Decipherment of arrowhead hieroglyph on 25 Indus Script inscriptions iron alloy metal equipment workshop

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https://tinyurl.com/y8v2y73c

Decipherment of Field symbols on 25 Indus Script inscriptions presented in this monograph.

Forward-thrusting, spiny-horned young bull PLUS standard see

'Unicorn' is kũdār 'turner'; Indus Script has been deciphered; references in textbooks need revision https://tinyurl.com/ybx9rc7u The Meluhha rebus readings are: -- singa 'one-horned young bull' (often called 'unicorn') rebus singi 'ornament gold'-- kunda 'lathe' rebus kundāru 'turner'-- kamaṭamu 'portable gold furnace' rebus kammaṭa 'mint, coiner, coinage'

Zebu पोळ pōḷa, 'Zebu, bos indicus' Rebus: पोळ pōḷa 'magnetite, ferrite ore'
Elephant: karibha, ibha 'elephant' Rebus: karba, ib 'iron'

Buffalo: rāngo ‘water buffalo bull’ (Ku.N.)(CDIAL 10559) Rebus: .Hieroglyhph: buffalo: Ku. N. rã̄go ʻ buffalo bull ʼ (or < raṅku -- ?).(CDIAL 10538, 10559) Rebus: raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1] Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562) B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.(CDIAL 10567)

rango ‘pewter’. ranga, rang pewter is an alloy of tin, lead, and antimony (anjana) (Santali)

Bison/ox: balad m. ʻox ʼ, gng. bald, (Ku.) barad, id. (Nepali. Tarai) Rebus: bharat, baran (5 copper, 4 zinc and 1 tin)(Marathi.Punjabi)

Tumblers: dolutsu 'tumble' Rebus: dul 'cast metal' Te. ḍollu to fall; ḍolligillu to fall or tumble over; ḍullu to fall off; ḍul(u)cu, (K. also) ḍulupu to cause to fall; ? ūḍuto fall off, come off, drop, give way, fail. Kol. ḍol- (ḍolt-) to lie down, be felled; ḍolp- (ḍolopt-) to fell (trees), pull down (wall).(DEDR 2988) డొల్లు , దొల్లు or దొరలు ḍollu. [Tel.] v. n. To fall, to roll over. పడు, పొరలు.డొలుచు or డొల్చు ḍoluṭsu. [Tel.] v. n. To tumble head over heels as dancing girls do. డొల్లజేయు.డోలు ḍōlu. [Tel.] n. A drum. Rebus: డౌలు or డవులు ḍaulu. [Tel.] An estimate మదింపు. Demand or collection of revenue by the Government: డవులుదారు an appraiser. డవులుపట్టీ an account of the estimate of each farmer's produce.

The Meluhha rebus reading of a sign-pair, a pair of hieroglyphs, fish PLUS arrowhead is: ayas kāṇḍa rebus: ayaskāṇḍa 'excellent iron, alloy metal equipment

Hieroglyph on m37 seal and on an ox-hide type ingot: maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ'iron'

Arrowhead, fish: The pair of signs; fish PLUS arrowhead 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.aya 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS kaṇḍa ‘arrow’ (Skt.) H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers (CDIAL 3024). Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Together, the hypertext, Meluhha expression (Indian sprachbund, 'language union') is:ayaskāṇḍa m. n. "a quantity of iron"or"excellent iron", (gaRa kaskādi- q.v)

khaṇḍa-,with which in some of its senses kāṇḍa-is confounded]) a single joint of the stalk or stem of a plant, such as a bamboo or reed or cane kaṇḍa ‘arrow’ (Skt.) H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers (CDIAL 3024). Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) Rebus: khaṇḍa, khāṇḍā ‘tools, pots and pans, metal-ware’. kanda 'fire-altar'

kāḍ 2 काड् a man's length, the stature of a man (as a measure of length); 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.) rebus: kāḍ ‘stone’; Ga. (Oll.) kanḍ , (S.) kanḍu (pl. kanḍkil) id.

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

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

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

Rebus: गोटी [ gōṭī ] f (Dim. of गोटा) A lump of silver: as obtained by melting down lace or fringe.

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

[Note the count of nine fig leaves on m0296] Rebus: loa = aspecies of fig tree, ficus glomerata, the fruit of ficus glomerata (Santali.lex.)

Epigraph:

1387

kana, kanac = corner (Santali); Rebus: kan~cu

= bronze (Te.)

Ligatured glyph. ara 'spoke' rebus: ara 'brass'. era, er-a = eraka = ?nave; erako_lu = the iron axle of a carriage (Ka.M.); cf. irasu (Ka.lex.)
[Note Sign 391 and its ligatures Signs 392 and 393 may connote a spoked-wheel,
nave of the wheel through which the axle passes; cf. ara_, spoke]erka = ekke (Tbh.
of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tu.lex.) Rebus: eraka = copper (Ka.)eruvai = copper (Ta.); ere - a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a = syn. erka, copper, weapons (Ka.)Vikalpa: ara, arā (RV.) = spoke of wheel ஆரம்² āram , n. < āra. 1. Spoke of a wheel. See ஆரக்கால். ஆரஞ்

சூழ்ந்தவயில்வாய்நேமியொடு (சிறுபாண். 253). Rebus: ஆரம் brass; பித்தளை.(அக. நி.)kund opening in the nave or hub of a wheel to admit the axle (Santali) Rebus: kō̃da -कोँद । इष्टिकाभ्राष्ट्रः f. a brick-kiln. (Kashmiri) kõdār 'turner' (Bengali).

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

Thus, the sign sequence

connotes a copper, bronze, brass smelter furnace

Ayo ‘fish’; kaṇḍa ‘arrow’; rebus: ayaskāṇḍa. The sign sequence is ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.) kaṇḍa ‘fire-altar’ (Santali) DEDR 191 Ta. ayirai, acarai, acalai loach, sandy colour, Cobitis thermalis; ayilai a kind of fish. Ma. ayala a fish, mackerel, scomber; aila, ayila a fish; ayira a kind of small fish, loach.

kole.l 'temple, smithy' (Ko.); kolme ‘smithy' (Ka.) kol ‘working in iron, blacksmith (Ta.); kollan-blacksmith (Ta.); kollan blacksmith, artificer (Ma.)(DEDR 2133) kolme = furnace (Ka.) kol = pan~calo_ha (five metals); kol metal (Ta.lex.) pan~caloha = a metallic alloy containing five metals: copper, brass, tin, lead and iron (Skt.); an

alternative list of five metals: gold, silver, copper, tin (lead), and iron (dhātu; Nānārtharatnākara. 82; Man:garāja’s Nighaṇṭu. 498)(Ka.) kol, kolhe, ‘the koles, an aboriginal tribe if iron smelters speaking a language akin to that of Santals’ (Santali)

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

adar ḍangra ‘zebu’ (Santali); Rebus: aduru ‘native metal’ (Ka.);ḍhan:gar
‘blacksmith’ (WPah.) ayir = iron dust, any ore (Ma.) aduru = gan.iyinda
tegadu karagade iruva aduru = ore taken from the mine and not subjected to
melting in a furnace (Ka. Siddha_nti Subrahman.ya’ S’astri’s new interpretation
of the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330) DEDR 192 Ta. ayil iron. Ma. ayir, ayiram any ore. Ka. aduru native
metal. Tu. ajirda karba very hard iron

V326 (Orthographic variants of Sign 326)

V327 (Orthographic variants of Sign 327) loa = a species of fig tree, ficus glomerata, the fruit of ficus glomerata (Santali.lex.) Vikalpa: kamaṛkom ‘ficus’ (Santali); rebus: kampaṭṭam ‘mint’ (Ta.) patra ‘leaf’ (Skt.); rebus: paṭṭarai ‘workshop’ (Ta.) Rebus: lo ‘iron’ (Assamese, Bengali); loa ‘iron’ (Gypsy) lauha = made of copper or iron (Gr.S'r.); metal, iron (Skt.); lo_haka_ra = coppersmith, ironsmith (Pali); lo_ha_ra = blacksmith (Pt.); lohal.a (Or.); lo_ha = metal, esp. copper or bronze (Pali); copper

(VS.); loho, lo_ = metal, ore, iron (Si.) loha lut.i = iron utensils and implements (Santali.lex.) koṭiyum = a wooden circle put round the neck of an animal; koṭ = neck

(G.lex.) kōṭu = horns (Ta.) kōḍiya, kōḍe = young bull (G.) Rebus: koḍ = place where artisans work (Gujarati)

dol = likeness, picture, form (Santali) [e.g., two tigers, two bulls, duplicated signs] me~ṛhe~t iron; ispat m. = steel; dul m. = cast iron (Santali)

[Thus, the paired glyph of one-horned heifers connotes (metal) casting (dul)
workshop (koḍ)]

The standard device

A variant may be seen. 1.Finely burnished gold fillet (headband)

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

Guild, caravan

Pali:Sanghaṭita [saŋ+ghaṭita, for ˚ghaṭṭita, pp. of ghaṭṭeti] 1. struck, sounded, resounding with (-- ˚) J v.9 (v. l. ṭṭ); Miln 2. -- 2. pierced together, pegged together, constructed Miln 161 (nāvā nānā -- dāru˚). Marathi: सांगड [ sāṅgaḍa ] m f (संघट्ट S) A float composed of

two canoes or boats bound together: also a link of two pompions &c. to swim or float by. 2 f A body formed of two or more (fruits, animals, men) linked or joined together. 3 That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.

