీక్షల మచ్చులాదిగా నమరగభద్రకారక సమాహ్వయు డొక్కరుడుండు నప్పురిన్"హంస. ii. కమసాలవాడు (p. 246) kamasālavāḍu Same as కంసాలి. కమసాలవాడు kamasālavāḍu kaṃsāli or కంసాలవాడు kamsāli. [Tel.] n. A goldsmith or silversmith. కమ్మటము kammaṭamu Same as కమటము. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste. Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner (DEDR 1236)

Text of the Indus Script inscription m296

1387

kana, kanac =corner (Santali); Rebus: kañcu, 'bell-metal' (Telugu) कंस mn. ( √कम् Un2. iii , 62), a vessel made of metal , drinking vessel , cup , goblet AV. x , 10 , 5 AitBr. S3Br. &c; a metal , tutanag or white copper , brass , bell-metal (Monier-Williams) The rhombus symbols is shaped like an ingot: mũh 'rhombus shape' rebus: mũh ingot'. Thus, bell-metal ingot.

Ligatured glyph. : څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel (particularly a potter's wheel' (Pashto) rebus arka 'copper, gold' eraka 'moltencast, metal infusion' arā 'spoke' rebus: āra 'brass'. era, er-a = eraka =?nave; erakōlu = the iron axle of a carriage (Ka.M.); cf. irasu (Kannada)[Note Sign 391 and its ligatures Signs 392 and 393 may connote a spoked-wheel, nave of the wheel through which the axle passes; cf. ar ā, spoke]erka = ekke (Tbh.of arka) aka (Tbh. of arka) copper (metal);crystal (Kannada) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tulu) Rebus: eraka

= copper (Ka.)eruvai =copper (Ta.); ere - a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a = syn. erka, copper, weapons (Ka.)Vikalpa: ara, arā (RV.) = spoke of wheel ஆரம்² āram , n. < āra. 1. Spoke of a wheel See ஆரக்கால். ஆரஞ்சூழ்ந்த வயில்வாய்நேமியொடு (சிறுபாண். 253). Rebus: ஆரம்brass; பித்தளை.(அக. நி.)

Sign 123: kuṭi = a slice, a bit, a small piece (Santali.Bodding) Rebus: kuṭhi ‘iron smelter furnace’ (Santali) kuṭhī factory (A.)(CDIAL 3546)

Thus, Part 1 of the hypertext sequence connotes arka 'copper,gold' eraka 'moltencast, metal infusion' and a copper, bronze, brass smelter furnace.

Ayo ‘fish’; kaṇḍa‘arrow’; rebus: ayaskāṇḍa. ayas 'alloy metal' The sign sequence is ayaskāṇḍa ‘a quantity of iron,excellent iron’ (Pāṇ.gaṇ) ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.) kaṇḍa ‘fire-altar’ (Santali) DEDR 191 Ta. ayirai, acarai, acalai loach, sandy colour, Cobitis thermalis; ayilai a kind of fish. Ma. ayala a fish, mackerel, scomber; aila, ayila a fish; ayira a kind of small fish, loach. ayir = iron dust, any ore (Ma.) aduru = gan.iyindategadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddha_nti Subrahman.ya’ S’astri’s new interpretationof the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330) DEDR 192 Ta. ayil iron. Ma. ayir,ayiram any ore. Ka. aduru nativemetal.

Tu. ajirdakarba very hard iron अयस् n. iron , metal RV. &c ; an iron weapon (as an axe , &c ) RV. vi , 3 ,5 and 47 , 10; gold Naigh.; steel L. ; ([cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa ; Old Germ. e7r , iron ; Goth. eisarn ; Mod. Germ. Eisen.])(Monier-Williams) Thus, in R̥gveda, the falsifiable hypothesis is that ayas signified 'alloy metal' in the early Tin-Bronze Revolution.

kole.l 'temple, smithy' (Kota); kolme ‘smithy' (Ka.) kol ‘working in iron, blacksmith (Ta.); kollan- blacksmith (Ta.); kollan blacksmith, artificer (Ma.)(DEDR 2133) kolme =furnace (Ka.) kol = pan~calo_ha (five metals); kol metal (Ta.lex.) pan~caloha = a metallic alloy containing five metals: copper, brass, tin, lead and iron (Skt.); an alternative list of five metals: gold, silver, copper, tin (lead), and iron (dhātu; Nānārtharatnākara. 82; Mangarāja’s Nighaṇṭu. 498)(Ka.) kol, kolhe, ‘the koles, an aboriginal tribe if iron smelters speaking a language akin to that of Santals’ (Santali) kolimi 'smithy, forge' (Telugu)

Thus, Part 2 of hypertext reads: ayaskāṇḍa kole.l 'smithy/forge excellent quantity of iron'

Both Part 1 an Part 2 of hypertext together:

kamsa āra kuṭhi 'bronze (bell-meta), brass smelter'; ayaskāṇḍa kole.l 'smithy/forge excellent quantity of iron (alloy metal)'.

Thus, the pictorial motif and the text message on m296 Indus Script inscription signify a caravan of gold-silversmiths.

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Mohenjo-daro seal m417 six heads from a core.śrēṇikā, 'ladder sãgaḍa 'joined animals' rebus: jangaḍa 'entrustment note (special mercantile transaction for sale or return'; jangadiyo 'military guards carrying treasure into the treasury' (Gujarati); sangara 'tade'.

Mohenjo-daro seal m417 six heads from a core.śrēṇikā -- f. ʻ tent ʼ lex. and mngs. ʻ house ~ ladder ʼ in *śriṣṭa -- 2, *śrīḍhi -- . -- Words for ʻ ladder ʼ see śrití -- . -- √śri]H. sainī, senī f. ʻ ladder ʼ; Si. hiṇi, hiṇa, iṇi ʻ ladder, stairs ʼ (GS 84 < śrēṇi -- ).(CDIAL 12685). Woṭ. Šen ʻ roof ʼ, Bshk. Šan, Phal. Šān(AO xviii 251) Rebus: seṇi (f.) [Class. Sk. Śreṇi in meaning “guild”; Vedic= row] 1. A guild Vin iv.226; J i.267, 314; iv.43; Dāvs ii.124; their number was eighteen J vi.22, 427; VbhA 466. ˚ -- pamukha the head of a guild J ii.12 (text seni -- ). — 2. A division of an army J vi.583; ratha -- ˚ J vi.81, 49; seṇimokkha the chief of an army J vi.371 (cp. Senā and seniya). (Pali)

This denotes a mason (artisan) guild -- seni -- of 1. brass-workers; 2. blacksmiths; 3. iron-workers; 4. copper-workers; 5. native metal workers; 6. workers in alloys.

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

The glyphics are: bhaṭa 'warrior' rebus: bhaṭa 'furnace' (for) baṭa 'iron' kamadha 'archer' kāmṭhiyɔ kāmaṭhiyo a bowman; an archer (Skt.) (CDIAL 2760) rebus: kammaṭa 'mint, coiner'; bhaṭa 'warrior' rebus: bhaṭā 'furnace';

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

2. Glyph: ‘bull’: ḍhangra ‘bull’. Rebus: ḍhangar ‘blacksmith’.

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

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

^5.पोळ [pōḷa], 'zebu, dewlap' rebus: पोळ [pōḷa], 'magnetite, ferrite ore'' Glyph: ‘zebu’: khũṭ ‘zebu’. Rebus: khũṭ ‘guild, community’ (Semantic determinant of the ‘jointed animals’ glyphic composition). kūṭa joining, connexion, assembly, crowd, fellowship (DEDR 1882) Pa. gotta ‘clan’; Pk. gotta, gōya id. (CDIAL 4279) Semantics of Pkt. lexeme gōya is concordant with Hebrew ‘goy’ in ha-goy-im (lit. the-nation-s)^.Pa. gotta -- n. ʻ clan ʼ, Pk. gotta -- , gutta -- , amg. gōya -- n.; Gau. gū ʻ house ʼ (in Kaf. and Dard. several other words for ʻ cowpen ʼ > ʻ house ʼ: gōṣṭhá -- , Pr. gūˊṭu ʻ cow ʼ; S. g̠oṭru m. ʻ parentage ʼ, L. got f. ʻ clan ʼ, P. gotar, got f.; Ku. N. got ʻ family ʼ; A. got -- nāti ʻ relatives ʼ; B. got ʻ clan ʼ; Or. gota ʻ family, relative ʼ; Bhoj. H. got m. ʻ family, clan ʼ, G. got n.; M. got ʻ clan, relatives ʼ; -- Si. gota ʻ clan, family ʼ ← Pa. (CDIAL 4279). Alternative: adar ḍangra ‘zebu or humped bull’; rebus: aduru ‘native metal’ (Ka.); ḍhangar ‘blacksmith’ (H.)

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

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Indus Script Writing tools फडनिशी. Kernos ring 'ink-pot' maśĭ̄ of iron oxyhydroxide PLUS hieroglyph ib 'needle' rebus: ib 'iron'ṭã̄k pen-nib, ṭaksāḷī 'mint-master'

March 13, 2020, 8:11 am

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https://tinyurl.com/s67l2dh

--The Kibbutz Sasa KernosThe pomegranate vase: its origins and continuity -- Sara A.

--Hieroglyphs on Kernoi rings are metalwork catalogues, with Meluhha roots in Sarasvati Civilization sprachbund (speech union) , selected to indicate that ink can be used to write on ingots, metal rods, metal bars, equipment

https://tinyurl.com/y8g8443w This monograph is an addendum to:Indus Script writing instruments included kernos, ring of pots as a set of ink-pots containing iron oxide pigment to inscribe inscriptions on metal objects Iron oxide liquid held in such kernos may have been used to write on metal, as demonstrated on the Mohenjo-daro gold pendant. I suggest that the kernos ring of vessels is like an ink-pot containing iron oxide liquid used as a writing ink, to write on metal objects, like copper tablets or gold pendants. The gold-pendants with sharp nibs are writing instruments.See: https://tinyurl.com/y8xqexl6

-- फडनिशी or सी phaḍaniśī or sī f The office or business of फडनीस. फडनीस phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस. (Marathi) ନବିସ୍— Nabis [synonym(s): নবিস नबीस] ବୈଦେ. ବି. (ଫା. ନବୀସ)— 1। ଲେଖକ— 1. Writer. 2। ୟେଉଁ ବ୍ୟକ୍ତି କୌଣସି ଲେଖା କାର୍ଯ୍ୟ କରେ— 2. A person who does a certain writing. [ଦ୍ର— ଏହା ଅନ୍ୟ ଶବ୍ଦ ସଙ୍ଗେ ୟୁକ୍ତ ହୁଏ; ଯଥା—ନକଲ ନବିସ, ତାଇଜ ନବିସ, ତଉଜୀ ନବିସ୍, ଅରଜୀ ନବିସ୍ ଇତ୍ୟାଦି ।] ନବିସନ୍ଦା— Nabisandā ବୈଦେ. ବି. (ଫା)— ନବସନ୍ଦା (ଦେଖ)— Nabasandā (See) ନବିସିନ୍ଧା— Nabisindhā ବୈଦେ. ବି. (ଫା)— ନବସନ୍ଦା (ଦେଖ)— Nabasandā (See) ନବିସୀ— Nabisī ବୈଦେ. ବି. (ଫା)— 1। ଲେଖକ ବା କିରାନୀର ଚାକିରି— 1. The post of a clerk or scribe. 2। ଲେଖିବା କର୍ମ—2. writing. ନବସନ୍ଦା Nabasandā [synonym(s): নবিসিঝ] ବୈଦେ. ବି. (ଫା. ନବୀସିନ୍ଦାହ୍)— 1। ଦଲିଲ ଲେଖିବା ବ୍ୟକ୍ତି; ଦଲିର ଲେଖକ ବ୍ୟକ୍ତି; ଦଲିର ଲେଖକ— 1. The scribe or write of a document. 2। ଦରଖାସ୍ତ ଲେଖକ—2. Petition writer. 3। ଲେଖକ—3. Writer. ନବସିନ୍ଧା— Nabasindhā [synonym(s): নবিসিঝ] ବୈଦେ. ବି. (ଫା. ନବୀସିନ୍ଦାହ୍)— 1। ଦଲିଲ ଲେଖିବା ବ୍ୟକ୍ତି; ଦଲିର ଲେଖକ ବ୍ୟକ୍ତି; ଦଲିର ଲେଖକ— 1. The scribe or write of a document. 2। ଦରଖାସ୍ତ ଲେଖକ—2. Petition writer. 3। ଲେଖକ—3. Writer.(Oriya)

--"The (pomegranate-shaped) vase content was sampled twice and analysed in the Labs of Sapienza University. Data collected suggest that inside the vase there was an organic fluid, leaving traces of iron oxide."(Lorenzo Nigro, 2018, Pomegranate (Punica granatum L.) from Motya and its deepest oriental roots in: Vicino Oriente XXII (2018), pp. 63-64).

https://www.academia.edu/37111300/POMEGRANATE_PUNICA_GRANATUM_L._FROM_MOTYA_AND_ITS_DEEPEST_ORIENTAL_ROOTS

Sarasvati Bali.

The Campana Hera, a Roman copy of a Hellenistic original, from the Louvre. Goddess of marriage, women, childbirth, and family. "Hera is commonly seen with the animals she considers sacred including the cow, lion and the peacock. Portrayed as majestic and solemn, often enthroned, and crowned with the polos (a high cylindrical crown worn by several of the Great Goddesses), Hera may hold a pomegranate in her hand." In Hellenistic imagery, Hera's chariot was pulled by peacocks, birds not known to Greeks before the conquests of Alexander.

--ମଶିପଥ— Maṡipatha ସଂ. ବି (6ଷ୍ଠୀ ତତ୍)— କଲମ— Pen [Apte]. ମଶିପ୍ରସୂ— Maṡi prasū ସଂ. ବି— 1। ମସ୍ଯାଧାର; ଦୁଆତ—1. Ink-pot. 2। ଲେଖନୀ; କଲମ—2. Pen. 3। ପେନ୍ସିଲ୍— 3. Pencil. 4। (ଆଧୁନିକ) ଫାଉଣ୍ଟେନ୍ ପେନ୍— 4. Stylo pen; (modern) founatain pen. ମଶି ବର୍ଣ୍ଣ— Maṡi barṇṇa ସଂ. ବିଣ. (ବହୁବ୍ରୀହି)— ସ୍ଯାଇ ପରି କାଳିଆ— Black as ink; inky. ମଶି ବିନ୍ଦୁ— Maṡi bindu ସଂ. ବି (6ଷ୍ଠୀ ତତ୍)— ଶିଶୁମାନଙ୍କୁ କୁଦୃଷ୍ଟିର କୁଫଳରୁ ରକ୍ଷା କରିବା ପାଇଁ ସେମାନଙ୍କ ମୁଣ୍ଡରେ ୟେଉଁ କଜ୍ଜ୍ବଳ ଟୋପି ଦିଆୟାଏ (ହି. ଶ)—Circlets or points of collyrium put on the forehead of infants to counterraet the effect of evil eyes on them. ମଶିମଣି— Maṡimaṇi ସଂ. ବି— 1। ଲେଖନୀ; କଲମ—1. Pen. 2। ପେନ୍ସିଲ୍— 2. pencil.(Oriya)

-- மைக்கூடு mai-k-kūṭu , n. < id. +. Ink-bottle, ink-pot; எழுதும் மசி வைக்குங் கூடு. máṣi m.f. (MW.), ˚ṣī -- f. (VarBr̥S.), masi -- m.f. (Lalit.), ˚sī -- f. (Suśr.), maśĭ̄ -- (BHSk.) ʻ black powder, lampblack, ink ʼ Suśr. [← Drav., Tam. mai &c., DED 4187]

Pa. masi -- ʻ soot ʼ; Pk. masi -- f. ʻ soot, ink ʼ; Ku. masī ʻ ink ʼ, moso ʻ soot ʼ, gng. mwaś; N. masi ʻ ink ʼ, moso ʻ soot ʼ; A. mahi ʻ ink ʼ, B. Or. masi; Mth. masī, mosi ʻ ink ʼ, misi ʻ black dye ʼ; OAw. masi f. ʻ ink ʼ, H. mas, masī f. (→ P. L. mass f., S. masu m.); G. meś, me_ś, masī f. ʻ soot ʼ, M. mas m.f., maśī f.; Ko. maśi ʻ lampblack ʼ; Si. mäsi -- dā̤ ʻ a black mineral substance used in medicine ʼ. -- Deriv. Or. masiā ʻ dirty ʼ. -- See miśrita -- s.v. miśrayati.(CDIAL 9920) Ta. mai collyrium for the eye, ink, ink-paste, black pigment, black, blackness, darkness, spot as of moon, blemish, dark cloud; fault, sin; dirt; (-pp-, -tt-) to become black, be dim; maippu black, blackness. Ma. mai blackness, antimony. To. moy- (moc-) to become dark, become evening; moy ashes (in songs); moQp darkness before dawn or after sunset. Ka. masi dirt, impurity, the black of culinary vessels, soot, lamp-black, black colour, blackness, ink, antimony. Koḍ. masi charcoal. Tu. maji coal, black powder, ink; maiyi a kind of collyrium; maivaripuni to paint the eyes with antimony or collyrium; maipè, maippè a black or dark-coloured fowl. Kor. (O.) majji soot. Te. masi blackness, sootishness, soot, charcoal, ink. Nk. (Ch.) mas soot. Go. (G.) masi id. (Voc. 2760). Kur. maī˜s ink. Cf. 4627 Ta. macaṅku, 4781 Ta. mā, and 4792 Ta. mācu. / Cf. Skt. maṣi- ink, lampblack; Turner, CDIAL, no. 9920; ? cf. Skt. mecaka- black, dark blue(DEDR 5101)

-- I surmise that all the three gold objects could be pendants tagged to other jewellery such as necklaces. The pendants were perhaps worn with a thread of fibre passing through the eye of the needle-like ending of the pendants. Why needle-like endings? Maybe, the pendants were used as 'writing' devices 1) either to engrave hieroglyphs into objects; 2)or to use the needle-ending like a metal nib to dip into a colored ink or liquid or zinc-oxide paste or cinnabar-paste. This possibility is suggested by the use of cinnabar in ancient China to paint into lacquer plates or bowls. Cinnabar or powdered mercury sulphide was the primary colorant lof lacquer vessels. "Known in China during the late Neolithic period (ca. 5000–ca. 2000 B.C.), lacquer was an important artistic medium from the sixth century B.C. to the second century A.D. and was often colored with minerals such as carbon (black), orpiment (yellow), and cinnabar (red) and used to paint the surfaces of sculptures and vessels...a red lacquer background is carved with thin lines that are filled with gold, gold powder, or lacquer that has been tinted black, green, or yellow." http://www.metmuseum.org/exhibitions/listings/2009/cinnabar

"In the typology of ancient Greek pottery, the kernos (Greek κέρνος or κέρχνος, plural kernoi) is a pottery ring or stone tray to which are attached several small vessels for holding offerings. Its unusual design is described in literary sources, which also list the ritual ingredients it might contain. The kernos was used primarily in the cults of Demeter and Kore, and of Cybele and Attis.The Greek term is sometimes applied to similar compound vessels from other cultures found in the Mediterranean, the Levant, Mesopotamia, and South Asia."

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

The presence of Meluhha settlements has been attested in cuneiform records. It is possible that like the Phoenician merchants, the seafaring Meluhha merchants had also trade contacts with many regions where kernos rings which carry signifiers of Indus Script Hypertexts proclaiming metalwork, have been found across Eurasia.

Examples can be cited from Mediterranean, Egyptian, Levantine and Mesopotamian sites from mid-fourth millennium BCE to early centuries of Common Era. These examples have been documented by BM Pande.

The thesis of this monograph is that:

1. the kernos ring was an ink-stand containing iron oxide pigment used by scribes; and

2. the kernos ring designed in Sarasvati Civilization (Mohenjo-daro artifacts presented by George Dales et al in 1986 and Kulli culture artifacts presented in Akinori Uesugi's monograph (2012), spread to entire Eurasia.

I suggest that the Greek word kernos has cognates in Indian sprachbund (speech union) with particular reference to a scribe, engraver, accountant, ledger-keeper (to record wealth-accounting ledgers of Indus Script metalwork catalogues): kāraṇika m. ʻ teacher ʼ MBh., ʻ judge ʼ Pañcat. [kā- raṇa -- ]Pa. usu -- kāraṇika -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻ village accountant ʼ.(CDIAL 3058)கணக்குச்சுருணை kaṇakku-c-curuṇai, n. < id. +. Roll or file of accounts on palmyra leaves, kept by a village accountant; கணக்கோலைக்கற்றை.கணக்கப்பிள்ளை kaṇakka-p-piḷḷai, n. < gaṇaka +. 1. Village accountant, cashier, bursar, writer, agent, shipping clerk, bill collector; கணக்கன். 2. Man of the kaṇakkaṉ caste; ஒரு சாதியான்.

கணக்கன் kaṇakkaṉ, n. < gaṇaka. [M. kaṇakkaṉ.] 1. Accountant, book-keeper; கணக் கெழுதுவோன். (திருவாலவா. 30, 22.) 2. See கணக்கப்பிள்ளை, 1. 3. A certain caste; ஒரு சாதி. (இலக். வி. 52, உரை.) 4. Arithmetician; கணக்கில் வல்லவன். (W.) கருணீகம் karuṇīkam, n. < karaṇa. [T. karaṇikamu.] Office of village accountant or karṇam; கிராமக்கணக்குவேலை. கருணீகன் karuṇīkaṉ, n. < id. 1. Village accountant; கிராமக்கணக்கன். கடுகை யொருமலை யாகக் . . . காட்டுவோன் கருணீகனாம் (அறப். சத. 86). 2. A South Indian caste of accountants; கணக்குவேலை பார்க்கும் ஒருசாதி.காரணிக்கன் kāraṇikkaṉ, n. < id. Accountant; கணக்கன்.(Insc.) కరణము karaṇamu. [Skt.] n. A village clerk, a writer, an accountant. వాడు కూత కరణముగాని వ్రాతకరణముకాడు he has talents for speaking but not

for writing. స్థలకరణము the registrar of a district. कारणी or कारणीक kāraṇī or kāraṇīka a (कारण S) That causes, conducts, carries on, manages. Applied to the prime minister of a state, the supercargo of a ship (Marathi).

The examples of kernoi rings cited from Mohenjo-daro may date to ca. 3rd millennium BCE.

The most significant design feature which links the roots of the kernoi rings to Sarasvati Civilization relates to Indus Script Cipher with hypertexts. I have demonstrated that the hypertexts contained in almost all kernoi rings discovered so far from Eurasia relate to wealth accounting ledgers, metalwork catalogues.

That kernoi ring metaphors validate Indus Script Cipher with roots in Sarasvati Civilization is explained by the hypertexts on the kernos ring, Samian.

This Kernos ring has a central tube on which small vessels with spouts are arranged. The small vessels feeding into the kernos are: a pomegranate, a shell, a toad, monkey, lion, ram, bull’s head, horns of a warrior, a woman. A small snake surrounds the tube. I suggest that all these are Indus Script Hypertexts with hieroglyph components to document wealth accounting ledgers, metalwork catalogues.

The rebus readings of hypertexts are:

Pomegranate, Metal ingot: ḍ̠āṛhū̃ 'pomegranate' rebus: ḍhālako 'a large metal ingot'

Toad/frog, Metal taken out of a furnace: Kur. mūxā frog. Malt. múqe id. / Cf. Skt. mūkaka- id. (DEDR 5023) Rebus: mū̃h 'ingot' muhã 'quantity of metal produced at one time in a native

Monkey, armourer: kuṭhāru = amonkey (Sanskrit) Rebus: kuṭhāru 'armourer
Lion, brass: arye 'lion' rebus: arā 'brass'
Ram, iron: Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.). med 'copper' (Slavic languages)
Zebu, iron: pōḷā पोळ 'zebu' rebus pōḷā 'magnetite, ferrite ore'
Warrior, mint: kamaḍha 'archer' Rebus: kammaṭa 'mint, coiner, coinage'; bhaṭa 'warrior' rebus: bhaṭa 'furnace'
Woman, moltencast: era 'woman' rebus: eraka 'moltencast, copper'
Cobrahood, metals manufactory: phaḍā'cobra hood'rebus phaḍā 'metals manufactory' paṭṭaḍa workshop (Telugu)

Shell, Artificer: Ta. ippi pearl-oyster, shell; cippi shell, shellfish, coconut shell for measuring out curds. Ma. ippi, cippi oyster shell. Ka. cippu, sippu, cimpi, cimpe, simpi, simpu, simpe oyster shell, mussel, cockle, a portion of the shell of a coconut, skull, a pearl oyster; (Gowda) cippi coconut shell. Tu. cippi coconut shell, oyster shell, pearl; tippi, sippi coconut shell. Te. cippa a shell; (kobbari co) coconut shell; (mōkāli co) knee-pan, patella; (tala co) skull; (muttepu co) mother-of-pearl. Go. (Ma.) ipi shell, conch (Voc. 174). / Cf. Turner, CDIAL, no. 13417, *sippī-; Pali sippī- pearl oyster, Pkt. sippī- id., etc. (DEDR 2835) *sippī ʻ shell ʼ. [← Drav. Tam. cippi DED 2089] Pa. sippī -- , sippikā -- f. ʻ pearl oyster ʼ, Pk. sippī -- f., S. sipa f.; L. sipp ʻ shell ʼ, sippī f. ʻ shell, spathe of date palm ʼ, (Ju.) sip m., sippī f. ʻ bivalve shell ʼ; P. sipp m., sippīf. ʻ shell, conch ʼ; Ku. sīp, sīpi ʻ shell ʼ; N. sipi ʻ shell, snail shell ʼ; B. sip ʻ libation pot ʼ, chip ʻ a kind of swift canoe ʼ S. K. Chatterji CR 1936, 290 (or < kṣiprá -- ?); Or.sipa ʻ oyster shell, mother -- of -- pearl, shells burnt for lime ʼ; Bi. sīpī ʻ mussel shells for lime ʼ; OAw. sīpa f. ʻ bivalve shell ʼ, H. sīp f.; G. sīp f. ʻ half an oyster shell ʼ, chīpf. ʻ shell ʼ; M. śīp, śĩp f. ʻ a half shell ʼ, śĩpā m. ʻ oyster shell ʼ; -- Si. sippiya ʻ oyster shell ʼ ← Tam.(CIAL 13417) śilpin ʻ skilled in art ʼ, m. ʻ artificer ʼ Gaut., śilpika<-> ʻ skilled ʼ MBh. [śílpa -- ] Pa. sippika -- m. ʻ craftsman ʼ, NiDoc. śilpiǵa, Pk. sippi -- , °ia -- m.; A. xipini ʻ woman clever at spinning and weaving ʼ; OAw. sīpī m. ʻ artizan ʼ; M. śĩpī m. ʻ a caste of tailors ʼ; Si. sipi -- yā ʻ craftsman ʼ.(CDIAL 13471)

Cup/pot, furnace Pk. vaṭṭa -- m.n., ˚aya -- m. ʻ cup ʼ; Ash. waṭāˊk ʻ cup, plate ʼ; K. waṭukh, dat. ˚ṭakas m. ʻ cup, bowl ʼ; S. vaṭo m. ʻ metal drinking cup ʼ; N. bāṭā, ʻ round copper or brass vessel ʼ; A. bāṭi ʻ cup ʼ; B. bāṭā ʻ box for betel ʼ; Or. baṭā ʻ metal pot for betel ʼ, bāṭi ʻ cup, saucer ʼ; Mth. baṭṭā ʻ large metal cup ʼ, bāṭī ʻ small do. ʼ, H. baṭṛī f.; G. M. vāṭī f. ʻ vessel ʼ.(CDIAL 11347) Rebus: bhaṭa 'furnace'.

Kernos ring, Samian, ca. 600 BCE. (After Vierneisel,K., 1961, 'Neue Tonfiguren aus dem Heraion von Samios Mitteilungen des Deutschen Archaologischen Instituts 76:25-59 von Leutsch E.L. and F.W. Schneidewin edd 1951 Corpus Paroemiographorum Graeocorum 1839-51, app.25). Hera may have been the first deity to whom the Greeks dedicated an enclosed roofed temple sanctuary, at Samos about 800 BCE.Her name is attested in Mycenaean Greek written in the Linear B syllabic script as 𐀁𐀨, e-ra, appearing on tablets found in Pylos and Thebes.("The Linear B word e-ra". Palaeolexicon. Word study tool of Ancient languages. Raymoure, K.A. "e-ra".) https://en.wikipedia.org/wiki/Hera

(Santali)

The kernoi rings were essential writing instruments in furthering the documentation of accounting ledgers using Indus Script.

“Most ring kernoi come from Iron Age I levels and the majority are connected with Philistine sites or sites where Philistine cultural influence can be detected.”( Brad E. Kelle, Megan Bishop Moore, Israel's Prophets and Israel's Past: Essays on the Relationship of Prophetic Texts and Israelite History in Honor of John H. Hayes, Bloomsbury Publishing USA, 01-Nov-2006, p.153).

Excerpt from: George Dales, Jonathan Mark Kenoyer, Leslie Alcock, 1986, Excavations at Mohenjo Daro, Pakistan: The Pottery, with an Account of the Pottery from the 1950 Excavations of Sir Mortimer Wheeler, UPenn Museum of Archaeology, 1986, p.226
Fig. 92.1,3 Mohenjo-daro kernos ring with pots
(cited in BM Pande 1971(embedded)

The Temple of Hera at Agrigento, Magna Graecia.

Kernos ring, Megiddo

Aquatic bird, hard alloy: kāraṁḍa 'aquatic bird' rebus: karaḍā 'hard alloy'
A pair of ducks, metal casting: dula 'two' rebus: dul 'metal casting'

http://jerusalem.nottingham.ac.uk/items/show/97 "This ring was probably used as a libation vessel during religious ceremonies in ancient Palestine. It consists of a hollow clay ring with hollow clay attachments in the forms of a gazelle head, two jars, two pomegranates, two doves, and a cup. The doves, whose heads have been restored, drink from the cup. An eighth attachment is missing, having been broken off in antiquity. The pomegranate, the gazelle and the doves suggest that this ring was associated with a fertility cult. Wine or water would have been poured into the cup and circulated through the other objects attached to the ring, thus symbolizing the fertility of the earth and its produce. Kernos rings are fairly common in Palestine, although few are as elaborate or as well preserved as this one." https://oi.uchicago.edu/collections/highlights/highlights-collection-pottery

Region: Palestine: Megiddo
Origin: Excavated by the Oriental Institute, 1930
Accession: OIM A18835
Period: Stratum VI Iron Age I, ca. 1175-1100 B.C.
Materials: Baked clay, painted
https://www.synthescape.com/collections/ancient-art/artworks/kernos-ring

Kernoi rings

The pottery of Mohenjo-dara, one of the two major urban centers of the Indus Valley civilization (2500-2000 B.C.) is described and documented. The authors survey Harappan ceramic technology and style, and develop an important and unique approach to vessel form analysis and terminology. Included is Leslie Alcock's account of the pottery from the 1950 excavations by Sir Mortimer Wheeler.University Museum Monograph, 53

“Hollow pottery rings surmounted by small vessels are common ‘ritual’ objects at Mediterranean and Levantine sites where they are known by the Greek name kernos (pl.kernoi).More rarely they occur in Mesopotamian contexts…Two or more small pots attached to the top side of a hollow ring so that liquid poured into the pots would run down into the hollow ring connecting them…Only six certain and two possible fragmentary examples are recorded from the UM excavations…..Because these objects are so rare in South Asia, mention should be made of two other fragmentary examples found at Harappa. Both of these have also been discussed by BM Pande in his detailed study of ring-kernoi’. The first example was published in a photograph only by Vats (1940: Pl. LXXI:6) with no description in the text. The second example, almost half a hollow ring with scars where three small vessels were attached, was excavated by Wheeler in 1946 but remained unpublished until Pande’s study…Pande’s excellent study of these enigmatic objects cites examples from Mediterranean, Egyptian, Levantine, and Mesopotamian sites ranging in date from the mid-fourth millennium BCE to at least the early centuries.” [BM Pande, 1971, Harappan Ring-Kernoi: A study. East & West 21 (3-4), pp. 311-324); George Dales, Jonathan Mark Kenoyer, Leslie Alcock, 1986, UPenn Museum of Archaeology, Excavations at Mohenjo Daro, Pakistan: The Pottery, with an Account of the Pottery from the 1950 Excavations of Sir Mortimer Wheeler, p.226).

In the typology of ancient Greek pottery, the kernos (Greek κέρνος or κέρχνος, plural kernoi) is a pottery ring or stone tray to which are attached several small vessels for holding offerings -- "a terracotta vessel with many little bowls stuck on to it. In them there is sage, white poppy heads, wheat, barley, peas (?), vetches (?), pulse, lentils, beans, spelt (?), oats, cakes of compressed fruit, honey, olive oil, wine, milk, and unwashed sheep's wool. When one has carried this vessel, like a liknophoros, he tastes of the contents"[Phillippe Borgeaud, Mother of the Gods: From Cybele to the Virgin Mary (Johns Hopkins University Press, 1996, English translation 2004)].

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

“KernosRings (Fig. 92:1-6). Hollow pottery rings surmounted by small vessels are common ‘ritual’ objects at Mediterranean and Levantine sites where they are known by the Greek name kernod (pl. kernoi). More rarely they occur in Mesopotamian contexts…Bases: attached to the top side of the hollow ring; usually piered through to connect vessel interior with hollow ring, but two examples (Fig. 92:2,6) are solid…Two or more small pots attached to the top side of a hollow ring so that liquid poured into the pots would run down into the hollow ring connecting them…Only six certain and two possible fragmentary examples are recorded from the UM excavations…Because these objects are so rare in South Asia, mention should be made of two other fragmentary examples found at Harappa. Both of these have also been discussed by B.M. Pande in his detailed study of ‘ring-kernoi’….Pande reports that one of his colleagues who was present during Wheeler’s excavations says the object was discovered near Cemetery R37, Burial 5, and belongs to the mid-levels of the Harappa culture…Pande’s excellent study of these enigmatic objects cites examples from Mediterranean, Egyptian, Levantine, and Mesopotamian sites ranging in date from the mid-fourth-millennium BCE to at least the early centuries CE. Reference should be made to his study for details of the elaborate ritual nature of many of these Western examples.” (George Dales, Jonathan Mark Kenoyer, Leslie Alcock, 1986, Excavations at Mohenjo-daro, Pakistn: The pottery, with an account of the pottery from the 1950 excavations of Sir Mortimer Wheeler, UPenn Museum of Archaeology, p.226).

GF Dales reported the find of a kernos from Mohenjo-daro. (GF Dales, 1965, New investigations at Mohenjo-daro, Archaeology, XVIII, 2, pp. 145-50).

“A fragment of a pottery kernod – circular tube with small vases at intervals – associated with the mud brick embankment was found in the recent excavations at Mohenjo-daro, conducted by Dales. His view that the object had ‘not hitherto been reported from Harappan sites’ does not appear to be totally correct, for a few other like examples have been unearthed at Harappan sites. In the excavations at Harappa, a similar object was found in the Great Granary area. But for the variation with regard to the form of the vase, the object from Harappa belongs to the same class of objects as the latest Mohenjo-daro example.The fragmentary Harappa kernos has only extant vase resembling a cup with a splayed-out mouth and plain featureless rim, as against a miniature-sized globular jar with a narrow neck and externally-curved rim of the Mohenjo-daro specimen. In the same group of vessels may also be included two more examples – one each from Mohenjo-daro and Harappa – which are lodged in the Central Antiquities Collection Safdarjang Tomb Baradari, Archaeological Survey of India, New Delhi. The earlier Mohenjo-daro specimen, which is also fragmentary, has two intact vases, akin to the Harappa one. The other specimen, from Wheeler’s excavations at Harappa, has only the half segment of the tube surviving and the vases are broken and lost.That the four specimens – two each from Mohenjo-daro and Harappa – belong to the same class of objects known as kernos, is beyond doubt. This is obvious from their general shape and characteristic features comparable to the ones found in a vast area outside India and in large numbers.”(pp.311-312).

"The kernoi have a wide distribution both in space and time. The distribution in time ranges from about the middle of the 4^th millennium BCE to the early centuries CE, and, in fact, to the modern times in certain parts of the world. The area of distribution includes Greece (and the islands), Crete, Cyprus, Israel, Egypt and modern Iraq (and the peripheral regions)...The main focus of distribution of the kernos is mainly Greece, Crete and the adjoining islands, where these occur for the first time in the Early Minoan (c. 2500-2100 BCE) and pre-Mycenaen (c. 2500-1800 BCE) to Late Minoan (c. 1550-1150 BCE) down to the late Greek and Roman times (c. 6^th cent. BCE onwards). Thus a continuous tradition of use can be discerned for an interminable period of about three thousand years, the tradition surviving even in the modern times, with subsequent mofications and alterations, in the Greek Orthodox church…At Palaikastro site ‘was found a clay cover with a conical pierced top and a kind of door in the side, as covers for lamps…(which) were set on the kernoi, when they were decked for ritual use.’ (RM Dawkins, Excavations at Palaikastro III, Annual of the British School of Athens, X, 1903-1904, p.221)...At Kourtes site, (Nilsson,The Minoan-Mycenaean Religion, Lund, 1927, pp. 116-117, fig. 19.. This kernos consists of a ‘hollow ring (diameter 19 cm) upon which six small jugs with narrow necks and spreading mouths are placed alternately with three coarsely made human figurines, of which one holds his arms to his head, another to his breast, while the third graps the handles of the vases next to him. As Xanthoudides justly remarks, this very pecular feature connects the vessel with the group of dancing women fastened on a common ring-shaped base from Palaikastro’" (BM Pande, opcit, p.314)/

A variant of the ring-kernos has a number of small vessels attached to the ring and communicating with the interior. Some of these have also attached to them plastic serpents, bulls’ heds and perchaing birds. (Nilsson, opcit., p. 117).

“That the object kernos – ring kernos or the other types – had ritualistic function in ancient Greece, or is a cult-object in the Megiddo cult, is beyond doubt. In Cyprus, more often than not, these are found in graves as a part of the funerary furniture. This is evident from their location in a site (whereever found from the excavations) connected with cult, rituals or as accompanying the dead. Even the shape of the ring-kernos – clearly the result of a complex evolution – and the variety of forms or objets represented on the ring-kernoi prove that they were ritualistic vessels. Ancient Greek and Roman literature attests to this fact. Harrison, while discussing the kernophoria, has described two types of kernos on the authority of Athenaeus and the scholiasts on Nikander etc. The first of these was a winnowing fan which in the beginning was a simple agricultural instrument, but was subsequently mysticized by the religion of Dionysus. But there was another kind of kernos, which according to Athenaeus, was ‘a vessel made of earthenware,having in it many little cups fastened to it’, in which while poppies, wheat, barley, pulse etc. were kept. It ws thereafter carried aloft and certain rites were performed and was distributed to those who had done so. Athenaeus also gives a long list of the contents of the kernos. From Eleusis, where such an objet had been found in the excavations, are also available accounts of the officials mentioning a vessel…which is identical to the kernos of Athenaeus…The kernos from Haghios Nikolaos, again an example of the composite variety, is important, for, ‘inside it was found a clay lamp with one wick and two holes in the cover’, which conforms to the description given by the scholiast on Nikander. According to Xanthoudides, ‘the kernos was a sacred vessel not used exclusively at the Eleusinian mysteries, but also in the worship of other gods, as is known from the cults of Rhea Cybele, Attis, and the Corybantes’.”(BM Pande, opcit., pp.320-321)

It is thus obvious that the kernos – the ring-kernos or the other types – was a vessel connected, in ancient Greece and Crete, with harvest and used in the related festivals. The ring kernoi from Israel, which might have ‘originated in the footed ring-vases of early Cyprus and Egypt’, have pomegranates, doves, gazelles on them. These are symbolic and mark ‘its function in the fertility cult’ and the miniature jars ‘contained wine, the fruit of the grape’. Thus, ‘the kernos ring was probably for libations: the liquid would be poured into the cups to circulate throughout the doves, pomegranates, and jars, symbolizing the fertility of the earth and the fructifying of its produce’. (BM Pande opcit, p. 321).

Fig. 13 Ring kernoi from Melos (cited in BM Pande, 1971 (embedded)

Rim of jar, supercargo: kanka, karṇaka 'rim of jar' rebus: karṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.', 'engraver, scribe, account'

Terracotta kernos from the Cycladic period (ca.2000 BC), found at Melos

https://en.wikipedia.org/wiki/Kernos#/media/File:Kernos_Melos_Sevres_3552.jpg

Kernos (and "souce-boat"), pottery. Early Cycladic II-III period, 2500 to 2000 BC. Vessel found in burial site in Rivari on Mlios, excavations in 1997. Archaeological Museum of Milos.

https://commons.wikimedia.org/wiki/File:Pottery_kernos,_Early_Cycladic_II-III,_2500-2000_BC,_AM_Milos,_152540.jpg

Basket, bright metal: K. ḍākürü f. ʻ wide shallow basket ʼ; N. ḍhāki ʻ basket ʼ, ḍhākar ʻ a kind of large basket ʼ; Bi. mag. ḍhākā ʻ large open basket ʼ(CDIAL 5574) Rebus: Rebus: धक्क (p. 245) dhakka a (Imit.) Steady, enduring, unshaken (as under misfortune): hale, hearty, stanch, unflinching--man or animal: stout, sound, firm, fit to render good service--cloth, an article gen. 2 Brightshining, brilliant, very lustrous--metal, a gem, a firework. Hence 3 Bright and good, altogether excellent--a rupee or other coin. *dhakṣati ʻ burns ʼ [Cf. fut. part. vidhakṣyánt -- , aor. part. dhákṣat RV. -- √dah]G. dhakhvũ ʻ to get into a passion ʼ, dhakhāvvũ ʻ to make hot ʼ, dhakh f. ʻ thirst ʼ.Addenda: dhákṣu -- : S.kcch. ḍakho m. ʻ quarrel ʼ; B. dhak ʻ sudden blaze ʼ, Or. dhaka ʻ blaze ʼ (rather than < *dhagg -- ).(CDIAL 6703)

Terracotta ring-kernos (offering vase)

Period:: Cypro-Geometric I

Date:: ca. 1050–950 B.C.

Culture:: Cypriot

Medium:: Terracotta

Dimensions:: H. 4 7/16 in. (11.3 cm)

Classification:: Vases

Credit Line:: The Cesnola Collection, Purchased by subscription, 1874–76

Accession Number:: 74.51.659

https://www.metmuseum.org/art/collection/search/240246

Céramiques de tous les pays et de toutes les époques

http://www.parismuseumpass.com/musee-sevres-cite-de-la-ceramique-musee-national-de-la-ceramique-49.htm

Outro cerno cicládico (ca. século XXII a.C.) https://pt.wikipedia.org/wiki/Cerno

Terracotta kernos (vase for multiple offerings), Terracotta, Cypriot

Terracotta ring-kernos (offering vase) Cypriot

From the Cesnola Collection, Accession # 74.51.660 http://www.ipernity.com/doc/laurieannie/24387123

https://www.metmuseum.org/art/collection/search/240275

Terracotta kernos (vase for multiple offerings)

Period:: Cypro-Archaic I

Date:: 750–600 B.C.

Culture:: Cypriot

Medium:: Terracotta

Dimensions:: H. 4 1/8 in. (10.5 cm); diameter 7 1/8 in. (18.1 cm)

Classification:: Vases

Credit Line:: The Cesnola Collection, Purchased by subscription, 1874–76

Accession Number:: 74.51.688

Terracotta. Kernos. 2300-2200 BCE

https://steemkr.com/art/@kishore1988/ancient-art-works-2500-years-old

Kernos ring of Balochistan with Indus Script hypertext with pōḷa 'zebu' and pōladu 'black drongo' signify magnetite ore and steel

https://tinyurl.com/y7zupcay

Thanks to @manasataramgini for exquisite images of a Kernos ring (evidenced ca. 2000 BCE from Greek pottery) said to be from Balochistan. This artifiact (now said to be in Japan) contains Indus Script hypertext of hieroglyphs, zebu abd black drongo. The Indus Script hypertext readings are: 

pōḷa'bos indicus, zebu' rebus: pōḷa'magnetite, ferrite ore'

pōladu 'black drongo bird' rebus: [pōlāda] n ( or P) [pōlādi] 'steel'.

‏ @blog_supplement

pōlaḍu, 'black drongo', rebus: pōlaḍ, 'steel',

Top view of same: Kernos rings were made frequently in bronze age and later West Asia and Greece. This e.g. from subcontinent suggests that it was made using local motifs but inspired closely by west Asian Kernos design.

Bottom view of same along with a stand alone bull from what's today Balochistan showing similar techinique of manufacture.

Background note on Kernos ring

In the typology of ancient Greek pottery, the kernos (Greek κέρνος or κέρχνος, plural kernoi) is a pottery ring or stone tray to which are attached several small vessels for holding offerings. Its unusual design is described in literary sources, which also list the ritual ingredients it might contain.^[1] The kernos was used primarily in the cults of Demeter and Kore, and of Cybele and Attis.^[2]

The Greek term is sometimes applied to similar compound vessels from other cultures found in the Mediterranean, the Levant, Mesopotamia, and South Asia.^[3]

Literary description

Athenaeus preserves an ancient description of the kernos as

“

a terracotta vessel with many little bowls stuck on to it. In them there is sage, white poppy heads, wheat, barley, peas (?), vetches (?), pulse, lentils, beans, spelt (?), oats, cakes of compressed fruit, honey, olive oil, wine, milk, and unwashed sheep's wool. When one has carried this vessel, like a liknophoros, he tastes of the contents.^[4]

”

The kernos was carried in procession at the Eleusinian Mysteries atop the head of a priestess, as can be found depicted in art. A lamp was sometimes placed in the middle of a stationary kernos.^[5]

References

Jump up^ Jacquelyn Collins-Clinton, A Late Antique Shrine of Liber Pater at Cosa (Brill, 1976), pp. 29 –30 online.
Jump up^ Phillippe Borgeaud, Mother of the Gods: From Cybele to the Virgin Mary (Johns Hopkins University Press, 1996, English translation 2004), passim.
Jump up^ Excavations at Mohenjo Daro, Pakistan: The Pottery (University of Pennsylvania Museum, 1986), p. 226 online.
Jump up^ Athenaeus 11.478c = Polemon, frg. 88 Preller; English translation from Homer A. Thompson, Hellenistic Pottery and Terracottas (American School of Classical Studies at Athens, 1987), p. 448 online.
Jump up^ The verb kernophorein means "to bear the kernos"; the noun for this is kernophoria; Stephanos Xanthoudides, "Cretan Kernoi," Annual of the British School at Athens 12 (1906), p. 9.