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

सांगडणें [ sāṅgaḍaṇēṃ ] v c (सांगड) To link, join, or unite together (boats, fruits, animals).

2 Freely. To tie or bind up or unto.

सांगडबाहुली [ sāṅgaḍabāhulī ] f A puppet.

सांगडी [ sāṅgaḍī ] f (Commonly सांगड) A float &c. san:gaḍa ‘lathe, furnace’ san:ghāḍo, saghaḍī (G.) = firepan; saghaḍī, śaghaḍi = a pot for holding fire (G.)[cula_ sagaḍi_

portable hearth (G.)] aguḍe = brazier (Tu.) san:gaḍa, ‘lathe, portable furnace’; rebus: battle; jangaḍ iyo ‘military guard who accompanies treasure into the treasury’; san:ghāḍiyo, a worker on a lathe (G.) The dotted circles on the bottom portion of the device connote ghangar ghongor; rebus: kangar ‘portable furnace’. Rebus: CDIAL 12858 saṁghara living in the same house . [Cf. ságr̥ha<-> ĀpŚr. -- ghara -- ]Pa. saṅghara -- with one's own family (?); L. sagghrā accompanied by one's own family ; H. sã̄ghar m. wife's son by former husband . CDIAL 12854 saṁghá m.

association, a community Mn. [√han1] Pa. saṅgha -- m. assembly, the priesthood ; Aś. saṁgha -- m. the Buddhist community ; Pk. saṁgha -- m. assembly, collection
; OSi. (Brāhmī inscr.) saga, Si. san̆ga ʻ crowd, collection . -- Rather < saṅga -- : S.saṅgu m. body of pilgrims (whence sã̄go m. caravan ), L. P. saṅg m. CDIAL 12862 saṁghātá saṁghātá m. close union, mass TS., closing (a door) VS., dashing together MBh. [Cf. saṁhata<-> with similar range of meanings. -- ghāta -- ] Tamil: சங்கத்தார்

caṅkattār, n. < id. 1. Members of an assembly, academy, a society, council or committee; சபையோர். 2. Buddhist and Jain fraternity of monks; பௌத்த சைன

சங்த்தார். (சீவக. 4, உரை; சிலப். 30, 32, அரும்.) 3. The learned body of poets in Madura, in ancient times; மதுரைச் சங்கப்புலவர். சங்கத்தா ரெல்லாம் (திருவிளை. தருமிக்கு. 82) சங்கம்² caṅkam, n. < saṅgha. 1. Mustering, gathering; கூட்டம். சங்கமாகி வெங்கணை வீக்க மொடு (பெருங். மகத. 17, 38). 2. Society, assembly, council, senate, academy; சபை. புலம்பரிச் சங்கம் பொருளொடு முழங்க (மணி. 7, 114). 3. Literati, poets; புலவர். (திவா.) 4. Learned assemblies or academies of ancient times patronised by Pāṇḍya kings, three in number, viz., talai-c-caṅkam, iṭai-c-caṅkam, kaṭai-c-caṅkam; பாண்டி யர் ஆதரவுபெற்று விளங்கிய தலைச்சங்கம், இடைச் சங்கம்,கடைச்சங்கம் என்ற முச்சங்கங்கள். எம்மைப் பவந்தீர்ப்பவர் சங்கமிருந்தது (பெரியபு. மூர்த்திநா. 7). 5. Fraternity of monks among Buddhists and Jains;

சங்கமர் caṅkamar , n. < சங்கமம்¹. A class of Vīrašaivas, Lingayats; ஒரு சார் வீரசைவர்.

சங்கநிதி¹ caṅka-niti, n. < id. +. One of the nine treasures of Kubēra; குபேரனது நவநிதி யுள் ஒன்று. சங்கநிதி பதுமநிதி சங்காத்தம் caṅkāttam, n. < saṅ-gata. 1. Friendship, intimacy, familiar intercourse; இணக்கம்.பூனைக்கும்வீட்டெலிக்குஞ்

சங்காத்தமுண்டோ (தனிப்பா. ii, 13, 28). 2. Residence; வாசம்.துறையூரெனுந்தலத்திற்சங்காத்தங்கொண்டிருப்பாய் (தமிழ்நா. 62). சங்காதம்caṅkātam, n. < saṅ-ghāta. 1. Assembly, multitude, company, association,

combination; கூட்டம். (சி. சி. 1, 14, சிவாக்.) Marathi: संघात [ saṅghāta ] m S Assembly or

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

inanimate). 2 A division of the infernal regions. संघट्टणें [ saṅghaṭṭaṇēṃ ] v i (Poetry. संघट्टन) To come into contact or meeting; to meet or encounter. Ex. अर्ध योजन आसपास ॥ वास घ्राण देवीसीं संघटे ॥.संघट्टन [ saṅghaṭṭana ] n S संघट्टना f S orruptly संघठण, संघट्टण, संघष्टण, संघष्टन, संघृष्टन, संघट्ठणें n Close connection and

intercourse; intimate and familiar communication. Ex. तुका

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

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

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

Pali: Sanghara=saghara [sa4+ghara] one's own house J v.222. Sangharaṇa (nt.) [=saŋharaṇa] accumulation J iii.319 (dhana˚).Sangharati [=saŋharati] 1. to bring together, collect, accumulate J iii.261; iv.36 (dhanaŋ), 371; v.383.

<-> 2. to crush, to pound Ji.493.

Pali: Sanghāṭa [fr. saŋ+ghaṭeti, lit. "binding together"; on etym. see Kern, Toev. ii.68]

1. a raft J ii.20, 332 (nāvā˚); iii.362 (id.), 371. Miln 376. dāru˚ (=nāvā˚) J v.194, 195. -- 2. junction, union VvA 233. -- 3. collection, aggregate J iv.15 (upāhana˚); Th 1, 519 (papañca˚). Freq. as aṭṭhi˚ (cp. sankhalā etc.) a string of bones, i. e. a skeleton Th 1, 570; DhA iii.112; J v.256. -- 4. a weft, tangle, mass (almost="robe," i. e. sanghāṭī), in taṇhā˚ -- paṭimukka M i.271; vāda˚ -- paṭimukka M i.383 (Neumann "defeat"); diṭṭhi˚ -- paṭimukka Miln 390. <-> 5. a post, in piṭṭha˚ door --post, lintel Vin ii.120.

The standard device depicted on m0296 is comparable to the

orthography on other seals, h098 and m1408. There are many variants used to
show this sangad.a ‘lathe, portable furnace’. h098 Text 4256 Pict-122

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

m1408At

Layered rebus-metonymy on the inscription on Mohenjo-daro seal m0296 https://tinyurl.com/ydbpgys5

MS 2645 Schoyen Collection

‘Impression of a rare Indus cylinder seal —

a form more common to the Indus Valley's Mesopotamian trade partners than to Harappa itself. Found in this case in NW Afghanistan. As theSchoyen catalog description suggests, the iconography appears to be Old Akkadian, while thesymbols are easily identified as being Indus. (The three rows of four strokes and the hoe or spear-like sign are familiar Indus symbols.) The two middle symbols or emblems, however (red arrows),are not found in any other inscription (out of a data base of perhaps by now 20,000+ [?] known instances of individual Indus emblem occurrences)’.

Oslo Museum. Unprovenanced cylinder seal (from Afghanistan?)

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

kamaḍha 'archer' Rebus: kammaṭa 'mint, coiner, coinage'

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

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

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

Text of inscription:

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

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

Duplicated 'bows', Variant of Sign 307

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

This is a hypertext composed of 'body' (of standing person)

Sign 1 hieroglyph: meḍ 'body' rebus: meḍ,med 'iron, copper'

PLUS

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

PLUS

Sign 402 'flag' hieroglyph. Sign 402 'flag' hieroglyph. Ciphertext koḍi ‘flag’ (Ta.)(DEDR 2049). In the context of metalwork guilds, the flag is the compound expression: dhvajapaṭa ʻflagʼ PLUS 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)

The hypertext reads: kolami khaṇḍa dhakka meḍ dhā̆vaḍ ' smithy/forge equipment, smelter producing blazing, bright iron'.

Sign 211 kaṇḍa ‘arrow’; Rebus: kaṇḍ = a furnace, altar (Santali) khaṇḍa 'implements' (Santali)

The inscription reads:

kol badhoe kammaṭa kolami khaṇḍa dhakka meḍ dhā̆vaḍ

'working in iron, wood, mint, smithy.forge equipment, smelter producing blazing iron implements.'

Text message on m180: kole.l 'temple' rebus; kole.l 'smithy, forge'
-- kanka, kárṇaka 'rim-of-jar' rebus -karṇī accountant

Buffalo attack scenes: a. bull attack scene, circular button seal, Mehrgarh (MR-17); b. buffalo attack scene,Mehrgarh. Terracotta circular button seal. (Shah, SGM & Parpola, A., 1991, Corpus of Indus Seals and Inscriptions 2: Collections in Pakistan, Helsinki: Suomalainen Tiedeakatemia, MR-17. A humped bull (water buffalo?) and abstract forms (one of which is like a human body) around the bull. The human body is tossed from the horns of the bovine.

Impression of a steatite stamp seal (2300-1700 BCE) with a water-buffalo and acrobats. Buffalo attack or bull-leaping scene, Banawali (after UMESAO 2000:88, cat. no. 335). A figure is impaled on the horns of the buffalo; a woman acrobat wearing bangles on both arms and a long braid flowing from the head, leaps over the buffalo bull. The action narrative is presented in five frames of the acrobat getting tossed by the horns, jumping and falling down.Two Indus script glyphs are written in front of the buffalo. (ASI BNL 5683).

Rebus readings of hieroglyphs: ‘1. arrow, 2. jag/notch, 3. buffalo, 4.acrobatics’:

Impression of a Banawali seal from c.2300-1700 BCE, showing an acrobat leaping over a bull.

Rebus readings of Text message hieroglyphs: ‘1. arrow, 2. jag/notch, 3. buffalo, 4.acrobatics’:

1. kaṇḍa ‘arrow’ (Skt.) H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers (CDIAL 3024). Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ)

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

Text message hieroglyphs: Four: g̠aṇḍho m. ʻ four in counting ʼRebus: gkhaṇḍa '(metal) equipmentʼ

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

Rhombus,

splinter, Long linear stroke:

kanac 'corner' rebus: kancu 'bell-metal'.kaṁsá 1 m. ʻmetal cup ʼ AV., m.n. ʻ bell -- metalʼ PLUS mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' (oval-/rhombus-shaped like a bun-ingot)

sal 'splinter' rebus: sal 'workshop'

koḍa 'one' rebus: koḍ 'workshop' Vikalpa: mēthí m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., ˚thī -- f. KātyŚr.com., mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP.

1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), miho, miyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽh, mẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. meh, mehā ʻ the post ʼ, (SBhagalpur) mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.

2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīr, mīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2); L. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛ f., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛha, mehra ʻ a circular construction, mound ʼ; Or. meṛhī, meri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ. (CDIAL 10317) Rebus:rebus: mẽṛhẽt, meḍ 'iron'

Text message hieroglyphs on m1109: Spokes, wheel, splinter.

څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel څرخ ṯs̱arḵẖ, 'potter's wheel';(Pashto) Rebus: arka 'copper, gold' eraka 'metal infusion, moltencast'; arā 'spoke' rebus: āra 'brass'

sal 'splinter' rebus: sal 'workshop'

Two fishes hieroglyph pair on h85 seal: dula 'pair' rebus: dul 'metal casting' PLUS aya 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, cast iron.

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Sculptural शिल्पिन् śilpin marvel at Khasa Matha, Gurmitkal (Gurumeeeidakallu). Unfathomable are the mysteries of craftsmanship heritage of Bharatam

May 2, 2020, 8:49 am

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शिल्पम् śilpam [शिल्-पक् Uṇ.3.28] 1 An art, a fine or mechanical art; (64 such arts are enumerated). -2 Skill (in any art); craft; शिल्पोपचारयुक्ताश्च निपुणाः पण्ययोषितः Ms.9.259; पात्रविशेषे न्यस्तं गुणान्तरं व्रजति शिल्पमाधातुः M. 1.6. -3 Ingenuity, cleverness. -4 Work, manual work or labour; विसर्गरत्यर्त्यभिजल्पशिल्पाः Bhāg.5.11.10. -5 A rite, ceremony. -6 A kind of ladle or spoon used at sacrifices. -7 Form, shape. -3 Creation, procreation. -Comp. -कर्मन् n., -क्रिया any manual labour, handicraft. -कारः, -कारकः, -कारिका, -कारिन् m. an artisan, a mechanic; Kau. A.1.10. -गृहम्, -गेहम् a workshop, manufactory. -जीविन् an artisan, a mechanic. -विद्या 1 mechanical science. -2 any manual skill, handicraft. -शालम्, -ला a workshop, manufactory (a technical school). -शास्त्रम् 1 a book on any art, fine or mechanical. -2 mechanics. -स्थानम् skill in art; Buddh.शिल्पिक śilpika a. Manual, mechanical. -कम् 1 Any handicraft or mechanical art. -2 = शिल्पकम् q. v. शिल्पिन् śilpin a. 1 Relating to a fine or mechanical art. -2 Mechanical. -m. 1 An artisan, artist, a mechanic; Ms.10.120. -2 One who is skilled in any art.

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Dr. Harika from Cambridge sent the link https://twitter.com/Begin_Humor/status/1254467302889668609

The tweet is posted by Doordarshan.

Doordarshan

@Begin_Humor

Apr 26

An ancient marvel of one of the Hindu mandirs.  And here it goes. Stone pillar with a stone ball inside.  The carving is from Yadgiri district of Karnataka state.

https://twitter.com/i/status/1254467302889668609 Click to see video

The column as a musical instrument is in Yadgir, Gurumeeeidakallu, Gulbarga Dist. HS Sudarshan,

Center for Ancient History & Culture (CAHC), Jain University gave this link.

https://karnatakatravel.blogspot.com/2014/07/khasa-matha-gurmitkal.html?m=1

"The balcony columns of (Khasa Matha, Gurmitkal, Yadgir, Gulbarga Dist., Karnataka) on the front is a unique work of sculpture fixed into it. It is a monolith sculpture; a 5" diameter cylindrical shaft about 3' in length with 3 grilled cages; each of the grilled cages holds a stone ball. However, only one of the shafts survives today."

grilled cage and enclosed ball

The ball movement on the cages is demonstrated in the following video:
https://www.youtube.com/watch?time_continue=1&v=_Jc4TpYrPGs&feature=emb_logo
Khasa Matha is a Lingayath monastery near Gurmitkal town, Yadgiri district, Karnataka. Khasa Matha was founded by Murugharajendra Mahawami and the present head is Sri Shantaveera Swami. The unique monolith sculpture of Khasa Matha: a shaft with three cages; each of the cages holds a ball sculpted out of the same stone. There are two such shafts, while one is preserved well other one is partially damaged.

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Unraveling Rgveda narratives, metaphors गौरीवितिः = ऋजिश्वा, औशिज auśija = कक्षीवत् kakṣīvat = पज्र Pajra personified 'soma' defeats पिप्रु

May 2, 2020, 8:09 pm

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≪ Previous: Sculptural शिल्पिन् śilpin marvel at Khasa Matha, Gurmitkal (Gurumeeeidakallu). Unfathomable are the mysteries of craftsmanship heritage of Bharatam

https://tinyurl.com/y9hmj9nt

-- ऋजिश्वा with Indra's help defeats पिप्रु a dāsa, a fisherman, who possessed forts

-- ऋजिश्वन् r̥jiśvan, son of विदथः vidathaḥ, उशिजः uśijaḥ is the synonym of

कक्षीवत् kakṣīvat, is a a king protected by Indra. He is a king like वीत--हव्य who obtained

the rank of a Brahman.

-- He defeats Pajra, i.e. a metaphor for acquisition of Soma since पज्र pajra also means 'soma'

-- पज्र pajra is also an epithet of Angiras (a metaphor for carbon, charcoal which infuses into

molten metal to convert iron into steel, hard alloys).

parāśaraḥ पराशरः parāśaraḥ N. of a celebrated sage, father of Vyāsa and the author of a Smṛiti

is also a शाक्त्य; पाराशरः pārāśaraḥ, पाराशर्य pārāśarya An epithet of Vyāsa, son of Parāsara;

तत एकान्तमुन्नीय पाराशर्यो युधिष्ठिरम् Mb.3.36.28. -राः N. of a school on अर्थशास्त्र mentioned by

Kauṭilya in connection with राजपुत्ररक्षण; Kau. A.1.17.

-Comp. कल्पिक one who studies the पाराशरकल्प. (Apte) परा-शर N. of a son of वसिष्ठ

or of a son of शक्ति and grandson of वसिष्ठ (according to MBh.

the father of व्यास ; said to be the author of RV. i , 65-73 and part of ix , 97);

पाराशर m. a follower of पराशर Pat. on Pa1n2. 4-2 , 60 (Monier-Williams)

The Rca-s related to गौरी--विति are related to Soma processing. गौरी--विति is a शाक्त्य

m. a worshipper of the शक्ति; patr. of गौर-वीति (ऐतरेय-ब्राह्मण, शतपथ-ब्राह्मण);

N. of two सामन्s (आर्षेय-ब्राह्मण)

गौरी--विति m. = °रि-वीति (शतपथ-ब्राह्मण xii ताण्ड्य-ब्राह्मण xi) f. गौरि--वीति m. (= ग्/औरी-विति)

N. of a ऋषि (descendant of शक्ति) RV. v , 29 , 11 AitBr. iii , 19 (Monier-Williams)

गौरिवीतेः एतन्नामकस्य मन्त्रद्रष्टु (सायण)

सायणभाष्यम् RV 5.29.11

स्तोमा॑सस्त्वा॒ गौरि॑वीतेरवर्ध॒न्नर॑न्धयो वैदथि॒नाय॒ पिप्रु॑म् ।

आ त्वामृ॒जिश्वा॑ स॒ख्याय॑ चक्रे॒ पच॑न्प॒क्तीरपि॑ब॒ः सोम॑मस्य ॥११

स्तोमासः । त्वा । गौरिऽवीतेः । अवर्धन् । अरन्धयः । वैदथिनाय । पिप्रुम् ।

आ । त्वाम् । ऋजिश्वा । सख्याय । चक्रे । पचन् । पक्तीः । अपिबः । सोमम् । अस्य ॥११

हे इन्द्र गौरिवीतेः एतन्नामकस्य मन्त्रद्रष्टुर्मम संबन्धीनि स्तोमासः स्तोत्राणि त्वा त्वाम् अवर्धन् वर्धयन्तु । वैदथिनाय विदथिनः पुत्राय ऋजिश्वनाम्ने पिप्रुम् एतन्नामकमसुरम् अरन्धयः वशमनयः । हे इन्द्र ऋजिश्वनामा कश्चिदृषिः सख्याय तव सखित्वाय पक्तीः पक्तव्यानि पुरोडाशादीनि पचन् पाकं कुर्वन् त्वाम् आ चक्रे अभिमुखीचकार । किंच त्वम् अस्य ऋजिश्वनः संबन्धिनं सोमम् अपिबः अपाः ।।