Kernos Libation vase. Early Aegean, Helladic, Bronze Age, Late Helladic Period, about 1200–1100 B.C.Diameter: 26.7 cm (10 1/2 in.) Accession number: 35.735. "Ring-shaped with bull's head and three small vases, part of fourth, and place for fifth on ring. Twisted basket handle with one of pair of doves on top. Conventional decoratin of herring-bone and floral patterns in dark brown on light pinkish brown clay. Nostrils of bull pierced, and a third hole below. Amphora, 2 skyphoi painted solid. Filled arcs connected by diagonals. Chevrons, triangles. Close Style, perhaps fr. Rhodes or Cyprus (EV)."

http://educators.mfa.org/ancient/kernos-libation-vase-11183

https://gath.files.wordpress.com/2007/12/close-up-view-of-2007-kernos.jpg

Terracotta tripartite kernos. Louvre Museum.https://www.pinterest.com/pin/457748749602706628/
A SYRIAN CERAMIC TRIPARTITE VESSEL WITH IBEX FIGURE

A SYRIAN CERAMIC TRIPARTITE VESSEL WITH IBEX FIGURE

Syrian ceramic tripartite vessel with ibex figure. https://www.pinterest.com/pin/457748749602703821/

Fig.5 Ring kernoi from Cyprus “…an example of a ring-kernos of the White Painted II variety from Cyprus has, over an elaborately painted ring with a basket handle, bull’s and goat’s heads, pomegranates and miniature vases (fig.5).”(BM Pande, opcit., p.318)

Fig.6 Ring kernoi from Cyprus “Late Mycenaean (c. 1500-1100 BCE), Cyprus, comprises ‘a ring upon which three vessels, two with narrow mouths and one cup with a handle, and a bull’s head is fastened.” (BM Pande, opcit., p.318)

“The Palestinian examples, notably from Megiddo and Gezer, are again of an elaborate type The Megiddo specimen (fig 10) has, on a ring base, one gazelle head, two amphorae, two pomegranates, two doves and one cup which all communicate with the hollow base. The gazelle head is decorated with red lines, has pierced eyes and orifice through mouth; the other pots or birds are also painted or decorated likewise. The Gezer examples also have alternating figures of birds and pomegranates (fig. 11).” (BM Pande, opcit., pp. 318-319)

Kernos carried on her head. "The kernos was carried in procession at the Eleusinian Mysteries atop the head of a priestess, as can be found depicted in art. A lamp was sometimes placed in the middle of a stationary kernos. The verb kernophorein means "to bear the kernos"; the noun for this is kernophoria; Stephanos Xanthoudides, "Cretan Kernoi," Annual of the British School at Athens 12 (1906), p. 9."

See:

1. Richard G. Geldard, 2000, Eleusis: the secret and meaning of the mysteries,

2. Rosicrucian Digest, Eleusis, Volume 90 Number 2 2009 https://rosicrucian.org/rosicrucian-digest-eleusis

A votive plaque known as the Ninnion Tablet depicting elements of the Eleusinian Mysteries, discovered in the sanctuary at Eleusis (mid-4th century BCE). In this votive plaque depicting elements of the Eleusinian Mysteries, a female figure (top center of rectangular portion) wears a kernos on her head

Kulli terracotta ring (also called Kernos Ring) with pot, two zebu (bos indicus), black drongo is Indus Script hypertext to signify pōḷā magnetite ore, pwlad 'steel' dhā̆vaḍ, 'smelter' kō̃da,'furnace'

https://tinyurl.com/y9n3ppyt A Note on a Terracotta Ring-shaped Object with Animal Figurines and a Miniature Pot of the Balochistan Tradition in the Okayama Orient Museum by Akinori Uesugi (2013)

Abstract. In this paper, a terracotta ring-shaped object with animal figurines and a miniature pot in the collection of the Okayama Orient Museum is reported. Although its provenance is unknown, its uniqueness is important for understanding the nature of the Kulli culture in Balochistan during the late third millennium BCE. Similar objects that are known from the Middle East and the eastern Mediterranean region may be related to this rare object of the Kulli culure.

Description of the Kulli terracotta object with Indus Script Hypertext, ca. 3rd millennium BCE

The object consists of a ring with three short legs, two humped bulls, one bird and a miniature pot (Figures above). A whitishslip (light grey 2.5Y 8/2) is executed over areddish orange clay (dull orange 7.5YR 7/3)and paintings are made in black (brownish black 10YR 3/1- yellowish grey

2.5Y 4/1).The measurements are shown in Table 1. The bird is placed on the rear side of thering with a tall cylindrical stand.

I suggest that this terracotta ring object is an Indus Script Hypertext with the following hieroglyph components:

1.. Zebu, bos indicus: पोळा [ pōḷā ] 'zebu, bos indicus taurus' Rupaka, 'metaphor' or rebus (similar sounding homonym): पोळा [ pōḷā ] 'magnetite, ferrite ore: Fe3O4'.

pōḷa 'zebu' Rebus: pōḷa 'magnetite ore'. पोळ (p. 534) [ pōḷa ] m A bull dedicated to the gods, marked with a trident and discus, and set at large.पोळा (p. 534) [ pōḷā ] m (पोळ) A festive day for cattle,--the day of new moon of श्रावण or of भाद्रपद. Bullocks are exempted from labor; variously daubed and decorated; and paraded about in worship.पोळींव (p. 534) [ pōḷīṃva ] p of पोळणें Burned, scorched, singed, seared. (Marathi)

2.Bird, black drongo: pōlaḍu 'black drongo bird' (Telugu) Rupaka, 'metaphor' or rebus: पोलाद pōlāda n ( or P) Steel. पोलादी a Of steel. (Marathi) bulad 'steel, flint and steel for making fire' (Amharic); fUlAd 'steel' (Arabic) pōlāda 'steel', pwlad (Russian), fuladh (Persian) folādī (Pashto)

3. Circle:*varta2 ʻ circular object ʼ or more prob. ʻ something made of metal ʼ, cf. vartaka -- 2 n. ʻ bell -- metal, brass ʼ lex. and vartalōha -- . [√vr̥t?] Pk. vaṭṭa -- m.n., °aya -- m. ʻ cup ʼ; Ash. waṭāˊk ʻ cup, plate ʼ; K. waṭukh, dat. °ṭakas m. ʻ cup, bowl ʼ; S. vaṭo m. ʻ metal drinking cup ʼ; N. bāṭā, ʻ round copper or brass vessel ʼ; A. bāṭi ʻ cup ʼ; B. bāṭā ʻ box for betel ʼ; Or. baṭā ʻ metal pot for betel ʼ, bāṭi ʻ cup, saucer ʼ; Mth. baṭṭā ʻ large metal cup ʼ, bāṭī ʻ small do. ʼ, H. baṭṛī f.; G. M. vāṭī f. ʻ vessel ʼ.(CDIAL 11347)

dāẽ 'tied' rebus dhā̆vaḍ 'iron smelter.' Rupaka, 'metaphor' or Rebus: bhaṭa, 'furnace'' baṭa 'iron'(Gujarati).

4. Pot: kuṇḍá1 n. (RV. in cmpd.) ʻ bowl, waterpot ʼ KātyŚr., ʻ basin of water, pit ʼ MBh. (semant. cf. kumbhá -- 1), °ḍaka -- m.n. ʻ pot ʼ Kathās., °ḍī -- f. Pāṇ., °ḍikā -- f. Up. 2. gōṇḍa -- . [← Drav., e.g. Tam. kuṭam, Kan. guṇḍi, EWA i 226 with other ʻ pot ʼ words s.v. kuṭa -- 1]1. Pa. kuṇḍi* -- , °ḍikā -- f. ʻ pot ʼ; Pk. kuṁḍa -- , koṁ° n. ʻ pot, pool ʼ, kuṁḍī -- , °ḍiyā -- f. ʻ pot ʼ; Kt. kuṇi ʻ pot ʼ, Wg. kuṇḍäˊi; Pr. künǰúdotdot; ʻ water jar ʼ; Paš. weg. kuṛã̄ ʻ clay pot ʼ < **kũṛā* IIFL iii 3, 98 (or poss. < kuṭa -- 1), lauṛ. kuṇḍalīˊ ʻ bucket ʼ; Gaw. kuṇḍuṛīˊ ʻ milk bowl, bucket ʼ; Kal. kuṇḍṓk ʻ wooden milk bowl ʼ; Kho. kúṇḍuk, °ug ʻ milk bowl ʼ, (Lor.) ʻ a kind of platter ʼ; Bshk. kūnḗċ ʻ jar ʼ (+?); K. kŏnḍ m. ʻ metal or earthenware vessel, deep still spring ʼ, kọ̆nḍu m. ʻ large cooking pot ʼ, kunāla m. ʻ earthenware vessel with wide top and narrow base ʼ; S. kunu m. ʻ whirlpool ʼ, °no m. ʻ earthen churning pot ʼ, °nī f. ʻ earthen cooking pot ʼ, °niṛo m.; L. kunnã̄ m. ʻ tub, well ʼ, °nī f. ʻ wide -- mouthed earthen cooking pot ʼ, kunāl m. ʻ large shallow earthen vessel ʼ; P. kū̃ḍā m. ʻ cooking pot ʼ (←H.), kunāl, °lā m., °lī f., kuṇḍālā m. ʻ dish ʼ; WPah. cam. kuṇḍ ʻ pool ʼ, bhal. kunnu n. ʻ cistern for washing clothes in ʼ; Ku. kuno ʻ cooking pot ʼ, kuni, °nelo ʻ copper vessel ʼ; B. kũṛ ʻ small morass, low plot of riceland ʼ, kũṛi ʻ earthen pot, pipe -- bowl ʼ; Or. kuṇḍa ʻ earthen vessel ʼ, °ḍā ʻ large do. ʼ, °ḍi ʻ stone pot ʼ; Bi. kū̃ṛ ʻ iron or earthen vessel, cavity in sugar mill ʼ, kū̃ṛā ʻ earthen vessel for grain ʼ; Mth. kũṛ ʻ pot ʼ, kū̃ṛā ʻ churn ʼ; Bhoj. kũṛī ʻ vessel to draw water in ʼ; H. kū̃ḍ f. ʻ tub ʼ, kū̃ṛā m. ʻ small tub ʼ, kū̃ḍā m. ʻ earthen vessel to knead bread in ʼ, kū̃ṛī f. ʻ stone cup ʼ; G. kũḍ m. ʻ basin ʼ, kũḍī f. ʻ water jar ʼ; M. kũḍ n. ʻ pool, well ʼ, kũḍā m. ʻ large openmouthed jar ʼ, °ḍī f. ʻ small do. ʼ; Si. ken̆ḍiya, keḍ° ʻ pot, drinking vessel ʼ.2. N. gũṛ ʻ nest ʼ (or ← Drav. Kan. gūḍu ʻ nest ʼ, &c.: see kulāˊya -- ); H. gõṛā m. ʻ reservoir used in irrigation ʼ.Addenda: kuṇḍa -- 1: S.kcch. kūṇḍho m. ʻ flower -- pot ʼ, kūnnī f. ʻ small earthen pot ʼ; WPah.kṭg. kv́ṇḍh m. ʻ pit or vessel used for an oblation with fire into which barley etc. is thrown ʼ; J. kũḍ m. ʻ pool, deep hole in a stream ʼ; Brj. kū̃ṛo m., °ṛī f. ʻ pot ʼ.(CDIAL 3264) Rupaka, 'metaphor' or Rebus: kō̃da -कोँद ।'kiln'; kundanace' (Kashmiri)

Top and front views of the terracotta ring object with Indus Script Hypertexts (zebu, bird, pot), in Okayama Orient Museum

Terracotta ring objects (called 'Kernos Ring') are widely distributed in Kulli culture (After Fig. 8 in Akinori Uesugi's monograph)

Chronological distribution of ring-shapedobjects in Southwest Asia from 5000 BCE(After Fig. 9 in Akinori Uesugi's monograph)The ring object dated to 5000 BCE is from Tell Kosak Shamali in northern Syria. Similar objects continue upto the first millennium BCE.

Kulli style animal figures (zebu, bird) in Okayama Orient Museum.

https://www.scribd.com/document/384387101/Harappan-Ring-Kernoi-A-Study-BM-Pande

Harappan Ring-Kernoi- A Study - BM Pande by Srini Kalyanaraman on Scribd

Kernos ring of Kulli with wealth accounting ledgers of khār, 'blacksmith' working with poḷa 'magnetite ore', poḷaḍ 'steel'

https://tinyurl.com/ya744hnz

This is an addendum to: Kulli terracotta ring with pot Indus Script hypertexts signify pōḷā magnetite ore, pwlad 'steel' dhā̆vaḍ, 'smelter' kō̃da,'furnace'

https://tinyurl.com/y7xxo7kp

I suggest that the name K(C)ernunnos on the Pillar of Boatmen and on the Gundestrup Cauldron is related to the torcs which are distinct identifiers of the seated person as a blacksmith. The torc or the ring called in Meluhha (Indus Script Corpora) karã̄ n. pl.wristlets, bangles' rūpaka, 'metaphor'or rebus: khār 'blacksmith'. Thus, I suggest that the kernos ring is a signifier of a blacksmith's work. This etymological trace explains why the Kulli kernos ring has the added Indus Script hypertexts of two zebu, bos indicus, and black drongo, both signifying, respectively poḷa 'magnetite ore', poḷaḍ 'steel'. These hypertexts are added on the Kulli kernos ring to signify wealth accounting ledgers of metalwork catalogues.

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

Detail from the interior plate. Gundestrup Cauldron. Kernunnos holds a torc -- signifier of a kernos ring-- on his right hand. Indus Script Hypertexts signify metalwork catalogues: badhia 'rhinoceros' Rebus: badhi 'carpenter'; badhoe 'worker in wood and iron'. पंजा pañjā 'claw of a tiger' rebus: पंजा pañjā 'kiln, smelter.; फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus:phaḍa फड ' metals manufactory, company, guild, public place'; kūdī 'twig' kuṭhi 'smelter'.

C(K)ernunnos on the Pillar of the Boatmen, from the Musée national du Moyen Âge (Museum of the Middle Ages), in Paris, France"The theonym [C]ernunnos appears on the Pillar of the Boatmen, a Gallo-Roman monument dating to the early 1st century CE, to label a god depicted with stag's antlers in their early stage of annual growth. ^[Both antlers have torcs hanging from them...The name has been compared to a divine epithet Carnonos in a Celtic inscription written in Greek characters at Montagnac, Hérault (as καρνονου, karnonou, in the dative case).A Gallo-Latin adjective carnuātus, "horned," is also found." https://en.wikipedia.org/wiki/Cernunnos The torcs of Kernunnos are relatable to the kernos ring.

"For more than one thousand years, people from every corner of the Greco-Roman world sought the hope for a blessed afterlife through initiation into the Mysteries of Demeter and Kore at Eleusis. In antiquity itself and in our memory of antiquity, the Eleusinian Mysteries stand out as the oldest and most venerable mystery cult. Despite the tremendous popularity of the Eleusinian Mysteries, their origins are unknown. Because they are lost in an era without written records, they can only be reconstructed with the help of archaeology. This book provides a much-needed synthesis of the archaeology of Eleusis during the Bronze Age and reconstructs the formation and early development of the Eleusinian Mysteries. The discussion of the origins of the Eleusinian Mysteries is complemented with discussions of the theology of Demeter and an update on the state of research in the archaeology of Eleusis from the Bronze Age to the end of antiquity."(Michael B. Cosmopoulos, 2015, Bronze Age Eleusis and the Origins of the Eleusinian Mysteries, Cambridge University Press.)

Kernoi rings

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

Terracotta kernos from the Cycladic period (ca.2000 BC), found at Melos

See:

1. Richard G. Geldard, 2000, Eleusis: the secret and meaning of the mysteries,

2. Rosicrucian Digest, Eleusis, Volume 90 Number 2 2009 https://rosicrucian.org/rosicrucian-digest-eleusis

Description of the Kulli terracotta object with Indus Script Hypertext, ca. 3rd millennium BCE

2.5Y 4/1).The measurements are shown in Table 1. The bird is placed on the rear side of thering with a tall cylindrical stand.

I suggest that this terracotta ring object is an Indus Script Hypertext with the following hieroglyph components:

1.. Zebu, bos indicus: पोळा [ pōḷā ] 'zebu, bos indicus taurus' Rupaka, 'metaphor' or rebus (similar sounding homonym): पोळा [ pōḷā ] 'magnetite, ferrite ore: Fe3O4'.

Zebu, bos indicus PLUS black drongo bird (perched on the back of the bull) This bird is called పసులపోలిగాడు pasula-pōli-gāḍu 'friend of cattle'.

dāẽ 'tied' rebus dhā̆vaḍ 'iron smelter.' Rupaka, 'metaphor' or Rebus: bhaṭa, 'furnace'' baṭa 'iron'(Gujarati).

4. Pot: kuṇḍá1 n. (RV. in cmpd.) ʻ bowl, waterpot ʼ KātyŚr., ʻ basin of water, pit ʼ MBh. (semant. cf. kumbhá -- 1), °ḍaka -- m.n. ʻ pot ʼ Kathās., °ḍī -- f. Pāṇ., °ḍikā -- f. Up. 2. gōṇḍa -- . [← Drav., e.g. Tam. kuṭam, Kan. guṇḍi, EWA i 226 with other ʻ pot ʼ words s.v. kuṭa -- 1]1. Pa. kuṇḍi* -- , °ḍikā -- f. ʻ pot ʼ; Pk. kuṁḍa -- , koṁ° n. ʻ pot, pool ʼ, kuṁḍī -- , °ḍiyā -- f. ʻ pot ʼ; Kt. kuṇi ʻ pot ʼ, Wg. kuṇḍäˊi; Pr. künǰúdotdot; ʻ water jar ʼ; Paš. weg. kuṛã̄ ʻ clay pot ʼ < **kũṛā* IIFL iii 3, 98 (or poss. < kuṭa -- 1), lauṛ. kuṇḍalīˊ ʻ bucket ʼ; Gaw. kuṇḍuṛīˊ ʻ milk bowl, bucket ʼ; Kal. kuṇḍṓk ʻ wooden milk bowl ʼ; Kho. kúṇḍuk, °ug ʻ milk bowl ʼ, (Lor.) ʻ a kind of platter ʼ; Bshk. kūnḗċ ʻ jar ʼ (+?); K. kŏnḍ m. ʻ metal or earthenware vessel, deep still spring ʼ, kọ̆nḍu m. ʻ large cooking pot ʼ, kunāla m. ʻ earthenware vessel with wide top and narrow base ʼ; S. kunu m. ʻ whirlpool ʼ, °no m. ʻ earthen churning pot ʼ, °nī f. ʻ earthen cooking pot ʼ, °niṛo m.; L. kunnã̄ m. ʻ tub, well ʼ, °nī f. ʻ wide -- mouthed earthen cooking pot ʼ, kunāl m. ʻ large shallow earthen vessel ʼ; P. kū̃ḍā m. ʻ cooking pot ʼ (←H.), kunāl, °lā m., °lī f., kuṇḍālā m. ʻ dish ʼ; WPah. cam. kuṇḍ ʻ pool ʼ, bhal. kunnu n. ʻ cistern for washing clothes in ʼ; Ku. kuno ʻ cooking pot ʼ, kuni, °nelo ʻ copper vessel ʼ; B. kũṛ ʻ small morass, low plot of riceland ʼ, kũṛi ʻ earthen pot, pipe -- bowl ʼ; Or. kuṇḍa ʻ earthen vessel ʼ, °ḍā ʻ large do. ʼ, °ḍi ʻ stone pot ʼ; Bi. kū̃ṛ ʻ iron or earthen vessel, cavity in sugar mill ʼ, kū̃ṛā ʻ earthen vessel for grain ʼ; Mth. kũṛ ʻ pot ʼ, kū̃ṛā ʻ churn ʼ; Bhoj. kũṛī ʻ vessel to draw water in ʼ; H. kū̃ḍ f. ʻ tub ʼ, kū̃ṛā m. ʻ small tub ʼ, kū̃ḍā m. ʻ earthen vessel to knead bread in ʼ, kū̃ṛī f. ʻ stone cup ʼ; G. kũḍ m. ʻ basin ʼ, kũḍī f. ʻ water jar ʼ; M. kũḍ n. ʻ pool, well ʼ, kũḍā m. ʻ large openmouthed jar ʼ, °ḍī f. ʻ small do. ʼ; Si. ken̆ḍiya, keḍ° ʻ pot, drinking vessel ʼ.2. N. gũṛ ʻ nest ʼ (or ← Drav. Kan. gūḍu ʻ nest ʼ, &c.: see kulāˊya -- ); H. gõṛā m. ʻ reservoir used in irrigation ʼ.Addenda: kuṇḍa -- 1: S.kcch. kūṇḍho m. ʻ flower -- pot ʼ, kūnnī f. ʻ small earthen pot ʼ; WPah.kṭg. kv́ṇḍh m. ʻ pit or vessel used for an oblation with fire into which barley etc. is thrown ʼ; J. kũḍ m. ʻ pool, deep hole in a stream ʼ; Brj. kū̃ṛo m., °ṛī f. ʻ pot ʼ.(CDIAL 3264) Rupaka, 'metaphor' or Rebus: kō̃da -कोँद ।'kiln'; kundanace' (Kashmiri)

Top and front views of the terracotta ring object with Indus Script Hypertexts (zebu, bird, pot), in Okayama Orient Museum

Terracotta ring objects (called 'Kernos Ring') are widely distributed in Kulli culture (After Fig. 8 in Akinori Uesugi's monograph)

Kulli style animal figures (zebu, bird) in Okayama Orient Museum

ṭã̄k pen-nib, ṭaksāḷī 'mint-master'. Ferrite oxide kernoi ink stands and gold writing instruments of Indus Script

https://tinyurl.com/y2htm5sz

See: Writing instruments: reed ṭã̄k pen-nib of ANE, three pen-nib Gold pendants of Mohenjo-daro rebus ṭaksāḷī 'mint-master'
https://tinyurl.com/yye9o26p

Indus Script writing instruments, Kernoi rings are ink-stands for iron-oxide liquid pigment, gold pectorals with nibs are styluses
https://tinyurl.com/y4fjvrsl

It has been demonstrated that kernoi rings are ink holders (ferrite oxide) to write on metal. See: Indus Script writing instruments, Kernoi rings are ink-stands for iron-oxide liquid pigment, gold pectorals with nibs are styluses https://tinyurl.com/y4fjvrsl

https://oi.uchicago.edu/collections/highlights/highlights-collection-pottery The kernos ring -- apart from use as an ink-stand with iron oxide pigment liquid to write on metal -- is a metalwork catalogue, shows two quails. varka 'quail' rebus: vartaka 'merchant' rebus: vartaka 'bell-metal' dula 'two' rebus: dul 'metal casting' Thus, cast bell-metal merchant. Antelope: ranku 'antelope' rebus ranku 'tin' ḍ̠āṛhū̃ 'pomegranate' rebus ḍhālako 'a large metal ingot'

Note on cursive writing of Indus Script hypertext on a gold pendant

This 2.5 inch long gold pendant has a 0.3 inch nib; its ending is shaped like a sewing or netting needle. It bears an inscription painted in Indus Script. This inscription is deciphered as a proclamation of metalwork competence.
Hieroglyph: ib 'needle' Ta. irumpu iron, instrument, weapon. Ma. irumpu, irimpu iron. Ko. ib id. To. ib needle. Koḍ. irïmbï iron. Te. inumu id. Kol. (Kin.) inum (pl. inmul) iron, sword. Kui (Friend-Pereira) rumba vaḍi ironstone (for vaḍi, see 5285).(DEDR 556) Rebus: ib 'iron'

3 Gold pendants: Jewelry Marshall 1931: 521, pl. CLI, B3

The comments made by John Marshall on three curious objects at bottom right-hand corner of Pl. CLI, B3: “Personal ornaments…Jewellery and Necklaces…Netting needles (?) Three very curious objects found with the studs and the necklace appear to be netting needles of gold. They are shown just above the ear-studs and also in the lower right-hand corner of Pl. CLI, B, 3-5 and 12-14. The largest of these needles (E 2044a) is 2.5 inches long. The handle is hollow and cylindrical and tapers slightly, being 0.2 inch in diameter at the needle-end. The needle point is 0.5 inch long and has a roughly shaped oval eye at its base. The medium sized needle (E 2044b) is 2.5 inches long and of the same pattern: but the cap that closed the end of the handle is now missing. The point which has an oval eye at its base is 0.3 inch long. The third needle (E 2044c) is only 1.7 inches long with the point 0.3 inch in length. Its handle, which is otherwise similar to those of the other two needles, is badly dented. The exact use of these three objects is open to question, for they could have been used for either sewing or netting. The handles seem to have been drawn, as there is no sign of a soldered line, but the caps at either end were soldered on with an alloy that is very little lighter in colour than the gold itself. The two smaller needles have evidently been held between the teeth on more than one occasion.” (p.521)

Evidently, Marshall has missed out on the incription written in paint, as a free-hand writing, over one of the objects: Pl. CLI, B3.

This is an extraordinary evidence of the Indus writing system written down, with hieroglyphs inscribed using a coloured paint, on an object.

Gold pendant with Indus script inscription. The pendant is needle-like with cylindrical body. It is made from a hollow cylinder with soldered ends and perforated joint. Museum No. MM 1374.50.271; Marshall 1931: 521, pl. CLI, B3 (After Fig. 4.17 a,b in: JM Kenoyer, 1998, p. 196).

ib 'needle' rebus: ib 'iron'
kanac 'corner' Rebus: kancu 'bronze'; sal 'splinter' Rebus: sal 'workshop'; dhatu 'cross road' Rebus: dhatu'mineral'; gaNDa 'four' Rebus: khanda 'implements'; kolmo 'three' Rebus: kolami 'smithy, forge'; Vikalpa: ?ea ‘seven’ (Santali); rebus: ?eh-ku ‘steel’ (Te.)

aya 'fish' Rebus: aya 'iron'(Gujarati) ayas 'metal' (Rigveda)
Thus, the inscription is: ib kancu sal (iron, bronze workshop), dhatu aya kaṇḍ kolami mineral, metal, furnace/fire-altar smithy. The hypertext message is: artisan with iron, bronze workshop, (competence in working with) minerals,metals, furnace/fire-altar, smithy/forge.

The inscription is a professional calling card -- describing professional competence and ownership of specified items of property -- of the wearer of the pendant.

What could these three objects be? Sewing needles? Netting needles?

सूची a f. (prob. to be connected with सूत्र , स्यूत &c fr. √ सिव् , " to sew " cf. सूक्ष्म ; in R. once सूचिना instr.) , a needle or any sharp-pointed instrument (e.g. " a needle used in surgery " , " a magnet " &c ) RV. &c. See: http://bharatkalyan97.blogspot.in/2017/09/a-short-note-on-iconography-of-sindhu.html

Indus Script writing instruments included kernos, ring of pots as a set of ink-pots containing iron oxide pigment to inscribe inscriptions on metal objects https://tinyurl.com/y8xqexl6

Functions served be kernoi in ancient times have to be re-evaluated. The arguments advanced by many scholars point to 'cult' practices or 'ritual' mysteries. An alternative, practical function can now been posited thanks to the investigation done on the contents of a pomegranate-shaped Motya vase by Labs of Sapienza University.

This monograph posits that the kernoi rings and the Motya vase were ink-pots containing iron oxide pigment to write Indus Script inscriptions on metal objects such as copper plates.

This is an addendum to: ḍ̠āṛhū̃ 'pomegranate' is an Indus Script Hypertext, signifies, metalwork catalogue rūpaka, 'metaphor' ḍhālako 'a large metal ingot' https://tinyurl.com/ybu636zy

"The (pomegranate-shaped) vase content was sampled twice and analysed in the Labs of Sapienza University. Data collected suggest that inside the vase there was an organic fluid, leaving traces of iron oxide."(Lorenzo Nigro, 2018, Pomegranate (Punica granatum L.) from Motya and its deepest oriental roots in: Vicino Oriente XXII (2018), pp. 63-64).
https://www.academia.edu/37111300/POMEGRANATE_PUNICA_GRANATUM_L._FROM_MOTYA_AND_ITS_DEEPEST_ORIENTAL_ROOTS

It has been demonstrated in Epigraphia Indus Script -- Hypertexts and Meanings (3 vols.) that writing was used to document wealth accounting ledgers.

The hieroglyphs of the types assembled on kernoi rings are consistent with this hypertext tradition and translated as wealth accounting ledgers related to metalwork catalogues, consistent with the objective of the Indus Script writing system to document wealth-creation and trading activities of artisan guilds and seafaring merchant guilds.

I suggest that the pomegranate-shaped vase served as an ink-pot containing iron oxide pigment (liquid).

The discovery of iron oxide in liquid form is significant and consistent with the functions of hypertexts on kernoi which are descriptions of wealth accounting ledgers, metalwork catalogues in the Indus Script Cipher tradition.

I suggest that the kernoi contained iron oxide liquid which was used to write on metal objects. Such a writing on metal objects has been demonstrated in a gold fillet discovered in Mohenjo-daro with an Indus Script Inscription.
Image result for inscribed gold pendant bharatkalyan97

Image result for inscribed gold pendant bharatkalyan97

3 Gold pendants: Jewelry Marshall 1931: 521, pl. CLI, B3

Three gold pendants are shown on the bottom right-corner of the image. An enlargement of one of the pendants reveals an Indus Script inscription from Mohenjodaro, written in ink (perhaps, iron oxide pigment).

The comments made by John Marshall on three curious objects at bottom right-hand corner of Pl. CLI, B3: “Personal ornaments…Jewellery and Necklaces…Netting needles (?) Three very curious objects found with the studs and the necklace appear to be netting needles of gold. They are shown just above the ear-studs and also in the lower right-hand corner of Pl. CLI, B, 3-5 and 12-14. The largest of these needles (E 2044a) is 2.5 inches long. The handle is hollow and cylindrical and tapers slightly, being 0.2 inch in diameter at the needle-end. The needle point is 0.5 inch long and has a roughly shaped oval eye at its base. The medium sized needle (E 2044b) is 2.5 inches long and of the same pattern: but the cap that closed the end of the handle is now missing. The point which has an oval eye at its base is 0.3 inch long. The third needle (E 2044c) is only 1.7 inches long with the point 0.3 inch in length. Its handle, which is otherwise similar to those of the other two needles, is badly dented. The exact use of these three objects is open to question, for they could have been used for either sewing or netting. The handles seem to have been drawn, as there is no sign of a soldered line, but the caps at either end were soldered on with an alloy that is very little lighter in colour than the gold itself. The two smaller needles have evidently been held between the teeth on more than one occasion.” (p.521)."

The inscription reads

Meluhha rupaka, 'metaphor' rebus translation: kanac 'corner' Rebus: kancu 'bronze'; sal 'splinter' Rebus: sal 'workshop'; dhatu 'cross road' Rebus: dhatu 'mineral'; gaNDa 'four' Rebus: khanda 'implements'; kolom 'three' Rebus: kolami 'smithy, forge'; Vikalpa: ?ea ‘seven’ (Santali); rebus: ?eh-ku ‘steel’ (Telugu)

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

Thus, the inscription is: kancu sal (bronze workshop), dhatu aya kaṇḍ kolami mineral, metal, furnace/fire-altar smithy.

The inscription is a professional calling card -- describing professional competence and ownership of specified items of property -- of the wearer of the pendant.

This is an extraordinary evidence of the Indus writing system written down, with hieroglyphs inscribed using a coloured paint, on an object.

What could these three objects be? Sewing needles? Netting needles?

I surmise that all the three gold objects could be pendants tagged to other jewellery such as necklaces. The pendants were perhaps worn with a thread of fibre passing through the eye of the needle-like ending of the pendants.

Why needle-like endings? Maybe, the pendants were used as 'writing' devices 1) either to engrave hieroglyphs into objects; 2)or to use the needle-ending like a metal nib to dip into a colored ink or liquid or zinc-oxide paste or cinnabar-paste. This possibility is suggested by the use of cinnabar in ancient China to paint into lacquer plates or bowls. Cinnabar or powdered mercury sulphide was the primary colorant lof lacquer vessels. "Known in China during the late Neolithic period (ca. 5000–ca. 2000 B.C.), lacquer was an important artistic medium from the sixth century B.C. to the second century A.D. and was often colored with minerals such as carbon (black), orpiment (yellow), and cinnabar (red) and used to paint the surfaces of sculptures and vessels...a red lacquer background is carved with thin lines that are filled with gold, gold powder, or lacquer that has been tinted black, green, or yellow." http://www.metmuseum.org/exhibitions/listings/2009/cinnabar

Kernosis a Mycenaean ceramic piece, usually in the form ofa ring, to which were attached anumber of cups or vases, used in the mystic ceremonies to holdsmall quantities of viands (foods). https://www.dictionary.com/browse/kernos

"Ochre (rarely spelled ocher and often referred to as yellow ochre) is one of a variety of forms of iron oxide which are described as earth-based pigments. These pigments, used by ancient and modern artists, are made of iron oxyhydroxide, which is to say they are natural minerals and compounds composed of varying proportions of iron (Fe₃ or Fe₂), oxygen (O) and hydrogen (H)." (Hirst, Kris (15 April 2017). "Ochre - The Oldest Known Natural Pigment in the World") https://www.thoughtco.com/ochre-the-oldest-known-natural-pigment-172032

"Ochre (British English) (/ˈoʊkər/ OH-kər; from Greek: ὤχρα, from ὠχρός, ōkhrós, pale) or ocher (American English) is a natural clay earth pigmentwhich is a mixture of ferric oxide and varying amounts of clay and sand.It ranges in colour from yellow to deep orange or brown. It is also the name of the colours produced by this pigment, especially a light brownish-yellow. A variant of ochre containing a large amount of hematite, or dehydrated iron oxide, has a reddish tint known as "red ochre" (or, in some dialects, ruddle)."
https://en.wikipedia.org/wiki/Ochre

"The use of red ochre in the prehistoric architecture of Central Anatolia has long been recognized. Scholars have often argued that its use in architecture has a symbolic role, and that it has been used in sacred parts of ritual buildings. This paper examines red‐painted buildings in the prehistoric settlements of Central Anatolia. Recently, a building with red‐coloured plastered walls and floors was found in Chalcolithic Çatalhöyük West. The technique of Raman Spectroscopy has been applied to identify the red pigment and results show that it is red ochre, which contains predominantly hematite, Fe2O3." (Erdogu B, and Ulubey A. 2011. Colour symbolism in the prehistoric architecture of central Anatolia and Raman Spectroscopic Investigation of red ochre in Chalcolithic Çatalhöyük. Oxford Journal Of Archaeology 30(1):1-11.) https://www.scribd.com/document/93900374/Erdogu-ulubey-Colour-Symbolism-in-the-Prehistoric-Architecture

Terracotta kernos from the Cycladic period (ca.2000 BC), found at Melos. "The kernos was carried in procession at the Eleusinian Mysteries atop the head of a priestess, as can be found depicted in art. A lamp was sometimes placed in the middle of a stationary kernos" (The verb kernophorein means "to bear the kernos"; the noun for this is kernophoria; Stephanos Xanthoudides, "Cretan Kernoi," Annual of the British School at Athens 12 (1906), p. 9.)

Circular kernos from Megiddo (Stratum VI)

After Fig. 6(g) in https://www.academia.edu/37111300/POMEGRANATE_PUNICA_GRANATUM_L._FROM_MOTYA_AND_ITS_DEEPEST_ORIENTAL_ROOTS

Circular kernos from Megiddo (stratum VI) Lorenzo Nigro, 2018, Pomegranate (Punica granatum L.) from Motya and its deepest oriental roots in: Vicino Oriente XXII (2018), pp. 49-90.

Iron oxide liquid held in such kernos may have been used to write on metal, as demonstrated on the Mohenjo-daro gold pendant.

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

I suggest that the kernos ring of vessels is like an ink-pot containing iron oxide liquid used as a writing ink, to write on metal objects, like copper tablets or gold pendants. The gold-pendants with sharp nibs might have been used as writing instruments.

I suggest that kernos of Greek has cognates in Indian sprachbund (speech union) with particular reference to a scribe, engraver, accountant, ledger-keeper (to record wealth-accounting ledgers of Indus Script metalwork catalogues): kāraṇika m. ʻ teacher ʼ MBh., ʻ judge ʼ Pañcat. [kā- raṇa -- ]Pa. usu -- kāraṇika -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻ village accountant ʼ.(CDIAL 3058)கணக்குச்சுருணை kaṇakku-c-curuṇai, n. < id. +. Roll or file of accounts on palmyra leaves, kept by a village accountant; கணக்கோலைக்கற்றை.கணக்கப்பிள்ளை kaṇakka-p-piḷḷai, n. < gaṇaka +. 1. Village accountant, cashier, bursar, writer, agent, shipping clerk, bill collector; கணக்கன். 2. Man of the kaṇakkaṉ caste; ஒரு சாதியான். கணக்கன்

kaṇakkaṉ, n. < gaṇaka. [M. kaṇakkaṉ.] 1. Accountant, book-keeper; கணக் கெழுதுவோன். (திருவாலவா. 30, 22.) 2. See கணக்கப்பிள்ளை, 1. 3. A certain caste; ஒரு சாதி. (இலக். வி. 52, உரை.) 4. Arithmetician; கணக்கில் வல்லவன். (W.) கருணீகம் karuṇīkam, n. < karaṇa. [T. karaṇikamu.] Office of village accountant or karṇam; கிராமக்கணக்குவேலை. கருணீகன் karuṇīkaṉ, n. < id. 1. Village accountant; கிராமக்கணக்கன். கடுகை யொருமலை யாகக் . . . காட்டுவோன் கருணீகனாம் (அறப். சத. 86). 2. A South Indian caste of accountants; கணக்குவேலை

பார்க்கும் ஒருசாதி.

காரணிக்கன் kāraṇikkaṉ, n. < id. Accountant; கணக்கன்.(Insc.) కరణము karaṇamu. [Skt.] n. A village clerk, a writer, an accountant. వాడు కూత కరణముగాని వ్రాతకరణముకాడు he has talents for speaking but not for writing. స్థలకరణము the registrar of a district. कारणी or कारणीक kāraṇī or kāraṇīka a (कारण S) That causes, conducts, carries on, manages. Applied to the prime minister of a state, the supercargo of a ship (Marathi).

Uploaded by Maddy Bowman

Head of Demeter or Kore Greek, made in Sicily, 350-300 BC Terracotta Inventory # 76.AD.34 The worship of Demeter (goddess of agriculture) and her daughter, Kore, was popular in Sicily. The island was famous in antiquity for its fertile fields, which supplied grain to the rest of the Greek world. This head, broken from a bust or a full-length statue, would have been left as an offering in one of Demeter's many sanctuaries and temples.

https://www.pinterest.com/pin/46936021096143964/

http://athang1504.blogspot.com/2012/05/eleusinian-mysteries.html

Porch of the Caryatids at the Erechtheion in Acropolis at Athens

"The majestic bust which was part of one of the caryatides supporting the portico of the lesser gateway is arguably the most striking of the exhibits. Her serene features are finely crafted; the folds of her garment are secured by crossed ribbons, gathered under her breasts by a Gorgonian broach: a symbol for warding off evil. She wears rosette earrings and carries a kiste (basket) on her head, elaborately carved with symbols of the cult: rosettes, ears of wheat, poppyseed heads, myrtle leaves and a kernos."

https://www.archaeolink.org/com/celtic/gearbox/media/6AE6E4A8_F5B5_B878_6B6F8DA6CD21CA5F/images/projects/eleusis/CWA068_EleusisF.pdf

ca. 1050–950 B.C.Terracotta ring-kernos (offering vase)

Cypriot

There are small holes in the bull's head and the cups that allowed liquid to flow into the hollow, horizontal ring. https://www.metmuseum.org/art/collection/search/240246

In the tyypology of ancient Greek pottery, the kernos (Greek κέρνος or κέρχνος, plural kernoi) is a pottery ring or stone tray to which are attached several small vessels for holding offerings. Its unusual design is described in literary sources, which also list the ritual ingredients it might contain. The kernos was used primarily in the cults of Demeter and Kore, and of Cybele and Attis.In this votive plaque depicting elements of the Eleusinian Mysteries, a female figure (top center of rectangular portion) wears a kernos on her head

https://www.revolvy.com/page/Kernos

Terracotta kernos from the Cycladic period (ca. 2000 BC), found at Melos

KERNOS RING

Region: Palestine: Megiddo
Origin: Excavated by the Oriental Institute, 1930
Accession: OIM A18835
Period: Stratum VI Iron Age I, ca. 1175-1100 B.C.E.
Materials: Baked clay, painted
Dimensions: H. 10.5 cm W. 19.7cm

This ring was probably used as a libation vessel during religious ceremonies in ancient Palestine. It consists of a hollow clay ring with hollow clay attachments in the forms of a gazelle head, two jars, two pomegranates, two doves, and a cup. The doves, whose heads have been restored, drink from the cup. An eighth attachment is missing, having been broken off in antiquity.

The pomegranate, the gazelle and the doves suggest that this ring was associated with a fertility cult. Wine or water would have been poured into the cup and circulated through the other objects attached to the ring, thus symbolizing the fertility of the earth and its produce.

Kernos rings are fairly common in Palestine, although few are as elaborate or as well preserved as this one.

The Kibbutz Sasa Kernos, 12th-11th century BCE

Kibbutz Sasa Kernos

A kernos (plural- kernoi) is a hollow pottery ring usually about 12 inches in diameter with various hollow pottery objects sitting on the ring and attached to it.

The Kibbutz Sasa kernos originally had six objects perched on the ring, of which four survive. Although other kernoi—or, more accurately, pieces of kernoi—have been found at Gezer, Ashdod, Beth Shean and elsewhere, the Kibbutz Sasa kernos is one of the most nearly complete ever excavated in Israel. Only the Megiddo kernos is more nearly complete, with seven of its eight original objects remaining.

The hollow objects on the Kibbutz Sasa kernos are a bird, a chalice and two pomegranates. Other kernoi have had various vessels, birds and animal heads.

The Kibbutz Sasa kernos is painted in black and red with geometric motifs, which suggests an Aegean cultural origin for the object and its design.

According to Prof. Trude Dothan in her forthcoming book on the Philistinesa, kernoi probably originated in Cyprus. The kernoi found in Palestine are generally associated with the Philistines and exemplify the link between Mycenean and Philistine culture.

Kernoi are “unmistakably cultic”, says Prof. Dothan. Most likely, a liquid, probably wine, was poured into the ring through one of the hollow vessels which surmount it. Perhaps some incantation or prayer was said, the liquid was circulated through the hollow ring and then poured out one of the other objects on the ring. On the Kibbutz Sasa kernos, the liquid was probably poured in through the bottomless chalice which sits on the ring. The chalice is the largest of the objects on the ring and seems made for this purpose. (The small holes where the two missing objects sat on the ring indicate they were not as large as the chalice.)

The Kibbutz Sasa kernos was found during an emergency excavation when the Kibbutz—located in Upper Galilee just a few miles from the Lebanese border—discovered ancient remains as it was preparing ground for construction of a new school. The Antiquities Department immediately sent Hebrew University archaeology student Brocha Guz to direct the excavation of the immediate area, in the course of which the kernos was found. Thereafter Dan Bahat, Antiquities Department archaeologist, completed the excavation, but only typical Israelite storage jars were found. Based on these jars, Bahat dates the kernos to the 12th or 11th centuries B.C.

But what is a kernos doing on the floor of a house with Israelite storage jars? Were the Philistines or other Sea Peoples living here? Or were early Israelites using a kernos? Or, is there perhaps some other explanation? Only further study and excavation will provide the answers.

“The Kibbutz Sasa Kernos,” BAR 2-02, Jun 1976.

http://cojs.org/the_kibbutz_sasa_kernos-_12th-11th_century_bce/

The Pomegranate Vase: Its Origins and Continuity

Sara A. Immerwahr

Hesperia: The Journal of the American School of Classical Studies at Athens

Vol. 58, No. 4 (Oct. - Dec., 1989), pp. 397-410 (16 pages)

Published by: The American School of Classical Studies at Athens

DOI: 10.2307/148339

https://www.jstor.org/stable/148339

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Meluhha are blacksmiths, traders in copper and tin; evidence: Shu-Ilishu Cylinder seal with Indus Script Hieroglyphs

March 14, 2020, 6:04 pm

≫ Next: Indus seals along Amu Darya & Mughrab rivers, courtesy Dennys Frenez & Massimo Vidale. Continuum of documents of wealth accounting ledgers

≪ Previous: Indus Script Writing tools फडनिशी. Kernos ring 'ink-pot' maśĭ̄ of iron oxyhydroxide PLUS hieroglyph ib 'needle' rebus: ib 'iron'ṭã̄k pen-nib, ṭaksāḷī 'mint-master'

https://tinyurl.com/vpd8fgz

The evidence for Meluhha (mleccha) seafaring merchants is shown on Shu-ilishu cylinder seal with Akkadian inscription: The cuneiform text reads in Akkadian: Shu-Ilishu EME.BAL.ME.LUH.HA.KI (i.e., interpreter of Meluhha language). 

Shu-Ilishu is seated on the lap of the seated person. There are two traders who are Meluhha speakers: 1. The person carrying a goat is a Meluhha because the goat in Meluhha is: melh, 'goat' rebus cognate milakku,mleccha 'copper'; 2. the associate carrying a measuring pot ranku 'liquid measure' cognate ranku 'tin mineral ore'. Three large storage jars are part of the field symbol. The crescent-shaped moon is A قمر ḳamar, s.m. (9th) The moon. Sing. and Pl.(Pashto) Rebus: kamar 'blacksmith' (Santali) कर्मार m. an artisan , mechanic , artificer; a blacksmith &c RV. x , 72 , 2 AV. iii , 5 , 6 VS. Mn. iv , 215 &c (Monier-Williams)

(Santali)
karmāˊra m. ʻ blacksmith ʼ RV. [EWA i 176 < stem *karmar -- ~ karman -- , but perh. with ODBL 668 ← Drav. cf. Tam. karumā ʻ smith, smelter ʼ whence meaning ʻ smith ʼ was transferred also to karmakāra -- ] Pa. kammāra -- m. ʻ worker in metal ʼ; Pk. kammāra -- , ˚aya -- m. ʻ blacksmith ʼ, A. kamār, B. kāmār; Or. kamāra ʻ blacksmith, caste of non -- Aryans, caste of fishermen ʼ; Mth. kamār ʻ blacksmith ʼ, Si. kam̆burā.