गौरिवीति पु० गौर्य्या वेदवाचि वीतिः विशेषगतिरस्य “ङ्यापोरिति” संज्ञायां ह्रस्वः । शक्तिमुनिपुत्रे ऋषिभेदे ।“गोरवीतिः शाक्त्यः क्षत्रमिवाह” शत० ब्रा० १२ । ८ । ३ । ७ ।“स्तोमसामा गौरवीतेरवर्द्धनः” ऋ०५ । २९ । ११ । गौरिवीतेरेतन्नामकस्य मन्त्रद्रष्टुः” मा० । गौरिवीतिना दृष्टं सामअण् । गौरिवीत तद्दृष्टे सामभेदे “तृतीयसवनाच्चि-द्विष्णोः शिपिविष्टवतीषु गौरिवीतेन” कात्या० श्रौ०२५ । १३ । ६ । “गौरिवीतं नाम सामभेदस्तेन स्तुवीरन्” कर्कः । https://sa.wikisource.org/wiki/वाचस्पत्यम्

ऋजिश्वन् r̥jiśvan m. N. of a king protected by Indra; Rv. 5.29.11 (Apte)

विदत् vidat a. 1 Knowing. -2 Wise. विदथः vidathaḥ [विदेः अथः कित् Uṇ.3.115] 1 A learned man, scholar. -2 An ascetic, a sage. -3 Ved. A sacrifice. -थम् Ved. 1 Knowledge. -2 A sacrifice. -3 A battle (?). -4 A meeting, assembly. (Apte) Thus, ऋजिश्वन् r̥jiśvan is descendant of विदथः vidathaḥ, a learned man with the knowledge of yajna.

ऋजिश्वन् r̥jiśvan is the son of औशिज auśija a. (-जी f.) [उशिज्-अण्] Desirous, zealous, wishing; कक्षीवन्तं य औशिजः Mbh. VI.1.37. उशिजः uśijaḥ m. N. of the father of कक्षीवत् Comm. on (ताण्ड्य-ब्राह्मण). औशिज mfn. (fr. उशिज्) , desirous , zealous , wishing RV. N. of कक्षीवत् and other ऋषिs (RV. TS. आश्वलायन-श्रौत-सूत्र)

“यः कक्षीवानृषिः “औशिजः उशिजः पुत्रः। -- सायण

कक्षीवत् kakṣīvat m. [कक्ष्या-मत् Mbh. on P.VI.1.37] N. of a renowned Ṛiṣi, sometimes called Pajriya; author of several hymns of the Ṛigveda; कक्षीवन्तं य औशिजः Rv.1.18.1; m. (for कक्ष्या-वत् (काशिका-वृत्ति on पाणिनि 8-2 , 12), N. of a renowned ऋषि (sometimes called पज्रिय ; he is the author of several hymns of the ऋग्-वेद , and is fabled as a son of उशिज् and दीर्घ-तमस्) RV. AV. S3a1n3khS3r. &c; m. pl. (अन्तस्) the descendants of कक्षीवत् RV. i , 126 , 4.

पज्र m. N. of कक्षीवत् and other men (RV) mf. the सोम plant; n. N. of a सामन् (लाट्यायन) (Monier-Williams) पज्र pajra a. Ved. 1 Powerful, strong. -2 Wealthy, rich. -ज्रः An epithet of Aṅgiras. (Apte)

Thus, ऋजिश्वन् r̥jiśvan, son of विदथः vidathaḥ, उशिजः uśijaḥ is the synonym of कक्षीवत् kakṣīvat, is a a king protected by Indra. He is a king like वीत--हव्य who obtained the rank of a Brahman.

vItahavyaवीत--हव्य m. N. of a man with the patr. आङ्गिरस (author of RV. vi , 15) Anukr.; m. of a man with the patr. श्रायस TS. Pan5cavBr.; m. of a king who obtained the rank of a Brahman MBh.

सायणभाष्यम् RV 1.18.1

पञ्चमेऽनुवाके षट् सूक्तानि । तत्र ‘ सोमानम्'इत्यादिकं नवर्चं प्रथमं सूक्तम् । ऋषिच्छन्दसी पूर्ववत् । देवताविशेषस्त्वेवमनुक्रम्यते -° सोमानमिति पञ्च ब्राह्मणस्पत्याश्चतुर्थ्यामिन्द्रश्च सोमश्च पञ्चम्यां दक्षिणा चान्याः सादसस्पत्या नाराशंसी वान्त्या'इति । सूक्तगता आद्याः पञ्चर्चो ब्रह्मणस्पतिदेवताकाः । तासां मध्ये “ स घा वीरः'इत्येतस्याश्चतुर्थ्या ऋचो ब्रह्मणस्पतिरिन्द्रश्च सोमश्चेति तिस्रो देवताः । त्वं तम्'इत्येतस्याः पञ्चम्या दक्षिणया सह पूर्वोक्तास्तिस्रो देवताः । षष्ठीमारभ्य तिसृणां सदसस्पतिर्देवता । ‘ नाराशंसम्'इत्येतस्या नवम्याः सदसस्पतिर्नराशंसो वा विकल्प्यते। विनियोगस्तु पूर्ववत् ॥

सो॒मानं॒ स्वर॑णं कृणु॒हि ब्र॑ह्मणस्पते ।

क॒क्षीव॑न्तं॒ य औ॑शि॒जः ॥१

हे "ब्रह्मणस्पते एतन्नामकदेव “सोमानम् अभिषवस्य कर्तारं "स्वरणं देवेषु प्रकाशनवन्तं “कृणुहि कुरु । अत्र दृष्टान्तः । “कक्षीवन्तम् एतन्नामकमृषिम् । इवशब्दोऽत्राध्याहर्तव्यः । कक्षीवान् यथा देवेषु प्रसिद्धस्तद्वदित्यर्थः । “यः कक्षीवानृषिः “औशिजः उशिजः पुत्रः। तमिवेति पूर्वत्र योजना। कक्षीवतोऽनुष्ठातृषु मुनिषु प्रसिद्धिस्तैत्तिरीयैराम्नायते - एतं वै पर आट्णारः कक्षीवाँ औशिजो वीतहव्यः श्रायसस्त्रसदस्युः पौरुकुत्स्यः प्रजाकामा अचिन्वत ' ( तै. सं. ५. ६. ५. ३) इति । ऋगन्तरेऽपि ऋषित्वकथनेनानुष्ठातृत्वप्रसिद्धिः सूच्यते - अहं कक्षीवाँ ऋषिरस्मि विप्रः ' ( ऋ. सं. ४. २६. १ ) इति । तस्मात् अस्यानुष्ठातारं प्रति दृष्टान्तत्वं युक्तम् । सोऽयं मन्त्रो यास्केनैवं व्याख्यातः - सोमानं सोतारं प्रकाशनवन्तं कुरु ब्रह्मणस्पते कक्षीवन्तमिव य औशिजः । कक्षीवान् कक्ष्यावानौशिज उशिजः पुत्र उशिग्वष्टेः कान्तिकर्मणोऽपि त्वयं मनुष्यकक्ष एवाभिप्रेतः स्यात्तं सोमानं सोतारं मा प्रकाशनवन्तं कुरु ब्रह्मणस्पते' ( निरु. ६. १० ) इति । अस्मिन् मन्त्रे सोमानमिति पादेन कृणुहि ब्रह्मण इति पादेन सूचितं तात्पर्यं तैत्तिरीया आमनन्ति - सोमानं स्वरणमित्याह सोमपीथमेवाव रुन्धे । कृणुहि ब्रह्मणस्पत इत्याह ब्रह्मवर्चसमेवाव रुन्धे ' ( तै. सं. १. ५. ८. ४ ) इति ॥ सोमानम् । सुनोतीति । षुञ् अभिषवे । । ‘ अन्येभ्योऽपि दृश्यन्ते'इति मनिन् । दृशिग्रहणस्य विध्यन्तरोपसंग्रहणार्थत्वात् नित्त्वेऽपि नाद्युदात्तत्वं किंतु प्रत्ययस्वर एव । उञ्छादिषु (पा. सू. ६. १. १६० ) वा सोमञ्शब्दो द्रष्टव्यः बहुलग्रहणात् औणादिको वा मनिर्द्रष्टव्यः । स्वरणं प्रख्यातम् । स्वृ शब्दोपतापयोः । ‘ कृत्यल्युटो बहुलम् ' (पा. सू. ३. ३. ११३) इति कर्मणि ल्युट्। 'लिति'इति अकार उदात्तः । कृणुहि । ‘ कृवि हिंसाकरणयोश्च । इदितो नुम् धातोः' (पा. सू. ७. १. ५८ ) इति नुम् । लोटः सिपो हिः । शपि प्राप्ते ‘धिन्विकृण्व्योर च 'इति उप्रत्ययः; तत्संनियोगेन वकारस्य च अकारः । तस्य 'अतो लोपः'इति लोपः । तस्य स्थानिवद्भावात् न पूर्वस्य लघूपधगुणः । हेर्ङित्त्वात् उकारस्य न गुणः । ‘ उतश्च प्रत्ययाच्छन्दोवावचनम् ( पा. सू. ६. ४. १०६. १ ) इति हेर्लुक् न ।'सति शिष्टस्वरबलीयस्त्वमन्यत्र विकरणेभ्यः 'इति वचनात् हेरेव प्रत्ययस्वरेणोदात्तत्वम् । पादादित्वात् न निघातः । ब्रह्मणः । ‘ षष्ठ्याः पतिपुत्र ! ( पा. सू. ८. ३. ५३ ) इत्यादिना संहितायां विसर्जनीयस्य सकारः। सुबामन्त्रितपराङ्गवद्भावात् पदद्वयस्य आमन्त्रितनिघातः । कक्षीवन्तम् । कक्षे भवा कक्ष्या अश्वोदरसंबन्धिनी रज्जुः । ‘ भवे छन्दसि ' ( पा. सू. ४. ४. ११० ) इति यप्रत्ययः । सो अस्यास्तीत्यर्थे 'आसन्दीवदष्ठीवच्चक्रीवत्कक्षीवत्° ' ( पा. सू. ८. २. १२) इति ऋषिविशेषनाम कक्षीवच्छब्दो निपातितः । ‘ छन्दसीरः 'इति वत्वम् । यप्रत्ययस्वरेण तदादेशो निपातित ईकार उदात्तः । मतुप्सुपौ पित्त्वादनुदात्तौ । औशिजः । ‘ वश कान्तौ । 'इजि ' ( उ. सू. २. २२८ ) इत्यनुवृत्तौ ‘वशेः किच्च ' ( उ. सू. २. २२९ ) इति इजिप्रत्ययः । तस्य कित्त्वात् 'ग्रहिज्या ' ( पा. सू. ६. १. १६ ) इत्यादिना संप्रसारणं, परपूर्वत्वे गुणाभावः। तस्यापत्यम्' (पा. सू. ४. १. ९२ ) इति ‘ प्राग्दीव्यतोऽण् ' ( पा. सू. ४. १. ८३ )। आदिवृद्धिः । प्रत्ययस्वरेणान्तोदात्तत्वम् ॥

पिप्रु m. ( √ पृ) N. of a demon conquered by इन्द्र RV.

Vipin Kumar <vedastudy@yahoo.com>

Thanks to Vipin Kumar for the brilliant insights provided:

ऋग्वेद ५.२९, ९.१०८.१-२, १०.७३, १०.७४ सूक्तानां ऋषिः गौरिवीतिः शाक्त्यः अस्ति। ऋग्वेदे शाक्त्य रूपेण गौरिवीतेः एवं पराशरस्य ऋषयोः नामानौ स्तः, किन्तु पुराणेषु केवलं पराशरस्य नाम एव प्रकटितं अस्ति। गौरीवितिः शब्दस्य निर्वचनस्य संदर्भे वाचस्पत्यम् शब्दकोशे गौरिवीति - गौर्य्या वेदवाचि वीतिः विशेषगतिरस्य इति निर्वचनमस्ति। गौरिवितिः शब्दः गौरिवित्तः शब्दस्य रूपान्तरणं प्रतीयते। बृहदारण्यकोपनिषदे कथनमस्ति –

यो वै स संवत्सरः प्रजापतिः षोडशकलोऽयमेव स योऽयमेवंवित्पुरुषः । तस्य वित्तमेव पञ्चदश कलाः । आत्मैवास्य षोडशी कला । स वित्तेनैवा च पूर्यतेऽप च क्षीयते । तदेतन्नभ्यं यदयमात्मा । प्रधिर्वित्तम् । - बृह. १,५.१५

गौरिवीतिः शाक्त्यः शक्ति-पुत्रः एवं वसिष्ठ-पौत्रः अस्ति। ब्रह्माण्ड एवं अन्येषु पुराणेषु उल्लेखमस्ति यत् ब्रह्मा तिर्यक्सु शक्तिरूपेण प्रविशति। अतएव, या ऊर्जा देवेषु एव वर्तते, तस्याः पृथिव्यां अवतरणम् शक्तेः कार्यमस्ति। जैमिनीयब्राह्मणानुसारेण गौरीवितस्य मुख्यतया द्वे कार्यौ स्तः - यः अद्यतनं अस्ति, तस्य श्वस्तनं करणं एवं आत्मा हेतु रसस्य उत्पत्तिः। देवाः अद्यतना भवन्ति, मनुष्याः श्वस्तनाः। गौरि शब्दस्य व्याख्या पुराणेषु शिव - भार्या गौरी रूपेण कर्तुं शक्यन्ते। महाभारते आदिपर्वे ६३.८५ पराशरः काली (सत्यवती) सह संगमं करोति। परिणामस्वरूपेण तस्याः रूपान्तरणं भवति - सा मत्स्यगन्धातः सुगन्धा भवति।

स्तोमासस्त्वा गौरिवीतेरवर्धन्नरन्धयो वैदथिनाय पिप्रुम् ।

आ त्वामृजिश्वा सख्याय चक्रे पचन्पक्तीरपिबः सोममस्य ॥ऋ. ५.२९.११

गौरिवीत-, गौरीवित- (सामन्- )-

१. देवा वै वाचं व्यभजन्त। तस्या यो रसोऽत्यरिच्यत तद्गौरीवितमभवदनुष्टुभमनु परिप्लवते वागनुष्टुब्वाचो रसो गौरीवितम्। यद्गौरीवितेन (अभि प्र गोपतिं गिरेति, ग्रामगेयः १६८.३) अन्वहंस्स्तुवते वाच्येव तद्वाचा रसं दधति । तां ५.७.१ ।

२. एतद्वै यज्ञस्य श्वस्तनं यद्गौरीवितं यद्गौरीवितमनुसृजेयुरश्वस्तना अप्रजसः स्युः। तां ५,७, ५

३. प्र व इन्द्राय मादनमिति गौरीवितम्। ब्रह्म यद्देवा व्यकुर्वत ततो यदत्यरिच्यत तद्गौरीवितमभवत्। अतिरिक्तं गौरीवितमतिरिक्तमेतत् स्तोत्रं यद्रात्रिरतिरिक्त एवातिरिक्तं दधाति। तां ९,२,३ ।

४. गौरीवितिम् ( प्र सुन्वानाय) वा एतच्छाक्त्यो ब्रह्मणो ऽतिरिक्तमपश्यत्तद् गौरीवितमभवत् । तां ११,५, १४

५. वृषा वा एतद्वाजिसाम (गौरीवितम्) । वृषभो रेतोधा अद्य स्तुवन्ति श्वः प्रजायते । तां ११, ५,१६ ।।

६. गौरीवितं (इन्द्र जुषस्व इति) भवति। गौरीवितिर्वा एतच्छाक्त्यो ब्रह्मणोऽतिरिक्तमपश्यत् तद्गौरीवितमभवदतिरिक्तं एतदतिरिक्तेन स्तुवन्ति यद्गौरीवितेन षोडशिनं श्वस्तनवान् भवत्यपि प्रजाया उपकॢप्तः- तांब्रा १२,१३, १०

७. एतद्वै यज्ञस्य श्वस्तनं यद्गौरीवितमेतदायतनो यजमानो यन्मध्यन्दिनो यद्गौरीवितं(आ जागृविर्विप्र) मध्यन्दिने भवति श्वस्तनमेव तद्यजमान आत्मन् धत्ते - तांब्रा १५,९, १७ (तु. जै. २.४२४) ।

८. गौरीवितं (इन्द्र जुषस्व) षोडशिसाम भवति। अतिरिक्तं गौरीवितमतिरिक्तः षोडश्यतिरिक्त एवातिरिक्तं दधाति - तांब्रा. १८.६.१९

९. यस्य माध्यन्दिने सवने सोमोऽतिरिच्यते । आदित्यं तृतीयसवनं कामयमानोऽभ्यतिरिच्यते । गौरि-वीतꣳ साम भवति । अतिरिक्तं वै गौरिवीतम् । अतिरिक्तं यत्सवनस्यातिरिच्यते। अतिरिक्तस्य शान्त्यै । - तैब्रा १, ४,५, २

१०. अन्नं वै गौरीवितम्। अन्नम् उ वै श्वस्तनम्। अन्नम् उ ह वा इदं सर्वम् अतिरिरिचे। - जै. १.२१५

११. यथा ह वा इदम् अवसानदर्शाववसानं विन्दत एवम् एतौ गौरिवीतस्योदासौ देवेभ्य श्वस्तनं विन्दतः। श्वस्तनं नो ऽसद् इति वै सत्रम् आसते। श्वस्तनं हैवैभ्यो भवति। एतद् ध वा अद्यश्वं देवानां यद् गौरिवीतम्। अक्षितम् अस्याद्यश्वं भवति य एवं वेद। अवसानदर्शो वा एतयोर् उदासो ऽन्यतरो ऽवसाययितान्यः। - जैब्रा ३.१७

१२. स गौरिवीतिश् शाक्त्यो मृगम् अहन्। तम् तार्क्ष्यस् सुपर्ण उपरिष्टाद् अभ्यवापतत्। तस्मा उपप्रत्यधत्त। तम् अब्रवीद् - ऋषे, मा मे ऽस्थः। श्वस्तनं ते वक्ष्यामि। अद्य वाव त्वं वेत्थ न श्व इति। तस्मा एतद् गौरिवीतम् अब्रवीत्। ततो वै स श्वस्तनम् अपश्यत्। तत् प्रजा वै श्वस्तनं पशव श्वस्तनं स्वर्गो लोक श्वस्तनम्। । जै ३,१८ ।