*karmāraśālā -- .

Addenda: karmāˊra -- : Md. kan̆buru ʻ blacksmith ʼ.(CDIAL 2898)

Shu-Ilishu (Akkadian: Šu-ilišu; fl. c. 1920 BCE — c. 1911 BCE by the short chronology of the ancient Near East, or c. 1984 BCE — c. 1975 BCE by the middle chronology) was the 2nd ruler of the dynasty of Isin. He reigned for 10 years (according to his extant year-names and a single copy of the Sumerian King List, which differs from the 20 years recorded by others.) Shu-Ilishu was preceded by Išbi-erra. Iddin-Dagān then succeeded Shu-Ilishu. Shu-Ilishu is best known for his retrieval of the cultic idol of Nanna from the Elamites and its return to Ur.https://en.wikipedia.org/wiki/Shu-Ilishu

That Meluhha traders were involved in trading of tin ore is evidenced by three pure tin ingots discovered in a shipwreck in Haifa (ca. 1500 BCE?) with Indus Script inscriptions which read rebus: Hieroglyph: ranku 'liquid measure' ranku 'antelope' Rebus: ranku 'tin mineral ore'

Hieroglyph: dATU 'cross' Rebus: dhatu 'mineral ore'

Hieroglyph: muh 'face' Rebus: muh 'ingot'

My decipherment appeared in Journal of Indo-Judaic Studies.

My monograph on this conclusion has been published in Journal of Indo-Judaic Studies, Vol. 1, Number 11 (2010), pp.47-74 — The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” By S. Kalyanaraman (Editor of JIJS: Prof. Nathan Katz) http://www.indojudaic.com/index.php?option=com_contact&view=contact&id=1&Itemid=8

PLUS Communication in Number 17 (2020)

Viśākhadatta's Sanskrit drama Mudrārākshasa designated the following five peoples as Mlecchas :- Kauluta (कौलुता), Malaya (मलयः), Kashmira (काश्मीर), Saindhava (सैन्धव) and Parsika (पार्सिक). 

[Source: Mudrārākshasa by Viśākhadatta, Editor- Prof. K.H. Dhruva, 2nd Edition, 1923, Act. i-१९, Page ११, The Oriental Book-Supplying Agency, Poona.]

Among the peoples termed Mlechcha were Sakas, Hunas, Yavanas, Kambojas, Pahlavas, Bahlikas 

and Rishikas.The Amarakosha described the Kiratas, Khasas and Pulindas as the Mleccha-jatis. Indo-Greeks, Scythians, and Kushanas were also mlecchas.

I suggest that the seafaring merchants trading in copper and ore from 4th millennium BCE

are Meluhha-speakers.

Meluhha refers to a speech form with many pronunciation variants of words with the

same semantics.

Begemann et al have demonstrated through isotope analysis that the Tin-Bronze

revolution was powered by copper from Gujarat and Southern Rajasthan (i.e.Khetri mines)

https://easaa.org/wp-content/uploads/2018/07/EASAA-2018-Hoffman.pdf

Über das frühe Kupfer Mesopotamiens

Article in Iranica Antiqua 44:1-45 · June 2009 By Friedrich Begemann S. Schmitt-Strecker Abstract "A lead isotope study »On the Early copper of Mesopotamia« reports on copper-base artefacts ranging in age from the 4 th millennium BC (Uruk period) to the Akkadian at the end of the 3 rd millennium BC. Arguments are presented that, in the (tin)bronzes, the lead associated with the tin used for alloying did not contribute to the total in any detectable way. Hence, the lead isotopy traces the copper and cannot address the problem of the provenance of tin. The data suggest as possible source region of the copper a variety of ore occurrences in Anatolia, Iran, Oman, Palestine and, rather unexpectedly (by us), from India. During the earliest period the isotopic signature of ores from Central and North Anatolia is dominant; during the next millennium this region loses its importance and is hardly present any more at all. Instead, southeast Anatolia, central Iran, Oman, Feinan-Timna in the rift valley between Dead Sea and Red Sea, and sources in the Caucasus are now potential suppliers of the copper. Generally, an unambiguous assignment of an artefact to any of the ores is not possible because the isotopic fingerprints of ore occurrences are not unique. In our suite of samples bronze objects become important during ED III (middle of the 3 rd millennium BC) but they never make up more than 50% of the total. They are distinguished in their lead isotopy by very high 206 Pb-normalized abundance ratios. As source of such copper we suggest Gujarat/ Southern Rajasthan which, on general grounds, has been proposed before to have been the most important supplier of copper in Ancient India. We propose this Indian copper to have been arsenic-poor and to be the urudu-luh-ha variety which is one of the two sorts of purified copper mentioned in contemporaneous written texts from Mesopotamia to have been in circulation there concurrently."

https://www.researchgate.net/publication/250134169_Uber_das_fruhe_Kupfer_Mesopotamiens

I posit that tin for the Tin-Bronze Revolution of Eurasia came from Ancient Far East, the tin belt of the globe.

Positing an Ancient Maritime Tin Route from Ancient Far East to Ancient Near East, based on Archaeometallurgical provenance study of tin-bronze artifacts of Mesopotamia

https://tinyurl.com/yyeyfkxu

Bahasa Melayu, بهاس ملايو ‎) is an Austronesian language spoken in Brunei, Indonesia, Malaysia and Singapore, as well as parts of Thailand. Historically, the Malay population is descended primarily from the earlier Malayic-speaking Austronesians and Austroasiatic tribes who founded several ancient maritime trading states and kingdoms, notably Brunei, Kedah, Langkasuka, Gangga Negara, Chi Tu, Nakhon Si Thammarat, Pahang, Melayu and Srivijaya. (Barnard, Timothy P. (2004), Contesting Malayness: Malay identity across boundaries, Singapore: Singapore University press; Milner, Anthony (2010), The Malays (The Peoples of South-East Asia and the Pacific), Wiley-Blackwell.) Prior to the 15th century, the term "Melayu" and its similar-sounding variants appear to apply as an old toponym to the Strait of Malacca region in general.[25] Malaya Dwipa, "Malaya Dvipa", is described in chapter 48, Vāyu Purāna as one of the provinces in the eastern sea that was full of gold and silver. Some scholars equate the term with Sumatra, but several Indian scholars believe the term should refer to the mountainous Malay peninsula, while Sumatra is more correctly associated with Suvarnadvipa. (Deka, Phani (2007), The great Indian corridor in the east, Mittal Publications, , p.57)

Paul Sidwell and Roger Blench propose that the Austroasiatic phylum dispersed via the Mekong River drainage basin.

The Austroasiatic languages /ˌɔːstroʊ.eɪʒiˈætɪk/, also known as Mon–Khmer /moʊnˌkəˈmɛər/, are a large language family of Mainland Southeast Asia, also scattered throughout parts of India, Bangladesh, Nepal, and southern China. There are around 117 million speakers of Austroasiatic languages.Of these languages, only Vietnamese, Khmer and Mon have a long-established recorded history and only Vietnamese and Khmer have official status as modern national languages (in Vietnam and Cambodia, respectively). The Mon language is a recognised indigenous language in Myanmar and Thailand. In Myanmar, the Wa language is the de facto official language of Wa State. Santali is one of the 22 scheduled languages of India. The rest of the languages are spoken by minority groups and have no official status.
Ethnologue identifies 168 Austroasiatic languages. These form thirteen established families (plus perhaps Shompen, which is poorly attested, as a fourteenth), which have traditionally been grouped into two, as Mon–Khmer and Munda. However, one recent classification posits three groups (Munda, Nuclear Mon-Khmer and Khasi–Khmuic), while another has abandoned Mon–Khmer as a taxon altogether, making it synonymous with the larger family
Austroasiatic languages have a disjunct distribution across Southeast Asia and parts of India, Bangladesh, Nepal and East Asia, separated by regions where other languages are spoken. They appear to be the extant autochthonous languages of Southeast Asia (excluding the Andaman Islands), with the neighboring Indo-Aryan, Kra–Dai, Hmong-Mien, Dravidian, Austronesian, and Sino-Tibetan languages being the result of later migrations.https://en.wikipedia.org/wiki/Austroasiatic_languages

Bukit Siguntang Mahameru (Seguntang Hill), Palembang. Based on the Sejarah Melayu (Malay Annals), the hill witnessed the arrival of Sri Maharaja Sang Sapurba Paduka Sri Trimurti Tri Buana, a legendary figure believed to be the progenitor of the royal Malay dynasties in Sumatra, Malay Peninsula and Borneo. https://en.wikipedia.org/wiki/Malays_(ethnic_group)

The remains of an ancient folk temple in Bujang Valley. It was believed that the area was home to an early civilisation dating from 553 BC.E.

The lost city of Sungai Batu was founded in 535 BC, it is among the oldest testament of civilisation in Southeast Asia and a potential progenitor of the Kedah Tua kingdom.

It was home to a society with its own culture, philosophy, religion and trade. The historical landscape of the area was bound to a flourishing iron industry, with archaeological findings unearthed various historical mines, warehouses, factories, a harbour; together with a vibrant plethora of superior-quality ores, furnace, slag and ingots. Additionally, the peculiar Tuyere iron-smelting technique mobilised in Sungai Batu is hailed as oldest of its kind in the world. The produce was highly sought after and exported to various corners of the Old World, including ancient India, China, Middle East, Korea and Japan. Based on early Sanskrit reports, the area was known as "the iron bowl". (Pearson, Michael (2016), Trade, Circulation, and Flow in the Indian Ocean World, Palgrave Series in Indian Ocean World Studies; Hall, Daniel George Edward (1981), History of South East Asia, Macmillan,)

Maritime Empire of Srivijaya

Tin is an essential metal in the creation of tin bronzes, and its acquisition was an important part of ancient cultures from the Bronze Age onward. Its use began in the Middle East and the Balkans around 3000 BC. Tin is a relatively rare element in the Earth's crust, with about two parts per million (ppm), compared to iron with 50,000 ppm, copper with 70 ppm, lead with 16 ppm, arsenic with 5 ppm, silver with 0.1 ppm, and gold with 0.005 ppm (Valera, R.G.; Valera, P.G. (2003), "Tin in the Mediterranean area: history and geology", in Giumlia-Mair, A.; Lo Schiavo, F. (eds.), The Problem of Early Tin, Oxford: Archaeopress, p. 10). Ancient sources of tin were therefore rare, and the metal usually had to be traded over very long distances to meet demand in areas which lacked tin deposits.

Cassiterite is a tin oxide mineral, SnO₂. It is generally opaque, but it is translucent in thin crystals. Its luster and multiple crystal faces produce a desirable gem. Cassiterite has been the chief tin ore throughout ancient history and remains the most important source of tin today.

Tin mining began early in the Bronze Age, as bronze is a copper-tin alloy. Tin is a relatively rare element in the Earth’s crust, with approximately 2 ppm (parts per million), compared to iron with 50,000 ppm.

Tin extraction and use can be dated to the beginnings of the Bronze Age around 3000 BCE, when it was observed that copper objects formed of polymetallic ores with different metal contents had different physical properties.^[1] The earliest bronze objects had tin or arsenic content of less than 2% and are therefore believed to be the result of unintentional alloying due to trace metal content in the copper ore^[2] It was soon discovered that the addition of tin or arsenic to copper increased its hardness and made casting much easier, which revolutionized metal working techniques and brought humanity from the Copper Age or Chalcolithic to the Bronze Age around 3000 BC.^[2] Early tin exploitation appears to have been centered on placer deposits of cassiterite.^[3]

Map of Europe based on Strabo's geography, showing the Cassiterides just off the northwest tip of Iberia where Herodotus believed tin originated in 450 BC

The first evidence of tin use for making bronze appears in the Near East and the Balkans around 3000 BC.(Penhallurick, R.D. (1986). Tin in Antiquity: its Mining and Trade Throughout the Ancient World with Particular Reference to Cornwall. London: The Institute of Metals.) It is still unclear where the earliest tin was mined, as tin deposits are very rare and evidence of early mining is scarce. Europe's earliest mining district appears to be located in Erzgebirge, on the border between Germany and Czech Republic and is dated to 2500 BC. From there tin was traded north to the Baltic Sea and south to the Mediterranean following the Amber Road trading route. Tin mining knowledge spread to other European tin mining districts from Erzgebirge and evidence of tin mining begins to appear in Brittany, Devon and Cornwall, and in the Iberian Peninsula around 2000 BC. These deposits saw greater exploitation when they fell under Roman control between the third century BC and the first century AD. Demand for tin created a large and thriving network amongst Mediterranean cultures of Classical times.(Pulak, C. (2001). "The cargo of the Uluburun ship and evidence for trade with the Aegean and beyond". In Bonfante, L.; Karageogrhis, V. (eds.). Italy and Cyprus in Antiquity: 1500–450 BC. Nicosia: The Costakis and Leto Severis Foundation. pp. 12–61.)By the Medieval period, Iberia's and Germany's deposits lost importance and were largely forgotten while Devon and Cornwall began dominating the European tin market.^[4]

In the Far East, the tin belt stretching from Yunnan in China to the Malay Peninsula began being exploited sometime between the third and second millennium BC. The deposits in Yunnan were not mined until around 700 BC, but by the Han Dynasty had become the main source of tin in China according to historical texts of the Han, Jin, Tang, and Song dynasties. In 2006, total worldwide tin mine production was 321,000 tons, and smelter production was 340,000 tons. In 2007, the People's Republic of China was the largest producer of tin, where the tin deposits are concentrated in the southeast Yunnan tin belt,^[10] with 43% of the world's share, followed by Indonesia, with an almost equal share, and Peru at a distant third, reports the USGS.(Carlin, Jr., James F. "Mineral Commodity Summary 2008: Tin" (PDF). United States Geological Survey.)

Tin Statistics and Information

Tin is one of the earliest metals known and used. Because of its hardening effect on copper, tin was used in bronze implements as early as 3,500 B.C., although the pure metal was not used until about 600 B.C. About 35 countries mine tin throughout the world. Nearly every continent has an important tin-mining country. Tin is a relatively scarce element with an abundance in the earth's crust of about 2 parts per million (ppm), compared with 94 ppm for zinc, 63 ppm for copper, and 12 ppm for lead. Most of the world's tin is produced from placer deposits; at least one-half comes from Southeast Asia. The only mineral of commercial importance as a source of tin is cassiterite (SnO2), although small quantities of tin are recovered from complex sulfides such as stannite, cylindrite, franckeite, canfieldite, and teallite.

Most tin is used as a protective coating or as an alloy with other metals such as lead or zinc. Tin is used in coatings for steel containers, in solders for joining pipes or electrical/electronic circuits, in bearing alloys, in glass-making, and in a wide range of tin chemical applications. Secondary, or scrap, tin is an important source of the tin supply.https://www.usgs.gov/centers/nmic/tin-statistics-and-information

Tin Statistical Compendium

This publication includes data through 1990. For recent statistics, please go the the Tin Statistics and Information page.

Tin was one of the earliest metals known to humanity. Because of its hardening effects on copper, tin was used in bronze implements as early as 3500 B.C. Bronze, a copper-tin alloy that could be sharpened and was hard enough to retain a cutting edge, was used for the manufacture of construction tools and hunting and war weapons.

Today, most tin is used as a protective coating or as an alloy with other metals. Tin is used as a coating for steel cans, in solders for joining pipes or electrical conductors, and in bearing and other alloys for widely diversified applications. Tin is essential to an industrial society and in many applications for which there are no completely satisfactory substitutes.

Domestic reserves of tin are small, and significant domestic production has never occurred and seems unlikely to in the next few decades. Virtually all primary tin to meet U.S. requirements is imported largely from Southeast Asia and South America. This supply pattern has long existed and is expected to continue. About 35 countries are engaged in either tin mining or smelting and are dispersed widely throughout the world, in both free market and centrally planned economies. Most tin mining and smelting occurs in developing countries. Historically, it was typical for tin mining to occur in a developing country, and then the tin concentrates were shipped thousands of miles away to a developed country to be smelted and then used. Since the 1950's, however, tin mining and smelting have been typically performed in the same developing country, and the refined tin is then shipped to the industrialized countries to be consumed.

Following World War II and the start of the U.S. Government stockpile for wartime purposes, tin became a major factor in the stockpile and generally since then has been the largest nonfuel mineral in the stockpile based on value. Since 1960, sales of excess tin have been made from the stockpile.

From 1956 to 1985, tin was the subject of a unique world commodity pact called the International Tin Agreement (ITA). This was a complex agreement involving the world's major tin producing and consuming countries. Through mechanisms such as export quotas and its own tin buffer stockpile, it attempted to stabilize the supply and demand of tin. The ITA collapsed in late 1985 when it exhausted its credit trying to support the market price of tin. As a result of this situation, tin was delisted from trading on the London Metal Exchange (LME), and large lawsuits were brought by creditors against the ITA and the LME.

The United States is the world's largest user of primary tin. Domestically, scrap tin has long been an important factor in meeting domestic needs, supplying about 20% of total tin demand. Scrap tin originates both from detinned tinplate and, more importantly, from the various alloyed forms of tin.

https://www.usgs.gov/centers/nmic/statistical-compendium#tin

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

Cassiterite with muscovite, from Xuebaoding, Huya, Pingwu, Mianyang, Sichuan, China (size: 100 x 95 mm, 1128 g). Cassiterite is a widespread minor constituent of igneous rocks. he current major tin production comes from placer or alluvial deposits in Malaysia, Thailand, Indonesia, the Maakhir region of Somalia, and Russia. Hydraulic mining methods are used to concentrate mined ore, a process which relies on the high specific gravity of the SnO₂ ore, of about 7.0.

Tin as igneous rock is derived from granites. Himalayan rivers flow through such granites creating the largest tin belt of the globe. Igneous rock (derived from the Latin word ignis meaning fire), or magmatic rock, is one of the three main rock types, the others being sedimentary and metamorphic. Igneous rock is formed through the cooling and solidification of magma or lava. The magma can be derived from partial melts of existing rocks in either a planet's mantle or crust. Mineral deposits (ores): for example, tungsten, tin, and uranium are commonly associated with granites and diorites.

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Indus seals along Amu Darya & Mughrab rivers, courtesy Dennys Frenez & Massimo Vidale. Continuum of documents of wealth accounting ledgers

March 15, 2020, 7:41 pm

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≪ Previous: Meluhha are blacksmiths, traders in copper and tin; evidence: Shu-Ilishu Cylinder seal with Indus Script Hieroglyphs

https://tinyurl.com/vsb63xf

Note: This note demonstrates that 1) what Dennys Frenez & Massimo Vidale refer to as a Chimaera is a composite animal which is a characteristic signature tune of Indus Script Cipher; and 2) many hieroglyphs seen on these examples are read in Meluhha Indus Script rebus readings, reinforcing Meluhha as the Indian sprachbund, 'speech union' of the civilization. This is an attestation of the presence of Meluhha artisans in the Amu Darya & Mughrab river basins working with mineral,metal and precious stone resources for their lapidary, metalwork. In this collection of Indus seals along Amu Darya and Mughrab rivers is a three-sided copper tablet which shows such a composite animal.

These animals on the copper tablet are all Indus Script hieroglyphs. The rebus readings are:

சிங்கச்சுவணம் ciṅka-c-cuvaṇam , n. prob. siṃhala + svarṇa. A kind of superior gold; ஒருவகை உயர்தரப் பொன். தீதுதீர் சிறப்பிற் சிங்கச் சுவணமென் றோசைபோகிய வொண்பொன் (பெருங். வத்தவ. 11, 23).

Hieroglhyph: Wing: *skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ]S. khambhu, ˚bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236)

Three animals on side 3 of 1784/3 copper tablet: 1. one-horned young bull; 2. tiger 3. short-horned bull

Rebus readings are: koDe singi 'spiny-horned young bull' rebus: singi koD 'ornamental gold workshop' PLUS kunda 'lathe' rebus: kunda 'fine gold' konda 'furnace, kiln'; कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner'.(metalworker)kola 'tiger' rebus: kol 'working in iron'; barad, balad 'ox' Rebus: bharata 'factitious alloy of copper, pewter, tin'

Dotted circle hieroglyph: Dotted circle: dAya 'throw of one in dice' rebus:dhAi 'mineral ore' PLUS vaTTa 'circle';together, rebus धवड dhavaḍa m (Or धावड) A class or an individual of it. They are smelters of iron.धावडी dhāvaḍī a Relating to the class धावड. Hence 2 Composed of or relating to iron

Svastika hieroglyph: sattva 'svastika' glyph సత్తుతపెల a vessel made of pewter त्रपुधातुविशेषनिर्मितम्

Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जसथ् त्रपु m. (sg. dat. jastas ज्तस), zinc, spelter; pewter; zasath ् ज़स््थ् ्or zasuth ज़सुथ ्। रप m. (sg. dat. zastas ु ज़्तस),् zinc, spelter, pewter (cf. Hindī jast). jastuvu; । रपू्भवः adj. (f. jastüvü), made of zinc or pewter.(Kashmiri). jasta 'zinc' (Hindi) sathya, satva 'zinc' (Kannada)

How Did a Chimaera Get Lost in Margush? Indus-Related Seals from Bronze Age Oases Along the Amu Darya and Murghab Rivers

Tales of Three Worlds: Archaeology and beyond: Asia, Italy, Africa - A tribute to Sandro Salvatori, 2020

This paper presents a coherent collection of Indus-related stone seals and tablets from Bactria and Margiana, detailing their morphological and iconographic features and indicating comparisons with equivalent seals found in the greater Indus Valley of present-day Pakistan and northwestern India. Overall, these objects reveal a new aspect of the settlement pattern in the oases flourished along the Oxus river during the Middle Bronze Age, with specific reference to the seminal paper by Sandro Salvatori (2008), ‘The Margiana Settlement Pattern from the Middle Bronze Age to the Parthian-Sasanian Period: A Contribution to the Study of Complexity’. A few other miscellaneous hybrid-seals with features of both the Oxus and the Indus seal productions, including the representation in local style of a typical Harappan chimaera, will also be presented to further stress the duration and significance of the commercial and cultural links between these two macro-regions along the third and in the first half of the second millennium BC.

More Info: Volume available on https://www.archaeopress.com/

Page Numbers: 53-64

Publication Date: 2020

Publication Name: Tales of Three Worlds: Archaeology and beyond: Asia, Italy, Africa - A tribute to Sandro Salvatori

https://www.academia.edu/42212629/How_Did_a_Chimaera_Get_Lost_in_Margush_Indus-Related_Seals_from_Bronze_Age_Oases_Along_the_Amu_Darya_and_Murghab_Rivers?fbclid=IwAR3zv1OhRKpinCeS_PbNJ1hrTIC3PnGXxGEX3rJrSFUDImUMo1L5KKxHYMU

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Where did the word pwlad 'steel' come from? Telugu. Call for Papers. Battle Magic. Supernatural Support for Physical Combat - 26-27/06/2020, Solingen (Germany)

March 15, 2020, 10:30 pm

≫ Next: Indian Foundations of Modern Science -- Subhash Kak

≪ Previous: Indus seals along Amu Darya & Mughrab rivers, courtesy Dennys Frenez & Massimo Vidale. Continuum of documents of wealth accounting ledgers

Why did Purushottama gift a ukku, utsa sword to Alexander?

See painting in Steel Authority of India Limited, Ranchi Institute. Note the smithy artificers in the background.

Echoes of Indus Script: पोळ pōḷa, 'Zebu, bos indicus' of Indus Script corpora is rebus: पोळ pōḷa 'magnetite, ferrite ore'. Image result for black drongo bharatkalyan97

Image result for black drongo bharatkalyan97

పోలడు, పోలిగాడు or దూడలపోలడు pōlaḍu. [Tel.] n. An eagle. పసులపోలిగాడు the bird called the Black Drongo. Dicrurus ater. (F.B.I.) Image result for black drongo bharatkalyan97

पोलाद pōlāda n ( or P) Steel. पोलादी a Of steel.(Marathi) pōlāda 'steel', pwlad 'steel'

The "Deutsches Klingenmuseum" (Solingen) and the "Department of Comparative Religions" (University of Bonn) organise the International Conference "Battle Magic. Supernatural Support for Physical Combat".
Time: Fri 26 - Sat 27 June 2020
Venue: Deutsches Klingenmuseum Solingen, Klosterhof 4, 42653 Solingen, Germany (www.klingenmuseum.de)

Topics could include, but are in no way restricted to:

• Omens and timing: determination of the perfect time for battle by the observation of natural phenomena, astrology, or prophecies;

• Enhancement of the warrior: observation of specific taboos before combat, spells and body techniques to render the body invulnerable against the enemy’s weapons, or the improvement of the capacity to
inflict damage;

• Enhancement of weapons and armour: observation of specific rituals in the making of weapons, their inscription with protective symbols, or their enchantment;

• Superhuman help: invocation of superhuman agents for support in combat, and offerings given to them after the fight.

Beyond such core topics, themes like the use of physical combat within larger, complex rituals, the representation of “battle magic” in (historic or modern) media, or other, related issues can be addressed.
Even though the conference will be held as part of the event program for the Klingenmuseum’s current exhibition “Steel and Magic. Edged Weapons of the Malay Archipelago”, topics from all times, areas, and
cultural backgrounds are welcome.

Please send your proposal of ca. 300 words, five keywords, and a short biographical note of ca. 100 words to Dr Sixt Wetzler, Deutsches Klingenmuseum Solingen, s.wetzler@solingen.de

Deadline is 31 March 2020.

Contributions must not be longer than 20 minutes, the conference language is English. – Speakers will be exempt from conference fees. Regular conference fee (for attendants not presenting) is 60,– €.
Conference dinner and refreshments are included. Travel expenses cannot be covered by the organizers.

For registration, please send an
email to Dr. Sixt Wetzler s.wetzler@solingen.de

Battle Magic. Supernatural Support for Physical Combat - 26-27/06/2020, Solingen (Germany)

14.03.2020

go to CALL FOR PAPERS

FECHA/DATE/DATA: 26-27/06/2020

LUGAR/LOCATION/LUOGO: Deutsches Klingenmuseum (Solingen, Germany)

ORGANIZADOR/ORGANIZER/ORGANIZZATORE: Dr. Sixt Wetzler.

INFO: web - s.wetzler@solingen.de

INSCRIPCIÓN/REGISTRATION/REGISTRAZIONE: 60€ s.wetzler@solingen.de

PROGRAMA/PROGRAM/PROGRAMMA:

https://www.fasticongressuum.com/single-post/2020/03/14/Battle-Magic-Supernatural-Support-for-Physical-Combat---26-27062020-Solingen-Germany

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Indian Foundations of Modern Science -- Subhash Kak

March 16, 2020, 3:24 am

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≪ Previous: Where did the word pwlad 'steel' come from? Telugu. Call for Papers. Battle Magic. Supernatural Support for Physical Combat - 26-27/06/2020, Solingen (Germany)

Indian sciences are universal and they have within them the power to inspire people to find their true potential and find meaning in life, as also having the potential to facilitate the next advances in both physical and biological sciences.

Indian sciences are universal and they have within them the power to inspire people to find their true potential and find meaning in life, as also having the potential to facilitate the next advances in both physical and biological sciences.

Indian science having the potential to facilitate the next advances in both physical and biological sciences.

Scholars see India and Greece as the two principal birthplaces of science[1]. School textbooks tell us about Pythagoras, Aristotle, Euclid, Archimedes, and Ptolemy, the geometry of the Vedic altars, the invention of zero in India, Yoga psychology, and Indian technology of steel-making that went into the manufacture of the best swords. But if you take the trouble of reading scholarly books, articles, and encyclopedias[2], you will find that in many ways the early Indian contributions are the more impressive for they include a deep theory of mind, Pāṇini’s astonishing Sanskrit grammar, binary numbers of Piṅgala, music theory, combinatorics, algebra, earliest astronomy, and the physics of Kaṇāda with its laws of motion.

New research has shown that over two centuries prior the Kerala School of Mathematics had already developed calculus and some historians suggest that this and advanced astronomical knowledge from Kerala went abroad via the Jesuits and provided the spark for its further development in Europe.

Of these, Kaṇāda is the least known[3]. He may not have presented his ideas as mathematical equations, but he attempted something that no physicist to date has dared to do: he advanced a system that includes space, time, matter, as well as observers[4]. He also postulated four types of atoms, two with mass (that turn out to be like proton and electron) and two with little mass (like the modern neutrino and photon), and the idea of invariance. A thousand or more years after Kaṇāda, Āryabhaṭa postulated that earth rotated and advanced the basic idea of relativity of motion.

And then there is India’s imaginative literature, which includes the Epics, the Purāṇas and the Yoga Vāsiṣṭha (perhaps the greatest novel ever written), that speaks of time travel, airplanes, exoplanets (that is many solar-like systems), cloning of embryos, sex change, communication over distances, and weapons that can destroy everything[5]. Some nationalists take these statements to mean the literal scientific truth, which claim is ridiculed by their political opponents who then use this broad brush to tar all Indian science.

There are also anomalous statements in Indian texts whose origin is not understood. Just to mention a few: the correct speed of light[6], the correct distance to the sun[7], cosmological cycles that broadly correspond to the numbers accepted currently, the fact that the sun and the moon are approximately 108 times their respective diameters from the earth[8], the correct number of species on earth (about 8.4 million)[9], and so on. Historians either ignore them or say that they are extraordinary coincidences. We will come to these anomalies later in the essay.

To return to the history of mainstream science, the discovery of infinite series and calculus by Newton and Leibniz heralded the scientific evolution that was to change the world. But new research has shown that over two centuries prior the Kerala School of Mathematics had already developed calculus and some historians suggest that this and advanced astronomical knowledge from Kerala went abroad via the Jesuits and provided the spark for its further development in Europe[10][11]. Other historians discount this saying that clear proof of the transmission of this knowledge to Europe is lacking.

Erwin Schrödinger, a founder of quantum theory, credited ideas in the Upanishads for the key notion of superposition that was to bring about the quantum revolution in physics that changed chemistry, biology, and technology.

There is more agreement about the many achievements of Indian medical sciences. For example, the Royal Australia College of Surgeons in Melbourne, Australia has a prominent display of a statue of Suśruta (600 BCE) with the caption “Father of Surgery”. The ancient Ayurveda texts include the notion of germs and inoculation and also postulate mind-body connection, which has become an important area of contemporary research. Indian medicine was strongly empirical; it used Nature (which is governed by Ṛta) as a guide, and it was informed by a sense of skepticism. In the West, the notion of skepticism is usually credited to the Scottish philosopher of science, David Hume, but scholars have been puzzled by the commonality between his ideas and the earlier Indian ones. Recently, it was shown that Hume almost certainly learned Indian ideas from Jesuits when he was at the Royal College of La Flèche in France.[12]

There are also indirect ways that Indian ideas led to scientific advances. Mendeleev was inspired by the two-dimensional structure of the Sanskrit alphabet to propose a similar two-dimensional structure of chemical elements.[13]

A Vedantic vision-guided Jagadis Chandra Bose in his pathbreaking discoveries in a variety of fields[14]. Bose is considered the true father of radio science which, as we know, has changed the world[15][16]. Bose also discovered millimeter length electromagnetic waves and was a pioneer in the fields of semiconductor electronics and biophysics.

Erwin Schrödinger, a founder of quantum theory, credited ideas in the Upanishads for the key notion of superposition that was to bring about the quantum revolution in physics that changed chemistry, biology, and technology.[17]

I now briefly touch upon Indian influence on linguistics, logic, philosophy of physics, and theory of mind.

Linguistics, algorithms, and society

Pāṇini’s work (4th or 5th century BCE) showed the way to the development of modern linguistics through the efforts of scholars such as Franz Bopp, Ferdinand de Saussure, Leonard Bloomfield, and Roman Jakobson. Bopp was a pioneering scholar of the comparative grammars of Sanskrit and other Indo-European languages. Ferdinand de Saussure in his most influential work course in General Linguistics (Cours de Linguistique générale), that was published posthumously (1916), took the idea of the use of formal rules of Sanskrit grammar and applied them to general linguistic phenomena.

The structure of Pāṇini‘s grammar contains a meta-language, meta-rules, and other technical devices that make this system effectively equivalent to the most powerful computing machine[18]. Although it didn’t directly contribute to the development of computer languages, it influenced linguistics and mathematical logic that, in turn, gave birth to computer science.

The works of Pāṇini and Bharata Muni also presage the modern field of semiotics which is the study of signs and symbols as a significant component of communications. Their template may be applied to sociology, anthropology and other humanistic disciplines for all social systems that come with their grammar.

The search for universal laws of grammar underlying the diversity of languages is ultimately an exploration of the very nature of the human mind. But the Indian texts remind that the other side to this grammar is the idea that a formal system cannot describe reality completely since it leaves out the self.

Modern logic

That Indian thought was central to the development of machine theory is asserted by Mary Boole — the wife of George Boole, inventor of modern logic — who herself was a leading science writer in the nineteenth century[19]. She claimed that George Everest, who lived for a long time in India and whose name was eventually applied to the world’s highest peak, was the intermediary of the Indian ideas and they influenced not only her husband but the other two leading scientists in the attempt to mechanize thought: Augustus de Morgan and Charles Babbage. She says in her essay on Indian Thought and Western Science in the Nineteenth Century (1901): “Think what must have been the effect of the intense Hinduizing of three such men as Babbage, De Morgan, and George Boole on the mathematical atmosphere of 1830–65.” She further speculates that these ideas influenced the development of vector analysis and modern mathematics.

It is one of those obscure footnotes to the history of physics that Nikola Tesla, who was very famous in the 1890s, was asked by Swami Vivekananda to find an equation connecting mass and energy.

Much prior to this, Mohsin Fani’s Dabistani-i Madhahib (17th Century) claimed that Kallisthenes, who was in Alexander’s party, took logic texts from India and the beginning of the Greek tradition of logic must be seen in this material. In Indian logic, minds are not empty slates; the very constitution of the mind provides some knowledge of the nature of the world. The four pramāṇas through which correct knowledge is acquired are direct perception, inference, analogy, and verbal testimony.

Physics with observers

Indian physics, which goes back to the Vaiśeṣika Sūtras (c. 500 BCE), does not appear to have directly influenced the discovery of physical laws in Europe. But Indian ideas that place the observer at center prefigure the conceptual foundations of modern physics, and this is acknowledged by the greatest physicists of the twentieth century.

In the West, the universe was seen as a machine going back to Aristotle and the Greeks who saw the physical world consisting of four kinds of elements of earth, water, fire, and air. This model continued in Newton’s clockwork model of the solar system. Indian thought, in contrast, has a fifth element, ākāśa, which is the medium for inner light and consciousness. With the rise of relativity theory and quantum mechanics, the observer could no longer be ignored. In one sense, the journey of science is the discovery of self and consciousness.

It is one of those obscure footnotes to the history of physics that Nikola Tesla, who was very famous in the 1890s, was asked by Swami Vivekananda to find an equation connecting mass and energy. We know that Tesla didn’t quite succeed at this but he was to work on various models of wireless transfer of energy for the remainder of his career.

Cosmology and evolution

The Ṛegveda speaks of the universe being infinite in size. The evolution of the universe is according to cosmic law. Since it cannot arise out of anything, the universe must be infinitely old. Since it must evolve, there are cycles of chaos and order of creation and destruction. The world is also taken to be infinitely old. Beyond the solar system, other similar systems were postulated, which appear to have been confirmed with the modern discovery of exoplanets.[20]

The Sāṅkhya system describes evolution at cosmic and individual levels. It views reality as being constituted of puruṣa, a consciousness that is all-pervasive, and prakṛti, which is the phenomenal world. Prakṛti is composed of three different strands (guṇas or characteristics) of sattva, rajas, and tamas, which are transparency, activity, and inactivity, respectively.

Evolution begins by puruṣa and prakṛti creating mahat (Nature in its dynamic aspect). From mahat evolves buddhi (intelligence) and manas (mind). Buddhi and manas on a large scale are Nature’s intelligence and mind. From buddhi come individualized ego consciousness (ahaṅkāra) and the five tanmātras (subtle elements) of sound, touch, sight, taste, smell. From the manas evolve the five senses (hearing, touching, seeing, tasting, smelling), the five organs of action (with which to speak, grasp, move, procreate, evacuate), and the five gross elements (ākāśa, air, fire, water, earth).

The evolution in Sāṅkhya is an ecological process determined completely by Nature. It differs from modern evolution theory in that it presupposes a universal consciousness. In reality, modern evolution also assigns intelligence to Nature in its drive to select certain forms over others as well as in the evolution of intelligence itself.

The description of the evolution of life is given in many texts such as the Mahābhārata. I present a quote from the Yoga Vāsiṣṭha on it:

“I remember that once upon a time there was nothing on this earth, neither trees and plants nor even mountains. For a period of eleven thousand [great] years, the earth was covered by lava. In those days there was neither day nor night below the polar region: for in the rest of the earth, neither the sun nor the moon shone. Only one half of the polar region was illumined. [Later] apart from the polar region the rest of the earth was covered with water. And then for a very long time, the whole earth was covered with forests, except the polar region. Then there arose great mountains, but without any human inhabitants. For a period of ten thousand years, the earth was covered with the corpses of the asuras.” [YV 6.1]

The reverse sequence, of the end of the world, is also described in various texts. First, the sun expands in size incinerating everything on the earth (quite similar to modern accounts of the aging sun becoming a red giant). The specific sequence mentioned is that the fireball of the sun transforms the Pṛithivī atoms into Āpas atoms, which then together change into Tejas atoms and further into Vāyu atoms, and finally to sound energy that is an attribute of space, and so on (Mahābhārata, Śānti Parva Section 233). In our modern language, it means that as temperatures become high, matter breaks down becoming a sea of elements, then the protons break down into electrons, further into photons, and finally into neutrinos, and on to acoustic energy of space. At the end of this cycle, the world is absorbed into Consciousness.

Vivekananda was aware of this sequence which is why he asked Tesla to find the specific equation for transformation between mass and energy.[21]

Mind and Yoga

We are in the midst of a worldwide Yoga revolution. For many, it is about health and well-being but that is only a portal that leads to the understanding of the self and its relationship with the body.

Although the roots of Yoga lie in the Vedas, most read Patañjali’s Yoga-sūtra for a systematic exposition of the nature of the mind. The text is logical and it questions the naïve understanding of the world. According to it, there is a single reality and the multiplicity we see in it is a consequence of the projections of our different minds. Therefore to obtain knowledge one must experience reality in its most directness.

The Vedic texts claim to be ātmavidyā, “science of self” or “consciousness science” and they also provide a framework to decode its narrative, establishing its central concern with consciousness.

In the Vedic view, the reality is unitary at the deepest level since otherwise there would be chaos. Since language is linear, whereas the unfolding of the universe takes place in a multitude of dimensions, language is limited in its ability to describe reality. Because of this limitation, reality can only be experienced and never described fully. All descriptions of the universe lead to a logical paradox.

Knowledge is of two kinds: the higher or unified and the lower or dual. The higher knowledge concerns the perceiving subject (consciousness), whereas the lower knowledge concerns objects. The higher knowledge can be arrived at through intuition and meditation on the paradoxes of the outer world. The lower knowledge is analytical and it represents standard sciences with its many branches. There is a complementarity between the higher and the lower, for each is necessary to define the other, and it mirrors the one between mind and body.

The Buddha chose not to address the question of the nature of consciousness until the end of his life, and many of his followers believe that mind and consciousness arise out of emptiness or nothingness.

The future of science

I have gone through a random list of topics to show that Indian ideas and contributions have shaped science in fundamental ways. I hope to show now that they remain equally central to its future growth.

We first note that in spite of its unprecedented success and prestige, science is facing major crises which are as follows:

The first of these crises is that of physics for it has found no evidence for dark matter and dark energy that together are believed to constitute 95% of the observable universe, with another 4.5% being intergalactic dust that doesn’t influence theory. How can we claim that we are near understanding reality if our theories are validated by only 0.5% of the observable universe?
The second crisis is that neuroscientists have failed to find a neural correlate of consciousness. If there is no neural correlate, then does consciousness reside in a dimension that is different from our familiar space-time continuum? And how do mind and body interact with each other?
The third crisis is that there is no clear answer to the question if machines will become conscious.
The fourth crisis is related to the implications of biomedical advances such as cloning on our notions of self.

It becomes clear that the three crises are actually interrelated when it is realized that consciousness is also an issue at the very foundations of physics. These questions also relate to the problem of free will.

Researchers are divided on whether conscious machines will ever exist. Most computer scientists believe that consciousness is computable and that it will emerge in machines as technology develops. But there are others who say there’re things about human behavior that cannot be computed by a machine. Thus creativity and the sense of freedom people possess appear to be more than just an application of logic or calculations.

Quantum views

Quantum theory, which is the deepest theory of physics, provides another perspective. According to its orthodox Copenhagen Interpretation, consciousness and the physical world are complementary aspects of the same reality. Since it takes consciousness as a given and no attempt is made to derive it from physics, the Copenhagen Interpretation may be called the “Big-C” view of consciousness, where it is a thing that exists by itself — although it requires brains to become real[22]. This view was popular with the pioneers of quantum theory such as Niels Bohr, Werner Heisenberg, and Erwin Schrödinger.

The opposing view is that consciousness emerges from biology, just as biology itself emerges from chemistry which, in turn, emerges from physics. We call this less expansive concept of consciousness “Little-C.” It agrees with the neuroscientists’ view that the processes of the mind are identical to states and processes of the brain.

Philosophers of science believe that these modern quantum physics views of consciousness have parallels in ancient philosophy. Big-C is like the theory of mind in Vedanta — in which consciousness is the fundamental basis of reality and at the experienced level, it complements the physical universe. The pioneers of quantum theory were aware of this linkage with Vedanta.

Little-C, in contrast, is quite similar to what many take to be standard Buddhism. The Buddha chose not to address the question of the nature of consciousness until the end of his life, and many of his followers believe that mind and consciousness arise out of emptiness or nothingness. Yet in the Mahāyāna Mahāparinirvāṇa-sūtra, the Buddha acknowledges a transcendent category underlying constant change which is quite similar to the conception of Vedanta.[23]

Big-C, anomalies, and scientific discovery

Scientists question if consciousness is a computational process. More restrictively, scholars argue that the creative moment is not at the end of a deliberate computation. For instance, dreams or visions are supposed to have inspired Elias Howe‘s 1845 design of the modern sewing machine and August Kekulé’s discovery of the structure of benzene in 1862, and these may be considered to be examples of the anomalous workings of the mind.[7]

A dramatic piece of evidence in favor of Big-C consciousness existing all on its own is the life of self-taught mathematician Srinivasa Ramanujan, who died in 1920 at the age of 32[24]. His notebook, which was lost and forgotten for about 50 years and published only in 1988, contains several thousand formulas — without proof in different areas of mathematics — that were well ahead of their time, and the methods by which he found the formulas remain elusive. Ramanujan himself claimed that the formulas were revealed to him by Goddess Nāmagiri while he was asleep. The idea of Big-C provides an explanation for the anomalous scientific results from old Indian texts that were mentioned at the beginning of the essay.

The concept of Big-C consciousness raises the questions of how it is related to the matter, and how matter and mind mutually influence each other. Consciousness alone cannot make physical changes to the world, but perhaps it can change the probabilities in the evolution of quantum processes as was first proposed by George Sudarshan and Baidyanath Misra in what they called the Quantum Zeno Effect[25]. The act of observation can freeze and even influence atoms’ movements, as has been demonstrated in the laboratory, and this may very well be an explanation of how matter and mind interact.[26]

With cognitive machines replacing humans at most tasks, the question of what selfhood means will become more central to our lives. It appears to me that the only way to find fulfillment in life will be through the wisdom of ātmavidyā. Vedic science will bring humanity full circle back to the source of all experience, which is consciousness. It will also reveal unknown ways mind and body interact and this will have major implications for medicine.

Indian sciences are universal and they have within them the power to inspire people to find their true potential and find meaning in life, as also having the potential to facilitate the next advances in both physical and biological sciences.

Historians may quibble about whether a certain equation should be called Baudhāyana’s Theorem or Pythagoras Theorem, but in the larger scheme names do not matter[27]. The direction of science is the more important thing and it is clear that the mystery of consciousness will be one of its major concerns.

Note:
1. The views expressed here are those of the author and do not necessarily represent or reflect the views of PGurus.

References:

[1] JOURNAL ARTICLE Euclid and Pāṇini – Jstor.org

[2] I THE HISTORY OF SCIENCE – Encyclopedia.com

[3] Matter and Mind: The Vaisheshika Sutra of Kanada – Amazon.com

[4] Kaṇāda, Great Physicist and Sage of Antiquity – Sep 26, 2018, Medium.com

[5] Vasistha’s Yoga – Amazon.com

[6] The Speed of Light and Puranic Cosmology – Apr 18, 1998, Arxiv.org

[7] The Nature of Light in Indian Epistemology – Okstate.edu

[8] ASTRONOMY OF VEDIC ALTARS – Peturhalldorsson.com

[9] The 8 Million Species We Don’t Know – Mar 3, 2018, Nytimes.com

[10] The development of Calculus in the Kerala School – Umt.edu

[11] Restoring India’s calculus crown – Feb 25, 2014, Telegraphindia.com

[12] Could David Hume Have Known about Buddhism?: Charles François Dolu, the Royal College of La Flèche, and the Global Jesuit Intellectual Network – Jhu.edu

[13] Mendeleev and the Periodic Table of Elements – Arxiv.org

[14] Jagadish Chandra Bose and Vedantic Science – Trinity.edu

[15] J.C. BOSE AND THE INVENTION OF RADIO – Jan 19, 2016, Hackaday.com

[16] Sir J.C. Bose diode detector received Marconi’s first transatlantic wireless signal of December 1901 (the “Italian Navy Coherer” Scandal Revisited) – Ieee.org

[17] Schrödinger and Indian Philosophy – Orange.fr

[18] Panini’s Grammar and Computer Science – lsu.edu

[19] George Boole’s Laws of Thought and Indian logic – Currentscience.ac.in

[20] Concepts of Space, Time, and Consciousness in Ancient India – Feb 2, 2008, Arxiv.org

[21] Tesla, wireless energy transmission and Vivekananda – Currentscience.ac.in

[22] The Limits to Machine Consciousness – Arxiv.org

[23] The Buddha and the Veda – Oct 4, 2018, Medium.com

[24] The Man Who Knew Infinity: A Life of the Genius Ramanujan – Amazon.com

[25] Quantum Zeno effect – Wikipedia.org

[26] ‘Zeno effect’ verified—atoms won’t move while you watch – OCT 23, 2015, Phys.org

[27] 4 II. Sulba Sutras – St-Andrews.ac.uk

https://www.pgurus.com/indian-foundations-of-modern-science/?utm_source=izooto&utm_medium=push_notification&utm_campaign=PGurus

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उषस् on utsavabera, festival procession of a zebu boat, celebration of phaḍa, paṭṭaḍa 'metal armoury'

March 16, 2020, 7:42 pm

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≪ Previous: Indian Foundations of Modern Science -- Subhash Kak

https://tinyurl.com/wl9ckgg

I suggest a radical re-interpretation of the famed boat described by Massimo Vidale as a 'Lady on Spiked-Throne'. I submit that this is an utsava bera of उषस्, --festival procession, celebrating the artisanal competence of Sarasvati-Sindhu Civilization in phaḍa, paṭṭaḍa'metal armoury'.

See the full text of the book (2011) of Massimo Vidale at
https://www.harappa.com/sites/default/files/pdf/Spiked-Throne.pdf I trace a number of Indus Script hieroglyphs on this extraordinary boat which is seen as utsava bera of उषस् .

At the back of the vehicle, is a woman seated on a spiked throne, guarded by four men.
She is seated on a chair flanked by two zebu as handles. The chair is crowned by sun's rays (spikes).
At the front of the vehicle two women wearing wicker hats flank an empty throne.
The top view of the vehicle shows four pairs of men and women as rowers of the boat.
The persons shown on the boat are thus: 1. Ushas 2. Four guards; 3. Eight rowers; 4. Two women with wicker hats fanking an empty throne. Thus, a total of 18 persons are shown.
The entire vehicle is a boat drawn by a zebu. The zebu and the vehicle are decorated with vivid Indus Script hieroglyphs:

1. Sun's rays (on Ushas' throne, flanked by two zebu)
2. zebu anchors the boat
3. Two guards women wearing kaunakes and wicker hats
4. Wavy waters on the side of the boat reinforcing the vehicle in navigation; wavy waters also adorn the two horns of the zebu
5. cobrahoods decorating the space around the face of the frontal zebu
6. Male rowers are shown wearing wicker hats; female rowers are shown decorated with jewelry
7. Forehead of the zebu is decorated with sun's rays

I submit that these are Indus Script hieroglyphs read rebus:
1.अंशु a ray , sunbeam Rebus: ancu 'iron' (Tocharian); a kind of सोम libation

(शतपथ-ब्राह्मण)
2. पोळ pōḷa, 'zebu, bos indicus taurus' rebus pōḷa 'magnetite, ferrous-ferric oxide Fe3O4' ; pōlaḍu 'black drongo' Rebus: pōlāda 'steel', pwlad id. (Old Persian); bulad id. (Russian)
3. kāṇḍa 'water, a rudder (?) R. ii , 89 , 19 (Monier-Williams)'; Rebus: . khāṇḍā 'tools, pots and pans, metal-ware'
4. करण्ड ( Un2. i , 128) a basket or covered box of bamboo wicker-work. káraṇḍa1 m.n. ʻ basket ʼ BhP., ˚ḍaka -- m., ˚ḍī -- f. lex.Pa. karaṇḍa -- m.n., ˚aka -- m. ʻ wickerwork box ʼ, Pk. karaṁḍa -- , ˚aya -- m. ʻ basket ʼ, ˚ḍī -- , ˚ḍiyā -- f. ʻ small do. ʼ; K. kranḍa m. ʻ large covered trunk ʼ, kronḍu m. ʻ basket of withies for grain ʼ, krünḍü f. ʻ large basket of withies ʼ; Ku. kaṇḍo ʻ basket ʼ; N. kaṇḍi ʻ basket -- like conveyance ʼ; A. karṇi ʻ open clothes basket ʼ; H. kaṇḍī f. ʻ long deep basket ʼ; G. karãḍɔ m. ʻ wicker or metal box ʼ, kãḍiyɔ m. ʻ cane or bamboo box ʼ; M. karãḍ m. ʻ bamboo basket ʼ, ˚ḍā m. ʻ covered bamboo basket, metal box ʼ, ˚ḍī f. ʻ small do. ʼ; Si. karan̆ḍuva ʻ small box or casket ʼ. -- Deriv. G. kãḍī m. ʻ snake -- charmer who carries his snakes in a wicker basket ʼ.(CDIAL 2792) See basket-hat worn by Gudea.

Sanauli gold anthropomorph with 'dance step', 'wicker-basket cap''spread legs' hieroglyphs

कर्णक m. du. the two legs spread out AV. xx , 133 'spread legs'; rebus: 'helmsman', karṇi 'supercargo'

káraṇa 'dance-step' káraṇa 'scribe'

Gudea with overflowing pot and wicker-basket hat hieroglyphskáraṇḍa1 m.n. ʻ basket ʼ BhP., ˚ḍaka -- m., ˚ḍī -- f. lex.
Pa. karaṇḍa -- m.n., ˚aka -- m. ʻ wickerwork box ʼ, Pk. karaṁḍa -- , ˚aya -- m. ʻ basket ʼ, ˚ḍī -- , ˚ḍiyā -- f. ʻ small do. ʼ; K. kranḍa m. ʻ large covered trunk ʼ, kronḍum. ʻ basket of withies for grain ʼ, krünḍü f. ʻ large basket of withies ʼ; Ku. kaṇḍo ʻ basket ʼ; N. kaṇḍi ʻ basket -- like conveyance ʼ; A. karṇi ʻ open clothes basket ʼ; H. kaṇḍī f. ʻ long deep basket ʼ; G. karãḍɔ m. ʻ wicker or metal box ʼ, kãḍiyɔ m. ʻ cane or bamboo box ʼ; M. karãḍ m. ʻ bamboo basket ʼ, ˚ḍā m. ʻ covered bamboo basket, metal box ʼ, ˚ḍī f. ʻ small do. ʼ; Si. karan̆ḍuva ʻ small box or casket ʼ. -- Deriv. G. kãḍī m. ʻ snake -- charmer who carries his snakes in a wicker basket ʼ.(CDIAL 2792) Rebus:

karaṇḍī 'fire-god'

காண்டம்² kāṇṭam, n. < காண்டம்² kāṇṭam n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16).. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16) (Tamil) Rebus: khāṇḍa ‘tools, weapons, vessels’ (Marathi) [Note: On some of the Ancient Near East cylinder seal representations, the flowing water, overflowing pot are augmented by swimming fish, suggesting that ‘fish’ hieroglyph should also be taken as part of the message: ayo, aya ‘fish’ rebus: aya ‘iron’ ayas ‘metal’]

Rebus: khāṇḍā ‘metal tools, pots and pans’ (Marathi) lo (B) {V} “(pot, etc.) to ^overflow”. See `to be left over’. @B24310. #20851. Re(B) {V} “(pot, etc.) to ^overflow”. See`to be left over’. (Munda ) Rebus: loh ‘copper’ (Hindi) The hypertext with hieroglyphs of pot and overflowing water clearly refers to the metal tools, pots and pans of copper.

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

6. śambín -- m. ʻ rower ʼ AV. Rebus: śámba m. ʻ weapon used by Indra ʼ RV., ʻ iron head of pestle ʼ lex. Pk. saṁba -- m.n. ʻ thunderbolt ʼ; K. ham m. ʻ puntingpole ʼ; P. samm m.f. ʻ ferrule ʼ; Ku. sāmo ʻ iron ring of a pestle ʼ, N. sã̄bi; B. sāmi, sã̄pi ʻ ferrule ʼ; Or. sāmi ʻ small iron ring ʼ; Bi. sām, sāmī ʻ iron ring fastening in blade of weeding knife, ferrule on bottom of pestle ʼ, sāmā, sāmmā ʻ short metal tube strengthening inside of axle of ekkā ʼ, Mth. sām ʻ id. ʼ; H. sām, sāmī f. ʻ ferrule ʼ; G. sām f. ʻ head of pestle ʼ, sã̄b ʻ iron ferrule on stick ʼ, sã̄belũ, sāmelũ n. ʻ wooden pestle for flailing rice ʼ; -- M. śẽb, śẽbī f. ʻ ferrule, ring round end of anything, tip of arrow ʼ.(CDIAL 12311) Rebus: शंभु śambhu शंभु a. [शं-भू-डु] Causing happiness, granting prosperity. -भुः 1 N. of Śiva. -2 Brahmaṇ. -3 A sage, venerable man. -4 A kind of Siddha. -5 N. of Viṣṇu. -Comp. -तनयः, -नन्दनः, -सुतः epithets of Kārtikeya or Gaṇeśa. -प्रिया N. of Durgā.

Reported by MS Vats.
Citations in and excerpts from Rupa Bhaty: https://rupabhaty.home.blog/2019/08/14/all-the-ratha-the-goer-and-delight-are-not-wheeled-chariots-in-rigveda/

स॒प्त यु॑ञ्जन्ति॒ रथ॒मेक॑चक्र॒मे RV 1.164.1,2
(रथचक्र न. (रथस्य चक्रम्), मा.श्रौ.सू. 1.5.4.9। (दक्षिणतो ब्रह्मा रथं वर्तयति रथचक्रम् वा) [आधान में अगिन्प्रणयन); यह ‘उदुम्बर’ से निर्मित होता है और वाजपेय में ब्रह्मा इस पर आरोहण करता (चढ़ता) है, शां.श्रौ.सू. 16.17.1; द्रा.श्रौ.सू. 15.4.4। रथचक्रचिति)
Rathakāra mentioned in Atharvaveda 3.5.6

तक्ष॒न्नास॑त्याभ्यां॒ परि॑ज्मानं सु॒खं रथ॑म् । तक्ष॑न्धे॒नुं स॑ब॒र्दुघा॑म् ॥ RV 01.020.003

Pada तक्ष॑न् [छेदनादिना रचयन्ति]। नास॑त्याभ्याम् [twin ashvin]। परि॑ऽज्मानम् [(परिज्मानम्) परितः सर्वतोऽजन्ति मार्गं येन तम्]। सु॒ऽखम् । रथ॑म् [(रथम्) रमन्ते क्रीडन्ति येन तम्]। तक्ष॑न् । धे॒नुम् । स॒बः॒ऽदुघा॑म् [(सबर्दुघाम्) बर्बति येन ज्ञानेन तद्वः….]॥

Anvaya ये मेधाविनो नासत्याभ्याम्परिज्मानं सुखं रथं तक्षन् रचयन्ति ते सबर्दुघां धेनुं तक्षन् विकाशयन्ति ॥३॥ They reaped for the twin lords of the “voyage” their movement for su:kha( north ecliptic pole), they harnessed the fostering cow that yields the sweet milk( here cow is the sun at equinox point as discussed in the earlier blog and milk is the knowledge of Insolation of northern hemisphere). Naasatya-Ashvins here become tool for cutting/intersecting ecliptic to celestial equatorial plane, the point of equinox. If one investigates the first mantra of this Sukta one finds the elaboration on देवाय जन्मने which means (देवाय) दिव्यगुणभोगयुक्ताय। (जन्मने) वर्त्तमानदेहोपयोगाय पुनः शरीरधारणेन प्रादुर्भावाय वा i.e, rebirth, reincarnation of deities. In Astronomy sense the whole mantra is elucidating about repetition of cycle of Ashvins and this begins with the praise to Ribhus. Ribhus in early interpretation are prudent and mostly found with Indra. They are found especially at the evening sacrifice. Later prudent Ribhus with their intellect got connected with smelting of metal eventually when the wooden nave and axle of Chariots got converted into metal. The bonding of Ribhus and Ashvin thus became inseparable...

The other Ratha, the Goer in Question from 3rd mandala are अच्छि॑द्रा॒ शर्म॑ जरितः पु॒रूणि॑ दे॒वाँ अच्छा॒ दीद्या॑नः सुमे॒धाः । रथो॒(goer) न सस्नि॑र॒भि व॑क्षि॒ वाज॒मग्ने॒ त्वं रोद॑सी नः सु॒मेके॑ ॥RV 3.15.5 from 6th mandala प्र या म॑हि॒म्ना म॒हिना॑सु॒ चेकि॑ते द्यु॒म्नेभि॑र॒न्या अ॒पसा॑म॒पस्त॑मा । रथ॑(delight) इव बृह॒ती(heaven and earth-dhyaavaprithivau) वि॒भ्वने॑ कृ॒तोप॒स्तुत्या॑ चिकि॒तुषा॒ सर॑स्वती ॥06.061.013 etc.

C37. Painting of Wheeled chariots from Vindhya region- Firengi – ‘Chalcolithic’ chronology marker given by Ervin Neumayor. In India Chalcolithic period requires new definition and revision; copper beads are found from 6500BCE and fringes available in subsequent layers also) ; Neolithic ( at least 7000BCE to 8000BCE) or Prehistoric times at the most 10,000BCE~35000 BCE. (Source: Kathodia)

उषस् f. (nom. pl. उष्/आसस् and उष्/असस् ; instr. pl. उष्/अद्भिस् RV. i , 6 , 3; » Ka1s3. on Pa1n2. 7-4 , 48) morning light , dawn , morning (personified as the daughter of heaven and sister of the आदित्यs and the night) RV. AV. S3Br. S3ak. &c] the evening light RV. x , 127 , 7;n. (अस्) daybreak , dawn , twilight Un2. iv , 233; उष् cl.1 P. (connected with 3. वस् q.v.) ओषति , ओषां-चकार , and उवोष ( Pa1n2. 3-1 , 38 ; 3. pl. ऊषुः Ka1s3. on Pa1n2. 6-4 , 78) , ओषिता , ओषिष्यति , औषीत् Dha1tup. xvii , 45 : cl.9 P. (p. उष्ण्/अत् RV. ii , 4 , 7) to burn , burn down (active) RV. AV. S3Br. Mn. iv , 189 S3is3. ; f. (only /अस् gen. sg.) early morning , dawn RV. AV. xvi , 6 , 6; pl. (उष्/अस् तिस्र्/अः morning , midday , and evening RV. ; viii , 41 , 3.) (Monier-Williams)

उष्मन् uṣman उष्मन् m. [उष्-आधारे मनिन्] 1 Heat, warmth; अर्थोष्मन् Bh.2.4; Ms.9.231,2.23, Ku.5.46,7.14; -2 The hot season. -3 Anger, wrath. -4 Ardour, eagerness. -5 The letters श्, ष्, स् and ह् (in gram.); see ऊष्मन्. ऊष्माणमिन्द्रियाण्याहुरन्तस्था बलमात्मनः Bhāg.3.12.47. उष्मायणः uṣmāyaṇḥ उष्मायणः The hot season.उषस् uṣas उषस् f. 1 Dawn, morning; मधु नक्तमुतोषसः Bṛi. Up. प्रदीपार्चिरिवोषसि R.12.1; उषसि उत्थाय rising at day-break. -2 Morning light; cf. Aurora; (personified as the daughter of heaven and sister of the Ādityas). -3 The deity that presides over the morning and evening twilights (used in dual); उषसौ or उषासौ. -4 The outer passage of the ear. -5 The Malaya range. -6 Evening. -सी The end of the day, evening twilight. -Comp. -करः The moon. -कलः A cock. -पतिः Aniruddha. -बुध् a. awakening with the morning light, early awaked. -बुध a. awakening early; केतुं दिवो रोचनस्था- मुषर्बुधम् Rv.3.2.14. (-धः) 1 fire; U.6. -2 A child. -3 N. of a tree (चित्रक).उषासानक्तम् uṣāsānaktam उषासानक्तम् Ved. Dawn and night; उषासानक्ता पुरुधा विदाने Rv.1.122.2.उषस्य uṣasya उषस्य a. Sacred to the dawn Vāj.24.4 उषा uṣā उषा [ओषत्यन्धकारम् उष्-क] 1 Early morning, dawn; उषामुषां श्रेयसीं धेह्यस्मै Av.12.2.45. -2 Morning light. -3 Twilight. -4 Saline earth. -5 A cow. -6 Night. -7 A boiler, cooking vessel (स्थाली); cf. उखा. -8 N. of a wife of Bhava (who was a manifestation of Rudra). -9 N. of a daughter of the demon Bāṇa and wife of Aniruddha. [She beheld Aniruddha in a dream and became passionately enamoured of him. She sought the assistance of her friend Chitralekhā, who advised her to have with her the portraits of all young princes living round about her. When this was done, she recognized Aniruddha and had him carried to her city, where she was married to him; see अनिरुद्ध also]. ind. Early in the morning. -2 At night. -Comp. -कलः a cock. -पतिः, -रमणः, -ईशः N. of Aniruddha, husband of Uṣā.(Apte)

RV I.6.3

Griffith translation: RV 1.6.3.3 Thou, making light where no light was, and form, O men: where form was not,
Wast born together with the Dawns.

RV X.127.7

Translation Griffith 10.127.7 Clearly hath she come nigh to me who decks the dark with richest hues:O Morning, cancel it like debts.

RV II.4.7

Translation Griffith RV2.4.7: Around, consuming the broad earth, he wanders, free roaming like an ox without a herdsman,Agni refulgent, burning up the bushes, with blackened lines, as though the earth he seasoned.

RV VIII.41.3

Griffith RV 8.41.3 The nights (Varuna) he hath encompassed, and stablished the morns with magic art visible over all is he.
His dear Ones, following his Law, have prospered the Three Dawns for him.

AV XVI.6.6 Griffith translation:
A charm to avert evil dreams, and to transfer them to an enemy

[1600601] Now have we conquered and obtained: we have been freed from sin to day.
[1600602] Let Morning with her light dispel that evil dream that frightened us.
[1600603] Bear that away to him who hates, away to him who curses us.
[1600604] To him whom we abhor, to him who hates us do we send it hence.
[1600605] May the Goddess Dawn in accord with Speech, and the Goddess Speech in accord with Dawn,
[1600606] The Lord of Dawn in accord with the Lord of Speech and the Lord of Speech in accord with the Lord of Dawn,
[1600607] Carry away to Such an one niggard fiends, hostile demons, and Sadanvas,
[1600608] Kumbhikas, Dushikas, and Piyakas,
[1600609] Evil day dream, evil dream in sleep,
[1600610] Wishes for boons that will not come, thoughts of poverty, the snares of the Druh who never releases.
[1600611] This, O Agni, let the Gods bear off to Such an one that he may be a fragile good for nothing eunuch.
[p. 167]

Uṣā,औषस with प्रभा as Utsava bera of the divinity of Dawn. A terracotta boat or chariot of Sarasvati Civilization presented by Massimo Vidale.

Mirror: http://tinyurl.com/z2vg7ol

See: http://tinyurl.com/jqw4ltk Itihāsa of Uṣā,औषस and links to artisanal work of त्वष्टृ’s ten daughters

Maybe, some of these daughters are venerated and signified as Utsava bera on this terracotta artifact of Sarasvati Civilization? Unfathomable are the metaphors in ādibhautika, ādidaivika and ādhyātmika/turiya levels of representation in the Ṛcas of Ṛgveda.

See: http://tinyurl.com/hrs4vyb

The Ṛcas which adore Uṣā,औषस in Ṛgveda are embedded for ready reference.

Lady of the spiked throne. If this not a spiked throne but rays of the Sun, the lady may be Uṣā,औषस of Ṛgveda. प्र- √ भा 1 a [p= 683,3] P. -भाति , to shine forth , begin to become light , shine , gleam RV. &c ; to appear , seem , look like (nom. with or without इव) MBh. Ka1v. &c ; to illuminate , enlighten TUp.; N. of a शक्ति Hcat.; of the city of कुबेर L.

Detail of the bull's head.
Bull is the boat. May signify Surya.
A chariot for utsava bera, procession?

Massimo Vidale

The Power of a Lost Ritual

An exceptional and controversial recent find in a private collection is analyzed by a leading Italian archaeologist in this fully illustrated complete volume. With many potential implications for understanding ancient Indus culture.

From the Preface

In Autumn 2009, I was invited by a private collector to see an artefact that was mentioned as unique and very complex, and reportedly belonged to the cultural sphere of the Indus civilization. I do not have professional links with the antique market and the world of private collectors, but the descrip- tions I had of the find were so puzzling that for once I accepted the invitation to examine the new find. I was generously hosted by the family of the collector and what I saw fully rewarded the trip and the time. There I spend two whole days, looking in detail to the most amazing and better preserved terracotta group sculpture of the 3rd millennium cal BC I had ever seen, while a professional photographer and her assistant took the pictures you see in this book.

. . . in this case the find is so exceptional, and its archaeological and historical implications so important, that to bury forever the information in the shelves of a private collector would only add damage to damage. After consulting with several colleagues, I decided to publish it. The only purpose of this book is to make the find available to the specialists and to open a discussion on its meaning.

https://www.harappa.com/content/lady-spiked-throne

https://www.harappa.com/sites/default/files/pdf/Spiked-Throne.pdf (Full text of the book, 72 pages)

See: http://bharatkalyan97.blogspot.in/2012/06/lady-of-spiked-throne-massimo-vidale.html

See: http://www.ancient-origins.net/ancient-places-asia/lady-spiked-throne-and-her-mysterious-entourage-002216?nopaging=1

Total Number of figurines -- riders -- on the boat or chariot: 15. Lady with rays emanting is seated in the middle. On either side of the cabin, 4 male and 4 female figures are seated on cube-like stools (like two rows of rowers or holding reins of the bull which draws the chariot).

6 other male figurines are standing on the sides, 4 in a cabin and 2 in front, as a sort of entourage.

See: https://cogniarchae.wordpress.com/2016/08/02/the-lady-of-the-spiked-throne-decoding-the-symbols/

See: http://learning.brac.net/index.php?option=com_k2&view=item&id=736:eshika-dutta&limitstart=10

Uṣā Usually means physical dawn. Dawning of spiritual knowledge could be considered as Uṣā (spiritual)(Jñānodaya).

Uṣā is devata in the following Ṛca-s:

RV 1.30, 1.48, 1.49, 1.92, 1.95 (?), 1.113, 1.123, 1.124,

RV 3.61, 4.30, 4.51, 4.52, 5.79, 5.80, 6.64, 6.65, 7.41, 7.75 to 7.81, 8.47, 10.172

RV 1.95 adores auṣas 'relating to uṣas. This Rca holds the key linking her to artisanal work.

Reference to त्वष्टृ’s ten daughters in RV 1.95.2

The reference occurs in the context of devatā औषस .

त्वष्टृ [p= 464,1] m. a carpenter , maker of carriages (= त्/अष्टृ) AV. xii , 3 , 33; " creator of living beings " , the heavenly builder , N. of a god (called सु-क्/ऋत् , -पाण्/इ , -ग्/अभस्ति , -ज्/अनिमन् , स्व्-/अपस् , अप्/असाम् अप्/अस्तम , विश्व्/अ-रूप &c RV. ; maker of divine implements , esp. of इन्द्र's thunderbolt and teacher of the ऋभुs i , iv-vi , x Hariv. 12146 f. R. ii , 91 , 12 ; former of the bodies of men and animals , hence called " firstborn " and invoked for the sake of offspring , esp. in the आप्री hymns RV. AV. &c MBh. iv , 1178 Hariv. 587 ff. Ragh. vi , 32 ; associated with the similar deities धातृ , सवितृ , प्रजा-पति , पूषन् , and surrounded by divine females [ग्न्/आस् , जन्/अयस् , देव्/आनाम् प्/अत्नीस् ; cf. त्व्/अष्टा-व्/अरूत्री] recipients of his generative energy RV. S3Br. i Ka1tyS3r. iii ; supposed author of RV. x , 184 with the epithet गर्भ-पति RAnukr. ; father of सरण्यू [सु-रेणु Hariv. ; स्व-रेणु L. ] whose double twin-children by विवस्वत् [or वायु ? RV. viii , 26 , 21 f.] are यमयमी and the अश्विन्s x , 17 , 1 f. Nir. xii , 10 Br2ih. Hariv. 545 ff. VP. ; also father of त्रि-शिरस् or विश्वरूप ib. ; overpowered by इन्द्र who recovers the सोम [ RV. iii f. ] concealed by him because इन्द्र had killed his son विश्व-रूप TS. ii S3Br. i , v , xii ; regent of the नक्षत्र चित्रा

TBr. S3a1n3khGr2. S3a1ntik. VarBr2S. iic , 4 ; of the 5th cycle of Jupiter viii , 23 ; of an eclipse iii , 6 ; त्वष्टुर् आतिथ्य N. of a सामन् A1rshBr. )

RV 1.95.2 recites:

Who are he ten daughters of त्वष्ट? An asterism is called tvāṣṭ त्वाष्ट्र ष्ट्री 1 The asterism चित्रा; rī त्वाष्ट्र a. [त्वष्टा देवताअस्य अण्] Belonging to Tvaṣṭṛi; U.6.3. (v. l.).

Derived fr. उषस्, ‘dawn’, औषसी, औषस refer to 1. several सामन्1s and 2. ten daughters of त्वष्टृ [p= 464,1] who is a form of the sun MBh. iii , 146 Hariv. 13143 BhP. iii , 6 , 15.

त्वष्टृ is surrounded by divine females [ग्न्/आस् , जन्/अयस् , देव्/आनाम् प्/अत्नीस् ; cf. त्व्/अष्टा-व्/अरूत्री] recipients of his generative energy RV. S3Br. i Ka1tyS3r. iii

Could the expression औषस refer to the generative energy of त्वष्ट and related to uṣas? If so, the reference औषस may explain the ‘dawn’ energy kindling agni to purify soma brought in the chariot by uṣas.

त्वष्टृ is father of सरण्यू [सु-रेणु Hariv. ; स्व-रेणु L. ] whose double twin-children by विवस्वत् [or वायु ? RV. viii , 26 , 21 f.] are यमयमी and the अश्विन्s x , 17 , 1 f. Nir. xii , 10 Br2ih. Hariv. 545 ff. VP. ;

औषस [p= 240,2] mf(ई)n. (fr. उषस्) , relating to dawn , early , matutinal TBr. Ii; f. daybreak , morning S3Br. Vi; n. N. of several सामन्1s. (matutinal ‘of or occurring in the morning’).

1.095.01 Two periods, of different complexions, revolve for their own purposes, and each in succession severally nourishes a son; in one, Hari is the receiver of oblations, in the other, the brilliant Agni is beheld. [viru_pe, of various nature; i.e. of various complexions: black and white, night and day. Day is the mother of fire, which is then, as it were, in an embryo state and is not fully manifested or born until it is dark; hence, the sun is in the womb of night, and is born, or shines, in the morning; Hari, or the sun, being manifested in the morning, is then to be worshipped; Agni, shining at night, is to be worshipped in the evening---tasma_ agnaye sa_yamhu_yate su_rya_ya pra_tar (Taittiri_ya Bra_hman.a 2.1.2.6); aus.asagun.avis'is.t.o agni, s'uddho agnir va_: Agni endowed with the properties of dawn or the simple, discrete Agni].
1.095.02 The vigilant and youthful Ten beget, through the wind, this embryo Agni, inherent (in all beings), sharp-visaged, universally renowned, shining among men; him they conduct (to every dwelling). [Ten: the ten regions of space, which generate lightning, as an embryo in the clouds, using the winds: agner hi va_yuh ka_ran.am, va_yor agnih, wind is the cause of fire, fire of wind. Tvas.t.uh = wind or its agency: dipta_nmadhyama_d va_yoh sa_kas.a_t, the brilliant central proximity of wind. Ten: the ten fingers which generate Agni through the act of attrition as an embryo in the sticks. vibhr.tram = deposited in all creatures,i.e. inherent].
1.095.03 They contemplate three places of his birth; one in the ocean, one in the heaven, one in the firmament; and, dividing the seasons of the year for the benefit of earthly creatures, he formed, in regular succession, the eastern quarter.
1.095.04 Which of you discerns the hidden Agni? a son, he begets his mothers by oblations; the germ of many (waters), he issues from the ocean, mighty and wise, the recipient of oblations. [hidden agni: latent heat in the waters, in the woods and in all fixed and moveable things; he begets his mothers: Agni, as lightning is the son of the waters collected in the clouds; he generates those waters by the oblations which he conveys; he issues from the ocean: upastha_t (smudra_t) nirgacchati, Agni is thought to rise in the morning in the shape of the sun from out of the ocean].
1.095.05 Appearing amongst them (the waters), the bright-shining (Agni) increases, rising above the flanks of the waving waters, spreading his own renown; both (heaven and earth) are alarmed, as the radiant Agni is born, and, approaching the lion, they pay him honour. [above the flanks of the waving waters: jihma_na_m apa_m upasthe, above, on the side, or tip, of the crooked waters; reference to Agni as the lightning; approaching the lion: sim.ha applied to Agni, implying sahanas'i_lam, abhibha_vana s'i_lam, ability to suffer or be overcome].
1.095.06 Both the auspicious ones (day and night or two pieces of wood rubbed together to produce flame) wait upon him like two female attendants, as lowing kine (follow their calves) by the paths (that they have gone); he has been the lord of might among the mighty, whom (the priests) on the right (of the altar) anoint.
1.095.07 Like the sun, he stretches forth his arms, and the formidable Agni, decorating both heaven and earth (with brightness), labours (in his duties); he draws up from everything the essential (moisture), and clothes (the earth) with new vestments (derived) from his maternal (rains).
1.095.08 Associated in the firmament with the moving waters, he assumes an excellent and lustrous form, and the wise sustainer (of all things) sweeps over the source (of the rains with his radiance), whence a concentration of light is spread abroad by the sportive deity. [budhna = antariks.a or firmament, as the source of the rains].
1.095.09 The vast and victorious radiance of you, the mighty one, pervades the firmament; Agni, who have been kindled by us, preserve us with all your undiminished and protecting glories.
1.095.10 He causes the waters to flow in a torrent through the sky, and with those pure waves he inundates the earth; he gathers all (articles of) food in the stomach, and for that purpose sojourns in the new-sprung parents (of the gain). [navasu prasus.u = in the new parents, or mothers; i.e. in the os.adhis, the annual crops which ripen after the rains and bear food, being impregnated by the terrestrial Agni].
1.095.11 Agni, who are the purifier, growing with the fuel we have supplied, blaze for the sake of (securing) food to us, who are possessed of wealth; and may Mitra, Varun.a, Aditi--ocean, earth, and heaven, preserve it to us.

Griffith: HYMN XCV. Agni 95

1. To fair goals travel Two unlike in semblance: each in succession nourishes an infant.
One bears a Godlike Babe of golden colour; bright and fairshining-, is he with the other.
2 Tvastars' ten daughters, vigilant and youthful, produced this Infant borne to sundry quarters.
They bear around him whose long flames are pointed, fulgent among mankind with native splendour.
3. Three several places of his birth they honour, in midair-, in the heaven, and in the waters.
Governing in the east of earthly regions, the seasons hath he stablished in their order.
4 Who of you knows this secret One? The Infant by his own nature hath brought forth his Mothers.
The germ of many, from the waters' bosom he goes forth, wise and great, of Godlike nature.
5 Visible, fair, he grows in native brightness uplifted in the lap of waving waters.
When he was born both Tvastars' worlds were frightened: they turn to him and reverence the Lion.
6 The Two auspicious Ones, like women, tend him: like lowing cows they seek him in their manner.
He is the Lord of Might among the mighty; him, on the right, they balm with their oblations.
7 Like Savitar his arms with might he stretches; awful, he strives grasping the worlds' two
borders.
He forces out from all a brilliant vesture, yea, from his Mothers draws forth new raiment.
8 He makes him a most noble form of splendour, decking him in his home with milk and waters.
The Sage adorns the depths of air with wisdom: this is the meeting where the Gods are worshipped.
9 Wide through the firmament spreads forth triumphant the far resplendent- strength of thee the
Mighty.
Kindled by us do thou preserve us, Agni, with all thy selfbright- undiminished succours.
10 In dry spots he makes stream, and course, and torrent, and inundates the earth with floods that glisten.
All ancient things within his maw he gathers, and moves among the new fresh sprouting- grasses.
11 Fed with our fuel, purifying Agni, so blaze to us auspiciously for glory.
This prayer of ours may Varuna grant, and Mitra, and Aditi and Sindhu, Earth and Heaven.

Four Rcas of Āngīrasa are succinct and precise statements on Uṣas: RV 10.172

RV 1.30:

20 What mortal, O immortal Dawn, enjoyeth thee? Where lovest thou?
To whom, O radiant, dost thou go?
21 For we have had thee in our thoughts whether anear or far away,
Redhued- and like a dappled mare.
22 Hither, O Daughter of the Sky, come thou with these thy strengthenings,
And send thou riches down to us.

RV 1.48

HYMN XLVIII. Dawn. 48

1 DAWN on us with prosperity, O Usas, Daughter of the Sky,
Dawn with great glory, Goddess, Lady of the Light, dawn thou with riches, Bounteous One.
2 They, bringing steeds and kine, boongivers- of all wealth, have oft sped forth to lighten us.
O Usas, waken up for me the sounds of joy: send us the riches of the great.
3 Usas hath dawned, and now shall dawn, the Goddess, driver forth of cars
Which, as she cometh nigh, have fixed their thought on her, like gloryseekers- on the flood.
4 Here Kanva, chief of Kanvas' race, sings forth aloud the glories of the heroes' names,
The. princes who, O Usas, as thou comest near, direct their thoughts to liberal gifts.
5 Like a good matron Usas comes carefully tending everything:
Rousing all life she stirs all creatures that have feet, and makes the birds of air fly up.
6 She sends the busy forth, each man to his pursuit: delay she knows not as she springs.
O rich in opulence, after thy dawning birds that have flown forth no longer rest.
7 This Dawn hath yoked her steeds afar, beyond the rising of the Sun:
Borne on a hundred chariots she, auspicious Dawn, advances on her way to Men.
8 To meet her glance all living creatures bend them down: Excellent One, she makes the light.
Usas, the Daughter of the Sky, the opulent, shines foes and enmities away.
9 Shine on us with thy radiant light, O Usas, Daughter of the Sky,
Bringing to us great store of high felicity, and beaming on our solemn rites.
10 For in thee is each living creatures' breath and life, when, Excellent! thou dawnest forth.
Borne on thy lofty car, O Lady of the Light, hear, thou of wondrous wealth, our call.
11 O Usas, win thyself the strength which among men is wonderful.
Bring thou thereby the pious unto holy rites, those who as priests sing praise to thee.
12 Bring from the firmament, O Usas, all the Gods, that they may drink our Soma juice,
And, being what thou art, vouchsafe us kine and steeds, strength meet for praise and hero might.
13 May Usas whose auspicious rays are seen resplendent round about,
Grant us great riches, fair in form, of all good things, wealth which light labour may attain.
14 Mighty One, whom the Rsis of old time invoked for their protection and their help,
O Usas, graciously answer our songs of praise with bounty and with brilliant light.
15 Usas, as thou with light to day hast opened the twin doors of heaven,
So grant thou us a dwelling wide and free from foes. O Goddess, give us food with kine.
16 Bring us to wealth abundant, sent in every shape, to plentiful refreshing food,
To allsubduing- splendour, Usas, Mighty One, to strength, thou rich in spoil and wealth.

RV 1.49

HYMN XLIX. Dawn. 49

1 EEN' from above the skys' bright realm come, Usas, by auspicious ways:
Let red steeds bear thee to the house of him who pours the Soma, juice.
2 The chariot which thou mountest, fair of shape, O Usas light to move,
Therewith, O Daughter of the Sky, aid men of noble fame today.
3 Bright Usas, when thy times return, all quadrupeds and bipeds stir,
And round about flock winged birds from all the boundaries of heaven.
4 Thou dawning with thy beams of light illumest all the radiant realm.
Thee, as thou art, the Kanvas, fain for wealth, have called with sacred songs.

RV 1.92

HYMN XCII. Dawn. 92

1. THESE Dawns have raised their banner; in the eastern half of the midair- they spread abroad
their shining light.
Like heroes who prepare their weapons for the war, onward they come bright red in hue, the Mother Cows.
2 Readily have the purple beams of light shot up; the Red Cows have they harnessed, easy to be
yoked.
The Dawns have brought distinct perception as before: redhued-, they have attained their fulgent
brilliancy.
3 They sing their song like women active in their tasks, along their common path hither from far
away,
Bringing refreshment to the liberal devotee, yea, all things to the worshipper who pours the juice.
4 She, like a dancer, puts her broidered garments on: as a cow yields her udder so she bares her
breast.
Creating light for all the world of life, the Dawn hath laid the darkness open as the cows their
stall.
5 We have beheld the brightness of her shining; it spreads and drives away the darksome monster.
Like tints that deck the Post at sacrifices, Heavens' Daughter hath attained her wondrous
splendour.
6 We have overpast the limit of this darkness; Dawn breaking forth again brings clear perception.
She like a flatterer smiles in light for glory, and fair of face hath wakened to rejoice us.
7 The Gotamas have praised Heavens' radiant Daughter, the leader of the charm of pleasant voices.
Dawn, thou conferrest on us strength with offspring and men, conspicuous with kine and horses.
8 O thou who shinest forth in wondrous glory, urged onward by thy strength, auspicious Lady,
Dawn, may I gain that wealth, renowned and ample, in brave sons, troops of slaves, farfamed- for
horses.
9 Bending her looks on all the world, the Goddess shines, widely spreading with her bright eye
westward.
Waking to motion every living creature, she understands the voice of each adorer.
10 Ancient of days, again again born newly, decking her beauty with the selfsame- raiment.
The Goddess wastes away the life of mortals, like a skilled hunter cutting birds in pieces.
11 She hath appeared discovering heavens' borders: to the far distance she drives off her Sister.
Diminishing the days of human creatures, the Lady shines with all her lovers' splendour.
12 The bright, the blessed One shines forth extending her rays like kine, as a flood rolls his
waters.
Never transgressing the divine commandments, she is beheld visible with the sunbeams.
13 O Dawn enriched with ample wealth, bestow on us the wondrous gift
Wherewith we may support children and childrens' sons.
14 Thou radiant mover of sweet sounds, with wealth of horses and of kine
Shine thou on us this day, O Dawn auspiciously.
15 O Dawn enriched with holy rites, yoke to thy car thy purple steeds,
And then bring thou unto us all felicities.
16 O Asvins wonderful in act, do ye unanimous direct
Your chariot to our home wealthy in kine and gold.
17 Ye who brought down the hymn from heaven, a light that giveth light to man,
Do ye, O Asvins, bring strength hither unto us.
18 Hither may they who wake at dawn bring, to drink Soma both the Gods
Healthgivers- WonderWorkers-, borne on paths of gold.

RV 1.113

HYMN CXIII. Dawn. 113

1. This light is come, amid all lights the fairest; born is the brilliant, farextending-
brightness.
Night, sent away for Savitars' uprising, hath yielded up a birthplace- for the Morning.
2 The Fair, the Bright is come with her white offspring; to her the Dark One hath resigned her
dwelling.
Akin, immortal, following each other, changing their colours both the heavens move onward.
3 Common, unending is the Sisters' pathway; taught by the Gods, alternately they travel.
Fairformed-, of different hues and yet oneminded-, Night and Dawn clash not, neither do they
travel.
4 Bright leader of glad sounds, our eyes behold her; splendid in hue she hath unclosed the portals.
She, stirring up the world, hath shown us riches: Dawn hath awakened every living creature.
5 Rich Dawn, she sets afoot the coiledup- sleeper, one for enjoyment, one for wealth or worship,
Those who saw little for extended vision. All living creatures hath the Dawn awakened.
6 One to high sway, one to exalted glory, one to pursue his gain, and one his labour:
All to regard their different vocations, all moving creatures hath the Dawn awakened.
7 We see her there, the Child of Heaven apparent, the young Maid, flushing in her shining raiment.
Thou sovran Lady of all earthly treasure, flush on us here, auspicious Dawn, this morning.
8 She first of endless morns to come hereafter, follows the path of morns that have departed.
Dawn, at her rising, urges forth the living him who is dead she wakes not from his slumber.
9 As thou, Dawn, hast caused Agni to be kindled, and with the Suns' eye hast revealed creation.
And hast awakened men to offer worship, thou hast performed, for Gods, a noble service.
10 How long a time, and they shall be together, Dawns that have shone and Dawns to shine hereafter?
She yearns for former Dawns with eager longing, and goes forth gladly shining with the others.
11 Gone are the men who in the days before us looked on the rising of the earlier Morning.
We, we the living, now behold her brightness and they come nigh who shall hereafter see her.
12 Foechaser-, born of Law, the Laws' protectress, joygiver-, waker of all pleasant voices,
Auspicious, bringing food for Gods enjoyment, shine on us here, most bright, O Dawn, this morning.
13 From days eternal hath Dawn shone, the Goddess, and shows this light today-, endowed with
riches.
So will she shine on days to come immortal she moves on in her own strength, undecaying.
14 In the skys' borders hath she shone in splendour: the Goddess hath thrown off the veil of
darkness.
Awakening the world with purple horses, on her wellharnessed- chariot Dawn approaches.
15 Bringing all lifesustaining- blessings with her, showing herself she sends forth brilliant
lustre.
Last of the countless mornings that have vanished, first of bright morns to come hath Dawn arisen.
16 Arise! the breath, the life, again hath reached us: darkness hath passed away and light
approacheth.
She for the Sun hath left a path to travel we have arrived where men prolong existence.
17 Singing the praises of refulgent Mornings with his hymns' web the priest, the poet rises.
Shine then today-, rich Maid, on him who lauds thee, shine down on us the gift of life and
offspring.
18 Dawns giving sons all heroes, kine and horses, shining upon the man who brings oblations,
These let the Somapresser- gain when ending his glad songs louder than the voice of Vayu.
19 Mother of Gods, Aditis' form of glory, ensign of sacrifice, shine forth exalted.
Rise up, bestowing praise on our devotion allbounteous-, make us chief among the people.
20 Whatever splendid wealth the Dawns bring with them to bless the man who offers praise and
worship,
Even that may Mitra, Varuna vouchsafe us, and Aditi and Sindhu, Earth and Heaven.

RV 1.123

HYMN CXXIII. Dawn. 123

1. THE Daksinas' broad chariot hath been harnessed: this car the Gods Immortal have ascended.
Fain to bring light to homes of men the noble and active Goddess hath emerged from darkness.
2 She before all the living world hath wakened, the Lofty One who wins and gathers treasure.
Revived and ever young on high she glances. Dawn hath come first unto our morning worship.
3 If, Dawn, thou Goddess nobly born, thou dealest fortune this day to all the race of mortals,
May Savitar the God, Friend of the homestead, declare before the Sun that we are sinless.
4 Showing her wonted form each day that passeth, spreading the light she visiteth each dwelling.
Eager for conquest, with bright sheen she cometh. Her portion is the best of goodly treasures.
5 Sister of Varuna, sister of Bhaga, first among all sing forth, O joyous Morning.
Weak be the strength of him who worketh evil: may we subdue him with our car the guerdon.
6 Let our glad hymns and holy thoughts rise upward, for the flames brightly burning have ascended.
The far refulgent- Mornings make apparent the lovely treasures which the darkness covered.
7 The one departeth and the other cometh: unlike in hue days', halves march on successive.
One hides the gloom of the surrounding Parents. Dawn on her shining chariot is resplendent.
8 The same in form today-, the same tomorrow, they still keep Varunas' eternal statute.
Blameless, in turn they traverse thirty regions, and dart across the spirit in a moment.
9 She who hath knowledge Of the first days' nature is born refulgent white from out the darkness.
The Maiden breaketh not the law of Order, day by day coming to the place appointed.
10 In pride of beauty like a maid thou goest, O Goddess, to the God who longs to win thee,
And smiling youthful, as thou shinest brightly, before him thou discoverest thy bosom.
11 Fair as a bride embellished by her mother thou showest forth thy form that all may see it.
Blessed art thou O Dawn. Shine yet more widely. No other Dawns have reached what thou attainest.
12 Rich in kine, horses, and all goodly treasures, in constant operation with the sunbeams,
The Dawns depart and come again assuming their wonted forms that promise happy fortune.
13 Obedient to the rein of Law Eternal give us each thought that more and more shall bless us.
Shine thou on us today-, Dawn, swift to listen. With us be riches and with chiefs who worship.

RV 1.124

HYMN CXXIV. Dawn. 124

1. THE Dawn refulgent when the fire is kindled, and the Sun rising, far diffuse their brightness.
Savitar, God, hath sent us forth to labour, each quadruped, each biped, to be active.
2 Not interrupting heavenly ordinances, although she minisheth human generations.
The last of endless morns that have departed, the first of those that come, Dawn brightly shineth.
3 There in the eastern region she, Heavens' Daughter, arrayed in garments all of light, appeareth.
Truly she followeth the path of Order, nor faileth, knowing well, the heavenly quarters.
4 Near is she seen, as it were the Bright Ones' bosom: she showeth sweet things like a new
songsinger-.
She cometh like a fly awaking sleepers, of all returning dames most true and constant.
5 There in the east half of the watery region the Mother of the Cows hath shown her ensign.
Wider and wider still she spreadeth onward, and filleth full the laps of both heir Parents.
6 She, verily, exceeding vast to look on debarreth from her light nor kin nor stranger.
Proud of her spotless form she, brightly shining, turneth not from the high nor from the humble.
7 She seeketh men, as she who hath no brother, mounting her car, as it were to gather riches.
Dawn, like a loving matron for her husband, smiling and well attired, unmasks her beauty.
8 The Sister quitteth, for the elder Sister, her place, and having looked on her departeth.
She decks her beauty, shining forth with sunbeams, like women trooping to the festal meeting.
9 To all these Sisters who ere now have vanished a later one each day in course succeedeth.
So, like the past, with days of happy fortune, may the new Dawns shine forth on us with riches.
10 Rouse up, O Wealthy One, the liberal givers; let niggard traffickers sleep on unwakened:
Shine richly, Wealthy One, on those who worship, richly, glad.
Dawn while wasting, on the singer.
11 This young Maid from the east hath shone upon us; she harnesseth her team of bright red oxen.
She will beam forth, the light will hasten hither, and Agni will be present in each dwelling.
12 As the birds fly forth from their resting places, so men with store of food rise at thy dawning.
Yea, to the liberal mortal who remaineth at home, O Goddess Dawn, much good thou bringest.
13 Praised through my prayer be ye who should be lauded. Ye have increased our wealth, ye Dawns who love us.
Goddesses, may we win by your good favour wealth to be told by hundreds and by thousands.