१३.वाचो वै रसो ऽत्यक्षरत्। तद् गौरिवीतम् अभवत्। यद् अन्वहं गौरिवीतं भवत्य्, अन्वहम् एवैतद् वाचो रसं दधतो यन्ति। ये गौरिवीतम् अहीने ऽवसृजेयुस् तान् ब्रूयाद् - अश्वस्तना अप्रजसो भविष्यथेति। अश्वस्तना हैवाप्रजसो भवन्ति ॥जै 3.18॥

१४. प्रजा वै पशवो गौरिवीतम्, आत्मा मध्यन्दिनः। तद् यद् गौरिवीतं मध्यन्दिनम् अभि प्रत्याहरन्त्य् आत्मन्न् एवैतत् प्रजां पशून् प्रतिष्ठापयन्ति। श्वस्तनं वै गौरिवीतम्, आत्मा मध्यन्दिनः। जै ३,२९१ ।

१५, रसो वै गौरिवीतम्, आत्मा मध्यन्दिनः। तद् यद् गौरिवीतं मध्यन्दिनम् अभिप्रत्याहरन्त्य्, आत्मन्न् एवैतद् रसं प्रतिष्ठापयन्ति। जै ३,२९१ ।

१६. गौरिवीतं षोळशि साम कुर्वीत तेजस्कामो ब्रह्मवर्चसकामस्तेजो वै ब्रह्मवर्चसं गौरिवीतम्। ऐ ४,२ ।

१७. बण्महाँ२असीति बृहतीष्वादित्यवतीषु गौरीवितेन स्तुवीरन्। पूर्व-वद्धोता। तृतीयसवनाच्चेद्विष्णोः शिपिविष्टवतीषु गौरीवितेन - कात्यायनश्रौतसूत्रम् २५.१३.८

Notes on अङ्गिरस् aṅgiras

अङ्गिरः aṅgiraḥ, अङ्गिरस् aṅgiras m. [अङ्गति-अङ्ग् गतौ असि इरुट्; Uṇ 4. 235; according to Ait. Br. अङ्गिरस् is from अङ्गार; येअङ्गारा आसंस्तेऽङ्गिरसोऽभवन्; so Nir.; अङ्गारेषुयो बभूव सोऽङ्गिराः] N. of a celebrated sage to whom many hymns of the Rigveda (ix) are ascribed. Etymologically Aṅgira is connected with the word Agni and is often regarded as its synonym (शिवोभव प्रजाभ्यो मानुषीभ्यस्त्व- मङ्गिरः; अङ्गिरोभिःऋषिभिः संपादितत्वात् अङ्गसौष्ठवाद्वा अङ्गिरा अग्निरूपः) According to Bhārata he was son of Agni. When Agni began to practise penance, Aṅgiras himself became Agni and surpassed him in power and lustre, seeing which Agni came to the sage and said:- निक्षिपाम्यहमग्नित्वंत्वमग्निः प्रथमो भव । भविष्यामि द्वितीयोऽहं प्राजा- पत्यकएव च ॥ Aṅgiras said :- कुरुपुण्यं प्रजासर्गं भवाग्निस्तिमिरापहः । मां च देव कुरुष्वाग्ने प्रथमं पुत्रमञ्जसा ॥ तत्श्रुत्वाङ्गिरसो वाक्यं जातवेदास्तथाऽकरोत्. He was one of the 10 mind-born sons of Brahmā. His wife was Śraddhā, daughter of Kardama and bore him three sons, Bṛhaspati, Utathya and Saṁvarta, and 4 daughters Kuhū, Sinīvālī, Rākā and Anumati. The Matsya Purāṇa says that Aṅgiras was one of the three sages produced from the sacrifice of Varuṇa and that he was adopted by Agni as his son and acted for some time as his regent. Another account, however, makes him father of Agni. He was one of the seven great sages and also one of the 10 Prajāpatis or progenitors of mankind. In latter times Aṅgiras was one of the inspired lawgivers, and also a writer on Astronomy. As an astronomical personification he is Bṛhaspati, regent of Jupiter or Jupiter itself. शिष्यैरुपेताआजग्मु: कश्यपाङ्गिरसादयः (Bhāg.1.9.8.) He is also regarded as the priest of the gods and the lord of sacrifices. Besides Śraddhā his wives were Smṛti, two daughters of Maitreya, some daughters of Dakṣa, Svadhā and Satī. He is also regarded as teacher of Brahmavidyā. The Vedic hymns are also said to be his daughters. According to the Bhāgavata Purāṇa, Aṅgiras begot sons possessing Brahmanical glory on the wife of Rāthītara, a Kṣatriya who was childless and these persons were afterwards called descendants of Aṅgiras. The principal authors of vedic hymns in the family of Aṅgiras were 33. His family has three distinct branches केवलाङ्गिरस, गौतमाङ्गिरस and भारद्वाजाङ्गिरस each branch having a number of subdivisions. - (pl.) 1 Descendants of Aṅgiras, [Aṅgiras being father of Agni they are considered as descendants of Agni himself who is called the first of the Aṅgirasas. Like Aṅgiras they occur in hymns addressed to luminous objects, and at a later period they became for the most part personifications of light, of luminous bodies, of divisions of time, celestial phenomena and fires adapted to peculiar occasions, as the full moon and change of the moon, or to particular rites, as the अश्वमेध, राजसूय &c.] -2 Hymns of the Atharvaveda. -3 Priests, who, by using magical formulas of the Atharvaveda, protect the sacrifice against the effects of inauspicious accidents.

आङ्गार āṅgāra [अङ्गाराणां समूहः अण्] A multitude of firebrands, charcoal.

आङ्गारिकः āṅgārikaḥ A charcoal burner; मालाकारोपमो राजन् भव माऽऽङ्गारिकोपमः Mb.12.71.20.

आङ्गिरस āṅgirasa a. (-सी f.) Descended from or referring to Aṅgiras. -सः 1 N. of Bṛihaspati, son of Aṅgiras; अध्यापयामास पितॄन् शिशुराङ्गिरसः कविः Ms.2.151. तं भासुरं चाङ्गिरसाधिदेवं यथावदानर्च तदायुषे सः Bu. Ch.2.36. -2 Descendants of Aṅgiras (pl.). -3 A particular Sūkta or hymn in the Atharvaveda -4 the soul; अधमास्येऽन्तरिति सोऽयास्य आङ्गिरसोऽङ्गानां हि रसः Bṛi. Up.1.3.8. -5 A Kṣatriya by will of Brahmā and by profession. -6 N. of a particular year. cf. आङ्गीरसस्त्वब्दभेदे मुनिभेदे तदीरितम् । Nm. -Comp. सत्रम् The ब्रहस्पति Satra; सत्रमाङ्गिरसं नाम ह्यासते स्वर्गकाम्यया Bhāg.10.23.3.

(Apte)

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Indus Script hieroglyphs on sculptural frieze Nataraja, बृहत् bṛhat ईश्वर īśvara Temple, Gangaikoṇḍa Cholapuram, Thanjavur, Tamil Nadu

May 3, 2020, 7:56 pm

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https://tinyurl.com/yckagsax

The sculpture on the wall of the temple is an extraordinary narrative.
Nataraja is shown on a cosmic dance, stepping on Apasmāra, 'epilepsy' personified.
Surrounding the divinity are gaṇa of dwarfs, (kharva 'dwarf' rebus: karba 'iron') dancing and playing musical instruments. The gaṇa are in the guild of metalworkers as shown on Bhutesvar sculptural friezes.

Surrounding the divinity are kinnara, gandharva, Devi nandinī (Pārvati) and divine cow called Kāmadhenu- Nandini, Devi Sarasvati playing the Veena, Divinities Skanda and Gaṇeśa.

On the top register of the sculptural composition, Indus Script hieroglyphs are shown of two tigers jumpng with their heads turned looking back. krammara 'look back' rebus: kamar 'blacksmith' kola 'tiger' rebus: kol 'working in iron' kolhe 'smelters'.

Bhutes'var sculptural friezes of a smithy of a guild.

File:Worship of Shiva Linga by Gandharvas - Shunga Period ...

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Indus Script has been deciphered

May 3, 2020, 8:16 pm

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≪ Previous: Indus Script hieroglyphs on sculptural frieze Nataraja, बृहत् bṛhat ईश्वर īśvara Temple, Gangaikoṇḍa Cholapuram, Thanjavur, Tamil Nadu

https://www.youtube.com/watch?v=lCsEjjlWuEY&feature=youtu.be (3:12)

Announcement in Budget 2020 Speech of Hon'ble Finance Minister of India. Importance of the decipherment and details of the essential semantic unity of Bharatiya languages during the Tin-Bronze Revolution, 4th millennium BCE.

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तिलौदन sacred offering शत० ब्रा०; jar-tila, tila, 'sesame' jhāṛ 'bush' exports to Sumer ca 3rd m BCE are Meluhha words attested in Atharva Veda

May 4, 2020, 2:21 am

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https://tinyurl.com/yc8fbuso

The number of expressions built up from the root: til 'sesame' are so consistent semantically in all Bharatiya languages, that it is virtually impossible to posit the earliest origins, or etymology for the word which means 'sesame'. The early evidence comes from Santali words for oilmen and sesame oil which are tili and tili respectively.