RV 3.61

HYMN LXI. Usas. 61

1. O Usas, strong with strength, endowed with knowledge, accept the singers' praise, O wealthy
Lady.
Thou, Goddess, ancient, young, and full of wisdom, movest, allbounteous-! as the Law ordaineth.
2 Shine forth, O Morning, thou auspicious Goddess, on thy bright car awaking pleasant voices.
Let docile horses of farreaching- splendour convey thee hitherward, the goldencoloured.
3 Thou, Morning, turning thee to every creature, standest on high as ensign of the Immortal,
To one same goal ever and ever wending now, like a wheel, O newlyborn-, roll hi ther.
4 Letting her reins drop downward, Morning cometh, the wealthy Dame, the Lady of the dwelling;
Bringing forth light, the Wonderful, the Blessed hath spread her from the bounds of earth and
heaven.
5 Hither invoke the radiant Goddess Morning, and bring with reverence your hymn to praise her.
She, dropping sweets, hath set in heaven her brightness, and, fair to look on, hath beamed forth
her splendour.
6 From heaven, with hymns, the Holy One was wakened: brightly to both worlds came the wealthy Lady.
To Morning, Agni, when she comes refulgent, thou goest forth soliciting fair riches.
7 On Laws' firm base the speeder of the Mornings, the Bull, hath entered mighty earth and heaven.
Great is the power of Varuna and Mitra, which, bright, hath spread in every place its splendour.

RV 4.30

8 And this heroic deed of might thou, Indra, also hast achieved,
That thou didst smite to death the Dame, Heavens' Daughter, meditating ill.
9 Thou, Indra, Mighty One, didst crush Usas, though Daughter of the Sky.
When lifting up herself in pride.
10 Then from her chariot Usas fled, affrighted, from her ruined car.
When the strong God had shattered it.
11 So there this car of Usas lay, broken to pieces, in Vipas,
And she herself fled far away.

RV 4.51, 4.52

HYMN LI. Dawn. 51

1. FORTH from the darkness in the region eastward this most abundant splendid light hatb mounted.
Now verily the far refulgent- Mornings, Daughters of Heaven, bring welfare to the people.
2 The richlycoloured- Dawns have mounted eastward, like pillars planted at our sacrifices,
And, flushing far, splendid and purifying, unbarred the portals of the fold of darkness.
3 Dispelling gloom this day the wealthy Mornings urge liberal givers to present their treasures.
In the unlightened depth of darkness round them let niggard traffickers sleep unawakened.
4 O Goddesses, is this your car, I ask you, ancient this day, or is it new, ye Mornings,
Wherewith, rich Dawns, ye seek with wealth Navagva, Dasagva Angira, the seventoned- singer?
5 With horses harnessed by eternal Order, Goddesses, swiftly round the worlds ye travel,
Arousing from their rest, O Dawns, the sleeping, and all that lives, man, bird, and beast, to
motion.
6 Which among these is eldest, and where is she through whom they fixed the Rbhus' regulations?
What time the splendid Dawns go forth for splendour, they are not known apart, alike, unwasting.
7 Blest were these Dawns of old, shining with succour, true with the truth that springs from holy
Order;
With whom the toiling worshipper, by praises, hymning and lauding, soon attained to riches.
8 Hither from eastward all at once they travel, from one place spreading in the selfsame manner.
Awaking, from the seat of holy Order the Godlike Dawns come nigh like troops of cattle.
9 Thus they go forth with undiminished colours, these Mornings similar, in selfsame- fashion,
Concealing the gigantic might of darkness with radiant bodies bright and pure and shining.
10 O Goddesses, O Heavens' refulgent Daughters, bestow upon us wealth with store of children.
As from our pleasant place of rest ye rouse us may we be masters of heroic vigour.
11 Wellskilled- in lore of sacrifice, ye Daughters of Heaven, refulgent Dawns, I thus address you.
May we be glorious among the people. May Heaven vouchsafe us this, and Earth the Goddess,

HYMN LII. Dawn. 52

1. THIS Lady, giver of delight, after her Sister shining forth, Daughter of Heaven, hath shown
herself.-
2 Unfailing, Mother of the Kine, in colour like a bright red mare,
The Dawn became the Asvins' Friend.
3 Yea, and thou art the Asvins' Friend, the Mother of the Kine art thou:
O Dawn thou rulest over wealth.
4 Thinking of thee, O joyous One, as her who driveth hate away,
We woke to meet thee with our lauds.
5 Our eyes behold thy blessed rays like troops of cattle loosed to feed.
Dawn hath filled full the wide expanse.
6 When thou hast filled it, Fulgent One! thou layest bare the gloom with light.
After thy nature aid us, Dawn.
7 Thou overspreadest heaven with rays, the dear wide region of midair-.
With thy bright shining lustre, Dawn.

RV 5.79

HYMN LXXIX. Dawn. 79

1. O HEAVENLY Dawn, awaken us to ample opulence today-
Even as thou hast wakened us with Satyasravas, Vayyas' son, highborn-! delightful with thy steeds!
2 Daughter of Heaven, thou dawnedst on Sunitha Sucadrathas' son,
So dawn thou on one mightier still, on Satyasravas, Vayyas' son, highborn-! delightful with thy
steeds!
3 So, bringing treasure, dawn today- on us thou Daughter of the Sky,
As thou, O mightier yet. didst shine for Satyatravas, Vayyas' son, highborn-! delightful with thy
steeds!
4 Here round about thee are the priests who laud thee, Bright One, with their hymns,
And men with gifts, O Bounteous Dame, splendid with wealth and offering much, highborn-!
delightful with thy steeds!
5 Whatever these thy bands perform to please thee or to win them wealth,
even fain they gird us round and give rich gifts which Never are reft away, highborn-! delightful
with thy steeds!
6 Give to these wealthy patrons fame, O affluent Dawn, with hero sons,
To these our princes who have brought rich gifts Never to be reft away, highborn! delightful with
thy steeds!
7 Bring lofty and resplendent fame, O thou munificent Dawn, to these
Our wealthy patrons who bestow rich gifts on us of steeds and kine, highborn-! delightful with thy
steeds!
8 Bring us, O Daughter of the Sky, subsistence in our herds of kine,
Together with the sunbeams, with the shine of pure refulgent flames, highborn! delightful with thy
steeds!
9 O Daughter of the Sky, shine forth; delay not to perform thy task.
Let not the Sun with fervent heat consume thee like a robber foe, highborn-! delightful with the
steeds!
10 So much, and more exceedingly, O Dawn, it suits thee to bestow,
Thou Radiant One who ceasest not to shine for those who sing thy praise, highborn! delightful with
thy steeds!

RV 5.80

HYMN LXXX. Dawn. 80

1. THE singers welcome with their hymns and praises the Goddess Dawn who bringeth in the sunlight,
Sublime, by Law true to eternal Order, bright on her path, redtinted-, far refulgent-.
2 She comes in front, fair, rousing up the people, making the pathways easy to be travelled.
High, on her lofty chariot, allimpelling-, Dawn gives her splendour at the days' beginning.
3 She, harnessing her car with purple oxen. injuring none, hath brought perpetual riches.
Opening paths to happiness, the Goddess shines, praised by all, giver of every blessing.
4 With changing tints she gleams in double splendour while from the eastward she displays her body.
She travels perfectly the path of Order, nor fails to reach, as one who knows, the quarters.
5 As conscious that her limbs are bright with bathing, she stands, as it were, erect that we may
see her.
Driving away malignity and darkness, Dawn, Child of Heaven, hath come to us with lustre.
6 The Daughter of the Sky, like some chaste woman, bends, opposite to men, her forehead downward.
The Maid, disclosing boons to him who worships, hath brought again the daylight as aforetime.

RV 6.64, RV 6.65

HYMN LXIV. Dawn. 64

1. THE radiant Dawns have risen up for glory, in their white splendour like the waves of waters.
She maketh paths all easy, fair to travel, and, rich, hath shown herself benign and friendly.
2 We see that thou art good: far shines thy lustre; thy beams, thy splendours have flown up to
heaven.
Decking thyself, thou makest bare thy bosom, shining in majesty, thou Goddess Morning.
3 Red are the kine and luminous that bear her the Blessed One who spreadeth through the distance.
The foes she chaseth like a valiant archer, like a swift warrior she repelleth darkness.
4 Thy ways are easy on the hills: thou passest Invincible! Se1fluminous-! through waters.
So lofty Goddess with thine ample pathway, Daughter of Heaven, bring wealth to give us comfort.
5 Dawn, bring me wealth: untroubled, with thine oxen thou bearest riches at thy will and pleasure;
Thou who, a Goddess, Child of Heaven, hast shown thee lovely through bounty when we called thee
early.
6 As the birds fly forth from their restingplaces, so men with store of food rise at thy dawning.
Yea, to the liberal mortal who rernaineth at home, O Goddess Dawn, much good thou bringest.

HYMN LXV. Dawn. 65

1. SHEDDING her light on human habitations this Child of Heaven hath called us from our slumber;
She who at nighttime- with her argent lustre hath shown herself even through the shades of
darkness.
2 All this with redrayed- steeds have they divided: the Dawns on bright cars shine in wondrous
fashion.
They, bringing near the stately rites' commencement, drive far away the nights' surrounding
shadows.
3 Dawns, bringing hither, to the man who worships, glory and power and might and food and vigour,
Opulent, with imperial sway like heroes, favour your servant and this day enrich him.
4 Now is there treasure for the man who serves you, now for the hero, Dawns! who brings oblation;
Now for the singer when he sings the praisesong-. Even to one like me ye brought aforetime.
5 O Dawn who standest on the mountain ridges, Angirases now praise thy stalls of cattle.
With prayer and holy hymn they burst them open: the heroes' calling on the Gods was fruitful.
6 Shine on us as of old, thou Child of Heaven on, him, rich Maid! who serves like Bharadvaja.
Give to the singer wealth with noble heroes, and upon us bestow widespreading- glory.

RV 7.41

HYMN XLI. Bhaga. 41
6 To this our worship may all Dawns incline them, and come to the pure place like Dadhikravan.
As strong steeds draw a chariot may they bring us hitherward Bhaga who discovers treasure.
7 May blessed Mornings dawn on us for ever, with wealth of kine, of horses, and of heroes,
Streaming with all abundance, pouring fatness. Preserve us evermore, ye Gods, with blessings.

RV 7.75 to RV 7.81

HYMN LXXV. Dawn. 75

1. BORN in the heavens the Dawn hath flushed, and showing her majesty is come as Law ordaineth.
She hath uncovered fiends and hateful darkness; best of Angirases, hath waked the pathways.
2 Rouse us this day to high and happy fortune: to great felicity, O Dawn, promote us.
Vouchsafe us manifold and splendid riches, famed among mortals, manbefriending- Goddess!
3 See, lovely Mornings' everlasting splendours, bright with their varied colours, have approached
us.
Filling the region of midair-, producing the rites of holy worship, they have mounted.
4 She yokes her chariot far away, and swiftly visits the lands where the Five Tribes are settled,
Looking upon the works and ways of mortals, Daughter of Heaven, the worlds' Imperial Lady.
5 She who is rich in spoil, the Spouse of Surya, wondrously opulent, rules all wealth and
treasures.
Consumer of our youth, the seers extol her: lauded by priests rich Dawn shines out refulgent.
6 Apparent are the steeds of varied colour, the red steeds carrying resplendent Morning.
On her alllovely- car she comes, the Fair One, and brings rich treasure for her faithful servant.
7 True with the True and Mighty with the Mighty, with Gods a Goddess, Holy with the Holy,
She brake strong fences down and gave the cattle: the kine were lowing as they greeted Morning.
8 O Dawn, now give us wealth in kine and heroes, and horses, fraught with manifold enjoyment.
Protect our sacred grass from mans' reproaches. Preserve us evermore, ye Gods, with blessings.

HYMN LXXVI. Dawn. 76

1. SAVITAR God of all men hath sent upward his light, designed for all mankind, immortal.
Through the Gods power that Eye was first created. Dawn hath made all the universe apparent.
2 I see the paths which Gods are wont to travel, innocuous paths made ready by the Vasus.
Eastward the flag of Dawn hath been uplifted; she hath come hither over the tops of houses.
3 Great is, in truth, the number of the Mornings which were aforetime at the Suns' uprising.
Since thou, O Dawn, hast been beheld repairing as to thy love, as one no more to leave him.
4 They were the Gods companions at the banquet, the ancient sages true to Law Eternal.
The Fathers found the light that lay in darkness, and with effectual words begat the Morning.
5 Meeting together in the same enclosure, they strive not, ofone mind, one with another.
They never break the Gods eternal statutes, and injure none, in rivalry with Vasus.
6 Extolling thee, Blest Goddess, the Vasisthas, awake at early mom, with lauds implore thee.
Leader of kine and Queen of all that strengthens, shine, come as first to us, O highborn- Morning.
7 She bringeth bounty and sweet charm of voices. The flushing Dawn is sung by the Vasisthas,
Giving us riches famed to distant places. Preserve us evermore, ye Gods, with blessings.

HYMN LXXVIT. Dawn. 77

1. SHE hath shone brightly like a youthful woman, stirring to motion every living creature.
Agni hath come to feed on mortal? fuel. She hath made light and chased away the darkness.
2 Turned to this All, farspreading-, she hath risen and shone in brightness with white robes about
her.
She hath beamed forth lovely with golden colours, Mother of kine, Guide of the days she bringeth.
3 Bearing the Gods own Eye, auspicious Lady, leading her Courser white and fair to look on,
Distinguished by her beanis- Dawn shines apparent, come forth to all the world with wondrous
treasure.
4 Draw nigh with wealth and dawn away the foeman: prepare for us wide pasture free from danger.
Drive away those who hate us, bring us riches: pour bounty, opulent Lady, on the singer.
5 Send thy most excellent beams to shine and light us, giving us lengthened days, O Dawn, O
Goddess,
Granting us food, thou who hast all things precious, and bounty rich in chariots, kine, and horses.
6 O Usas, noblyborn-, Daughter of Heaven, whom the Vasisthas with their hymns make mighty,
Bestow thou on us vast and glorious riches. Preserve us evermore, ye Gods, with blessings.

HYMN LXXVIII. Dawn. 78

1. WE have beheld her earliest lights approaching: her many glories part, on high, asunder.
On car sublime, refulgent, wending hither, O Usas, bring the Wealth that makes us happy.
2 The fire wellkindIed- sings aloud to greet her, and with their hymns the priests are chaming
welcome.
Usas approaches in her splendour, driving all evil darkness far away, the Goddess.
3 Apparent eastward are those lights of Morning, sending out lustre, as they rise, around them.
She hath brought forth Sun, sacrifice, and Agni, and far away hath fled detested darkness.
4 Rich Daughter of the Sky, we all behold her, yea, all men look on Dawn as she is breaking.
fler car that moves selfharnessed- hath she mounted, the car drawn onward by her wellyoked- horses.
5 Inspired with loving thoughts this day to greet thee, we and our wealthy nobles have awakened.
Show yourselves fruitful, Dawns, as ye are rising. Preserve us evermore, ye Gods, with blessings.

HYMN LXXIX. Dawn. 79

1. ROUSING the lands where mens' Five Tribes are settled, Dawn hath disclosed the pathways of the
people.
She hath sent out her sheen with beauteous oxen. The Sun with light hath opened earth and heaven.
2 They paint their bright rays on the skys' far limits. the Dawns come on like tribes arrayed for
battle.
Thy cattle, closely shutting up the darkness, as Savitar spreads his arms, give forth their lustre.
3 Wealthy, most like to Indra, Dawn hath risen, and brought forth lauds that shall promote our
welfare.
Daughter of Heaven, a Goddess, she distributes, best of Angirases, treasures to the pious.
4 Bestow on us, O Dawn, that ample bounty which thou didst send to those who sang thy praises;
Thou whom with bellowings of a bull they quickened: thou didst unbar the firmset- mountains'
portals.
5 Impelling every God to grant his bounty sending to us the charm of pleasant voices,
Vouchsafe us thoughts, for profit, as thou breakest. Preserve us evermore, ye Gods, with blessings.

HYMN LXXX. Dawn. 80

1 THE priests, Vasisthas, are the first awakened to welcome Usas with their songs and praises,
Who makes surrounding regions part asunder and, shows apparent all existing creatures.
2 Giving fresh life when she hath hid the darkness, this Dawn hath wakened there with newborn-
lustre.
Youthful and unrestrained she cometh forward: she hath turned thoughts to Sun and fire and worship.
3 May blessed Mornings shine on us for ever, with wealth of kine, of horses, and of heroes,
Streaming with all abundance, pouring fatness. Preserve us evermore, ye Gods, with blessings.

HYMN LXXXI. Dawn. 81

1. ADVANCING, sending forth her rays, the Daughter of the Sky is seen.
Uncovering, that we may see, the mighty gloom, the friendly Lady makes the light.
2 The Sun ascending, the refulgent Star, pours down his beams together with the Dawn.
O Dawn, at thine arising, and the Suns', may we attain the share allotted us.
3 Promptly we woke to welcome thee, O Usas, Daughter of the Sky,
Thee, Bounteous One, who bringest all we long to have, and to the offerer health and wealth.
4 Thou, dawning, workest fain to light the great world, yea, heaven, Goddess! that it may be seen.
We yearn to be thine own, Dealer of Wealth: may we be to this Mother like her sons.
5 Bring us that wondrous bounty, Dawn, that shall be famed most far away.
What, Child of Heaven, thou hast of nourishment for man, bestow thou on us to enjoy.
6 Give to our princes opulence and immortal fame, and strength in herds of kine to us.
May she who prompts the wealthy, Lady of sweet strains, may Usas dawn our foes away.

RV 8.47

HYMN XLVII. Adityas. 47

1. GREAT help ye give the worshipper, Varuna, Mitra, Mighty Ones! No sorrow ever reaches him whom
ye, Adityas, keep from harm. Yours are incomparable aids, and good the succour they afford.
2 O Gods, Adityas, well ye know the way to keep all woes afar.
As the birds spread their sheltering wings, spread your protection over us.
3 As the birds spread their sheltering wings let your protection cover us.
We mean all shelter and defence, ye who have all things for your own.
4 To whomsoever they, Most Wise, have given a home and means of life,
Over the whole riches of this man they, the Adityas, have control.
5 As drivers of the car avoid ill roads, let sorrows pass us by.
May we be under Indras' guard, in the Adityas' favouring grace.
6 For verily men sink and faint through loss of wealth which ye have given.
Much hath he gained from you, O Gods, whom ye, Adityas, have approached.
7 On him shall no fierce anger fall, no sore distress shall visit him,
To whom, Adityas, ye have lent your shelter that extendeth far.
8 Resting in you, O Gods, we are like men who fight in coats of mail.
Ye guard us from each great offence, ye guard us from each lighter fault.
9 May Aditi defend us, may Aditi guard and shelter us,
Mother of wealthy Mitra and of Aryaman and Varuna.
10 The shelter, Gods, that is secure, auspicious, free from malady,
A sure protection, triply strong, even that do ye extend to us.
11 Look down on us, Adityas, as a guide exploring from the bank.
Lead us to pleasant ways as men lead horses to an easy ford.
12 Ill be it for the demons' friend to find us or come near to us.
But for the milchcow- be it well, and for the man who strives for fame.
13 Each evil deed made manifest, and that which is concealed, O Gods,
The whole thereof remove from us to Trita Aptya far away.
14 Daughter of Heaven, the dream that bodes evil to us or to our kine,
Remove, O Lady of the Light, to Trita Aptya far away.
15 Even if, O Child of Heaven, it make a garland or a chain of gold,
The whole bad dream, whatever it be, to Trita Aptya we consign.
16 To him whose food and work is this, who comes to take his share therein,
To Trita, and to Dvita, Dawn! bear thou the evil dream away.
17 As we collect the utmost debt, even the eighth and sixteenth part,
So unto Aptya we transfer together all the evil dream.
18 Now have we conquered and obtained, and from our trespasses are free.
Shine thou away the evil dream, O Dawn, whereof we are afraid. Yours are incomparable aids, and good the succour they afford.

RV 10.172

HYMN CLXXII. Dawn. 172

1. WITH all thy beauty come: the kine approaching with full udders follow on thy path.
2 Come with kind thoughts, most liberal, rousing the warriors' hymn of praise, with bounteous ones,
3 As nourishers we tie the thread, and, liberal with our bounty, offer sacrifice.
4 Dawn drives away her Sisters' gloom, and, through her excellence, makes her retrace her path.

↧

itihasa. Samskrtam grammar charts, Varṇanāga-kṛipāṇikā Inscriptions (12th cent) of Sarasvati temple (भोजशाला School of Bhoja) at Dhar

March 16, 2020, 9:25 pm

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Varṇanāga-kṛipāṇikā Inscriptions (12th cent.) of Sarasvati temple (भोजशाला School of Bhoja) at Dhar and ancient methods of teaching Sanskrit grammar Vedic sounds presented graphically as a snake-dagger क ृ पाणिका f. a dagger Katha1s. lii (ifc.) कथासरित्सागि lii, liii, 91, lxxviii, 10 विण a letter , sound , vowel , syllable , word Br. Pra1t. &c ब्राह्मि प्राणिशाख्य etc. नाग snake शिपथ-ब्राह्मि

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58 Indus Script Meluhha inscriptions, Vainiwal Beas basin inscriptions related to ṭaksāḷī mint-master, adze, chisel, coin workshop

March 17, 2020, 8:08 am

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The Meluhha rebus readings of all the 58 Indus Script inscriptions disprove Asko Parpola's speculations of migrations of Ancient Bactrians into Sarasvati-Sindhu Civilization. (cf.Annex A. Asko Parpola's speculations about migrations from Bactria).

On the contrary, the rebus readings of Meluhha pronunciations of metalwork repertoire are living expressions even today in all the language regions, the Indian sprachbund, 'speech union' thus esablishing the fact that Meluhha speakers have moved into Bactria Margiana Cultural Complex spreading the Tin-Bronze Revolution.

See Annex B. A note on Beas settlements. It is of utmost significance that a preliminary trench dug at Vainiwal on Beas River basin yielded potsherds with Indus Script Inscriptions. Most of these hieroglyphs revealed are discussed in the following 58 Indus Script Inscriptions.

As many as four potsherds revealed storage pots with Sign 127 which signifies an adze which is an Indus Script hieroglyph. The rebus reading of this sign clearly demonstrates the mint-work in the site of Vainiwal. In addition, the storage pot with ficus religiosa leaf design together with the hieroglyph of 'ant' points to Indus Script metalwork connections. The ant hieroglyph signifies a coppersmith. Ficus religiosa leaf signifies loa 'ficus glomerata' Rebus: loha 'copper,metal'.

```
Decipherment of 'ant' hieroglyph      Ant hieroglyph, examples from Indus Script Corpora                                  
```
h151 5057Text
h144 4280Text

h131 4271Text

h260A,B 4345Text
చీమ [ cīma ] chīma. [Tel.] n. An ant. కొండచీమ. the forest ant. రెక్కలచీమ a winged ant. పారేచీమను వింటాడు he can hear an ant crawl, i.e., he is all alive.చీమదూరని అడవి a forest impervious even to an ant. చలిచీమ a black ant; పై పారేపక్షి కిందపారే చీమ (proverb) The bird above, the ant below, i.e., I had no chance with him. చీమంత of the size of an ant. చీమపులి chīma-puli. n. The ant lion, an ant-eater.

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

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

Kalibangan 080 Seal impression 8120 Text

m0143 Mohenjo-Daro seal 2002 Text
http://bharatkalyan97.blogspot.com/2014/04/ant-twisted-rope-and-other-meluhha.html
Twisted rope, ant and other Meluhha hieroglyphs on Ancient Near East and Indian seals

The ligature of a slanted stroke on Sign 128 is Ta. cāl furrow in ploughing, track of a sower while passing and repassing in sowing; cālai street, avenue, road. Ma. cāl furrow, channel, track, line, direction. Ko. ca·l furrow. To. so·l id. Ka. sāl a continuous line, a furrow. Koḍ. ca·llï line, furrow, one complete ploughing of a field, people related in any way by descent. Tu. sālů line, row, furrow. Te. cālu id., groove, track; cālupu line, row, series. Ga. (S.3) sālu furrow made by plough. Go. (Ko.) āl furrow (< Te.; Voc. 140). Konḍa (BB, 1972) sāl id. (DEDR 2471) Rebus: śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xāl, xāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed, stable ʼ; Bi. sār f. ʻ cowshed ʼ; H. sāl f. ʻ hall, house, school ʼ, sār f. ʻ cowshed ʼ; M. sāḷ f. ʻ workshop, school ʼ; Si. sal -- a, ha˚ ʻ hall, market -- hall ʼ.(CDIAL 12414)

Thus,together, ṭaksāḷī'mint-master' (Gujarati)

ଟଙ୍କ— Ṭaṅka ସଂ. ବି (ଟଙ୍କ୍ ଧାତୁ=ବାନ୍ଧିବା+କରଣ. ଅ)— 1। ପାହାଡ଼; କ୍ଷୁଦ୍ର ଶୈଳ—1. Hill. 2। ଗଣ୍ଡ ଶୈଳ; ପର୍ବତ ଦେହରୁ ବିଚ୍ଯୁତ ବଡ଼ ପଥରଖଣ୍ଡ— 2. A black of stone separted from the main hill. 3। ଖଡ୍ଗ—3. Sword; scimitar. 4। ଟାଙ୍ଗର ଭୂମି—4. Hilly ground; rocky ground 5। (+ଅଧି. ଅ)— ଖଡ୍ଗକୋଷ; ଖଣ୍ଡାର ଖାପ— Scabbard; sheath. 6। ଏକ ପ୍ରକାର ସରୁ କୋଡ଼ି; ଖଣତା—A spud or digging iron; a narrow-bladed spade; hoe. 7। କ୍ରୋଧ; ରାଗ—7. Anger; wrath. 8। (+କର୍ମ. ଅ)—ଗର୍ବ—8. Arrogance. 9। ପରିମାଣବିଶେଷ; ଚାରି ମାସ ପରିମାଣ; ଏକଟଙ୍କାର ଦ୍ବିପଞ୍ଚମାଂଶ—9. A weight of 4 'masas' or 68 grains 2/5 of a tola. [ଦ୍ର—ସ୍ଥଳବିଶେଷରେ ଏହା 3 ମସା ବା 24 ରତି ପରିମାଣ ବୋଲି ଧରା ୟାଏ।] 10। ଗୋଡ଼—10. The leg. 11। ମୁଦ୍ରା—11. Coin. 12। ପଥର କାଟିବାର ଅସ୍ତ୍ର; ଟାଙ୍ଗିଆ—12. Mattock; an axe used in chipping stone. 13। ରୌପ୍ଯ ମୁଦ୍ରା—13. A silver coin. 14। ଟଙ୍କା—14. A rupee. 15। ଜଙ୍ଗ—15. Thigh. 16। ଟାଙ୍ଗଣା; ମୁହାଗ—16. Borax. 17। କୁରାଢ଼ି; ପରଶୁ (ହି. ଶବ୍ଦସାଗର)— 17. Axe; hatchet. 18। କୋଷ; ଅନାଗାର (ହି. ଶବ୍ଦସାଗର)— 18. Treasury. 19। ଶ୍ରୀ, ଭୈରବ ଓ କାନଡ଼ ରାଗ ୟୋଗ ହୋଇ ରଚିତ ସମ୍ପୂର୍ଣ୍ଣ ଜାତିର ରାଗିଣୀ—19. A kind of mixed musical strain. [ଦ୍ର—ଏହା ଗାଇବାର ସମଯ ରାତି 16 ଦଣ୍ଡ ଠାରୁ 2 ଦଣ୍ଡ ପର୍ଯ୍ୟନ୍ତ । ଏଥିରେ କୋମଳ ଋଷଭ ସ୍ବର ଲାଗେ। ହନୁମାନ୍ଙ୍କ ମତରେ ଏହାର ସ୍ବରଗ୍ରାମ ସଗ ଧନି ସାସା (ହି. ଶବ୍ଦସାଗର)] 20। ନୀଳ କପିତ୍ଥ (ହି. ଶବ୍ଦସାଗର)— 20. The blue wood-apple. 21। ଏକ କଣ୍ଟକୀ ଗଛ ୟହିଁ ରେ ବେଲ ବା କଇଥ ପରି ଫଳ ଧରେ (ହି. ଶବ୍ଦସାଗର)—21. A kind of wild tree producing fruits like marmalus. [synonym(s): টক खटाई, तुर्ष] ଦେ. ବି. (ସଂ. ତକ୍ର=ଅମ୍ଳ)— ଅମ୍ଳସ୍ବାଦ; ଅମ୍ଳରସ; ଅମ୍ଳତା— 1. Sour or acid taste; sourness. ଟଙ୍କା ନ ଥାଇ ଟାଙ୍ଗର ମୁଣ୍ଡରେ ଗଭା। ଢଗ। [synonym(s): টক, টকো तुष, खट्टा] ଦେ. ବିଣ.— ଅତ୍ଯନ୍ତ ଖଟା ଲାଗୁଥିବା; ଅତି ଅମ୍ଳ— Very sour.

ଟଙ୍କା ଆମ୍ବିଳା— Ṭaṅka āmbiḻā ଦେ. ବିଣ.— ଅତ୍ଯନ୍ତ ଖଟ୍ଟା— Very sour.

ଟଙ୍କକ— Ṭaṅkaka ସଂ. ବି.—(ଟଙ୍କା+ସ୍ବାର୍ଥେ. କ)— 1। ଟଙ୍କା— 1. Rupee; silver coin. 2। ମୁଦ୍ରା—2. Coin.

ଟଙ୍କାକଶାଳା— Ṭaṅkaka ṡāḻā ସଂ. ବି. ସ୍ତ୍ରୀ— ଟଙ୍କଶାଳା (ଦେଖ) Ṭaṅka ṡāḻā (See)

ଟଙ୍କପତି— Ṭaṅka-pati ସଂ. ବି— ଟଙ୍କଶାଳାର ଅଧ୍ଯକ୍ଷ (ହି. ଶବ୍ଦସାଗର)— Master of a mint.

ଟଙ୍କଶାଳା— Ṭaṅka-ṡāḻā ସଂ. ବି. ସ୍ତ୍ରୀ— ଟାଙ୍କଶାଳ; ୟେଉଁ କାର୍ଯ୍ୟାଳାଯ ବା କାର ଖାନାରେ ମୁଦ୍ରା ପ୍ରସ୍ତୁତ ହୁଏ—Mint.

ଟଙ୍କା— Ṭaṅkā ସଂ. ବି. ସ୍ତ୍ରୀ. (ଟଙ୍କ୍ ଧାତୁ+କର୍ତ୍ତୃ. ଅ+ସ୍ତ୍ରୀ. ଆ)— 1। ଜଙ୍ଘ— 2. A silver coin current in ancient India 3। ପ୍ରାଚୀନକାଳରେ ତାମ୍ରମୁଦ୍ରାବିଶେଷ (ହି. ଶବ୍ଦସାଗର)— 3. A copper coin current in ancient India. [synonym(s): টাকা टका; रुपैया টাঁকা टाँका] ଦେ. ବି— 1। ଷୋଳ ଅଣା ବା ପୂର୍ଣ୍ଣମାତ୍ରା ପରିମାଣ— 1. Sixteen annas; full measure. 2। ଭାରତରେ ପ୍ରଚଳିତ ଏକ ତୋଳା ପରିମିତ ରୌପ୍ଯ ମୁଦ୍ରା—2. Rupee. ଅବୁଝ ରାଇଜରେ ବେବୁଝ ରଜା ଟଙ୍କା ସେର ଭାଜୀ, ଟଙ୍କା ସେର ଖଜା—ତଗ। [ଦ୍ର—ପ୍ରାଚୀନକାଳରେ ଭାରତରେ ଟଙ୍କା ନାମରେ ୟେଉଁ ରୌପ୍ଯ ମୁଦ୍ରା ଚଳୁଥିଲା ତାହାର ଏକ ତୋଳା ଓଜନ ଥିଲା। ଇଂରାଜ ଗଭର୍ଣ୍ଣମେଣ୍ଟଙ୍କ ଅମଳରେ ପ୍ରଚଳିତ ଟଙ୍କା ମଧ୍ୟ ଏକ ତୋଳା ବା 18 ଗ୍ରେନ୍ ଓଜନ ଅଟେ। ଏଥିରେ 11 ଭାଗ ରୁପା ଓ 1 ଭାଗ ତମ୍ବା ଥାଏ; ବର୍ତ୍ତମାନ ପ୍ରଚଳିତ 1ଟଙ୍କା=16ଅଣା ବା 16ଟି ଅଣି=8 ଦୋଅଣି=4 ସୁଉକୀ=2 ଅଧୁଲି=32 ଦୋପଇସା=64 ପଇସା=128 ଅଧଲା= 192 ପାହି ବା ପାହୁଲା; ଏଥିମଧ୍ୟରୁ ପାହୁଲା, ଅଧଲା, ପଇସା ଓ ଦୋପଇସା ତାମ୍ରନିର୍ମିତ। ଅଣି, ଦୋଅଣି, ସୁଉକୀ ଓ ଅଧୁଲି ମଧ୍ୟ ରୌପ୍ଯନିର୍ମିତ। ବାଲେଶ୍ବରୀସେର=8 ଟଙ୍କା; କଟକୀ ସେର=15 ଟଙ୍କା।] 3। ଧନ; ଅର୍ଥ—1. Riches money. 4। ମଗଦ ମୁଦ୍ରା—4. Hard cash; cash.

ଟଙ୍କାଏ କାନ୍ତର— Ṭaṅkāe kāntara [synonym(s): টাকাখানিকৃ] (ଟଙ୍କାଏ ଖଣ୍ଡେ; ଟଙ୍କାଏ ମଶାଏ—ଅନ୍ୟରୂପ) ଦେ. ବି— ପ୍ରାଯ ଏକ ଟଙ୍କା; ଏକ ଟଙ୍କା ତା ତହିଁରୁ କିଛି କମି ବା ବେଶି ଧନ— About a rupee; a rupee or so (ଯଥା—ବର୍ତ୍ତମାନ ଟଙ୍କାଏ କାନ୍ତର ହେଲେ ମୋ କାମ ଚଳିୟିବା)

ଟଙ୍କା କଉଡ଼ି— Ṭaṅkā kauṟḍ̠i ଦେ. ବି (ସହଚର ଶବ୍ଦ; ସଂ. ଟଙ୍କା+କପର୍ଦ୍ଦକ)— ଟଙ୍କା ଟୋକର (ଦେଖ) Ṭaṅkā ṭokara (See)

ଟଙ୍କାକିଆ— Ṭaṅkākiā [synonym(s): টাকাকিয়া] (ଟଙ୍କିକିଆ—ଅନ୍ୟରୂପ) ଦେ. ବିଣ— 1। ୟହିଁର ମୁଲ୍ଯ ଏକ ଟଙ୍କା ମାତ୍ର— 1. Of the value of one rupee. 2। ୟହିଁରେ ପ୍ରତ୍ଯକର ମୂଲ୍ଯ ଏକ ଟଙ୍କା— 2. Worth one rupee each.

ଟଙ୍କା ଗଛ— Ṭaṅkā gachha [synonym(s): টাকার গাছ रुपैयाका झाड़] ଦେ. ବି (ୟେଉଁ ଗଛରେ ଟଙ୍କା ଫଳେ)— (ଲକ୍ଷଣାର୍ଥ) 1। ଧନୋପାର୍ଜନ ବ୍ୟକ୍ତି— (figurative) 1. Earner; one who earns money (of. Pagoda-tree). (ଯଥା—ଅର୍ଜନକାରିଆ ପୁଅ ମୋର ଟଙ୍କା ଗଛ।) 2। ୟେଉଁ ବ୍ୟକ୍ତିଠାରୁ କୌଣସି ବ୍ୟକ୍ତି ପ୍ରଚୁର ପରିମାଣରେ ଧନ ପାଏ—2. A person from whom another gets much money.

ଟଙ୍କା ଗଣିବା— Ṭaṅkā gaṇibā [synonym(s): টাকা গুনা रुपैया गीनना] ଦେ. କ୍ରି— 1। ମୁଦ୍ରାକୁ ସୁମାରି କରିବା— 1. To count money. 2। (ଲକ୍ଷଣାର୍ଥ) ନଗଦ ଅର୍ଥ ବା ମୁଦ୍ରା ଦେବା— 2. (figurative) To pay cash. (ଯଥା—ଆମ ଗ୍ରାମରେ ରାମ ସାହୁ ଦଶ ହଜାର ଟଙ୍କା ଗଣିଦବ।) 3। ଧନ ବ୍ୟୟ କରିବା—3. To spend money. (ଯଥା—ବୃଥା ପୁଳିଏ ଟଙ୍କା ଗଣି ମୁଁ ପୁଅକୁ ପଢ଼େଇଲି।)

ଟଙ୍କା ଟୋକର— Ṭaṅkā ṭokara [synonym(s): টাকাকড়ি रुपैआपैसा] ଦେ. ବି (ସହଚର ଶବ୍ଦ)— ଧନ; ଅର୍ଥ— Riches; money (generally.) x ଟଙ୍କାଟୋକର ଗଣିନେଇ x ଲଙ୍ଗର ଉଠେଇଦେଲୁ। ଫକୀରମୋହନ. ଗଳ୍ପସ୍ବଳ୍ପ। ଟଙ୍କା ପଇସା— Ṭaṅkā paisā ଦେ. ବି (ସହଚର ଶବ୍ଦ)— ଟଙ୍କା ଟୋକର (ଦେଖ) Ṭaṅkā ṭokara (See)

ଟଙ୍କା ଫଙ୍କା— Ṭaṅkā phaṅkā [synonym(s): টাকা ফাকা, টাকা মাকা रुपौया उपौया] ଦେ. ବି (ଟଙ୍କା ଶବ୍ଦ ଓ ତାହା ସଙ୍ଗେ ଧ୍ବନ୍ଯନୁକାରୀ ନିରର୍ଥକ ଫଙ୍କା ଶବ୍ଦ)— 1। ଅର୍ଥ ଇତ୍ୟାଦି; ଧନ— 1. Riches; money etc. 2। ମୁଦ୍ରା—2. Coins (generally).

Hieroglyphs: ṭaṅka2 m.n. ʻ spade, hoe, chisel ʼ R. 2. ṭaṅga -- 2 m.n. ʻ sword, spade ʼ lex.1. Pa. ṭaṅka -- m. ʻ stone mason's chisel ʼ; Pk. ṭaṁka -- m. ʻ stone -- chisel, sword ʼ; Woṭ. ṭhõ ʻ axe ʼ; Bshk. ṭhoṅ ʻ battleaxe ʼ, ṭheṅ ʻ small axe ʼ (< *ṭaṅkī); Tor. (Biddulph) "tunger" m. ʻ axe ʼ (ṭ? AO viii 310), Phal. ṭhō˘ṅgi f.; K. ṭŏnguru m. ʻ a kind of hoe ʼ; N. (Tarai) ṭã̄gi ʻ adze ʼ; H. ṭã̄kī f. ʻ chisel ʼ; G. ṭã̄k f. ʻ pen nib ʼ; M. ṭã̄k m. ʻ pen nib ʼ, ṭã̄kī f. ʻ chisel ʼ. 2. A. ṭāṅgi ʻ stone chisel ʼ; B. ṭāṅg, ˚gi ʻ spade, axe ʼ; Or. ṭāṅgi ʻ battle -- axe ʼ; Bi. ṭã̄gā, ˚gī ʻ adze ʼ; Bhoj. ṭāṅī ʻ axe ʼ; H. ṭã̄gī f. ʻ hatchet ʼ.(CDIAL 5427) ṭáṅkati1, ṭaṅkáyati ʻ ties ʼ Dhātup. 2. *ṭañcati. 1. S. ṭākaṇu ʻ to stitch ʼ, ṭã̄ko m. ʻ a stitch ʼ; Ku. ṭã̄ko ʻ sewing, joining, patch ʼ; N. ṭã̄knu ʻ to join, tack, button up ʼ, ṭã̄ko ʻ stitch, seam ʼ; A. ṭākiba ʻ to tie loosely ʼ; B. ṭã̄kā ʻ to stitch ʼ, Or. ṭāṅkibā, ṭāk ʻ hand -- stitching ʼ; Bhoj. ṭã̄kal ʻ to sew ʼ; H. ṭã̄knā ʻ to stitch, join, rivet, solder ʼ, ṭã̄kā m. ʻ stitch, join ʼ; G. ṭã̄kvũ ʻ to stitch ʼ, ṭã̄kɔ m., M. ṭã̄kā, ṭākā m. 2. G. ṭã̄cvũ ʻ to stitch ʼ, ṭã̄cṇī f. ʻ small pin ʼ; M. ṭã̄ċṇẽ, ṭāċ˚ ʻ to sew lightly ʼ, ṭã̄ċṇī, ṭāċ˚ f. ʻ pin ʼ. 5433 *ṭaṅkati2 ʻ chisels ʼ. [ṭaṅka -- 2] (CDIAL 5432) Pa. ṭaṅkita -- mañca -- ʻ a stone (i.e. chiselled) platform ʼ; G. ṭã̄kvũ ʻ to chisel ʼ, M. ṭã̄kṇẽ.(CDIAL 5433)

Rebus: ṭaṅkaśālā -- , ṭaṅkakaś˚ f. ʻ mint ʼ lex. [ṭaṅka -- 1, śāˊlā -- ] N. ṭaksāl, ˚ār, B. ṭāksāl, ṭã̄k˚, ṭek˚, Bhoj. ṭaksār, H. ṭaksāl, ˚ār f., G. ṭãksāḷ f., M. ṭã̄ksāl, ṭāk˚, ṭãk˚, ṭak˚. -- Deriv. G. ṭaksāḷī m. ʻ mint -- master ʼ, M. ṭāksāḷyā m. Addenda: ṭaṅkaśālā -- : Brj. ṭaksāḷī, ˚sārī m. ʻ mint -- master ʼ.(CDIAL 5434) ṭaṅka1 m.n. ʻ weight of 4 māṣas ʼ ŚārṅgS., ʻ a stamped coin ʼ Hit., ˚aka -- m. ʻ a silver coin ʼ lex. 2. ṭaṅga -- 1 m.n. ʻ weight of 4 māṣas ʼ lex. 3. *ṭakka -- 1. [Bloch IA 59 ← Tatar tanka (Khot. tanka = kārṣāpaṇa S. Konow Saka Studies 184)]1. Pk. ṭaṁka -- m. ʻ a stamped coin ʼ; N. ṭã̄k ʻ button ʼ (lw. with k); Or. ṭaṅkā ʻ rupee ʼ; H. ṭã̄k m. ʻ a partic. weight ʼ; G. ṭã̄k f. ʻ a partic. weight equivalent to 1/72 ser ʼ; M. ṭã̄k m. ʻ a partic. weight ʼ.2. H. ṭaṅgā m. ʻ a coin worth 2 paisā ʼ 3. Sh. ṭăk m. ʻ button ʼ; S. ṭako m. ʻ two paisā ʼ, pl. ʻ money in general ʼ, ṭrakaku ʻ worth two paisā ʼ, m. ʻ coin of that value ʼ; P. ṭakā m. ʻ a copper coin ʼ; Ku. ṭākā ʻ two paisā ʼ; N. ṭako ʻ money ʼ; A. ṭakā ʻ rupee ʼ, B. ṭākā; Mth. ṭakā, ṭakkā, ṭakwā ʻ money ʼ, Bhoj. ṭākā; H. ṭakā m. ʻ two paisā coin ʼ, G. ṭakɔ m., M. ṭakā m.(CDIAL 5426)

Harappa tablet h757 Text 4655

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

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

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

h705A, h705B Text 4337 Field symbol: aya 'fish' rebus: ayas 'alloy metal' PLUS kāru a wild crocodile or alligator (Telugu) ghariyal id. Rebus: ayakara, 'metal alloysmith'

h172A,B Text 5305 Pict-66: Gharial, sometimes with a fish held in its jaw and/or surrounded by a school of fish. Field symbol: aya 'fish' rebus: ayas 'alloy metal' PLUS kāru a wild crocodile or alligator (Telugu) ghariyal id. Rebus: ayakara, 'metal alloysmith'

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

Sign 342 Hieroglyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790)
khareḍo 'a currycomb' rebus kharada खरडें daybook
karã̄ n. pl. wristlets, bangles Rebus: khār खार् 'blacksmith'.
baṭa 'rimless pot' rebus: baṭa 'iron' bhaṭa 'furnace' PLUS څرخ ṯs̱arḵẖ, s.m. (2nd) ( P چرخ ). 2. A wheeled-carriage, a gun-carriage, a cart. Pl. څرخونه ṯs̱arḵẖūnah. څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel .PLUS अर्क 'the sun, copper', agasāla 'goldsmith workshop'.PLUS maṇḍa -- n. perh. ʻ thatched cover ʼ rather than ʻ raised platform ʼ (BHS ii 402).Rebus: maṇḍa 'warehouse'

m0888 Text 1155 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'. Standard device is kunda kammaṭa -- kunda, 'lathe PLUS kammatamu 'portable goldsmith furnace'; Rebus: 'fine gold mint'

Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: kāṇḍa,'implements'.

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

khambhaṛā 'fish-fin' rebus: kammaṭa, kambāra in smithy, mint. coiner, coinage'
Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

h101 Text 5069

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

Orthography of Sign 347

indicates that it is a ligature of a pair of sprouts

Sign 162 fused into

a rimless pot shape.