I submit that Sumerian/Akkadian/South Dravidian 'ellu' for 'sesame' is derived from Meluhha expression: jar-tila 'sesame bush'. Sesame seeds are an export from Sarasvati_Sindhu Civilization to Sumer and Ancient Near East ca. 3rd millennium BCE.(Small, Ernest (2004). "History and Lore of Sesame in Southwest Asia". Economic Botany. New York Botanical Garden Press. 58 (3): 329–353; see excerpts of pages of this article embedded in this monograph.)

Earliest tila 'sesame' finds date to 2600 BCE in Miri Qalat, Shahi Tump,Markan Region,Pakistan. Pliny also notes that Sesame comes from India. It is reasonable to infer that Sumerian/Akkadian word 'ellu' for 'sesame' is a substrate from Meluhha word, jar-tila, tila. The Munda prefix jara- is cognate with the word related to vegetable products as distinct from oil derived from animal fats. The word jara- is derived from and cognate with: jhāṛ, ˚ṛā m., ˚ṛī f. ʻ bush ʼ (also chāṛ m., ˚ṛī f.)(Hindi); thus, the Munda prefix of jar- car- is semantically cognate with these Hindi words. तिल, क श स्निहि । इति कविकल्पद्रुमः ॥ (चुरां-तुदां च-परं-अकं-सेट् ।) स्निहि स्निग्धीभावे ।क, तेलयति । श, तिलति तैलेनाङ्गम् । इतिदुर्गादासः ॥तिलः, पुं, (तिलति स्निह्यति तैलेन पूर्णो भवतीति ।तिल + “इगुपधज्ञेति ।” ३ । १ । १३५ । इति कः ।)स्वनामख्यातशस्यम् । तत्पर्य्यायः । होम-धान्यम् २ पवित्रः ३ पितृतर्पणः ४ पापघ्नः ५पूतधान्यम् ६ । इति राजनिर्घण्टः ॥...तिलौदनं, क्ली, (तिलमिश्रितं ओदनम् ।) कृशरः ।इति हारावली । १६९ ॥ (यथा, रामा-यणे । २ । ६९ । १० ।“ततस्तिलौदनं भुक्त्वा पुनः पुनरधःशिराः ॥”तिलोदनमिति पाठोऽपि दृश्यते ॥)https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः

तिलोदक न० तिलमिश्रितमुदकम् शा० त० । तिलमिश्रितेउदके “तेषां दत्त्वा तु हस्तेषु सपवित्रं तिलोदकम्”मनुः “बलिं भिक्षां तथाऽर्घ्यञ्च पितृणाञ्च तिलोदकम्”भा० अनु० १२६ अ० । “आवाहयिष्ये तान् सर्वान्दर्भपृष्ठे तिलोदकैः” वायुपु० ।तिलौदन पुंन० तिलमिश्रितः ओदनः । कृशरे हारा० ।“दुहिता मे पण्डिता जायेत सर्वमायुरियादिति तिलौ-दनं पाचयित्वा” शत० ब्रा० १४ । ९ । ४ । १६ । “तिलमिश्रमो-दनं कृशरमित्यर्थः” भा० ।https://sa.wikisource.org/wiki/वाचस्पत्यम्/

In Veda tradition of Bharat, tila is an important vegetable product used in tarpanam for Pitr-s.

तर्पण न० तृप--णिच् वा ल्युट् । १ तृप्तौ २ प्रीणने च अमरः ३ यज्ञकाष्ठे हेमच० । स्नातकादिभिःप्रत्यहं कर्तव्ये पञ्चमहा-यज्ञान्तर्गते ४ महायज्ञभेदे स च पितृयज्ञः । पितॄणांतृप्तिहेतुत्वादस्य तथात्वम् तत्प्रकारः आ० त० उक्तो यथा“तद्द्विविधं प्रधानमङ्गञ्च । तत्राद्यमाह शातातपः“तर्पणन्तु शुचिः कुर्य्यात् प्रत्यहं स्नातको द्विजः ।देवेम्यश्च ऋषिभ्यश्च पितृभ्यश्च यथाक्रमम्” । विधवामधि-कृत्य काशीखण्डम् “तर्पणं प्रत्यहं कार्य्यं भर्त्तुःकुशतिलोदकैः । https://sa.wikisource.org/wiki/वाचस्पत्यम्/

Thus, I submit that jar-tila of Atharva Veda is derived from jhāṛ, 'bush' (Hindi) and tila 'sesame' (Santali) All these are examples of Meluhha Bharatiya sprachbund, 'speech union'.

jhāṭa m. ʻ forest, arbour ʼ lex. 2. *jhāṭṭa -- . 3. *jhāṇṭa -- . 4. *jhiṭṭa -- . [PMWS 63 ← Mu.: cf. *jhalla -- ] 1. Pk. jhāḍa -- n. ʻ bush, thicket ʼ (cf. jāḍī -- f. ʻ clump, mass of creepers ʼ); S. jhāṛu m. ʻ tree ʼ (cf. jhātari f. ʻ brushwood ʼ); L. jhāṛ m. ʻ large tree ʼ; P. jhāṛ m. ʻ thornbush ʼ; WPah bhal. j̈hāṛ n. ʻ hillside covered with bushes and grass ʼ; Ku. jhāṛ ʻ grass ʼ; N. jhār ʻ small bush ʼ; A. zār ʻ thicket, clump ʼ, zārni ʻ thick jungle ʼ; B. jhāṛ ʻ tuft of grass, bush, thicket ʼ; Or. jhāṛa ʻ bush, tree, forest ʼ, ˚ṛī ʻ thicket, low jungle ʼ; Bi. jhār ʻ brushwood ʼ, ˚rā ʻ land covered with brushwood ʼ; Bhoj. jhāṛ ʻ clump of trees ʼ; H. jhāṛ, ˚ṛā m., ˚ṛī f. ʻ bush ʼ (also chāṛ m., ˚ṛī f.); G. jhāṛ n. ʻ tree, plant ʼ; M. j̈hāḍ n. ʻ bush, large or small tree ʼ; Ko. jhāḍa n. ʻ bush ʼ.2. Paš. lauṛ. ǰhāṭ, uzb. ǰōṭ ʻ mountain grass ʼ; Or. jhāṭī ʻ brushwood ʼ, jhāṭuā ʻ broom ʼ.

3. K. zanḍ m. ʻ small shrub ʼ; B. jhã̄ṭā ʻ broom ʼ; Mth. jhã̄ṭi ʻ land producing brushwood ʼ.
4. S. jhiṭa f. ʻ small bush ʼ.Addenda: jhāṭa -- : 1. WPah.kṭg. j̈hàṛi f. ʻ shrub, bush ʼ.5. †*jhēṭa -- : WPah.kṭg. j̈hèṛi f. ʻ thorny bush ʼ Him.I 77.(CDIAL 5362)
WHAT IS SESAME? - KUKI SESAME

Sesame seeds, plant

Sesame was produced in Sarasvati-Sindhu Civilization and was exported to Magan, Ancient Near East. Small, Ernest (2004). "History and Lore of Sesame in Southwest Asia". Economic Botany. New York Botanical Garden Press. 58 (3): 329–353.

History and Lore of Sesame in Southwest Asia

Dorothea Bedigian

Economic Botany

Vol. 58, No. 3 (Autumn, 2004), pp. 329-353 https://www.jstor.org/stable/4256831

. eḷ, eṇ Sesamum indicum; eṇ ṇey gingily oil. Ma. eḷ, eḷḷu sesamum; eṇṇa, eḷḷ eṇṇa gingelly oil. Ko. eṇ oil. Ka. eḷ, eḷḷu S. indicum; eṇṇe oil. Koḍ. ëḷḷï gingily seed; ëṇṇe, ëḷḷ ëṇṇe gingily oil. Tu. eṇme gingily oil seed; eṇṇe oil. (DEDR 854) எள்ளு² eḷḷu , எள்¹ eḷ , n. [K. M. el, Tu. eṇme.] 1. Sesame, a plant cultivated for the oil obtained from its seed, Sesamum iṅdicum; செடிவகை. எட்பகவன்ன சிறுமைத்தே (குறள், 889). 2. A weight = 8 mustard seeds; ஒரு சிற்றளவு. (W.) (Tamil) < teli 'oilman' (Oriya) The DEDR words are also explained as Sumerian loans: Sumer. ili 'sesame', Akkad. ellu/ūlu 'sesame oil',

Kuiper 1955, p. 157 suggests a Munda origin. Ved. tila and jar-tila 'sesame' wih Munda prefix Cər- (cf. Kuiper FBJ, 1955, Rigvedic loan-words. In: O. Spies (ed.) Studia Indologica. Festschrift für Willibald Kirfel zur Vollendung seines 70. Lebensjahres. Bonn: Orientalisches Seminar 1955) for a Munda origin). The ultimate source, **(t)il, however, is unclear (Bedigian, D. and J. H. Harlan. Evidence for the cultivation of sesame in the ancient world. Economic Botany 1985 indicate the link between Sumerian and South Dravidian words.) Blazek and Boisson note that the ultimate source of the word til is unclear. (Blažek, V. and C. Boisson, The Diffusion of Agricultural Terms from Mesopotamia. Archív Orientalní 60, 1992, 16-37).

I submit that the roots have to be traced to Atharva Veda and Santali/Oriya use of the word tila and related expressions to signify oil processing equipment and oil processors working with sesame seeds. I also submit that this word til is likely to be lingua franca of Sarasvati-Sindhu Civilization, constituting the Meluhha, Bharatiya sprachbund 'speech union' with variant pronunciations such as til, tel el and could have been retained as substrate wors of Sumerian/Akkadian.