Variants of Sign 347

Thus, the components of Sign 347 read rebus are: kolmo 'rice plant' rebus: kolimi'smithy, forge' PLUS dula'pair' rebus: dul 'metal casting' PLUS baṭa'rimless pot' rebus: bhaṭa 'furnace'. Together, the Sign 347 is read as hypertext: dul bhaṭa kolimi 'metalcasting furnace, smithy, forge'.

h524 Text 4150 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ PLUS dula 'pair' rebus: dul 'metal casting'

m646 Text 2653

Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

kanac 'corner' rebus; kancu 'bell-metal' PLUS sal 'splinter' rebus; sal 'workshop'.

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

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ
Orthography of Sign 347

indicates that it is a ligature of a pair of sprouts

Sign 162 fused into

a rimless pot shape.

Text 4644 Harappa
Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

aya 'fish' rebus: ayas 'alloy metal' aya 'iron' (Gujarati)
khareḍo 'a currycomb' rebus kharada खरडें daybook

Sign 15 = Sign 12 PLUS

rim-of-jar Sign 342

Sign 12 variants This hypertext is composed of two hieroglyphs: 1. rim of jar' 2. water-carrier

This sign is a normalised representation of the hypertext composition on Gadd Seal 1 of water-carrier found in Ur confirms the hieroglyphic nature of the writing system. For Sign 15, the hypertext transfer protocol is: Step 1: kuṭi 'water-carrier' (Telugu) rebus: kuṭhi 'smelter' (Santali). Thus, the reading of plain text is: supercargo (a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale) of smelter (output), scribed (accounted)

khareḍo 'a currycomb' rebus kharada खरडें daybook

m0627 Text 1004 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.
aya 'fish' rebus: ayas 'alloy metal' aya 'iron' (Gujarati)
Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ
khaṇḍa 'division' rebus: khaṇḍa 'equipment'

Sign 342 Hieroglyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790) PLUS notch hieroglyph: खांडा [ khāṇḍā] m A jag, notch,Rebus: khaṇḍa 'equipment'

ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article. PLUS aya 'fish' rebus: ayas 'alloy metal' aya 'iron' (Gujarati) Thus, alloy metal, blazing article.

khaṇḍa 'division' rebus: khaṇḍa 'equipment' PLUS dula 'pair' rebus: dul 'metal casting'

m0967 Text 2460 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.
aya 'fish' rebus: ayas 'alloy metal' aya 'iron' (Gujarati)
Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ
kanac 'corner' rebus; kancu 'bell-metal' PLUS sal 'splinter' rebus; sal 'workshop'.
khareḍo 'a currycomb' rebus kharada खरडें daybook PLUS dula 'pair' rebus: dul 'metalcasting'. Thus,metalcasting daybook.

Chanhudaro 33a

Text 6104 Chanhudaro

Hypertext khāra, šē̃ṣṭrĭ̄ 'squirrel' is plaintext khār 'blacksmith'śrēṣṭhin 'guild-master'

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

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

h443

Text 4121 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

koḍa 'one' Rebus: koḍa 'workshop'

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

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

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

Text 2667 Mohenjo-daro koḍa 'one' Rebus: koḍa 'workshop'

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

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

kanac 'corner' rebus; kancu 'bell-metal' PLUS sal 'splinter' rebus; sal 'workshop'.

dula 'two' rebus: dul 'metal casting' PLUS aya 'fish' rebus: aya 'iron' ayas 'alloy metal'

Text 3161 Mohenjo-daro

ḍato = claws of crab (Santali) ḍato 'claws or pincers (chelae) of crab' Rebus: dhatu 'mineral ore'

dula 'two' rebus: dul 'metal casting'

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

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

मुष्टिक 'fist' rebus: मुष्टिक goldsmith

m0746 Text 1081 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

dula 'two' rebus: dul 'metal casting'

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

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

Sign 342 Hieroglyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790) PLUS notch hieroglyph: खांडा [ khāṇḍā] m A jag, notch,Rebus: khaṇḍa 'equipment'
dula 'two' rebus: dul 'metal casting' aya 'fish' rebus: aya 'iron' ayas 'alloy metal'

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

m1057

Text2566

baṭa 'rimless pot' rebus: baṭa 'iron', bhaṭa 'furnace'. PLUS muka 'ladle' rebus; mū̃h 'ingot', Thus iron ingot.

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

ṭaksāḷī 'mint-master' (Gujarati)

kolom 'three' rebus:kolimi 'smithy,forge' PLUS muh 'ingot' (shape of bun ingot is the hieroglyph)

meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic)

kolom 'three' rebus:kolimi 'smithy,forge' PLUS muh 'ingot' (shape of bun ingot is the hieroglyph)

Lothal 045

Text 7028

Field symbol: barad, balad 'ox' Rebus: bharata 'factitious alloy of copper, pewter, tin' PLUS pattar 'feeding trough' Rebus: pattar 'goldsmith guild'.

kuṭi 'warehouse'; kuṭhi 'smelter'

Sign 72 dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS ayo, hako 'fish' rebus:aya = iron (G.); ayah, ayas = alloy metal (Skt.); thus, alloy metal ingot.

gaṇḍa 'four' rebus: khaṇḍa 'implements' PLUS ayo, hako 'fish' rebus:aya = iron (G.); ayah, ayas = alloy metal (Skt.) PLUS ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

Text 2327 Mohenjo-daro

khambhaṛā 'fish-fin' rebus: kammaṭa, kambāra in smithy, mint. coiner, coinage'
Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ
Orthography of Sign 347

indicates that it is a ligature of a pair of sprouts

Sign 162 fused into

a rimless pot shape.

h401

Text 4078 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

- څرخ ṯs̱arḵẖ, s.m. (2nd) ( P چرخ ). 2. A wheeled-carriage, a gun-carriage, a cart. Pl. څرخونه ṯs̱arḵẖūnah Rebus: arka 'gold, copper' eraka 'metal infusion' PLUS notch: खांडा [ khāṇḍā ] jag, notch Rebus: ayaskhāṇḍa 'excellent implements: tools, pots and pans,

khambhaṛā 'fish-fin' rebus: kammaṭa, kambāra in smithy, mint. coiner, coinage'

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

m0666 Text 2243
Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.
fish PLUS notch: खांडा [ khāṇḍā ] jag, notch Rebus: ayaskhāṇḍa 'excellent implements: tools, pots and pans, PLUS aya 'fish' rebus: ayas 'alloy metal'.Rebus: ayaskhāṇḍa 'alloy metal implements'.
Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ PLUS dula 'pair' rebus: dul 'metal casting'

Text 3151 Mohenjo-daro

Sign 72 dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS ayo, hako 'fish' rebus:aya = iron (G.); ayah, ayas = alloy metal (Skt.); thus, alloy metal ingot.

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ PLUS dula 'pair' rebus: dul 'metal casting'

Kalibangan045 Text 8054 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

Hieroglyph: Buttock, back, thigh: (b) Pk. ṭaṁka -- m., °kā -- f. ʻ leg ʼ, S. ṭaṅga f., L. P. ṭaṅg f., Ku. ṭã̄g, N. ṭāṅ; Or. ṭāṅka ʻ leg, thigh ʼ Rebus: ṭaṁka PLUS hieroglyph 'furrow'sāl 'furrow' (DEDR 2471) Rebus: śāˊlā 'workshop'

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

m0114

Text 2166 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

Orthography of Sign 347

indicates that it is a ligature of a pair of sprouts

Sign 162 fused into

a rimless pot shape.

Kalibangan 023

Text 8029 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

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

- څرخ ṯs̱arḵẖ, s.m. (2nd) ( P چرخ ). 2. A wheeled-carriage, a gun-carriage, a cart. Pl. څرخونه ṯs̱arḵẖūnah Rebus: arka 'gold, copper' eraka 'metal infusion' PLUS notch: खांडा [ khāṇḍā ] jag, notch Rebus: ayaskhāṇḍa 'excellent implements: tools, pots and pans,PLUS sal 'splinter' Rebus: sal 'workshop'

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ PLUS dula 'pair' rebus: dul 'metal casting'

m0149

Text 1233 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.
Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ
Orthography of Sign 347

indicates that it is a ligature of a pair of sprouts

Sign 162 fused into

a rimless pot shape.

h524

Text 4150 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

Text 4008 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

Text 2601 Mohenjo-daro

Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: kāṇḍa,'implements'.

Chanhudaro25

Text 6115Field symbol: barad, balad 'ox' Rebus: bharata 'factitious alloy of copper, pewter, tin' PLUS pattar 'feeding trough' Rebus: pattar 'goldsmith guild'.

Kalibangan 028

Text 8038 Field symbol: barad, balad 'ox' Rebus: bharata 'factitious alloy of copper, pewter, tin' PLUS pattar 'feeding trough' Rebus: pattar 'goldsmith guild'.

agasāla maṇḍā 'goldsmithy, warehouse'

Sign 342 Hieroglyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790)PLUS notch hieroglyph: खांडा [ khāṇḍā] m A jag, notch,Rebus: khaṇḍa 'equipment'.

kor̤u 'sprout' rebus: kor̤u 'bar of metal'

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

Text 9104 Chandigarh
Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

Text 5088 Harappa
Ka. paṭakāru tongs, pincers. Te. paṭakāru, paṭukāṟu pair of tongs, large pincers. (DEDR 3864) Rebus: khār 'blacksmith'. PLUS koDa 'one' rebus: koD 'workshop'
Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

m632

Text 1017 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

m140

Text 2563 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

Hieroglyph: tridhatu 'trefoil' Rebus: tridhatu 'three mineral ores'
Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

slant PLUS notch: DhAL 'slanted' rebus ḍhāḷako 'large ingot' PLUS खांडा khāṇḍā A jag, notch' Rebus: khaṇḍa 'implements'

ayo 'fish' rebus; aya 'iron' (Gujarati) ayas 'alloy metal' PLUS sal 'splinter' Rebus: sal 'workshop'

agasāla maṇḍā 'goldsmithy, warehouse'

Text 4012 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

fish PLUS notch: खांडा [ khāṇḍā ] jag, notch Rebus: ayaskhāṇḍa 'excellent implements: tools, pots and pans, PLUS aya 'fish' rebus: ayas 'alloy metal'.Rebus: ayaskhāṇḍa 'alloy metal implements'. PLUS gaṇḍa 'four' Rebus: khaṇḍa 'equipment'.

Pict 40 Frog

Text 2045 Line 2: aṇḍa 'four' rebus: khaṇḍa 'implements' PLUS dula 'two' rebus; dul 'metal casting'

gaṇḍa 'four' rebus: khaṇḍa 'implements' PLUS ranku 'liquid measure' Rebus: ranku 'tin ore'
kanac 'corner' Rebus: kancu 'bell-metal'

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ
Orthography of Sign 347

indicates that it is a ligature of a pair of sprouts

Sign 162 fused into

a rimless pot shape.

Variants of Sign 347

Thus, the components of Sign 347 read rebus are: kolmo 'rice plant' rebus: kolimi'smithy, forge' PLUS dula'pair' rebus: dul 'metal casting' PLUS baṭa'rimless pot' rebus: bhaṭa 'furnace'. Together, the Sign 347 is read as hypertext: dul bhaṭa kolimi 'metalcasting furnace, smithy, forge'.

Kalibangan 40

Text 8072 Field symbol: karibha, ibha 'elephant' Rebus: karba, ib 'iron'

kanac 'corner' rebus: kancu 'bell-metal'

Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot'.PLUS dula 'pair' rebus: dul 'metal casting'

koDa 'one' rebus: koD 'workshop'

ḍhāla 'a large metal ingot' PLUS dula 'two' rebus: dul 'metal casting' PLUS Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

khuṭo ʻleg, footʼ. khũṭ ‘community, guild’ (Santali)

Orthography of Sign 347

indicates that it is a ligature of a pair of sprouts

Sign 162 fused into

a rimless pot shape.

Variants of Sign 347

m709

Text 2071 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

kuṭi 'curve' Rebus : kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) PLUS badhi 'to ligature, to bandage' Rebus;

ṭaksāḷī 'mint-master' (Gujarati)

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

m777

Text 2536 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

Ka. paṭakāru tongs, pincers. Te. paṭakāru, paṭukāṟu pair of tongs, large pincers. (DEDR 3864) Rebus: khār 'blacksmith'. PLUS badhi 'to ligature, to bandage' Rebus;

ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article. PLUS aya 'fish' rebus: ayas 'alloy metal' aya 'iron' (Gujarati) Thus, alloy metal, blazing article.

Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: kāṇḍa,'implements'.

ḍhāla 'a large metal ingot' PLUS dula 'two' rebus: dul 'metal casting' PLUS Hieroglyph: ṭaṅka m.n. ʻ spade, hoe, chisel, adze' Rebus: ṭaṁka -- m. ʻ a stamped coin ʼ

Lothal 122

Text 7069

ṭaksāḷī 'mint-master' (Gujarati)

Text 9851

badhi 'to ligature, to bandage' Rebus;

ṭaksāḷī 'mint-master' (Gujarati)

h420

Text 4614 Field symbol; spiny-horned young bull: कोंद kōnda ‘young bull' कोंद kōnda ‘engraver, turner'. कुलालादिकन्दुः f. a kiln; a potter's kiln; kō̃da कोँद 'potter's kiln' (Kashmiri) Thus, an iron turner (in smithy/forge).Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) plus singhin 'forward-thrusting, spiny-horned' Rebsu: singi 'ornament gold'.

ṭaksāḷī 'mint-master' (Gujarati)

m1235

Text 2118

ṭaksāḷī 'mint-master' (Gujarati)

Text 5087 Harappa

ṭaksāḷī 'mint-master' (Gujarati)

m370

Text 2138

Sign 72 dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS ayo, hako 'fish' rebus:aya = iron (G.); ayah, ayas = alloy metal (Skt.); thus, alloy metal ingot.

kuṭi 'curve' Rebus : kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) PLUS dula 'pair' Rebus: dul 'metal casting'

ṭaksāḷī 'mint-master' (Gujarati)

h137

Text 5058

Sign 72 dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS ayo, hako 'fish' rebus:aya = iron (G.); ayah, ayas = alloy metal (Skt.); thus, alloy metal ingot.

ṭaksāḷī 'mint-master' (Gujarati)

Text 1212 Mohenjo-daro

ṭaksāḷī 'mint-master' (Gujarati)

kuṭi 'curve' Rebus : kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) PLUS badhi 'to ligature, to bandage' Rebus;

Annex A. Asko Parpola's speculations about migrations from Bactria

Annex B. A note on Beas settlements

"Between 1992 and 1996 the Punjab Archaeological Survey (PAS), under the direction of the Government of Pakistan, Department of Archaeology, conducted a large-scale survey in order to identify all ancient settlements in the Punjab. Surface surveys at a small number of the settlements identified diagnostic artifacts that were contemporary with the Indus civilization. In 1995 Rita Wright visited several of the Indus sites with Dr. Rafique Mughal, then Director General of Archaeology and Museums, in order to assess the feasibility of developing a more intensive program of research than had been undertaken by the PAS. This early visit and subsequent short field seasons that began in 1996 confirmed that the newly discovered settlements offered an opportunity to utilize the results of the PAS as baseline data for more intensive investigations and a closer documentation of the cultural and natural stratigraphy of the Beas settlements."

Table 1 – Chronological Sequence based on Artifact Categories and Radiocarbon Dates at Harappa

Period 1	Ravi (aspect of the Hakra) Phase	ca. 3700 BC – ca. 2800 BC
Period 2	Kot Diji (Early Harappa) Phase	ca. 2800 BC – ca. 2600 BC
Period 3A	Harappa Phase A	ca. 2600 BC – ca. 2450 BC
Period 3B	Harappa Phase B	ca. 2450 BC – ca. 2200 BC
Period 3C	Harappa Phase C	ca. 2200 BC – ca. 1900 BC
Period 4	Harappa/Late Harappa Transitional	ca. 1900 BC – ca. 1800 BC(?)
Period 5	Late Harappa Phase	ca. 1800 BC(?) – <1300 BC

https://www.harappa.com/beas/chronology

https://www.harappa.com/beas/general-setting

"Mapping of site features revealed substantial evidence for past activities including foundation walls, streets, a mudbrick platform, and craft activities. Among the small finds at various locations, but not shown on the map, were terracotta animal figurines, carts and wheels; terracotta and shell bangles; chert blades and cores; faience, steatite and terracotta beads; grinding stones and pestle fragments; copper and unworked stone, and lapis lazuli. There also were small concentrations of inscribed sherds (n=34). The images on Figure 5 are from Harappan contexts. Some have only one sign, while others include several. The highest density of inscribed sherds was at the southern edge of the central mound near the kilns and wall traces."

https://www.harappa.com/beas/site-vainiwal

https://www.harappa.com/beas/site-chak-90-12l
Lahoma jar

https://www.harappa.com/beas/mapping-project
https://www.harappa.com/beas/beas-landscape-and-settlement-survey-new

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Indian musicians in Mesopotamia -- Shail Vyas ājakārḥ आजकारः Śiva's bull & algar 'bull lyre'

March 17, 2020, 10:20 pm

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I present a fascinating study by Shail Vyas comparing the Ancient Indian Musical traditions and instruments with those reported from Sumeria & Mesopotamia.

The cognates suggested between Samskrtam and Sumerian words are lexemes for linguists to debate and resolve chronological sequencing. The possibility of some Ancient Indian words being part of the Sumerian substrate cannot be ruled out.

Full text of Shail Vyas' article for download is at:
https://osf.io/preprints/socarxiv/kce5x/?fbclid=IwAR3KE3f_Kp_gfYe9ZGIDMguOc_fOCMuC-LPCdHdKvVATJLGiNM6-pl4BJY4

-- Bull Lyre of Indus Valley and 90 words that Harappans May Have Spoken

Shail Vyas cites the word ājakārḥ आजकारः Śiva's bull and compares it with algar, 'bull lyre' (Sumerian). He also links lilis (Sumerian) musical instrument, kettledrum with lAsya 'boisterous dance' of Samskrtam.

āja-vanjavamu. [Skt.] n. The world, earthly ties. A family. సంసారము. "ఆజవంజవభ్రమాతీత

మార్గుడై." (Chenn. iv. 132.) He who is freed from earthly ties. అజవంజవమాన

మాలిన్యము worldy defilement. The expression आजकारः may be related to this meaning in Telugu expression, making the association of the Cosmic Dancer an experience beyond earthly ties.

Dancing gana.

The association of a metals factory with dance and music is evidenced by 1) the expression: नाचा पाडा nācā pāḍā or -फाडा m See नचा फाडा under न. ह्याला नचा फाडा पाठ आहे He says No to everything; and 2) ganesa and varaha as dancers together with dancing gana on sculptures. नाचा पाडा nācā pāḍā is thus a dance-musical extravaganza in a public metals manufactory, फाडा | celebrating the production of wealth of a nation in metals and lapidary work by artisans, or guilds or gaNa.

Kanchipuram. Temple sculptural frieze.

Badami. Frieze of dancing gana; dance step of Ganesa.

Bull lyre. (Cylinder seal. Grave in Ur Cemetery (PG L054). Two figures in bottom register play a straight clapper or a rattle; a seated figure plays bovine lyre. Top register shows festive banqueters. U. 11904 (Woolley 1934, p5.1.fig.23 Kilmer, Anne Draffkorn (1998) “The Musical Instruments from Ur and Ancient Mesopotamian Music”, Expedition, Volume 40 Issue 2) (After Fig. 8 in Shail Vyas opcit.)

Cylinder seal. Ur. Wild-asses playing arched lyre and clapper; goat playing clapper in front of seated lion.

khara 'onager' rebus khār 'blacksmith'

melh 'goat' rebus: milakkhu 'copper'

kinnōr 'string instrument, harp, lyre' (Hebrew)

ciṅka-c-cuvaṇam சிங்கச்சுவணம் ciṅka-c-cuvaṇam , n. prob. siṃhala + svarṇa. A kind of superior gold; ஒருவகை உயர்தரப் பொன். தீதுதீர் சிறப்பிற் சிங்கச் சுவணமென் றோசைபோகிய வொண்பொன் (பெருங். வத்தவ. 11, 23).
கின்னரி kiṉṉari , n. < kinnarī. 1. A musical instrument smaller than the vīṇai, having two steel strings; யாழ்வகை. கின்னரி வாசிப்பார் (திருப் போ. சந். பிள்ளைத். சிறுபறை. 8). 2. Celestial female chorister; கின்னரசாதிப்பெண். இரண்டுகையுடைய ராகப் கனமானச்செய்த கின்னரிகள் இருவர் (S.I.I. ii, 200).கின்னரம் kiṉṉaram , n. < kinnara. A kind of lute; ஒருவகை யாழ். தந்தங் கின்னரந் தொடுகிலோ மென்றனரே (திவ். பெரியாழ். 3, 6, 5). किं--नर m. " what sort of man? " a mythical being with a human figure and the head of a horse (or with a horse's body and the head of a man S3is3. iv , 38 ; originally perhaps a kind of monkey cf. वा-नर ; in later times (like the नरs) reckoned among the गन्धर्वs or celestial choristers , and celebrated as musicians ; also attached to the service of कुबेर ; (with Jains) one of the eight orders of the व्यन्तरs) Mn. MBh. &c (Monier-Williams)
Image result for lute cylinder seal ur

See:

Indus Script Civilizational journey of tambur, 'lute'. Hebrew kinnōr 'harp' , kinnara 'musical instrument, celestial choristers' https://tinyurl.com/y8a8w2en

A synonym for kinnōr 'harp' is tambura. tumpuru தும்புரு tumpuru, n. < tumburu. 1. A celestial musician; ஒரு கந்தருவன். தும்புரு நாரதர் புகுந்தன ரிவரோ (திவ். திருப்பள்ளி. 8). 2. A kind of lute; ஒருவகை யாழ். தும்புருக் கருவியுங் துன்னி நின் றிசைப்ப (கல்லா. 81). तुम्बुरु m. N. of a pupil of कलापिन् Pa1n2. 4-3 , 104 Ka1s3. ( Ka1r. ) of a गन्धर्व MBh. &c (" attendant of the 5th अर्हत् of the present अवसर्पिणी " Jain. ) n. coriander or the fruit of Diospyros embryopteris (also

°री and तुबरी L. ) Sus3r. iv ; vi , 42 , 67 and (metrically °रू) 118 Pa1n2. 6-1 , 143 Ka1s3.

Source: Fig. 3 of cylinder seal impression from Choga Mish. 4^th millennium BCE. Potters at work are accompanied by hardp players, and other musicians playing clappers?, trumpets and a drum. The narrative includes a person playing a lyre. I suggest that this is an Indus Script hypertext. Hieroglyph: tanbūra 'lyre' Rebus: tam(b)ra 'copper'.

Indus Script hyper texts related to metalwork of the Tin-Bronze Revolutionary Age, from ca. 4th millennium BCE provide evidences of Bhāratīya sprachbund (speech union of Ancient India). Two vivid hieroglyph-multiplexes or hypertexts in Indus Script Corpora are: bull-men (ḍhangar, 'bull') and lyre-players (tambur, 'lyre, harp').

Glyph: tambura ‘harp’; rebus: tambra ‘copper’ (Pkt.) ḍangar ‘bull’ (Hindi) Rebus: ḍhangar ‘blacksmith’ (Hindi).

ḍangur ‘bullock’ (Kashmiri) rebus: bull-men, ḍhangar ‘blacksmith’ (Hindi); tambura 'lyre'-players (harpists) rebus: tāmbarā 'coppersmith' (Oriya) Indus Script Meluhha hypertexts of Ancient Near East.

I suggest that the Urukean lyre/harp and the Lagash plaque are hypertexts to signify the profession of a coppersmith, in the context of metaslwork by artisans/potters. The presence of a lyre/harp in a narrative on Indus Script writing system, is not always to be interpreted as musical accompaniment of smithywork. A cylinder seal impression uses lyre/harp together with other hypertexts such as trumpet-players to signify artisanal life-activities specifying metalwork related to tambra 'copper' and tuttha, 'copper sulphate'.

ḍangur ‘bullock’ (Kashmiri) rebus: bull-men, ḍhangar ‘blacksmith’ (Hindi); tambura 'lyre'-players (harpists) rebus: tāmbarā 'coppersmith' (Oriya) Indus Script Meluhha hypertexts of Ancient Near East.

I suggest that the auditory information processed through cochli are further processed in the deep brain, not only to record and record 'meanings' of the heard sounds, tunes and rhythms, but also to link the auditory data sets with pre-recorded visual data sets evoked by the 'meanings' of heard sounds, tunesand rhythms.

For example, the heard sound of a lyre evokes the image of a lyre. The image of a lyre links with the related semantics: tanbura 'lyre, harp' rebus: tambra 'copper'.

Thus, when a person receives an Indus Script hypertext object containing the hieroglyph the visual sensory neuronal sets related to tanbura 'lyre, harp', are spontaneously evoke (or trigger or activate) the data sets of auditory neuronal sets of networks which recollect or record the heard sounds and understand the 'meaning' of the sounds, in the context of Meluhhan life-activity of working with coppersmithy or copper metalwork.

The recipient of auditory and visual sensor information from the sound of a tanbura or the visual information or image of a tanbura (say, on a cylinder seal) are somehow linked. This linkage of auditory and visual data sets (in neuronal networks) results in an understanding of 'meaning' by the relational datasets of neuronal networks related to the recipient's life experience of heard tanbura sounds and seen images of tanbura lyre or harp.
Thus, when a recipient hears a tanbura or sees an image of a tambura (say, from a cylinder seal impression) or recollects the related image visual/auditory sensory networks from memory, the life-activity of cognate sound: tambra 'copper' is flashed as meaning of the sensory experience related to earlier life-experience working with copper metal.

This is a possible neuroscience process to explain the rebus principle in Indus Script cipher which links visual form and life-function related to a wealth-producing activity of metalwork.

The (bursting forth) of the sound sequence 'tambura' recollected from neuronal networks results in the instantaneous recognition of 'meaning' associated with 1. lyre/harp as a musical instrument and 2. rebus tambra as a copper smithy life-activity.

This is a falsifiable hypothesis suggesting a functional neuroscience model of brain activity, within the deep structures of the brain linking audotory, visual and memory data sets related to the wealth-giving meaning set: tambra 'copper'.

It is suggested the lyre/harp is a hypertext to signify the profession of a coppersmith, in the context of metaslwork by artisans/potters. The presence of a lyre/harp in a narrative on Indus Script writing system, is not always to be interpreted as musical accompaniment of smithywork. A cylinder seal impression uses lyre/harp together with other hypertexts such as trumpet-players to signify artisanal life-activities specifying metalwork related to tambra 'copper' and tuttha, 'copper sulphate'.

Tanbur, a long-necked, string instrument originating in the Southern or Central Asia (Mesopotamia and Persia/Iran)

Iranian tanbur (Kurdish tanbur), used in Yarsan rituals

Turkish tambur, instrument played in Turkey

Yaylı tambur, also played in Turkey

Tanpura, a drone instrument played in India

Tambura (instrument), played in Balkan peninsula

Tamburica, any member of a family of long-necked lutes popular in Eastern and Central Europe

Tambouras, played in Greece

Tanbūra (lyre), played in East Africa and the Middle East

Dombra, instrument in Kazakhstan, Siberia, and Mongolia

Domra, Russian instrument

A bronze four sided stand showing a man carrying a copper ox-hide ingot and tree. 12th Century BC, possibly from Kourion, British Museum. The same stand also portrays a lyre-player. "There is evidence to suggest that copper was initially smelted into rough products - bars and ox-hide ingots - close to the mines. This was then transported for further refinement and working to the coastal settlements.

Ceremonial bronze stand, possibly Kourion, Cyprus. Shows a man carrying an oxhide ingot towards a tree, and another playing a Lyre. "Bronze tools and weapons were cast in double moulds. The cire perdue process was evidently employed for the sockets of the fine decorated spear-heads of the Late Minoan period. Copper was available in some parts of Crete, notably in the Asterousi mountains which border the Mesara plain on the south, but it may have been imported from Cyprus as well. The standard type of ingot found throughout the East Mediterranean in the Late Bronze Age was about two or three feet long, with inward-curving sides and projections for a man to grasp as he carried it on his shoulder. Smaller bun-shaped ingots were also in use." (Sinclair Hood, 1971, The Minoans: Crete in the Bronze Age, Thames and Hudson, p. 106)

OIM A12417, stone plaque, Mesopotamia, Iraq

"The top register of this plaque shows a seated man and woman celebrating an unidentified event or ritual by participating in a banquet. Two servants attend them while others bring a jar (probably filled with beer), an animal to be slaughtered, and other edibles carried in bundles on their heads. Musicians and dancers in the bottom register add to the festivities.

Plaques such as this were part of a door-locking system for important buildings. The plaque was embedded in the doorjamb and a peg, inserted into the central perforation, was used to hold a hook or cord that secured the door and was covered with clay impressed by one or more seals." https://oi.uchicago.edu/collections/highlights/highlights-collection-mesopotamia

Sumerian bull-lyre. Mesopotamia One-horned young bull is the face of the lyre (Third register)

Indus Script hieroglyphs on the lyre have been deciphered at: khara 'onager' rebus khār 'blacksmith' plays the large bull-headed lyre of Ur, c. 2600 BCE. Indus Script hypertext deciphered https://tinyurl.com/y6zvg9st

Drummer. Harappa tablets.
I suggest a rebus Santali Meluhha reading: mōṝẽ jasta, sattva 'five svastika' rebus: mōṝẽ jasta, sattva 'zinc assembly'. Drummer hiroglyph is a semantic determinative: mandari 'drummer' munda 'Toda village or assembly' mondir 'temple'; maṇḍā 'warehouse, workshop' (Konkani).

This monograph demonstrates that the hypertext combination of 1. five svastika; 2. drummer;'and 3.tiger signifies kol 'alloy of five metals', mōṝẽ 'five', mondir
'temple'. mẽṛhẽt 'metal (iron)' Related text message signifies मृदु mṛdu, mẽṛhẽt,
meḍ 'metal'. Thus, kol mẽṛhẽt is an expression which is a wealth-accounting, metalwork ledger of kolhe 'smelter' producing jasta, sattva 'svastika' rebus: jasta, sattva 'zinc' PLUS mẽṛhẽt 'metal (iron)' mondir 'temple'.

-- kol 'tiger' rebus kol 'alloy of five metals' kol 'working in iron', five, mōṝẽ svastika Indus Script hypertext signifies assembly, mondir temple
--Tiger, drummer, five svastika signify mōṝẽ 'five' rebus mandari 'drummer' munda 'Toda village or assembly' mondir 'temple'.
(p.55 ibid.)

आजकार पु० अजस्यायमाजः कारो यस्य । शिववृषे त्रि-पुरासुरबघकाले विष्णुना वृषभकृत्यकरणात् तस्य तथात्वम्यथा । “अथ विष्णुर्महायोगी सर्व्वतोऽदृश्यतत्त्वतः ।वृषरूपं समास्थाय प्रोज्जहार रथोत्तमम् । समा-क्तान्तं देवगणैः समग्रबलपौरुषैः । लवांस्तोलयित्वा तुविषाणाभ्यां महावलः । ननाद प्राणयोगेन मथ्यभानइवार्ण्णवः । तृतीयं वायुविषयं समाक्रम् य विषाणवान् ।ननाद वतवात्रादं समुद्र इव पर्व्वणि” हरि० ३२४ अ० ।

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

आजकारः, पुं, (आज + कृ + अण्) शिववृषः ।इति शब्दरत्नावली

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

āja ʻ pertaining to goats ʼ ĀśvGr̥., ʻ *goat's milk ʼ. [ājaka -- n. ʻ flock of goats ʼ: ajá -- ](CDIAL 1089) ajá m. ʻ goat ʼ, ajāˊ -- f. RV., ajakā -- , -- ikā -- f. ʻ small or young goat ʼ Pāṇ.Pa. aja -- , ˚aka -- m., ajikā -- , ˚iyā -- f., Pk. aya -- m., ayā -- f., Aś. ajake m., ˚kā f., Shum. ū̃ī f. (NOGaw 37 < *ajanikā -- q.v.), Sh. ai f., S. aī f.; Si. ada ʻ goat, ram ʼ. There is considerable confusion of meaning between ʻ goat ʼ and ʻ sheep ʼ, and phonet. the Shum. Sh. S. forms may represent aví -- , avikāˊ -- . There is a similar confusion in their cmpds. But Sh. bro. ā ʻ she -- goat ʼ < ajāˊ -- .(CDIAL 145) āˊjati ʻ drives toward, comes toward ʼ RV. [√aj] Si. adanavā ʻ to draw ʼ, pp. ädi < ājita -- (not with Geiger GS 22 < ájati, cf. Pa. ajati, Pk. ajia -- ).(CDIAL 1090)

(p.26-27 ibid.)

(pp. 22, 23 ibid.)

लास्य n. dancing , a dance (esp. accompanied with instrumental music and singing) , a dance representing the emotions of love dramatically (this was at one time a principal part of the drama , and as such accord. to भरत and the दश-रूप consisted of 10 divisions or अङ्गs , viz. गेय-पद , स्थित-पाठ्य , आसीन , पुष्प-गण्डिका , प्रच्छेदक , त्रि-गूढ or त्रि-मूढक , सैन्धव , द्विगूढक or विमूढक , उत्तम्/ओत्तमक , and उक्त-प्रत्युक्त ; including also a style of dramatic composition in which there is abrupt transition from Sanskrit to Prakrit and from Prakrit to Sanskrit ; the term लास्य is also applied to the Nach [Nautch] dance of the Indian dancing girls , consisting chiefly of gesticulation with a shuffling movement of the feet forwards and backwards , as invented by पार्वति and opposed to the boisterous masculine dance called ताण्डव practised by शिव and his followers ; cf. IW. 467) MBh. Ka1v. &c; लास्या 'a dancing girl' (Monier-Williams)

līlā लीला [ली-क्विप् लियं लाति ला-क वा Tv.] 1 Play, sport, pastime, diversion, pleasure, amusement; क्लमं ययौ कन्दुक- लीलयापि या Ku.5.19; oft. used as the first member of comp.; लीलाकमलम्, लीलाशुकः &c. -2 Amorous pastime, wanton, amorous or playful sport; उत्सृष्टलीलागतिः R.7. 7;4.22;5.7; क्षुभ्यन्ति प्रसभमहो विनापि हेतोर्लीलाभिः किमु सति -कारणे रमण्यः Śi.8.24; Me.37; (लीला in this sense is thus explained by उज्जवलमणि:अप्राप्तवल्लभसमागमनायिकायाः सख्याः पुरो$त्र निजचित्तविनोदबुद्ध्या । आलापवेशगतिहास्यविलोकनाद्यैः प्राणेश्वरानुकृतिमाफलयन्ति लीलाम् ॥) -नटनम्, -नृत्यम् a sportive dance. (Apte)

Abstract

[quote] Human is a musical creature. It is seen ubiquitously through times and spaces that a certain percentage of human population is always musically inclined irrespective of their profession. Music is also an integral part of many social activities humans observe like religious practices, marriages, deaths and what more. Due to the possible presence of Harappan population in Mesopotamia, it may be surmised that a number of Harappan musicians and some of their musical instruments could also have reached there. In this investigation, crucial help could also come from the fact that many a times, names of musical instruments travel with them. On account of a very likely possibility of such an occurrence, a study of archaeological and Sumerian textual records in Mesopotamia was strongly suggestive of a significant presence of Harappan musicians and musical instruments in Mesopotamia. In fact, study of Sumerian text has shown that about 30 musical terminologies out of a total of nearly 60, in the categories such as names of instruments, singers, names of tunes/songs and even musical notations etc. in Pennsylvania Sumerian Dictionary are found to be both phonetically and semantically very similar to ancient Indian terms with some “Sumerianization”. The study also demonstrated certain patterns in the way words were sumerianized, suggesting the possibility of active human involvement in the process. The translators or interpreters of Meluhhan language are well known to be present in Mesopotamia through archaeological records. To verify the data, other words were studied based on the patterns obtained from musical terminologies from the areas that are related to Harappan presence in Mesopotamia; which yielded many more positive results. In fact, a total of 90 such words are found till now, which are reported here. Furthermore, the study of iconography in Mesopotamian archaeological records has also shown very compelling parallels in musical traditions. Importantly, it predicted a possibility of a Harappan lyre, shaped realistically like a bull, that may have travelled from Indus to Mesopotamia and evolved there in local styles in the forms as found in the Royal Cemetery of Ur. [unquote]

Vyas, S. (2020, March 11). Indus Musicians in Mesopotamia. https://doi.org/10.31235/osf.io/kce5x

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Itihāsa. Saindhavi भैक्षुकी Script -- Dragomir Dimitrov (2020). A syllabic writing system unrelated to Indus Script

March 18, 2020, 10:20 pm

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≪ Previous: Indian musicians in Mesopotamia -- Shail Vyas ājakārḥ आजकारः Śiva's bull & algar 'bull lyre'

https://tinyurl.com/raqmx27

Upfront, the author, Dragomir Dimitrov makes a disclaimer that this Saindhavi Script is exclusively used by Buddhists and has NOTHING TO DO with Indus Script or ancient culture of Sarasvati-Sindhu Civilization. Saindhavi is also called भैक्षुकी | This is a Brahmi-based abugida -type syllabic script was used around the 11th and 12th centuries CE. It used to be known in English as the "Arrow-Headed Script" or "Point-Headed Script," while an older designation, "Sindhura," had been used in Tibet for at least three centuries. (Pandey, Anshuman; Dimitrov, Dragomir (2014-04-23)-- "N4573: Final Proposal to Encode the Bhaiksuki Script in ISO/IEC 10646"). Sister systems are Sharada and Devanagari. The script structure for syllables may be seen at

https://www.unicode.org/charts/PDF/U11C00.pdf

I could not identify any orthographic similarities between this point-headed script and Indus Script Corpora of pictorial motifs and signs which together are Indus Script hieroglyphs. The roots of orthography of Brahmi are still a mystery to be unraveled.

I submit that decipherers such as Prof. Subhash Kak and Prof. SR Rao are wrong in assuming derivation of Brahmi orthography from Indus Script because the two scripts are uniquely based: Brahmi Script is syllabic while Indus Script is logographic.

I couldn't trace any of the logragraphs read rebus in Meluhha with the syllables signified by the Saindhavi or Brahmi scripts.

“In order to avoid any potential misunderstanding, I should point out straight away that the present book does not deal in any conceivable way with the so-called «Indus script» of the Indus Valley Civilization. I had to use the name «Saindhaviı» on numerous occasions in this study,even though the script and scriptures which form the main subject of this book have nothing to do with the ancient culture of Harappa and Mohenjo-daro and despite the fact that some Indian scholars refer to the symbols on the seals discovered in the Indus valley by using the name «Saindhavı lipi» or «Sindhulipi» (i. e., Saindhavı or Sindhu script). Unlike the enigmatic symbol system of the Indus civilization, the curious

script to be discussed in the following pages has never posed any serious

problems of decipherment. Its discoverer Cecil Bendallread it without

much ado immediately after he came across two rare specimens of it in

Kathmandu and Calcutta some ten years after the first Harappan seals had

been unearthed in the early 1870s.Bendall initially described the script

as «arrow-headed or point-headed character» and then, following a hint

he had once given, most later scholars started calling it «Bhaiksukı». Since

this script appears indeed to have been used exclusively by Buddhists,

and its original name was rather «Saindhavi>...” (p.1)

↧

Historic discovery at Dholavira of proclamation of Sarasvati-Sindhu Civilization: arka sal khũt kammasālā 'goldsmith community guild workshop'

March 19, 2020, 5:57 am

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https://tinyurl.com/wmoovpw

This is a tribute to the artisans of Dholavira who discovered the Indus Script Rosetta stone. The discovery moments of 1999 have been recorded in video. I deem it a privilege to present the video and explain the decipherment. The Dholavira signboard proclamation is a defining moment documenting the wealth creation for a nation,ca. 3rd millennium BCE.

Indus Script Rosetta stone discovered at Dholavira (6:01)

The Rosetta stone, the signboard message has been deciphered. See:

Deciphered Dholavira signboard reconstructed on Northern Gate, proclaims metalwork repertoire of artisans in workshops.

https://tinyurl.com/s4qwgft

The language is Meluhha, Indian sprachbund, 'speech union', the language of the Meluhha merchant shown on Shu-ilishu cylinder seal.Dholavira a great city in indus valley civilization. Ten Indus characters from the northern gate of Dholavira, dubbed the Dholavira Signboard. https://www.facebook.com/groups/416065382227600/ I am thankful to प्राचीनभारत for this reconstruction of the northern gateway into Dholavira.showing the possible placement of the famous Signboard. Decipherment shows that it is a proclamation of the competence of artisans of Dholavira. Thus, it is the first signboard of a workshop in civilizational history. Image result for dholavira signboard bharatkalyan97

Image result for dholavira signboard bharatkalyan97

The proclamation is composed with set pieces of the mineral gypsum to form ten large symbols or letters on a big wooden board. Each sign is about 37 cm (15 in) high and the board on which letters were inscribed was about 3 m (9.8 ft) long. This length of the signboard matches the length of the Dholavira North Gateway

.The signboard proclamation is presented and deciphered in 3 segments.

Segment 1

Rebus reading Signs 391 and 256: arka sal khũt 'goldsmith workshop guild' PLUS Rebus reading Sign 327: khār sāl kammaṭa 'blacksmith, workshop, mint'.

arka sal'gold, metal infusion workshop'

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

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

Sign 327 Hieroglyph: kamaṛkom 'fig leaf, ficus religiosa' rebus: kamaṛ, kammaṭa 'blacksmith,mint'. khār sāl kammaṭa 'blacksmith, workshop, mint'.

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

Hieroglyph: khuṇṭa ’peg'; rebus: kūṭa ‘workshop’ khũṭi = pin (M.) kuṭi= smelter furnace (Santali) Rebus: khoṭa 'ingot, wedge'. [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. (Marathi).

*khuṇṭha ʻ defective ʼ. [See list s.v. kuṇṭha -- ]P. khuṇḍh m. ʻ stump, old man ʼ, khuṇḍhā ʻ blunt ʼ; Or. khuṇṭa, ˚ṭā ʻ withered branch ʼ; OG. khuṁṭa ʻ impotent, eunuch ʼ, G. khũṭṛɔ m. ʻ entire bull used for agriculture but not for breeding ʼ, (Kathiawar) khũṭ m. ʻ Brahmani bull ʼ.*khuṇṭhahala -- .Addenda: *khuṇṭha -- : S.kcch. khūṇḍh ʻ slow -- witted ʼ; WPah.kṭg. khv́ṇḍh m. ʻ any object broken into pieces, stump ʼ; khv́ṇḍhṇõ ʻ to break, pinch ʼ (see also *khuṇṭati s.v. khuṭati Add2); Garh. khuṇḍu ʻ blunted ʼ.*khuṇṭhahala ʻ worn or blunt plough ʼ [*khuṇṭha -- , halá -- ]Bi. (Shahabad) khũṭehrā ʻ plough with small worn block ʼ.(CDIAL 3899, 3900) *khuṭṭa1 ʻ peg, post ʼ. 2. *khuṇṭa -- 1. [Same as *khuṭṭa -- 2? -- See also kṣōḍa -- .]1. Ku. khuṭī ʻ peg ʼ; N. khuṭnu ʻ to stitch ʼ (der. *khuṭ ʻ pin ʼ as khilnu from khil s.v. khīˊla -- ); Mth. khuṭā ʻ peg, post ʼ; H. khūṭā m. ʻ peg, stump ʼ; Marw. khuṭī f. ʻ peg ʼ; M. khuṭā m. ʻ post ʼ.2. Pk. khuṁṭa -- , khoṁṭaya -- m. ʻ peg, post ʼ; Dm. kuṇḍa ʻ peg for fastening yoke to plough -- pole ʼ; L. khū̃ḍī f. ʻ drum -- stick ʼ; P. khuṇḍ, ˚ḍā m. ʻ peg, stump ʼ; WPah. rudh. khuṇḍ ʻ tethering peg or post ʼ; A. khũṭā ʻ post ʼ, ˚ṭi ʻ peg ʼ; B. khũṭā, ˚ṭi ʻ wooden post, stake, pin, wedge ʼ; Or. khuṇṭa, ˚ṭā ʻ pillar, post ʼ; Bi. (with -- ḍa -- ) khũṭrā, ˚rī ʻ posts about one foot high rising from body of cart ʼ; H. khū̃ṭā m. ʻ stump, log ʼ, ˚ṭī f. ʻ small peg ʼ (→ P. khū̃ṭā m., ˚ṭī f. ʻ stake, peg ʼ); G. khū̃ṭ f. ʻ landmark ʼ, khũṭɔ m., ˚ṭī f. ʻ peg ʼ, ˚ṭũ n. ʻ stump ʼ, ˚ṭiyũ n. ʻ upright support in frame of wagon ʼ, khū̃ṭṛũ n. ʻ half -- burnt piece of fuel ʼ; M. khũṭ m. ʻ stump of tree, pile in river, grume on teat ʼ (semant. cf. kīla -- 1 s.v. *khila -- 2), khũṭā m. ʻ stake ʼ, ˚ṭī f. ʻ wooden pin ʼ, khũṭaḷṇẽ ʻ to dibble ʼ.Addenda: *khuṭṭa -- 1. 2. *khuṇṭa -- 1: WPah.kṭg. khv́ndɔ ʻ pole for fencing or piling grass round ʼ (Him.I 35 nd poss. wrong for ṇḍ); J. khuṇḍā m. ʻ peg to fasten cattle to ʼ. *khuṭṭa2 ʻ leg ʼ. [Perh. same as *khuṭṭa -- 1 ʻ peg ʼ, but see word -- group s.v. *kuṭṭha -- ]Ku. khuṭo ʻ leg, foot ʼ, ˚ṭī ʻ goat's leg ʼ; N. khuṭo ʻ leg, foot ʼ, khuṛkilo ʻ ladder ʼ (< *khuṭ+kilo ʻ peg ʼ < kīla -- 1).*khuṭṭa -- 3 ʻ lame ʼ see khōra -- 1.Addenda: *khuṭṭa -- 2: WPah.poet. khvṭe f. ʻ leg (of a domestic animal) ʼ; J. khuṭi f.pl. ʻ legs ʼ; Garh. khuṭu ʻ foot ʼ.(CDIAL 3893, 3894)

Rebus: khũt 'community, society' (Santali) kūṭa 'assembly' (Kannada) goṭ 'assembly' (Hindi)

Ta. kūṭu (kūṭi-) to come together, join, meet, assemble, combine, become conciliated, be stored up, happen, associate, cohabit, arrive at, be possible, be fit, proper, be achieved; kūṭa together with, in addition to; kūṭal joining, sexual union; kūṭutal, kūṭutalai success; kūṭṭu (kūṭṭi-) to unite (tr.), join, combine, mingle, add, convoke (an assembly); n. fellowship, assistance, relationship, throng, illicit intercourse, mixture; kūṭṭam union, meeting, crowd, group, association, kindred, companions, battle, sexual intercourse; kūṭṭar companions, members of same clan or tribe; kūṭṭal uniting, seeking the alliance of powerful kings; kūṭṭāḷāṉ, kūṭṭāḷi associate, partner in trade. Ma. kūṭuka to come together, meet, join, befall, be added, be possible; kūṭa, kūṭi along with; kūṭṭuka to bring together, join, heap up, add, acknowledge as belonging to the caste or family, make to pass; kūṭṭu joining, fellowship, mixture, agreement; kūṭṭam assembly, flock, heap, caste, assembly, court, quarrel; kūṭṭar companions, of the same class; kūṭṭāḷan, kūṭṭāḷi associate, one of a crowd. Ko. ku·ṛ- (ku·c-) to join (intr.), gather, meet, assemble, (cows) enter shed, (day) comes close at hand, (wound) heals; ku·ṭ- (ku·c-) to make to join, summon (a meeting), gather (tr.), shut in (cattle); ku·ṭm (obl.ku·ṭt-) meeting, conversation; ko·ṭ a·ḷ intimate male friend, woman's lover, man who has a mistress; ko·ṭa·cintimate female friend, man's mistress. To. ku·ṛ- (ku·ṛy-) to join (intr.), have intercourse with, finish (doing so-and-so); ku·ṭ- (ku·ṭy-) to join (tr.), close (eye); ku·ḍ- (ku·ḍy-) (others than Todas) marry; ku·ṭm (obl. ku·ḍt-)meeting of assembly, dispute; mu·ku·ṛ- (mu·ku·ṛy-) to meet (of persons, rivers); mu·ku·ṭ- (mu·ku·ṭy-) to cause to meet (see 5031). Ka. kūḍu to join (intr.), unite, come together, be endowed with, be possible, be fit, take place, have sexual intercourse, add; n. joining, association, company; kūḍa along with; kūḍal state of being joined with or endowed with, junction; kūḍike, kūḍuvike joining, meeting, junction; kūḍuha meeting, union; kūḍudale success, prosperity; kūḍisu, kūḍasu to join (tr.), mix, amass; kūṭa joining, connexion, assembly, crowd, heap, fellowship, sexual intercourse; kūrisu to join (tr., as two pieces of wood); kūru a tenon. Koḍ.ku·ḍ- (ku·ḍi-) to join with others, gather, be inserted; ku·ṭ- (ku·ṭi-) to join (others) with oneself, insert; ku·ṭaquarrel, dispute, panchayat; ku·ṭï gathering, assembly. Tu. kūḍuni to join (tr.), unite, copulate, embrace, adopt; meet (intr.), assemble, gather, be mingled, be possible; kūḍisuni to add; kūḍāvuni, kūḍisāvuni to join, connect, collect, amass, mix; kūṭuni, kūṇṭuni to mix, mingle (tr.); kūḍa along with; kūḍigè joining, union, collection, assemblage, storing, mixing; kūṭa assembly, meeting, mixture. Te. kūḍu to meet (tr.), join, associate with, copulate with, add together; meet (intr.), join, agree, gather, collect, be proper; kūḍali, kūḍika joining, meeting, junction; kūḍa along with; kūḍani wrong, improper; kūḍami impropriety; kūṭamu heap, assembly, conspiracy; kūṭuva, kūṭuvu heap, collection, army; kūṭami meeting, union, copulation; kūṭakamu addition, mixture; kūr(u)cu to join, unite, bring together, amass, collect; caus. kūrpincu; kūrpu joining, uniting. Kol. (Kin.) kūṛ pāv meeting of ways (pāv way, path). Pa. kūṛ er- to assemble. Go. (S.) kūṛ- to join; (Mu.) gūḍ- to assemble (Voc. 833); (M.) guṛnā to swarm (Voc. 1160). Konḍa kūṛ- (-it-) to join, meet, assemble, come together; kūṛp- to mix (cereals, etc.), join or put together, collect; kūṛaŋa together. Pe. kūṛā- (kūṛa ā-) to assemble. Kuwi (Su.) kūṛ- id.; (Isr.) kūṛa ā- to gather together (intr.); kūṛi ki- to collect (tr.); (S.) kūḍi kīnai to gather; kūṛcinai to collect. Kur. xōṇḍnā to bring together, collect into one place, gather, wrinkle (e.g. the nose), multiply in imagination; xōṇḍrnā to meet or come together, be brought into the company of. (DEDR 1882) gōṣṭhī f. ʻ assembly, meeting place ʼ MBh. [gōṣṭhá -- ]Pk. goṭṭhī -- , guṭ˚ f. ʻ assembly ʼ; P. goṭh f. ʻ a partic. position in sitting ʼ; Or. goṭhi ʻ assembly ʼ; Mth. goṭh ʻ squatting on the hams ʼ; H. goṭ f. ʻ assembly ʼ; G. goṭh f. ʻ secret and confidential talk ʼ (whence goṭhiyɔ m. ʻ friend ʼ); M. goṭh f. ʻ conversation, tale ʼ.(CDIAL 4339).

Segment 2

څرخ ṯs̱arḵẖ, s.m. (2nd) ( P چرخ ). 2. A wheeled-carriage, a gun-carriage, a cart. Pl. څرخونه ṯs̱arḵẖūnah (Pashto). Rebus: अर्क 'the sun, copper', agasāla 'goldsmith workshop'.

Sign 261 is a variant of

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

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

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

Sign 86 koḍa 'one' Rebus: koḍ 'iron workshop'.

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

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

Variant of Sign 261 is a square

is read as mũh 'metal ingot'

This Sign 261 is ligatured with inverted ^ sign which signifies the semantics of kanac 'corner' rebus: kancu 'bell-metal'. kaṁsá 1 m. ʻ metal cup ʼ AV., m.n. ʻ bell -- metal '. Thus, Sign 261 is read as: kancu ʼmũh 'bell-metal ingot'.

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

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

Segment 3

څرخ ṯs̱arḵẖ, s.m. (2nd) ( P چرخ ). 2. A wheeled-carriage, a gun-carriage, a cart. Pl. څرخونه ṯs̱arḵẖūnah (Pashto). Rebus: अर्क 'the sun, copper', agasāla 'goldsmith workshop'. Alternative:

PLUS dula 'two, pair' rebus: dul 'metal casting' PLUS eraka, arā 'nave of wheel, spoke' rebus: eraka moltencast, arā 'brass'

Variants of Sign 53

ḍato 'claws or pincers (chelae) of crabs'; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhatu 'mineral' (Santali) ḍato 'claws or pincers (chelae) of crab Rebus: dhatu 'mineral' (Santali) Alternative: kāru pincers, tongs. Rebus: khār खार् 'blacksmith'

Thus, segment 3 reads together: goldsmith, blacksmith workshop (metalcasting moltencast brass) minerals.

Notes on unique ligatures of script signs

In Indus Script Corpora, there are two hypertexts 'having (two) ears' as superscripts on Signs 325, 326 and 327. The two 'ears' superscripted have unique and distinctive orthography. One ear is shaped like an arrow or ear of a mammal. The other ear is shaped with three short linear strokes in a cartouche.

The arrow superscript signifies कारणी or कारणीक kāraṇī, kāraṇīka 'supercargo'; variant: kāra 'ears';Rebus: khār 'blacksmith'. The three linear strokes signify cāl 'furrow' rebus: sāl 'workshop'. Together, the two ligatures on Sign 327 are read as: kāra 'ear' PLUS cāl 'furrow' Rebus: khār 'blacksmith' PLUS sāl 'workshop'.

The ficus leaf on which the two ligatures are affixed is read rebus: loa 'ficus' rebus: loh 'copper,metal' AND kamaṛkom 'fig leaf, ficus religiosa' rebus: kamaṛ, kammaṭa 'blacksmith,mint'.

Together, the hypertext Sign 327 is read rebus: khār sāl kammaṭa 'blacksmith, workshop, mint'.

Hypertext: kāra 'ear' PLUS cāl 'furrow' PLUS kamaṛkom 'fig leaf, ficus religiosa'

Rebus: khār 'blacksmith' PLUS sāl 'workshop' PLUS kammaṭa 'mint'.

Text m1244 (On this inscription, the Sign 254 is composed of three linear strokes circumscribed by two 'notches'; this Sign 254 is comparable to one of the two ligatures on Sign 51 and Sign 327.

Sign 254 Orthography of two notches PLUS three horizontal lines: Sign 254 Two notches PLUS three horizontal lines: dula 'pair' rebus: dul 'metal casting' PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) rebus: khaṇḍa 'equipment' PLUS kolom 'three' rebus: kolimi 'smithy, forge'. Thus dul khaṇḍa kolimi 'cast equipment smithy, forge'. Alternatively, sign 254 can be read as a variant reading of cāl 'furrow' Rebus: sāl 'workshop'.Ta. cāl furrow in ploughing, track of a sower while passing and repassing in sowing; cālai street, avenue, road. Ma. cāl furrow, channel, track, line, direction. Ko. ca·l furrow. To. so·l id. Ka. sāl a continuous line, a furrow. Koḍ. ca·llï line, furrow, one complete ploughing of a field, people related in any way by descent. Tu. sālů line, row, furrow. Te. cālu id., groove, track; cālupu line, row, series. Ga. (S.3) sālu furrow made by plough. Go. (Ko.) āl furrow (< Te.; Voc. 140). Konḍa (BB, 1972) sāl id. (DEDR 2471) Rebus: śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xāl, xāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed, (CDIAL 12414)

V326 (Orthographic variants of Sign 326)

V327 (Orthographic variants of Sign 327)loa = a species of fig tree, ficus glomerata, the fruit of ficus glomerata

(Santali) Vikalpa: kamaṛkom ‘ficus’ (Santali); rebus: kampaṭṭam ‘mint’ (Ta.) patra ‘leaf’ (Skt.); rebus: paṭṭarai ‘workshop’ (Ta.) Rebus: lo ‘iron’ (Assamese, Bengali); loa ‘iron’ (Gypsy) lauha = made of copper or iron (Gr.S'r.); metal, iron (Skt.); lohakāra = coppersmith, ironsmith (Pali); lohāra = blacksmith (Pt.); lohal.a (Or.); loha = metal, esp. copper or bronze (Pali); copper (VS.); loho, lo_ = metal, ore, iron (Si.) loha luṭi = iron utensils and implements (Santali)

Kalibangan seal. Ficus leaf atop the summit of a mountain range.

Ficus glomerata: loa, kamat.ha = ficus glomerata (Santali); rebus: loha = iron, metal (Skt.) kamat.amu, kammat.amu = portable furnace for melting precious metals (Te.) kammat.i_d.u = a goldsmith, a silversmith (Te.) kampat.t.tam coinage coin (Ta.);kammat.t.am kammit.t.am coinage, mint (Ma.); kammat.a id.; kammat.i a coiner (Ka.)(DEDR 1236) ḍāṅgā 'mountain' rebus: ṭhākur, dhangar 'blacksmith'. Nepali. ḍāṅro ʻterm of contempt for a blacksmithʼ(CDIAL 5524)

Sumerian cylinder seal showing flanking goats with hooves on tree and/or mountain. Uruk period. (After Joyce Burstein in: Katherine Anne Harper, Robert L. Brown, 2002, The roots of tantra, SUNY Press, p.100)Hence, two goats + mountain glyph reads rebus: meḍ kundār 'iron turner'. Leaf on mountain: kamaṛkom 'petiole of leaf'; rebus: kampaṭṭam 'mint'. loa = a species of fig tree, ficus glomerata, the fruit of ficus glomerata (Santali) Rebus: lo ‘iron’ (Assamese, Bengali); loa ‘iron’ (Gypsy). The glyphic composition is read rebus: meḍ loa kundār 'iron turner mint'. kundavum = manger, a hayrick (G.) Rebus: kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295) This rebus reading may explain the hayrick glyph shown on the sodagor 'merchant, trader' seal surrounded by four animals.Two antelopes are put next to the hayrick on the platform of the seal on which the horned person is seated. mlekh 'goat' (Br.); rebus: milakku 'copper' (Pali); mleccha 'copper' (Skt.) Thus, the composition of glyphs on the platform: pair of antelopes + pair of hayricks read rebus: milakku kundār 'copper turner'. Thus the seal is a framework of glyphic compositions to describe the repertoire of a brazier-mint, 'one who works in brass or makes brass articles' and 'a mint'. Markhor:mēṇḍha2 m. ʻ ram ʼ, °aka -- , mēṇḍa -- 4, miṇḍha -- 2, °aka -- , mēṭha -- 2, mēṇḍhra -- , mēḍhra -- 2, °aka -- m. lex. 2. *mēṇṭha- (mēṭha -- m. lex.). 3. *mējjha -- . [r -- forms (which are not attested in NIA.) are due to further sanskritization of a loan -- word prob. of Austro -- as. origin (EWA ii 682 with lit.) and perh. related to the group s.v. bhēḍra -- ]1. Pa. meṇḍa -- m. ʻ ram ʼ, °aka -- ʻ made of a ram's horn (e.g. a bow) ʼ; Pk. meḍḍha -- , meṁḍha -- (°ḍhī -- f.), °ṁḍa -- , miṁḍha -- (°dhiā -- f.), °aga -- m. ʻ ram ʼ, Dm. Gaw. miṇ Kal.rumb. amŕn/aŕə ʻ sheep ʼ (a -- ?); Bshk. mināˊl ʻ ram ʼ; Tor. miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ; Chil. mindh*ll ʻ ram ʼ AO xviii 244 (dh!), Sv. yēṛo -- miṇ; Phal. miṇḍ, miṇ ʻ ram ʼ, miṇḍṓl m. ʻ yearling lamb, gimmer ʼ; P. mẽḍhā m., °ḍhī f., ludh. mīḍḍhā, mī˜ḍhā m.; N. meṛho, meṛo ʻ ram for sacrifice ʼ; A. mersāg ʻ ram ʼ ( -- sāg < *chāgya -- ?), B. meṛā m., °ṛi f., Or. meṇḍhā, °ḍā m., °ḍhi f., H. meṛh, meṛhā, mẽḍhā m., G. mẽḍhɔ, M. mẽḍhā m., Si. mäḍayā.2. Pk. meṁṭhī -- f. ʻ sheep ʼ; H. meṭhā m. ʻ ram ʼ.3. H. mejhukā m. ʻ ram ʼ.*mēṇḍharūpa -- , mēḍhraśr̥ṅgī -- .Addenda: mēṇḍha -- 2: A. also mer (phonet. mer) ʻ ram (CDIAL 10310) Rebus; मृदु mṛdu, mẽṛhẽt, meḍ 'iron' (Sanskrit.Santali.Mu.Ho.); med 'copper' (Slavic).

Sign 327 is Sign 320 ligatured with kāra 'ears'; thus, reads, lōhakāra 'ironsmith, blacksmith'.Sign 232 is Sign 320 ligatured to a mountain-range: dang 'mountain range' rebus: dhangar 'blacksmith' (Semantic determinative) since loa 'ficus glomerata' rebus; loh 'copper, metal'.I submit that the ligatures unique to Sign 51 and Sign 327 signify *kāra6 ʻ ear ʼ. [Connexion with kárṇa -- is not clear]Wg. kār ʻ ear ʼ (← Kho. kār), Kt. kōr, Dm. kâar Morgenstierne FestskrBroch 150, NTS xii 173; -- Ash. karmuṭäˊ ʻ ear ʼ, Kt. karmútə ʻ lobe of ear ʼ, Gaw. kumtak ʻ ear ʼ NTS ii 261 (or poss. all three < karṇapattraka -- ).kāra -- 7 m. ʻ tax ʼ see kara -- 2.Addenda: *kāra -- 6: Kho. kār ʻ ear ʼ certainly not ← Wg. BKhoT 69.(CDIAL 3056) Rebus: khār 'blacksmith'
When 'ears' are ligatured to ficus glomerata, the expression is: loa 'ficus glomerata' rebus: loh 'copper,metal' PLUS kāra 'ear' rebus: khār 'blacksmith'. Thus, loh khār 'coppersmith'. lōhakāra m. ʻ iron -- worker ʼ, ˚rī -- f., ˚raka -- m. lex., lauhakāra -- m. Hit. [lōhá -- , kāra -- 1]Pa. lōhakāra -- m. ʻ coppersmith, ironsmith ʼ; Pk. lōhāra -- m. ʻ blacksmith ʼ, S. luhā̆ru m., L. lohār m., ˚rī f., awāṇ. luhār, P. WPah.khaś. bhal. luhār m., Ku. lwār, N. B. lohār, Or. lohaḷa, Bi.Bhoj. Aw.lakh. lohār, H. lohār, luh˚ m., G. lavār m., M. lohār m.; Si. lōvaru ʻ coppersmith ʼ.Addenda: lōhakāra -- : WPah.kṭg. (kc.) lhwāˋr m. ʻ blacksmith ʼ, lhwàri f. ʻ his wife ʼ, Garh. lwār m.(CDIAL 11159)

(Santali)

karmaśālā f. ʻ workshop ʼ MBh. [kárman -- 1, śāˊlā -- ]Pk. kammasālā -- f.; L. kamhāl f. ʻ hole in the ground for a weaver's feet ʼ; Si. kamhala ʻ workshop ʼ, kammala ʻ smithy ʼ.(CDIAL 2896)

karmāˊra m. ʻ blacksmith ʼ RV. [EWA i 176 < stem *karmar -- ~ karman -- , but perh. with ODBL 668 ← Drav. cf. Tam. karumā ʻ smith, smelter ʼ whence meaning ʻ smith ʼ was transferred also to karmakāra -- ]Pa. kammāra -- m. ʻ worker in metal ʼ; Pk. kammāra -- , ˚aya -- m. ʻ blacksmith ʼ, A. kamār, B. kāmār; Or. kamāra ʻ blacksmith, caste of non -- Aryans, caste of fishermen ʼ; Mth. kamār ʻ blacksmith ʼ, Si. kam̆burā.*karmāraśālā -- .Addenda: karmāˊra -- : Md. kan̆buru ʻ blacksmith ʼ. (CDIAL 2898)

*karmāraśālā ʻ smithy ʼ. [karmāˊra -- , śāˊlā -- ]Mth. kamarsārī; -- Bi. kamarsāyar? (CDIAL 2899)

Sign 391 is the opening statement of each of the three segments of Dholavira signboard message. څرخ ṯs̱arḵẖ, s.m. (2nd) ( P چرخ ). 2. A wheeled-carriage, a gun-carriage, a cart. Pl. څرخونه ṯs̱arḵẖūnah (Pashto). Rebus: अर्क 'the sun, copper', agasāla 'goldsmith workshop'.eraka 'nave of wheel' rebus: eraka 'moltencast, copper' arā 'spoke' rebus: āra 'brass'. رخ ṯs̱arḵẖ, āre 'potters wheel' rebus: arka 'gold, gold', eraka 'metal infusion' PLUS sal 'splinter', cāl 'furrow' rebus: sal 'workshop'. PLUS sal 'splinter' rebus: sal 'workshop'. Thus, arka sal 'gold, metal infusion workshop' PLUS manḍa 'arbour, canopy' Rebus: mã̄ḍ ʻarray of instruments'. This is a ligatured hieroglyph. ara 'spoke' rebus: ara 'brass'. era, er-a = eraka =?nave; erako_lu = the iron axle of a carriage (Ka.M.); cf. irasu (Ka.lex.)[Note Sign 391 and its ligatures Signs 392 and 393 may connote a spoked-wheel,nave of the wheel through which the axle passes; cf. ara_, spoke] erka = ekke (Tbh.of arka) aka (Tbh. of arka) copper (metal);crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = anymetal infusion (Ka.Tu.); erako molten cast (Tu.lex.) Rebus: eraka= copper (Ka.)eruvai =copper (Ta.); ere - a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a= syn. erka, copper, weapons (Ka.)Vikalpa: ara, arā (RV.) = spokeof wheel ஆரம்² āram , n. < āra. 1. Spokeof a wheel.See ஆரக்கால். ஆரஞ்சூழ்ந்தவயில்வாய்
நேமியொடு (சிறுபாண். 253). Rebus: ஆரம் brass; பித்தளை.(அக. நி.) pittal is cognate with 'pewter'.

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Perforated jars of Harappa are shown on Bactria Silver vase used in Yajna processes

March 20, 2020, 12:12 am

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This monograph presents evidences from perforated vessels of Sarasvati-Sindhu Civilization and from Bactria Silver vase which narrates the processes of yajna conducted by eight Rtvij, Rgveda priests. This vase shows a pair of perforated jars together with a basket of what are interpreted as metal ingots.

Speculations on function of perforated vessels Sarasvati Civilization
https://tinyurl.com/y9kblr3x

"Another typical Indus form related to food preparation documented at ST1 is the tall cylindrical perforated jar (Fig. 4/d). These types of jars are found at most Indus sites (Dales & Kenoyer 1986: 107–109) and are thought to have been used as a form of reverse strainer for preparing some sort of fermented drink (Kenoyer 1998: 154, fig. 8/7). The discovery of these sherds at ST1 would indicate that some individuals or communities at the site were preparing Indus-style drinks with these specialized perforated vessels. Indus-style perforated vessel sherds have also been reported from RaΜs al-Jinz RJ-2 (Cleuziou & Méry 2002: fig. 5/g; Méry 2000: 236, fig. 147)".(Dennys Frenez, Michele Degli Esposti, Sophie Méry & Jonathan Mark Kenoyer, 2016, Bronze Age Salūt (ST1) and the Indus Civilization: recent discoveries and new insights on regional interaction in: Proceedings of the Seminar for Arabian Studies Volume 46 2016, Archaeo Press, Oxford, p. 112)

Perforated jar fragment. Salut. (After Fig. 4 Indus-related pottery)

https://www.harappa.com/sites/default/files/pdf/Bronze-Age-Indus-Connections.pdf

I submit that perforated jars were not used for preparing fermented drinks or food preparations, but in metallurgical processing to oxidise baser metals to achieve pure precious metals.

Mackay suggested that large holes at the bottom of the perforated jars indicate that they might have been used to support the vessels on rods. If so, the vessels may have served as torches, उल्का, ज्वाल .

Ancient Veda texts which detail the processes of Soma Samsthā yajña indicate the significance of perforations on jars in metallurgical processs. It is possible that the jars contained क्षार m. any corrosive or acrid or saline substance (esp. an alkali such as soda or potash) , caustic alkali (one species of cautery) Ka1ty. Ya1jn5. iii , 36 MBh. &c; n. any corrosive or acrid substance Katha1s. xciii , 14; n. a factitious or medicinal salt (commonly black salt , विड्-लवण and कृष्ण-ल्°), to oxidise impurities in ores subjected to smelting.

In Shatapatha Brahmana we do find :

'SBr. 5.5.4.27. Now there is a pitcher perforated either with a hundred, or with nine, holes. If it is one with a hundred holes,--man lives up to a hundred (years), and has a hundred energies, and a hundred powers: therefore it is perforated with a hundred holes. And if with nine holes,--there are in man those nine vital airs: therefore it is perforated with nine holes.''

SBr. 5.5.4.28. This (pitcher), hung up by a sling, they hold just over the Âhavanîya 1. He pours into it what spirituous liquor has been left over, and whilst it is trickling through, he stands by worshipping with the three verses 1 of the Pitarah Somavantah (the Fathers accompanied by Soma), with three verses of the Pitaro Barishadah (the Fathers seated on the barhis), and with three verses of the Pitaro Agnishvâttâh (the Fathers consumed by the fire). And as to why he thus stands by worshipping,--when Soma flowed through Indra, what part of it then went to the Fathers--there being three kinds of Fathers--therewith he now supplies him and makes him whole: therefore he thus stands by worshipping. http://www.sacred-texts.com/hin/sbr/sbe41/sbe4126.htm

And :

''SBr. 12.7.2.13. There is a pot (kumbhî) perforated with a hundred holes 1, for in many ways did that (Soma) flow out of (Indra); and a hundred-sized also, indeed, is the sacrifice: it is the sacrifice he thereby secures. There is a bowl (rata 2): it is the real (or good) thing (sat) he thereby secures. There is a dish (kapya) for him to secure food. There is a filter, for they cleanse him, (the Sacrificer, by this offering). There is a tail (-whisk) for turning away evil. There is gold for him to secure form (or colour); it weighs a hundred (grains), for man has a life of a hundred (years) and a hundred energies: life, and energy, vital power, he thus lays into his own self.''
http://www.sacred-texts.com/hin/sbr/sbe44/sbe44066.htm

Shukla Yajurveda :

''19.87 The pitcher was the father of the rectum by powers, the womb which first contained the infant.Plain was the hundred-streaming fount as penis: the jar poured forth libations to the Father.''
http://www.sacred-texts.com/hin/wyv/wyvbk19.htm

Perforated jar in the National Museum, New Delhi

A distinctive Indus pottery type, the perforated jar - this example comes from Harappa. Such jars are usually found inside large bowls, a combination perhaps used as brewing equipment, with the perforated jar, wrapped in cloth, serving as a strainer. The Indus valley civilization is almost 8,000 years old !

Perforated jar. Harappa. https://www.pinterest.com/pin/785174516256463776/

Title: A Cylindrical Terracotta Perforated Jar
Date Created: -2600/-1900
Location: Lahore Museum, Lahore
Location Created: Harappa
Physical Dimensions: 12.2x5.7cm
Rights: Lahore Museum, Lahore, Pakistan.
Medium: Terracotta Wheel Modelled (Pottery)
https://artsandculture.google.com/asset/a-cylindrical-terracotta-perforated-jar/_QFx9ZEcxArY5A

Perforated jar in the National Museum, New Delhi

https://www.masterfile.com/image/en/841-02824459/object-harappa-museum-pakistan-asia

Functions in metallurgy of शतातृण्णा perforated pot of Sarasvati Civilization explained in शतपथ-ब्राह्मण

https://tinyurl.com/y3ra9h9q

This is an addendum to: Soma yajna depicted on Bactria silvervase with Brahman and seven R̥gveda priests and artisans at work, Indus Script hieroglyphs

https://tinyurl.com/y5xe2r6f

Perforated pot. Mohenjo-daro ca. 2700 to 2000 BCE
शता* तृण्ण mf(आ)n. having a hundred holes Br. Kaus3.
शता* तृण्णा f. a jar or vessel having a hundred holes (शतपथ-ब्राह्मण,वैतान-सूत्र)

Satapatha Brahmana ( 12.7.2.13) śatā́tṛṇṇā́ kumbhī́ bhavati refers to such a pot.

Sentence: a śatā́tṛṇṇā́ kumbhī́ bhavati /

Sentence: b bahudhèva hí sá vyásravad átho śatónmā́no vaí yajñó yajñám evā́varunddhe sátaṃ bhavati sádevā́varunddhe cápyaṃ bhavaty annā́dyasyaivā́varuddhyai pavitráṃ bhavati punánti hy ènaṃ vā́lo bhavati pā́pmanó vyā́vṛttyai suvárṇaṁ híraṇyaṃ bhavati rūpasyaivā́ruddhyai śatámā́naṃ bhavati śatā́yur vaí púruṣaḥ śaténdriya ā́yur evèndriyáṃ vīryàm ā́tmán dhatte //

13. There is a pot (kumbhî) perforated with a hundred holes 1, for in many ways did that (Soma) flow out of (Indra); and a hundred-sized also, indeed, is the sacrifice: it is the sacrifice he thereby secures. There is a bowl (rata 2): it is the real (or good) thing (sat) he thereby secures. There is a dish (kapya) for him to secure food. There is a filter, for they cleanse him, (the Sacrificer, by this offering). There is a tail (-whisk) for turning away evil. There is gold for him to secure form (or colour); it weighs a hundred (grains), for man has a life of a hundred (years) and a hundred energies: life, and energy, vital power, he thus lays into his own self.
https://www.sacred-texts.com/hin/sbr/sbe44/sbe44066.htm

At XII, 7, 2, 13 a perforated pot (with a hundred holes) was mentioned as being used at this sacrifice. According to Kâty. Sr. p. 235 XIX, 3, 20, and Mahîdhara on Vâg. S. XIX, 37, use is made of this pot at this juncture in much the same way as is described in V, 5, 4, 27 seqq.; viz. two poles are driven into the ground north and south of the southern fire, and a bamboo stick laid thereon: on a string fastened to this stick the pot, containing a tail-whisk (for straining) and a piece of gold, is then made to hang over the fire, and the remains of the Surâ-liquor poured into it; and whilst it trickles through into the fire, the priest makes the Sacrificer pronounce the verses Vâg. S. XIX, 37-44, 52-60, addressed to the different kinds of departed ancestors.
https://www.sacred-texts.com/hin/sbr/sbe44/sbe44068.htm#12:8:1:8

The 'sura' used in perforated pots is clearly herbal extract which performs the functions of calcination, by infusing carbon into the molten metal in the fire-altar.

In some cases, calcination of a metal results in oxidation of the metal.

Examples of calcination processes include the following:

· decomposition of carbonate ores, as in the calcination of limestone to drive off carbon dioxide;

· decomposition of hydrated minerals, as in the calcination of bauxite and gypsum, to remove water of crystallization as water vapor;

· decomposition of volatile matter contained in raw petroleum coke;

· heat treatment to effect phase transformations, as in conversion of anatase to rutile or devitrification of glass materials

· removal of ammonium ions in the synthesis of zeolites.https://en.wikipedia.org/wiki/Calcination

Sura may be a reference to saltpeter which was held in perforated jars to calcinate the molten metals.

Saltpetre could be used as an oxidant for gold cyanidation – this is a technique for extracting gold from low-grade ore by converting the gold to a water-soluble coordination complex. It is the most commonly used leaching process for gold extraction.

yavakṣāra m. ʻ an alkali prepared from the ashes of burnt green barley corns ʼ Suśr. [yáva -- , kṣārá1 -- ]
S. jaukhāru m.f. ʻ a salt used in medicine ʼ; P. jaukhār m. ʻ ashes of barley straw as remedy for indigestion ʼ; N. jawākhar, juw˚ ʻ saltpetre from burnt barley straw ʼ; A. zɔkhar ʻ saltpetre ʼ; Bi. H. jawākhār m. ʻ ashes of burnt barley grain or straw for indigestion ʼ; G. javkhār m. ʻ saltpetre made from burnt barley straw ʼ, M. j̈avkhār m. (CDIAL 10432) súrā f. ʻ spirituous liquor ʼ RV.Pa. Pk. surā -- f. ʻ spirituous liquor ʼ, WPah.jaun. sūr, M. sūr f., Ko. sūra. (CDIAL 13503) सुराखार surākhāra m ( H) Saltpetre or nitre. सूर्यखार sūryakhāra m (सूर्यक्षार S) Saltpetre or nitre. सोरमीठ sōramīṭha n सोरा m ( P) Nitre or saltpetre. 2 Applied to a factitious salt prepared from saline ground. (Marathi)

sūrākāramu or సూరాకారము sūrā-kāramu. [Tel.] n. Salt-petre. చౌటితో వండినది, పెట్లుప్పు.

“The Indians exploited metal reactions more widely, but, although they possessed from an early date not only vitriol and sal ammoniac but also saltpetre, they nevertheless failed to discover the mineral acids. This is the more remarkable because India was long the principal source of saltpetre, which occurs as an efflorescence on the soil, especially in populous tropical countries… Saltpetre, also spelled Saltpeter, also called Nitre, or Niter, any of three naturally occurring nitrates, distinguished as (1) ordinary saltpetre, or potassium nitrate, KNO₃; (2) Chile saltpetre, cubic nitre, or sodium nitrate, NaNO₃; and (3) lime saltpetre, wall saltpetre, or calcium nitrate, Ca(NO₃)₂. These three nitrates generally occur as efflorescences caused by the oxidation of nitrogenous matter in the presence of the alkalis and alkaline earths…. Potassium nitrate occurs as crusts on the surface of the Earth, on walls and rocks, and in caves; and it forms in certain soils in Spain, Italy, Egypt, Iran, and India. ” Source: Indian alchemy, Encyclopaedia Britannica, https://www.britannica.com/topic/alchemy/Indian-alchemy#ref414576

Potassium nitrate is a chemical compound with the chemical formula K N O
3. It is an ionic salt of potassium ions K⁺ and nitrate ions NO₃⁻, and is therefore an alkali metal nitrate.The Arabs called it "Chinese snow" (Arabic: ثلج الصين‎ thalj al-ṣīn). It was called "Chinese salt" by the Iranians/Persians or "salt from Chinese salt marshes" (Persian: نمک شوره چيني‎ namak shūra chīnī). In Ancient India, saltpeter manufacturers formed the Nuniya caste.^[17] Saltpeter finds mention in Kautilya's Arthashastra (compiled 300BC - 300CE), which mentions using its poisonous smoke as a weapon of war, although its use for propulsion did not appear until medieval times.In heat treatment of metals as a medium temperature molten salt bath, usually in combination with sodium nitrite. A similar bath is used to produce a durable blue/black finish typically seen on firearms. Its oxidizing quality, water solubility, and low cost make it an ideal short-term rust inhibitor.https://en.wikipedia.org/wiki/Potassium_nitrate

This note identifies the eight priests shown on the top register of Bactrian silver vase.

There are two registers on the silver vase.

Top register shows Soma yajna with Brahman priest and seven other R̥gveda priests.

Bottom register shows a farmers' narrative signifying Sarasvati Civilization artisans at metalwork using Indus Script cipher.

Top register shows 2 priests flanking: 1. Two perforated vessels; and 2. a basket with ingots (or charcoal)

Bactrian Silver Cylindrical Cup with Agricultural and Ceremonial Scene

Silver, Late 3rd-early 2nd millennium B.C.E.
H. 12.6 cm.

A fine metalworking tradition appears to have developed in western Central Asia in the late third to the early second millennium B.C. Based on comparisons with excavated pottery types and with finds in the so-called Fullol hoard of objects from northern Afghanistan,1 a number of gold and silver vessels have been attributed to Bronze Age Bactria. Perhaps the most exceptional are cylindrical silver vessels with elaborate figural scenes executed in low relief with incised details, all of which may come from a single workshop.

On this example,2 bearded and moustached male banqueters wearing fillets in their bound long hair are seated in a row above men and boys plowing a field. The main personage in this upper row, who faces left, is distinguished by an elliptically shaped bead on his fillet; he also wears a necklace and bracelet with similar beads, all bearing hatched patterns that might suggest veined stone such as agate. A robe with very clearly rendered individual tufts covers one arm entirely and envelops the rectangular form of his lower body. The man's exposed right arm is raised to hold a tall footed beaker to his mouth (this is the only figure to have a defined mouth). In front of him are a footed fruit bowl, a pair of tall vessels, and a second seated figure wearing a robe with a herringbone pattern. The proper right arm of this figure is raised toward the main personage. Also part of this banqueting scene are five other seated male figures, their garments distinguished alternatively by individual tufts or horizontal rows of hatchings that form herringbone patterns. Some figures hold beakers and one rests a hand on a large altar-like rectangular object with a crosshatched pattern.

In the scene below, two plows are held by long-haired men wearing short kilts with herringbone patterns. Before them, nude youths holding branches attempt to keep two pairs of oxen under control. Another male figure holds a square object-perhaps a box or even a drum-under one arm, and raises the other one. The figures stand on freshly seeded earth; between the animals is an object with a wavy-line pattern and seed-like elements along the top edge. Although difficult to interpret, this could indicate landscape in viewed from above or a vessel in profile.

While iconographic elements such as the garments connect the imagery on this cup to the art of Mesopotamia and Elam, certain aspects of style are very distinctive. In particular, a strong interest in the placement of human and animal figures in space is manifest. The oxen in the background are darkened with hatched lines to clearly distinguish them from those in the foreground.3 The muscular shoulders of the human figures may be depicted in profile or in three-quarter view, and they may have one rather than two nipples showing. The two plows, one seen from the front and the other from the back, are placed behind one and in front of the other nude youth. An interest in the use of patterning to define the textures of garments and objects is also evident.

In style, this cup is closely related to a silver vessel in the Levy-White collection.4 The main personage in a hunting scene there bears a close resemblance to the main figure on the present cup. He is bearded, with a well-delineated mouth, and has elliptical beads both in his hair and around his neck. A figure with similar features appears on another cup, which depicts the aftermath of a successful hunt.5

1. Amiet 1988b, pp. 136, 161, describes this hoard (like the "Astrabad treasure" from Iran with related material) as a contrived collection of objects from clandestine excavations in northern Afghanistan; see Tosi and Wardak 1972, pp. 9-17.
2. See Amiet 1986, pp. 328-29, fig. 202; Pottier 1984, pp. 73, 212, pl. xxx, fig. 250; Deshayes 1977, pp. l04-5; Amiet 1988b, p. 136, fig. 9.
3. This convention is also used on a cylindrical cup in the Louvre, with a chariot scene: see Amiet 1988b, p. 163, fig. 6.
4. See Pittman 1990, pp. 43-44, no. 30.
5. Amiet 1986, pp. 326-27, fig. 201.

Text and image from the website of the Miho Museum.

The eight priests shown on top register from r.to l. are:

1. Brahman (brāhmaṇācchamsin) (reciter of hymns from the atharvaveda) -- seated with त्वष्टृ, called नेष्टृ, artisan signified by the two perforated jars and basket of metal ingots

2. neṣṭṛ (नेष्टृ (prob. fr. √ नी aor. stem नेष् ; but cf. Pa1n2. 3-2 , 135 Va1rtt. 2 &c ) one of the chief officiating priests at a सोम sacrifice , he who leads forward the wife of the sacrificer and prepares the सुरा (त्वष्टृ so called RV. i , 15 , 3) RV. Br. SrS.) (Signified by the two perforated jars used to infuse carbon element into molten metal to harden the alloy)

3.hotṛ (reciter of invocations)-- third from r. holding a palm leaf manuscript

4.adhvaryu -- in charge of the physical details of the sacrifice (in particular the adhvara, a term for the Somayajna

5.agnīdh (अग्नी* ध् – kindler of the fire)

6.potṛ (purifier, signified by the filter cloth of golden fleece) -- potti 'cloth' rebus: Potr̥ 'purifier priest' of R̥gveda.

7.acchāvāka (inviter)

8.maitrāvaruṇa assistant priest of hotṛ -- Priests 7th and 8th from the r. are a pair signifying maitrāvaruṇa and acchāvāka

The bottom register ploughing narrative are Indus Script hypertexts:

1. 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.

2. Pairs of bulls: Unicorn or spiny-horned young bull signifies kunda singi 'fine gold, ornament gold'.) Thus, the narrative of the ploughmen are rebus representations of Indus Script to signify wealth-creation activities of Meluhha artisans of Sarasvati civilization.

3. wo of the ploughmen signifies खुंडी, 'cereal plant, holcus sorghum' rebus: kunda 'fine gold', 'a treasure of Kubera'. (जोंधळा jōndhaḷā m A cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz. उता- वळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा.

4. पोतः-वणिज् m. a sea-faring merchant; धत्ते पोतवणिग्जनैर्धनदतां यस्यान्तिके सागरः Śiva B. 29.89. Hie right hand is also an Indus Script hieroglyph: eraka 'raised hand' rebus: eraka 'molten cast,metal infusion'; arka 'copper, gold' as in arka śālā 'goldsmith workshop'. Thus, the right-most person is a seafaring merchant (of) goldsmith workshop.

5. Scribe, seafaring merchant signified by the tablet he carries and with a raised hand (right-most figure on the bottom register).

↧

Using Indus Script Corpora to re-evaluate form and functions of Ziggurat शिखर (stupa) temple, college of priests and Sacred पुष्करिणी of Mohenjo-daro

March 21, 2020, 3:00 am

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-- Sacred पुष्करिणी, 'pond' of Mohenjo-daro. Ernest Mackay found a college building between Stupa & 'Great bath'

The 'college building' identified by Mackay may also be a warehouse for various categories and classifications of metalwork signified by the hieroglyph

'cockerel or fowl' Sign 76

This hieroglyph signifies rebus: kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada) Thus, Indus Scipt Corpora helps reveal the functions of the unique architectural forms seen in sites like Mohenjo-daro and Harappa.

I submit that we have to re-evaluate the received the form and functions of major architectural monuments & structures of Mohenjo-daro.

I posit the following:

-- The stups is a Ziggurat शिखर temple.
-- A large building between the Ziggurat and the Sacred पुष्करिणी is the College of Priests.
-- The so-called 'Great Bath' is a Sacred पुष्करिणी integral to the principles paying homage to temple architecture of the ziggurat, stupa.

The ziggurat is a dagoba, dhatugarbha.धातु--गर्भ (with pre-Bauddham) receptacle for ashes or relics , a Dagaba or Dagoba (Sinhalese corruption of पालि Dhatu-gabbha) (Monie-Wiliams) Dhātu (f.) [Sk. dhātu to dadhāti, Idg. *dhē, cp. Gr. ti/qhmi, a)na/ -- qhma, Sk. dhāman, dhāṭr (=Lat. conditor); Goth. gadēds; Ohg. tāt, tuom (in meaning -- ˚=dhātu, cp. E. serf -- dom "condition of . . .") tuon=E. to do; & with k -- suffix Lat. facio, Gr. (e)/)qhk(a), Sk. dhāka; see also dhamma] element.-- ghara "house for a relic," a dagoba SnA 194. -- cetiya a shrine over a relic DhA iii.29 (Pali). The dagoba is a veneration of the sacred memory of the ancestors who have left behind the processed earth and stones, processed in fire to yield wealth products. This dagoba is the sacred शिखर (stupa) temple. This is also called kole.l 'temple' Rebus: kole.l 'smithy, forge'; thus this dagoba is a veneration of the ancient smithy,forge of the ancestral artisans.

"The Great Bath, which I have reserved to the last, was part of what appears to have been a vast hydropathic [water therapeutic] establishment and the most imposing of all the remains unearthed at Mohenjo-daro. Its plan is simple: in the centre, an open quadrangle with verandahs on its four sides, and at the back of three of the verandahs various galleries and rooms; on the south, a long allery with a small chamber in each corner; on the east, a single range of small chambers, including one with a well (no 16); on the north, a group of several halls and fair-sized rooms. In the midst of the open quadrangle is a large swimming-bath, some 39 feet long by 23 feet broad and sunk about 8 feet below the paving of the court, with a flight of steps at either end, and at the foot of each a low platform for the convenience of bathers, who might otherwise have found the water too deep. The bath was filled from th well in Chamber 16 and possibly from other wells besides, and waste water was carried off through a covered drain near the S.W. corner, the corbelled roof of which is some 6 ft. 6 in. in height( Pl. XXIV, a, b and c)." (John Marshall, Mohenjo-daro, Volume I, p. 24).
https://www.youtube.com/watch?time_continue=12&v=q2ibUMQ5cgI&feature=emb_logo (1:18) A beautiful, patient aerial tour of the site that contextualizes the relationship of the stupa mound, Great Bath and other areas to each other in a way no other way of visiting the site can.

Drone view of Mohenjodaro (Sarasvati-Sindhu Civilization)

This is rare video which enabled you to watch Mohenjodaro, the oldest civilization of mankind, as bird’s eye. This video was recorded on 9th February 2017 on the occasion of International Conference on Mohenjodaro & Indus Valley Civilization arranged by “National Fund for Mohenjodaro”, Ministry of Culture, Tourism & Antiquities – Government of Sindh. Directed by: Amar Fayaz Buriro

Stupa mound, Mohenjo-daro

The great bath at Mohenjo-daro at dawn and in context. Surrounded by a brick colonnade, it measures approximately 12 meters north-south and 7 meters wide, with a maximum depth of 2.4 meters. In the background is a massive brick structure with narrow passages that was first identified as a hammam or hot-air bath, and later as the state "granary," but this is not certain.-- StephanieV https://www.harappa.com/blog/great-bath-mohenjo-daro

View from Stupa towards Great Bath, Mohenjo-daro.

The Great Bath was entered using two wide staircases, one from the north and one from the south. The floor of the tank is watertight due to finely fitted bricks laid on edge with gypsum plaster. Brick colonnades were discovered on the eastern, northern and southern edges, but the western edge (at the left) was missing. Sir John Marshall assumed that they would have been present and subsequent reconstructions have replaced these missing columns.

The "great bath" is without doubt the earliest public water tank in the ancient world. The tank itself measures approximately 12 meters north-south and 7 meters wide, with a maximum depth of 2.4 meters. Two wide staircases lead down into the tank from the north and south and small sockets at the edges of the stairs are thought to have held wooden planks or treads. At the foot of the stairs is a small ledge with a brick edging that extends the entire width of the pool. People coming down the stairs could move along this ledge without actually stepping into the pool itself.

The floor of the tank is water tight due to finely fitted bricks laid on edge with gypsum plaster and the side walls were constructed in a similar manner. To make the tank even more water tight, a thick layer of bitumen (natural tar) was laid along the sides of the tank and presumably also beneath the floor. Brick colonnades were discovered on the eastern, northern and southern edges. The preserved columns have stepped edges that may have held wooden screens or window frames. Two large doors lead into the complex from the south and other access was from the north and east. A series of rooms are located along the eastern edge of the building and in one room is a well that may have supplied some of the water needed to fill the tank. Rainwater also may have been collected for this purposes, but no inlet drains have been found. Most scholars agree that this tank would have been used for special religious functions where water was used to purify and renew the well being of the bathers.

Great Bath, SD Area, looking north

1. The Great Bath at Mohenjo-daro, looking north. The side walls of the roughly 12 by 7 meter tank were constructed with finely fitted bricks and a thick layer of bitumen (natural tar) was laid along the sides of the tank to keep water from seeping through the walls and up into the superstructure.

2.Lower ledge inside the Great Bath, southern edge, looking east. At the foot of the stairs is a small ledge with a brick edging that extends the entire width of the pool. People coming down the stairs could move along this ledge without actually stepping into the pool itself. Small sockets at the edges of the stairs could have held wooden planks or treads.

3.Lower ledge and Drain outlet, Great Bath, looking west. At the southwestern corner of the sloping floor, a small drain first passes through the massive walls of the tank and connects to a corbeled arch drain that curves along the edge of the northern terrace of the granary to the west.

4.Great Bath, looking north. The tank would have been open to the sky, but the surrounding structures would have been roofed. The sidewalls and parts of the floor have been conserved using modern replica bricks. The original eroded wall and corner are visible on the left and center. The colonnades around the tank have also been reconstructed.

Lower ledge and Drain outlet, Great Bath, SD Area, looking west

At the southwestern corner of the sloping floor, a small drain first passes through the massive walls of the tank and connects to a corbelled arch drain that curves along the edge of the northern terrace of the granary to the west.

Great Bath, SD Area The floor slopes down to the southwest corner where a small outlet (top right) leads to a brick drain, which takes the water to the edge of the mound.

REM Granary
The edge of the "granary" structure was damaged by the ancient construction of the drain for the Great Bath that is seen at the left edge of the photo. This feature indicates that the drain was constructed after this part of the "granary" was built. A man is seen standing in narrow passage that runs between blocks of fired brick that Wheeler interpreted as being the hollow air passages under the granary. The overall brick structure appears to be the foundation of a larger wooden superstructure.

https://www.harappa.com/slide/granary-edge-and-great-bath-drain-mohenjo-daro-153

This corbelled drain cuts through the edge of the so-called granary. If the entire drain were constructed along with the Great Bath, this feature would indicate that the original "granary" was built before the great bath.

The corbelled arch drain from the great bath in Mohenjo-daro is large enough to walk into. It has a small ledge on either side of the actual drain channel.

Covered Drain emptying down slope on major street leading to the Great Bath.

This oval well is located in room 19 northeast of Great Bath. It is the only well with an oval structure and may have been used to draw water for nearby bathing platforms or for filling the Great Bath.

View of well to the east of the granary. Looking from the top of the granary towards the remains of two wells and the wall that were constructed in the area to the north of the structure. The drain from the great bath would have run along the modern pathway.

[Original 1931 text] "The Great Bath, which I have reserved to the last, was part of what appears to have been a vast hydropathic establishment and the most imposing of all the remains unearthed at Mohenjo-daro." (Marshall, Vol. I, p. 24)

The Great Bath is situated along a north-south street with a drain covered with limestone blocks. In the background is the so-called Granary, while in the foreground are the walls of several domestic structures.
Source: https://www.harappa.com/search/site/great%20bath

A Large Indus House: "House 13 in the VS Area [of Mohenjo-daro] has a more elaborate plan . . . On its ground floor are four fair-sized courts, ten smaller rooms, three staircases, a porter's lodge, and a well-chamber. The front is towards First Street, and here there are three entrances side by side, the principal one of which is plainly the middle, since this is the only one provided with a porter's lodge. ... Entering the house by the main door one finds oneself in a small vestibule (Room 68), with a porter's lodge to the right and a second doorway directly opposite leading to the open Court 67. A feature of the porter's lodge worth observing is the way in which the east wall is at once cleaver and practical, and shows, like many other features, that the architect must have given a good deal of thought to the planning of the house," (Marshall, Mohenjo-daro, p. 20).

A College in Mohenjo-daro?

January 21st, 2017

"Between the Buddhist stupa, with its surrounding monastic buildings, and the Great Bath, a considerable stretch of ground which sloped upwards to the east presented interesting possibilities. Accordingly, in the late autumn of 1927, we began excavations there," writes Ernest Mackay, "and in a comparatively short time, a very large building was unearthed, which appears in Pl. VI [Image 4] as Block 1 and sections A-B and C-D. Following on this work, the unexcavated area to the north of the Great Bath was discovered which seems from its nature to have been closely associated with the Great Bath." (Further Excavations at Mohenjo-daro, I, 1938, p. 4)

Mackay continues about this building between the Great Bath (just across "Main Street" [Image 2] and the Stupa mound: "In view of its close proximity to the presumably sacred building that lies beneath the stupa, I would suggest that Block 1 was once the residence of a very high official, possibly the high priest himself, or perhaps a college of priests, to which purpose, it will be seen, this important block was well adapted. This great structure, which we have named the Collegiate Building, was longer even than the Great Bath across Main Street to the west and must have been of exceptional importance. Not only was it of remarkable extent, but it was one single architectural unit, not a composite of several dependent units. Again, the fenestrated walls of a main court were obviously copied from those in the Great Bath building. And its well built outer walls, in some places over 4 ft. thick, which on account of their batter must have been even more massive in the lower levels, are obviously those of an unusual character which probably stood two or more stories high." (p. 10)
Mackay continues: "On entering the building by its main door, the visitor in Late [Period] III days found himself in a spacious entrance hall (55 [Image 1], measuring 23 ft. by 14.5 ft. On his right, a wide doorway gave on to a large fenestrated court; in front of him was a suite of apartments–perhaps those of the head of the establishment–with possibly an audience chamber; and to his left, two doorways led to a smaller court, whence a large series of residential and public rooms on ground or upper floors was reached" (p. 11).
Jonathan Mark Kenoyer writes: "Many of the largest and best known buildings of the Harappa Phase are located on the citadel mound at Mohenjo-daro. Perched high above the surrounding plains, these important buildings would have been visible from all parts of the city to legitimize the power and authority of the rulers. On the northern half of the mound are three large buildings that have been the focus of attention since their discovery in the 1920s: the so-called granary, the great bath, and the college. Protruding fragments of walls indicated that other potentially important buildings still lie buried beneath the Buddhist stupa which covers the eastern part of the mound. The southern part of this mound has a large building called the assembly hall, which has a double row of square columns and lines of bricks set into the floor. In Buddhist monasteries or Brahmanical ashrams, monks or students often sit in lines on the floor; these lines of bricks may also have been used to define where people should sit." [Ancient Cities of the Indus Civilization, p. 62.]

Image 1 shows the so-called "College Building" entrance, Room 55 in Image 2, the Plan, below (The Great Bath is approximately where the Figure title "Mohenjo-daro Plan" is). Image 3 is a wider view with the "college" in the foreground, in the background is the so-called Granary, while in the foreground are the walls of several domestic structures. Image 5 is a dawn view with a little more of the Great Bath and "College."

https://www.harappa.com/blog/college-mohenjo-daro-0

Indus Script inscriptions with 'cockerel' hieroglyph

Text 2593

m0107

Field symbol: Field symbol: koDe singi 'spiny-horned young bull' rebus: singi koD 'ornamental gold workshop' PLUS kunda 'lathe' rebus: kunda 'fine gold' PLUS kammaTa 'portable furnace' rebus:kammaTa 'mint, coiner, coinage'.

Text message: kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)

kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)PLUS aya 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS split parenthesis which signifies bun ingot: mũh 'ingot'. PLUS sal 'splinter' rebus: sal 'workshop'. Thus, alloy metal ingot workshop.

aya dhAL, 'fish+slanted stroke' Rebus: aya DhALako 'iron/metal ingot'

Ka. paṭakāru tongs, pincers. Te. paṭakāru, paṭukāṟu pair of tongs, large pincers. (DEDR 3864) Rebus: khār 'blacksmith'.PLUS xoli 'fish-tail' rebus: kolhe 'smelter', kol ' working in iron'

Sign 342 'rim-of-jar'कर्णक m. (ifc. f(आ).) a prominence or handle or projection on the side or sides (of a vessel &c ) , a tendril S3Br. Ka1tyS3r. Rebus: कर्णिक having a helm; a steersman; m. pl. N. of a people VP. (Monier-Williams) rebus:karṇī 'supercargo', 'engraver' (Marathi) PLUS hieroglyph: kaṇḍa 'pot' Rebus:1. kaṇḍ ‘a fire-altar’ kaṇḍ ‘furnace, fire-altar, consecrated fire’. (CDIAL 3790) 2. khaṇḍā ‘tools, pots and pans and metal-ware’.

Text 1207

Mohenjo-daro kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada) gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'. kã̄dur m. ʻ oven ʼ (Kashmiri) kor̤u 'sprout' Rebus: kor̤u 'bar of metal'

Text 8117

Kalibangan68A,B

kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)

khareḍo 'a currycomb' rebus kharada खरडें daybook

baṭa 'rimless pot' rebus: baṭa 'iron', bhaṭa 'furnace'.PLUS dula 'two' rebus: dul 'metal casting'

Text 5074h659

kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)

'flag' hieroglyph. Hieroglyph: dhvajapaṭa m. ʻ flag ʼ Kāv. [dhvajá -- , paṭa -- ]Pk. dhayavaḍa -- m. ʻ flag ʼ, OG. dhayavaḍa m. Rebus: Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic (CDIAL 6773)

ḍato = claws of crab (Santali) Rebus: dhātu = mineral (Skt.), dhatu id. (Santali)

aya 'fish' rebus; aya 'alloy metal' PLUS khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coin.

aya dhAL, 'fish+slanted stroke' Rebus: aya DhALako 'iron/metal ingot'

kamadha 'archer' kāmṭhiyɔ kāmaṭhiyo a bowman; an archer (Skt.) (CDIAL 2760) rebus: kammaṭa 'mint, coiner'

karã̄ n. pl. wristlets, bangles Rebus: khār खार् 'blacksmith'.

kor̤u 'sprout' Rebus: kor̤u 'bar of metal'

Text 1036

Mohenjo-daro
kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)
'flag' hieroglyph. Hieroglyph: dhvajapaṭa m. ʻ flag ʼ Kāv. [dhvajá -- , paṭa -- ]Pk. dhayavaḍa -- m. ʻ flag ʼ, OG. dhayavaḍa m. Rebus: Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic (CDIAL 6773)
aya 'fish' rebus; aya 'alloy metal' PLUS khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coin.PLUS circumscript 'four' short strokes: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'. kã̄dur m. ʻ oven ʼ (Kashmiri)
kuṭi 'curve; rebus: कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin)

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

Text 1008

m661

kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)

dula 'two' rebus: dul 'metal casting'

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

aya 'fish' rebus; aya 'alloy metal' PLUS khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coin

baṭa 'rimless pot' rebus: baṭa 'iron' bhaṭa 'furnace' PLUS muka 'ladle' rebus: muh 'ingot'

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

kāˊṇḍa 'arrow' rebus: khaṇḍa 'equipment'

Text 4156

h600 Is 'cock' orthography a variant of 'squirrel' Sign 51?

kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)

Text 2556

Mohenjo-daro kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)

tri-dhatu 'trefoil' rebus: tridhatu 'three mineral ores'

Text 2077

m366

Sign 190 The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.

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

kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)

Hieroglyph: mē̃d, mēd 'body, womb, back' Hieroglyp to signify mẽṛhẽt, meḍ ‘iron (metal)’ (Munda), med 'copper (metal)' (Slavic)

Ta. mēṉi body, shape, colour, beauty; mēl body. Ma. mēni body, shape, beauty, excellence; mēl body. Koḍ. me·lï

body. Te. mēnuid.; mēni brilliancy, lustre; belonging to the body, bodily, personal. Kol. me·n (pl. me·nḍl) body.

Nk. mēn (pl. mēnuḷ) id. Nk. (Ch.) mēn id. Pa. mēn (pl. mēnul) id. Ga. (S.) mēnu (pl. mēngil (P.) mēn id. Go. (Tr.)

mēndur (obl. mēnduḍ-), (A. Y. W. M.) mēndul, (L.)meṇḍū˘l, (SR.) meṇḍol id. (Voc. 2963). Konḍa mēndol human body. Kur. mē̃d, mēd body, womb, back. Malt. méth body. Cf. 5073 Ta.mey. (DEDR 5099) Rebus: mẽṛhẽt, meḍ ‘iron (metal)’ (Munda)

PLUS

ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright,metal article'

Text 2503

m787

kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)

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

Text 1228

m795

kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)

hieroglyph

Sign 12 of Indus Script Corpora signifies
kuṭi 'water-carrier' rebus: kuṭhi 'smelter', 'manager of a factory, merchant'.

Ligatured to Sign 342 'rim-of-jar' hypertext Sign 15 is read rebus as:

কুঠি kuṭhi: an office or the head office of a business organization (নীলকুঠি); a house, a building; a bungalow; an official residence of a high-ranking government officer (ম্যাজিসট্রেটের কুঠি). কুঠিয়াল n. the owner or the manager of a factory or a business organization; a factor; a merchant. (Sailendra Biswas, Bengali-English dictionary)

kuṭi 'water-carrier' rebus: kuṭhii 'smelter'. PLUS

Text 5471

h363

Pict-85 Standing person with horns and bovine features (hoofed legs and/or tail).

Field symbol: dhangar'bull' rebus: dhangar 'blacksmith';

śrēṣṭrī 'ladder' Rebus: seṭh ʻ head of a guild, Members of the guild (working with a furnace). Thus, guild-master of the guild of blacksmiths. PLUS khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage' . Thus head of guild-mint.

kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023) Rebus: khaṇḍa 'equipment'

dāṭu 'cross' rebus: dhatu = mineral (Santali)

kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)

Ka. paṭakāru tongs, pincers. Te. paṭakāru, paṭukāṟu pair of tongs, large pincers. (DEDR 3864) Rebus: khār 'blacksmith'.PLUS xoli 'fish-tail' rebus: kolhe 'smelter', kol ' working in iron'

gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'. khaṇḍa 'equipment'

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

Text 1036

Mohenjo-daro seal

kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)

aya 'fish' rebus; aya 'alloy metal' PLUS khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coin.PLUS circumscript 'four' short strokes: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'. kã̄dur m. ʻ oven ʼ (Kashmiri)

kuṭi 'curve; rebus: कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin)

Text 2473

m855

Ka. paṭakāru tongs, pincers. Te. paṭakāru, paṭukāṟu pair of tongs, large pincers. (DEDR 3864) Rebus: khār 'blacksmith'.

dāṭu 'cross' rebus: dhatu = mineral (Santali)

ranku 'liquid measure' rebus: ranku 'tin ore' kolmo 'rice plant' Rebus: kolimi 'smithy, forge' (lozenge)

Split parenthesis or oval-shape: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' PLUS PLUS 'notch':खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool' Rebus: khaṇḍa 'equipment'

kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)

Indus Script inscriptions (selected from ASI 1977 concordance of Iravatham Mahadevan) containing the hieroglyph: 'fowl or cockerel'

Red jungle fowl

Rebus: koḍ 'artisan's workplace'

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

(Kannada)

(Santali)

kukkuṭá1 m. ʻ cock ʼ VS., ˚ṭī -- f. ʻ hen ʼ VarBr̥S., ˚ṭaka- m. ʻ wild cock ʼ lex., kurkuṭa -- m. Pañcat. [Onom., cf. kukkubha -- ]Pa. kukkuṭa -- m., ˚ṭī -- f., NiDoc. kukuḍa m., Pk. kukkuḍa -- m., ˚ḍī -- , ˚ḍiyā -- f.; Gy. as. kukar ʻ hen, bird ʼ JGLS new ser. ii 258, pers. kukrī ʻ egg ʼ; Ash. kukúṛ ʻ cock ʼ, Kt. kəkyuŕ, Wg. kukú, Pr. édotdot; Dm. kukuŕ -- pai ʻ chicken ʼ, kukuŕīˊ f. ʻ hen ʼ, Tir. kukuṛḗ f., Paš. kukūˊṛ m.f., kukuṛīˊ f., Shum. kúkuṛ m., kukuṛík f., Gaw. kukuṛĭ̄ f., kúkuṛ m., Woṭ. kukúṛ m., kikíṛ f., Kal. rumb. n*lr -- kŕūku m., Kho. kúku m. (< kukkubha -- ? -- kukuḷi ʻ puppy ʼ < ʻ *chicken ʼ?); Bshk. kúkur m., kíkir f., Tor. kugū m., kuguīˊ f., Mai. kokō f., Sh. koh. gur. kokṓ m., pales. kukūī˜ f., K. kŏkur, ˚koru m., kŏkürü f., ram. pog. ḍoḍ. kukkuṛ m., S. kukuṛu m., ˚kiṛi f., L. kukkuṛ m., ˚kiṛ f., P. kukkaṛ m., ˚ṛī f., WPah. bhad. kukkuṛ m., ˚kaṛī f., Ku. kukuṛo m., ˚ṛī f., A. kukurā m., ˚rī f., B. kukuṛā m., ˚kṛī f., Or. kukuṛā, H. kukaṛ, ˚kṛā m., ˚kṛī f., G. kukṛɔ m., ˚ṛī f., ˚ṛã̄ n. pl. ʻ poultry ʼ; M. kukḍeku n. ʻ crowing ʼ; Ko. kũkaḍa ʻ fowl ʼ; Si. kukuḷā m., kikiḷi f.; -- with expressive aspiration (rather than X pakhrū < *pakṣirūpa -- ): WPah. cur. kukkhaṛ m., ˚khṛī f., N. kukhro.
kaukkuṭá -- , kaukkuṭika -- . Addenda: ku(CDIAL 3208) Ta. kōr̤i gallinaceous fowl. Ma. kōr̤i fowl. Ko. ko·y id. To. kwï·ḍy id.; kwï·y (in songs; either from Ko. or from Badaga kó·í) id. Ka. kōr̤i a cock, a hen, a fowl in general. Koḍ. ko·ḷi fowl. Tu. kōri, (B-K. also) kōḷi id. Te. kōḍi id. Nk. (Ch.) gogoḍi, gogoṛi cock (< Go.). Go. (Tr.) gōgōṛi, (Ph.) gugoṛī, (Y.) ghogṛi, (Mu. Ma. S. Ko.) gogoṛ id. (Voc. 1184). / Cf. Apabhraṃśa (Jasaharacariu) koḍi- id., fowl. (DEDR 2248) Dravidian languages like Naiki (Chanda) and Gondi the word for cockerel is gogodi, phonemically *kokoṭi, *kōkōṭi, *kukōṭi, *kokVṭi and finally *kokoṭ. (Periannan Chandrasekharan, "Pleonastic Compounding: An Ancient Dravidian Word Structure" loc.cit.http://rmrl.in/wp-content/uploads/42-Akam-and-Puram.pdf )

Field symbol: पोळ [pōḷa], 'zebu' Rebus:पोळ [pōḷa], 'magnetite, ferrite ore'. The Meluhha rebus readings of the hieroglyphs on the text message are:

kōḍi 'fowl' (Telugu) rebus: koThi 'granary, factory, warehouse' (Kannada)

Duplicated 'fowl' hieroglyphs: dula 'pair' rebus: dul 'metal casting'.Thus, two 'fowl' hieroglyphs read dul kuThi, 'metalcasting warehouse.'

Sign 284 kancu ʼmũh kaṇḍa 'bell-metal ingot implements'.

kanac 'corner' rebus:kancu 'bell-metal'.

Sign 264 is ligatured Sign 261

This rhombus hieroglyph is

mũhã̄ = the quantity of iron produced atone time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed likea four-cornered piece a little pointed at each end; mũh 'ingot'. (Santali).

This basic hieroglyph gets many ligatures to signify amplified semantics.

Sign 272 cyphertext is a composite of Sign 267

and smoke, flame signifying a portable furnace. Lozenge, corner, signifier of portable furnace smoke/fire. Lozenge or oval shapes are mũhã̄ 'bun-ingot' shapes. kammaṭa 'portable furnace to melt metals', rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner (DEDR 1236). Thus, kancu ʼmũh kammaṭa bronze, bell-metal ingot mint.

Sign 276 Variant

Sign 278. The hypertext is composed of Sign 267

and a hieroglyph,'splinter': sal 'splinter' rebus: sal 'workshop'. Thus Sign 276 reads, kancu ʼmũh sal 'bell-metal ingot workshop'.

Sign 278 has a circumscript: four short strokes: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'. kã̄dur m. ʻ oven ʼ (Kashmiri): kándu f. ʻ iron pot ʼ Suśr., °uka -- m. ʻ saucepan ʼ.Pk. kaṁdu -- , kaṁḍu -- m.f. ʻ cooking pot ʼ; K. kō̃da f. ʻ potter's kiln, lime or brick kiln ʼ; -- ext. with -- ḍa -- : K. kã̄dur m. ʻ oven ʼ. -- Deriv. Pk. kaṁḍua -- ʻ sweetseller ʼ (< *kānduka -- ?); H. kã̄dū m. ʻ a caste that makes sweetmeats ʼ. (CDIAL 2726)*kandukara ʻ worker with pans ʼ. [kándu -- , kará -- 1]K. kã̄dar, kã̄duru dat. °daris m. ʻ baker ʼ. (CDIAL 2728) Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a fireplace during weddings. Pe.kanda fire trench. Kui kanda small trench for fireplace. Malt. kandri a pit.(DEDR 1214)

Thus, Sign 284 reads: kancu ʼmũh kaṇḍa 'bell-metal ingot implements'.

Sign 277 Sign 277 The hypertext is composed of Sign 267

and a hieroglyph,'notch': खांडा khāṇḍā .A jag, notch, or indentation (as upon the edge of a tool or weapon). A rough furrow, ravine, gully. (Marathi) rebus: khāṇḍa 'tools, pots and pans and metal-ware' (Marathi). Thus Sign 277 reads, kancu ʼmũh khāṇḍa 'bell-metal ingot, metalware'

Sign 279 Sign 279 signifies two corners and is a variant of Sign 277. Thus, Sign 27o reads dul kañcu ʼmũh khāṇḍa 'castings bell-metal ingot, metalware'.

PLUS खांडा khāṇḍā .A jag, notch, or indentation (as upon the edge of a tool or weapon). A rough furrow, ravine,gully. (Marathi) rebus:khāṇḍa tools, pots and pans and metal-ware' (Marathi). Vikalpa to 'notch' is 'splinter' of two notches: sal 'splinter' rebus: sal 'workshop'.

Sign 280 The hypertext of Sign 280 is composed of Sign 267, notch and lid of pot. Sign 280 The hypertext of Sign 280 is composed of Sign 267, notch and lid of pot. The reading is: kancu ʼmũh dhakka khāṇḍa 'bell-metal ingot, bright,blazing metal tools, pots and pans and metalware'.

Circumscript: four short strokes: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'.

Sign 281 The hypertext is Sig 280 PLUS circumscript 'four short vertical strokes'. The reading is: kaṇḍa kancu ʼmũh dhakka khāṇḍa 'fire-altar (for) bell-metal ingot, bright,blazing metal tools, pots and pans and metalware'.

Sign 284Variants of Sign 284

Thus, Sign 284 is

mũh kanac = 'kancu mũh' = bell-metal ingot PLUS four angles: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'; khaṇḍa 'equipment'. . Thus, the hypertext expression of Sign 284 reads: kancu mũh gaṇḍā 'bell-metal fire-altar equipment'

Text 1338

Marshall No. 338 Mohenjo-daro

The inscription reads in Meluhha Indian sprachbund: : पोळ [pōḷa], 'zebu' Rebus:पोळ [pōḷa], 'magnetite, ferrite ore' PLUS dul kuThi, 'metalcasting warehouse.' PLUS kancu mũh gaṇḍā 'bell-metal fire-altar equipment'

Mohenjo-daro seal Field symbol: forward-thrusting, spiny-horned young bull PLUS standard device: Field symbol: koDe singi 'spiny-horned young bull' rebus: singi koD 'ornamental gold workshop' PLUS kunda 'lathe' rebus: kunda 'fine gold' PLUS kammaTa 'portable furnace' rebus:kammaTa 'mint, coiner, coinage'.

अर्मक rubbish , ruins RV. i , 133 , 3; अर्म m. pl. ruins , rubbish VS. xxx , 11 TS. &c , often ifc. in names of old villages half or entirely gone to ruin (e.g. गुप्ता*र्म,कुक्कुटा*र्म,बृहद्-र्म , &c , qq. vv.) Pa1n2. 6-2 , 90 seq and viii , 2 , 2 Sch. arman id. (Monier-Williams)

While Iravatham Mahadevan provides a fascinating excursus into the Paninian expression, I disagree with his identification of the pair of cockerel on a Mohenjo-daro seal (Marshall 338) as an expression Kukkutarma, an ancient name for Mohenjo-daro. Such a fascinating speclation is NOT warranted considering the contexts in which the 'cockerel' hieroglyph occurs on 16 other Indus Script inscriptions -- all of which are deciphered in this mnograph.

↧

Racing against time to find A COVID-19 Treatment -- Nevan Krogan. Bharat should set up a similar group to develop a drug to treat COVID-19

March 21, 2020, 7:01 am

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Why don’t we have drugs to treat COVID-19 and how long will it take to develop them?

SARS-CoV-2 – the coronavirus that causes the disease COVID-19 – is completely new and attacks cells in a novel way. Every virus is different and so are the drugs used to treat them. That’s why there wasn’t a drug ready to tackle the new coronavirus that only emerged a few months ago.

As a systems biologist who studies how cells are affected by viruses during infections, I’m especially interested in the second question. Finding points of vulnerability and developing a drug to treat a disease typically takes years. But the new coronavirus isn’t giving the world that kind of time. With most of the world on lockdown and the looming threat of millions of deaths, researchers need to find an effective drug much faster.

This situation has presented my colleagues and me with the challenge and opportunity of a lifetime: to help solve this huge public health and economic crisis posed by the global pandemic of SARS-CoV-2.

Facing this crisis, we assembled a team here at the Quantitative Biosciences Institute (QBI) at the University of California, San Francisco, to discover how the virus attacks cells. But instead of trying to create a new drug based on this information, we are first looking to see if there are any drugs available today that can disrupt these pathways and fight the coronavirus.

The team of 22 labs, that we named the QCRG, is working at breakneck speed – literally around the clock and in shifts – seven days a week. I imagine this is what it felt like to be in wartime efforts like the Enigma code-breaking group during World War II, and our team is similarly hoping to disarm our enemy by understanding its inner workings.

The coronavirus is simple biologically, but complicated in how it infects a host. CDC/ Hannah A Bullock; Azaibi Tamin

A stealthy opponent

Compared with human cells, viruses are small and can’t reproduce on their own. The coronavirus has about 30 proteins, whereas a human cell has more than 20,000.

To get around this limited set of tools, the virus cleverly turns the human body against itself. The pathways into a human cell are normally locked to outside invaders, but the coronavirus uses its own proteins like keys to open these “locks” and enter a person’s cells.

Once inside, the virus binds to proteins the cell normally uses for its own functions, essentially hijacking the cell and turning it into a coronavirus factory. As the resources and mechanics of infected cells get retooled to produce thousands and thousands of viruses, the cells start dying.

Lung cells are particularly vulnerable to this because they express high amounts of the “lock” protein SARS-CoV-2 uses for entry. A large number of a person’s lung cells dying causes the respiratory symptoms associated with COVID-19.

There are two ways to fight back. First, drugs could attack the virus’s own proteins, preventing them from doing jobs like entering the cell or copying their genetic material once they are inside. This is how remdesivir – a drug currently in clinical trials for COVID-19 – works.

A problem with this approach is that viruses mutate and change over time. In the future, the coronavirus could evolve in ways that render a drug like remdesivir useless. This arms race between drugs and viruses is why you need a new flu shot every year.

The first step to discovering a treatment is to understand the virus. Jiewei Xu at the Krogan lab prepares samples for the mass spectrometer. Jacqueline Fabius, CC BY-ND

Alternatively, a drug can work by blocking a viral protein from interacting with a human protein it needs. This approach – essentially protecting the host machinery – has a big advantage over disabling the virus itself, because the human cell doesn’t change as fast. Once you find a good drug, it should keep working. This is the approach that our team is taking. And it may also work against other emergent viruses.

Learning the enemy’s plans

The first thing our group needed to do was identify every part of the cellular factory that the coronavirus relies on to reproduce. We needed to find out what proteins the virus was hijacking.

To do this, a team in my lab went on a molecular fishing expedition inside human cells. Instead of a worm on a hook, they used viral proteins with tiny chemical tags attached to them - termed a “bait.” We put these baits into lab-grown human cells and then pulled them out to see what we caught. Anything that stuck was a human protein that the virus hijacks during infection.

By March 2, we had a partial list of the human proteins that the coronavirus needs to thrive. These were the first clues we could use. A team member sent a message to our group, “First iteration, just 3 baits … next 5 baits coming.” The fight was on.

Once the first protein targets where found, we needed to search the massive FDA drug database for potential matches. Alexa Rocourt, CC BY-ND

Counterattack

Once we had this list of molecular targets the virus needs to survive, members of the team raced to identify known compounds that might bind to these targets and prevent the virus from using them to replicate. If a compound can prevent the virus from copying itself in a person’s body, the infection stops. But you can’t simply interfere with cellular processes at will without potentially causing harm to the body. Our team needed to be sure the compounds we identified would be safe and nontoxic for people.

The traditional way to do this would involve years of pre-clinical studies and clinical trials costing millions of dollars. But there is a fast and basically free way around this: looking to the 20,000 FDA-approved drugs that have already been safety-tested. Maybe there is a drug in this large list that can fight the coronavirus.

Our chemists used a massive database to match the approved drugs and proteins they interact with to the proteins on our list. They found 10 candidate drugs last week. For example, one of the hits was a cancer drug called JQ1. While we cannot predict how this drug might affect the virus, it has a good chance of doing something. Through testing, we will know if that something helps patients.

Facing the threat of global border shutdowns, we immediately shipped boxes of these 10 drugs to three of the few labs in the world working with live coronavirus samples: two at the Pasteur Institute in Paris and Mount Sinai in New York. By March 13, the drugs were being tested in cells to see if they prevent the virus from reproducing.

Dispatches from the battlefield

Our team will soon learn from our collaborators at Mt. Sinai and the Pasteur Institute whether any of these first 10 drugs work against SARS-CoV-2 infections. Meanwhile, the team has continued fishing with viral baits, finding hundreds of additional human proteins that the coronavirus co-opts. We will be publishing the results in the online repository BioRxiv soon.

The good news is that so far, our team has found 50 existing drugs that bind the human proteins we’ve identified. This large number makes me hopeful that we’ll be able to find a drug to treat COVID-19. If we find an approved drug that even slows down the virus’s progression, doctors should be able to start getting it to patients quickly and save lives.

[You need to understand the coronavirus pandemic, and we can help. Read our newsletter.] The Conversation

Nevan Krogan, Professor and Director of Quantitative Biosciences Institute, University of California, San Francisco

This article is republished from The Conversation under a Creative Commons license. Read the original article.

https://www.realclearscience.com/articles/2020/03/21/a_covid-19_treatment_might_already_exist_in_old_drugs_111330.html

QBI CORONAVIRUS RESEARCH GROUP

Twenty-two leading laboratories, involving hundreds of scientists within the Quantitative Biosciences Institute (QBI) at the University of California,San Francisco (UCSF), have come together to fight the COVID-19 outbreak. The newly formed QBI Coronavirus Research Group (QCRG) have pooled their expertise in biochemistry, virology, structural, computational, chemical and systems biology to understand how the virus hijacks human cells for its own replication.

David Agard, PhD, is focused on trying to understand the molecular basis of how complex machinery in the cell functions. His particular take on it is to try to resolve the atomic structures of key molecules and to figure out how they work from that, while also looking at where they go wrong in disease.

Charles Craik, PhD, uses chemistry to answer important biological questions at the interface between biology, medicine and pharmacy. He identifies the roles and regulates the activity of proteases associated with infectious diseases, cancer and development.

James Fraser, PhD, looks at proteins, macromolecules within cells, and tries to determine what structures they take on, what their shapes are and how they move between structures as they execute their functions within cells to quantify how these perturbations impact protein function and organismal fitness.

Danica Fujimori, PhD, works on the identification of new potential drug targets to determine the context in which proteins can serve as drug targets, and to identify small molecules that could act to stop pathogenic proteins from acting in ways to cause disease.

Jason Gestwicki, PhD, is interested in molecular chaperones, protein homeostasis and protein misfolding disorders. To approach the big questions in this area, he uses a chemical biology strategy that includes the discovery and optimization of new chemical inhibitors to acutely perturb chaperone functions, revealing how these systems normally protect from cancer and neurodegeneration as well as other diseases.

John Gross, PhD, investigates molecular machines that coordinate gene expression or antiviral immunity. His research areas include RNA decay enzymes that act in mRNA quality control and gene regulatory pathways, and nucleic acid based immune systems that protect animals from viruses and neutralization of these systems by viral accessory proteins.

Matthew Jacobson, PhD, focuses on developing new computational methods for drug discovery, as well as general tools that can be applied to almost every area of drug discovery. His software is used by essentially all of the major pharmaceutical companies.

Natalia Jura, PhD, researches what regulates growth signals in a cell and looks at how cells grow under normal situations when they are healthy, and then what goes wrong during diseases. She looks at the molecular machines, the proteins themselves, and how they change in response to the binding of ligands.

Tanja Kortemme, PhD, develops methods to engineer biological molecules, proteins that have new biological functions. She does so by developing computational algorithms that help create detailed models of these proteins so that they can be designed at atom-level detail.

Nevan Krogan, PhD, focuses on developing tools that allows one to globally study the function of genes and proteins and how they work together, and targets genes that are in many disease areas in an effort to help find new therapies for diseases.

Shaeri Mukherjee, PhD, elucidates how intracellular bacterial pathogens manipulate Rab function to promote their virulence and to uncover fundamental principles of membrane traffic. To accomplish this, she utilizes the intracellular pathogen Legionella pneumophila as a model, which in turn can be applied to other disease states.

Geeta Narlikar, PhD, studies chromatin and the many processes involved in its regulation. She is an expert in the fields of epigenetic regulation and genome organization, and studies how the folding and compartmentalization of our genome is regulated to generate the many cell types that make up our body.

Melanie Ott, MD, PhD, is interested in the molecular mechanisms of viral pathogenesis. She focuses on HIV-1 and Hepatitis C Virus (HCV). Both are important public health problems and share common traits including high propensities to establish chronic infections and a lack of efficient vaccines. Her HIV efforts focus on viral transcription and latency as remaining barriers to viral eradication.

Oren Rosenberg, MD, PhD, studies and treats infectious diseases. His goal is to discover and exploit molecular vulnerabilities in bacteria in order to design faster, cheaper, less toxic and more effective therapeutics to treat life-threatening infections.

Davide Ruggero, PhD, works on understanding the molecular mechanisms by which impairments in accurate control of mRNA translation, cell growth, and overall cellular protein synthesis rates lead to human disease and cancer.

Andrej Sali, PhD, is interested in describing structures of proteins and their complexes, how the systems work, and how we can modulate their functions with other molecules. He uses information that comes from different experimental methods, computation methods and statistical analyses.

Brian Shoichet, PhD, researches the discovery of new molecules to modulate drug targets, and trying to de-orphanize receptors in the body. He tries to discover molecules that will inform the use of receptors with currently unknown functions.

Kevan Shokat, PhD, seeks to uncover fundamental principles of cell signaling that require the development of new chemical tools. He tries to find new drugs that treat different kinds of diseases, like cancer and neurodegeneration, and viral infections.

Robert Stroud, MA, PhD, studies the molecular basis of biological function. He is particularly interested in transporters that transport nutrients across the membranes of biological cells to incorporate essential nutrients, and transporters that are co-opted to eliminate drugs and thus provide for drug resistance.

Jack Taunton, PhD, develops small molecules to try to understand how cells work and how to intervene in various disease processes, such as cancer and autoimmune disease.

Kliment Verba, PhD, is a QBI Fellow who specializes in structurally analyzing protein complexes using CryoEM. He focuses on understanding how proteins accomplish their work, by first understanding their molecular structure. http://qbi.ucsf.edu/COVID-19

Jim Wells, PhD, is interested in how cells change in cancers, such as pancreatic cancer, prostate cancer, lung cancer and blood borne cancers, and how they can be treated with antibodies. His antibodies are then cross-referenced in various disease states.

http://qbi.ucsf.edu/COVID-19

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What 17 countries and two intl. banks have done as reliefmeasures for COVID-19. Dr.Swamy's letter to NaMo.

March 21, 2020, 7:57 am

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Dr-Swamy-s-Letter-to-PM-2020-03-20 by PGurus on Scribd

Source: https://hindi.pgurus.com/subramanian-swamy-urges-prime-minister-for-an-economic-relief-package-to-counter-the-covid-19-slowdown-compares-the-packages-of-17-countries-and-2-banks/

↧

Itihāsa. COVID-19 Tracker on Bing: India 315 (World: 308,257)

March 21, 2020, 11:10 pm

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Where Google corona is working on the virus tracking website, Microsoft has launched a website that tracks the Coronavirus. The website that tracks COVID-19 has been built by Microsoft's Bing team. The URL of the website that Microsoft has prepared to track coronavirus infection is bing.com/covid. By visiting this URL, you can get updates on coronavirus infections spread all over the world.

When you visit this website, you will find out how many people are currently suffering from corona and how many people have been rescued all over the world. In addition, the website will also provide information on how many people have died due to corona. According to Microsoft's Corona Tracker website, 172,704 people are infected all over the world until this article was written out of which 88,270 are active cases, and 77,776 people have been rescued, while 6,658 people have died. In the US, 61 people have died due to this dreaded virus. The tracker has a map of every country, and the cases that have surfaced there can be seen. On the left side of the tracker, you will find a real-time figure of total confirmed cases, active cases, reword cases, and deaths from this virus. On this website, you can click on a map of a country to find out about the status of Coronavirus in that country.

Google is also developing Coronavirus testing centers tracker site

In addition to Microsoft, Google is also working with the US government to create a website that will help people from all over the world to get information about their nearest coronavirus testing centers. From this website, people will also be able to check what are the symptoms of the coronavirus. The website that gives information about coronavirus testing centers will be built by developers of Google X Lab. Google has also confirmed it by tweet. In this project, Google has engaged a large team of engineers to live the website at the earliest. The website's launch maybe by Sunday.

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Itihāsa तैत्तिरीयारण्यकम् (विस्वर)/प्रपाठकः ४ प्रवर्ग्यमन्त्राः अनुवाक ३६ deals with क्रिमि, कृमि 'worm, insect'

March 22, 2020, 6:17 pm

≫ Next: Itihasa अथर्ववेदः/काण्डं_२/सूक्तम्_३२ on krimi 'worm, insect'

≪ Previous: Itihāsa. COVID-19 Tracker on Bing: India 315 (World: 308,257)

Thanks to Sri Jammalamadaka Srinivas-ji (INDICA) for the audio link.

https://www.youtube.com/watch?v=KQcvvVR8ceQ&feature=youtu.be (0:50)

तैत्तिरीयारण्यकम् (विस्वर)/प्रपाठकः ४ प्रवर्ग्यमन्त्राः

4.36 अनुवाक ३६

अत्रिणा त्वा क्रिमे हन्मि । कण्वेन जमदनिना । विश्वावसोर्ब्रह्मणा हतः । क्रिमीणाँ राजा । अप्येषाँ स्थपतिर्हतः । अथो माताथो पिता । अथो स्थूरा अथो क्षुद्रा ः! । अथो कृष्णा अथो श्वेताः । अथो आशातिका हताः ।
श्वेताभिः सह सर्वे हताः १

https://sa.wikisource.org/wiki/तैत्तिरीयारण्यकम्(विस्वर)/प्रपाठकः_४

अत्रि m. (for अत्-त्रि , fr. √ अद्) , a devourer RV. ii , 8 , 5; (in astron.) one of the seven stars of the Great Bear

विश्वा--वसु N. of a गन्धर्व (regarded as the author of the hymn RV. x , 139)

हन् pound , hammer (acc.) , strike &c upon (loc.)

కరోనా లేదా COVID-19 ని ఎదుర్కొనటములో మన వేదవాఙ్మయము నుండి ఒక మంత్రము

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Temples of Kashmir Part 1 by Padma Bhushan awardee Dr. Nagaswamy

--Hieroglyphs on Kernoi rings are metalwork catalogues, with Meluhha roots in Sarasvati Civilization sprachbund (speech union) , selected to indicate that ink can be used to write on ingots, metal rods, metal bars, equipment

Examples can be cited from Mediterranean, Egyptian, Levantine and Mesopotamian sites from mid-fourth millennium BCE to early centuries of Common Era. These examples have been documented by BM Pande.

The thesis of this monograph is that:

1. the kernos ring was an ink-stand containing iron oxide pigment used by scribes; and

2. the kernos ring designed in Sarasvati Civilization (Mohenjo-daro artifacts presented by George Dales et al in 1986 and Kulli culture artifacts presented in Akinori Uesugi's monograph (2012), spread to entire Eurasia.

Terracotta ring-kernos (offering vase)

Terracotta kernos (vase for multiple offerings)

Literary description

References

2. Rosicrucian Digest, Eleusis, Volume 90 Number 2 2009 https://rosicrucian.org/rosicrucian-digest-eleusis

dāẽ 'tied' rebus dhā̆vaḍ 'iron smelter.' Rupaka, 'metaphor' or Rebus: bhaṭa, 'furnace'' baṭa 'iron'(Gujarati).

https://tinyurl.com/ya744hnzThis is an addendum to: Kulli terracotta ring with pot Indus Script hypertexts signify pōḷā magnetite ore, pwlad 'steel' dhā̆vaḍ, 'smelter' kō̃da,'furnace'

2. Rosicrucian Digest, Eleusis, Volume 90 Number 2 2009 https://rosicrucian.org/rosicrucian-digest-eleusis

dāẽ 'tied' rebus dhā̆vaḍ 'iron smelter.' Rupaka, 'metaphor' or Rebus: bhaṭa, 'furnace'' baṭa 'iron'(Gujarati).

Indus Script writing instruments included kernos, ring of pots as a set of ink-pots containing iron oxide pigment to inscribe inscriptions on metal objects https://tinyurl.com/y8xqexl6

This monograph posits that the kernoi rings and the Motya vase were ink-pots containing iron oxide pigment to write Indus Script inscriptions on metal objects such as copper plates.

This is an addendum to: ḍ̠āṛhū̃ 'pomegranate' is an Indus Script Hypertext, signifies, metalwork catalogue rūpaka, 'metaphor' ḍhālako 'a large metal ingot' https://tinyurl.com/ybu636zy

Porch of the Caryatids at the Erechtheion in Acropolis at Athens

Terracotta kernos from the Cycladic period (ca. 2000 BC), found at Melos

KERNOS RING

“The Kibbutz Sasa Kernos,” BAR 2-02, Jun 1976.

The Pomegranate Vase: Its Origins and Continuity

Über das frühe Kupfer Mesopotamiens

Tin Statistics and Information

Tin Statistical Compendium

More Info: Volume available on https://www.archaeopress.com/

Page Numbers: 53-64

Publication Date: 2020

Publication Name: Tales of Three Worlds: Archaeology and beyond: Asia, Italy, Africa - A tribute to Sandro Salvatori

Battle Magic. Supernatural Support for Physical Combat - 26-27/06/2020, Solingen (Germany)

Indian sciences are universal and they have within them the power to inspire people to find their true potential and find meaning in life, as also having the potential to facilitate the next advances in both physical and biological sciences.

Indian science having the potential to facilitate the next advances in both physical and biological sciences.

Linguistics, algorithms, and society

Modern logic

Physics with observers

Cosmology and evolution

Mind and Yoga

The future of science

Quantum views

Big-C, anomalies, and scientific discovery

káraṇa 'dance-step' káraṇa 'scribe'

Detail of the bull's head.Bull is the boat. May signify Surya.A chariot for utsava bera, procession?

Table 1 – Chronological Sequence based on Artifact Categories and Radiocarbon Dates at Harappa

°री and तुबरी L. ) Sus3r. iv ; vi , 42 , 67 and (metrically °रू) 118 Pa1n2. 6-1 , 143 Ka1s3.

Glyph: tambura ‘harp’; rebus: tambra ‘copper’ (Pkt.) ḍangar ‘bull’ (Hindi) Rebus: ḍhangar ‘blacksmith’ (Hindi).

ḍangur ‘bullock’ (Kashmiri) rebus: bull-men, ḍhangar ‘blacksmith’ (Hindi); tambura 'lyre'-players (harpists) rebus: tāmbarā 'coppersmith' (Oriya) Indus Script Meluhha hypertexts of Ancient Near East.

Tanbur, a long-necked, string instrument originating in the Southern or Central Asia (Mesopotamia and Persia/Iran)

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

https://tinyurl.com/y3ra9h9qThis is an addendum to: Soma yajna depicted on Bactria silvervase with Brahman and seven R̥gveda priests and artisans at work, Indus Script hieroglyphs

This note identifies the eight priests shown on the top register of Bactrian silver vase.

Bactrian Silver Cylindrical Cup with Agricultural and Ceremonial Scene

Great Bath, SD Area, looking north

Lower ledge and Drain outlet, Great Bath, SD Area, looking west

Great Bath, SD Area The floor slopes down to the southwest corner where a small outlet (top right) leads to a brick drain, which takes the water to the edge of the mound.

A College in Mohenjo-daro?

mũhã̄ = the quantity of iron produced atone time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed likea four-cornered piece a little pointed at each end; mũh 'ingot'. (Santali).

Sign 280 The hypertext of Sign 280 is composed of Sign 267, notch and lid of pot. Sign 280 The hypertext of Sign 280 is composed of Sign 267, notch and lid of pot. The reading is: kancu ʼmũh dhakka khāṇḍa 'bell-metal ingot, bright,blazing metal tools, pots and pans and metalware'.

Circumscript: four short strokes: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'.

Sign 281 The hypertext is Sig 280 PLUS circumscript 'four short vertical strokes'. The reading is: kaṇḍa kancu ʼmũh dhakka khāṇḍa 'fire-altar (for) bell-metal ingot, bright,blazing metal tools, pots and pans and metalware'.

Sign 284Variants of Sign 284

mũh kanac = 'kancu mũh' = bell-metal ingot PLUS four angles: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'; khaṇḍa 'equipment'. . Thus, the hypertext expression of Sign 284 reads: kancu mũh gaṇḍā 'bell-metal fire-altar equipment'

https://tinyurl.com/ya744hnz

This is an addendum to: Kulli terracotta ring with pot Indus Script hypertexts signify pōḷā magnetite ore, pwlad 'steel' dhā̆vaḍ, 'smelter' kō̃da,'furnace'

Detail of the bull's head.
Bull is the boat. May signify Surya.
A chariot for utsava bera, procession?

https://tinyurl.com/y3ra9h9q

This is an addendum to: Soma yajna depicted on Bactria silvervase with Brahman and seven R̥gveda priests and artisans at work, Indus Script hieroglyphs