(Santali)

ତିଳ— Tiḻa Sesamum Indicum; Gingelly; Indian sesame (Oriya)

ତେଲି— Teli [synonym(s): তেলী तेली] ତେଲୁଣୀ, ତେଲିଆଣୀସ୍ତ୍ରୀ ଦେ. ବି. ପୁଂ. (ସଂ. ତୈଳିକ, ତୈଳୀ)— 1। ତେଲ ପେଡ଼ିବା ଜାତି; ତୈଳକାର ଜାତି— 1. A caste for pressing oil; oilman. ତେଲଗୁଡ଼ିଆ—ବାର ମାସରେ ବାର କୁଡ଼ିଆ—ଅନୁଭବ ବଚନ। 2। ତୈଳ ବ୍ୟବସାଯୀ ଜାତି; ତିଲି (ଦେଖ) 2. A caste dealing in oil. [ଦ୍ର—ତେଲି ମାନେ ସାଧାରଣତଃ ଭାରି କୃପଣ ବୋଲି ଆମ ଦେଶରେ କଥିତ ଅଛି। ଏମାନେ ଦୋକାନ ଓ ମହାଜନି କରନ୍ତି। ସବୁବେଳେ କାରବାର କରୁଥିବାରୁ ଏମାନଙ୍କ ଦେହ ଓ ଲୁଗାପଟା ତେଲ ୟୋଗୁଁ ମଇଳା ହୋଇଥାଏ। ପ୍ରବାଦ ଅଛି ୟେ, ସାତଜଣ ତେଲି ତେଲ ପେଡ଼ିବା ନିମନ୍ତେ 'ଗବ'ବା ଜଡ଼ା କିଣି ଆଣୁଥିବା ସମଯରେ ଗୋଟିଏ ଗବମଞ୍ଜି ପାଣିରେ ପଡ଼ି ଭାସିଗଲା। ସେହି ଗବଟିକୁ ଧରିବା ପାଇଁ ସାତଟି ୟାକ ତେଲି ଧରାଧରି ହୋଇ ପାଣିରେ ବୁଡ଼ି ମଲେ।] ପ୍ରାଦେ. (ଗଞ୍ଜାମ)— ଗଞ୍ଜାମ ଜିଲ୍ଲାର ପାଟକବିଶେଷ A caste of Ṡūdras in the district of Ganjam (Oriya)

ତେଲିଆ— Teliā [synonym(s): তেলা तेलिया, तेलहा] ଦେ. ବି— ତିଲୁଆ (ଦେଖ) Tiluā (See) ବିଣ— 1। ତୈଳାକ୍ତ—1. Oily; greasy. 2। ତୈଳସ୍ବାଦୟୁକ୍ତ—Having an oily taste. 3। ଯେ ଦେହରେ ତେଲ ଲଗାଇ ଥାଏ— 3. Steeped with or annointed with oil. ତେଲିଆ ମୁଣ୍ଡରେ ତେଲ—ଢଗ। 4। ଚିକ୍କଣିଆ—4. Smooth. 5। ୟହିଁରେ ତୈଳ ଅଧିକ ପରିମାଣରେ ଅଛି— 5. Abounding in oil.ତେଲି କୋଚଟ— Teli kochaṭa (ତେଲି କେଚଟିଆ—ଅନ୍ୟରୂପ) ଦେ. ବିଣ— ତେଲିମାନଙ୍କ ଜାତିର ସ୍ବାଭାବ ସୁଲଭ ଗୁଣ (କୃପଣତା ଓ ମହଳିଆ ପଣିଆ) ୟୁକ୍ତ— Greasy and close-fisted like the oilman (of our country) ତେଲି କୋଚଟ ବୋଡ଼ିକ ପାଇଁ ବସାନ୍ତି ହାଟ—ଢଗ।ତେଲି ଶାଳ— Teli ṡāḻa [synonym(s): তিলি শাল तेलिशाल] ଦେ. ବି. (ସଂ. ତୈଳୀ+ଶାଳା)— ୟେଉଁ ସ୍ଥାନରେ ତେଲି ଘଣା ଦ୍ବାରା ତେଲ ବାହାର କରେ—Oil factory; the place where oil is pressed. ତେଲି ଶାଳେ ଛେଳି ଛାଲ ଢାଉଁ ଢାଉଁ ବଜାଇ। ଶିଶୁରଞ୍ଜନ ପଦ। ତୈଳ— Ta̲i̱ḻa ସଂ. ବି. (ତିଳ+ବିକାରାର୍ଥେ. ଅ)— 1। ରାଶିତେଲ— 1. Sesamum oil. 2। ତେଲ, ମାଲପା—2. Oil. 3। ଚିକ୍ମଣ ବା ସ୍ନେହ ଦ୍ରବ ପଦାର୍ଥ—3. Oily liquid. 4। ଲୋଭନ୍—Benzion (Apte). 5। ଆଯୁର୍ବେଦୋକ୍ତ ପ୍ରକ୍ରିଯାରେ ପ୍ରସ୍ତୁତ ତୈଳ— 5. Mediciated oil.

ତୈଳକନ୍ଦ— Ta̲i̱ḻakanda ସଂ. ବି.— ତେଲିଆ କନ୍ଦ (ଦେଖ) Teliā kanda (See)

ତୈଳକଳ୍କ— Ta̲i̱ḻakaḻka ସଂ. ବି. (6ଷ୍ଠୀ ତତ୍; ତୈଳ+କଳ୍ପ)— ପିଡ଼ିଆ— Oil cake.

ତୈଳକାର— Ta̲i̱ḻakāra ସଂ. ବି. (ତୈଳ+କୃ ଧାତୁ+କର୍ତ୍ତୃ. ଅ)— ତେଲି—Oilman [ଦ୍ର—ବ୍ରହ୍ମବୈବର୍ତ୍ତପୁରାଣ ମତରେ ଏ ଜାତିର ଉତ୍ପତ୍ତି କୋଟକ ଜାତୀଯ ସ୍ତ୍ରୀ କୁମ୍ଭୀରଜାତୀଯ ପୁରୁଷଠାରୁ ଉତ୍ପତ୍ତି—ହି. ଶବ୍ଦସାଗର।]

ତୈଳକିଟ୍ଟ— Ta̲i̱ḻakiṭṭa ସଂ. ବି (6ଷ୍ଠୀ ତତ୍)— 1। ତେଲର କାଣ୍ଟି— 1. Sediment of oil deposited at the bottom of a pot. ପିଡ଼ିଆ—2. Oil cake. (Oriya)

jar-tila 'wild sesame' AV : tila 'sesame' AV (cf. tilvila 'fertile' RV, Kuiper 1955: 157, tilpiñja, -ī 'infertile sesame' AVMunda prefix Cər- (cf. Kuiper 1955: 157 for a Munda origin).

जर्-तिल m. wild sesamum तैत्तिरीय-संहिता v , 4 , 3 , 2 शतपथ-ब्राह्मण ix , 1 , 1 , 3 कात्यायन-श्रौत-सूत्र xviii , 1 , 1.

तिल m. Sesamum indicum (its blossom is compared to the nose गीत-गोविन्दx , 14 सिंहासन-द्वात्रिंशिका or विक्रमादित्य-चरित्र , जैन recension; cf. -पुष्प) , sesamum seed (much used in cookery ; supposed to have originated from विष्णु's sweat-drops हेमाद्रि 's चतुर्वर्ग-चिन्तामणिi , 6 , 137 & 142) अथर्व-वेद (°ल्/अ , xviii , 4 , 32) वाजसनेयि-संहिता, शतपथ-ब्राह्मण (Monier-Williams)

तिलः tilaḥ [तिल्-क्] 1 The seasamum plant; नासाभ्येति तिल- प्रसूनपदवीम् Gīt.10. -2 The seed of this plant; नाकस्माच्छाण्डिलीमाता विक्रीणाति तिलैस्तिलान् । लुञ्चितानितरैर्येन कार्यमत्र भविष्यति ॥ Pt.2.70. -3 A mole, spot. -5 A small particle, as much as a sesamum-seed; तिले तालं पश्यति 'makes mountains of molehills.' -Comp. -अन्नम् rice with sesamum seed. -अप्, -अम्बु, -उदकम् water with sesamum seed offered to the dead as a libation; एते यदा मत्सुहृदोस्तिलापः Bhāg.10.12.15; श्राद्धानि नोऽधिभुजे प्रसभं तनूजैर्दत्तानि तीर्थसमयेऽप्यपिबत्तिलाम्बु Bhāg.7.8.45; Ś.3; तेषो दत्त्वा तु हस्तेषु सपवित्रं तिलोकदम् Ms.3.223. -उत्तमा N. of an Apsaras. -ओदनः, -नम् a dish of milk, rice and sesamum. -कठः sesamum powder (Mar. तिळकूट). -कल्कः dough made of ground sesamum. ˚जः oil-cake made of the sediment of ground sesamum. -कालकः 1 a mole, a dark spot under the skin. -2 a disease of the penis, in which the fleshy parts become black and die off. -किट्टम्, -खलिः f., -खली, -चूर्णम् the caky sediment of sesamum after the oil is extracted; स्थाल्यां वैदूर्यमय्यां पचति तिलखलीमिन्धनैश्चन्दनाद्यैः Bh.2.100. -चतुर्थी The 4th day of the dark-half of Māgha. -तण्डुलकम् an embrace (so called because in it the two bodies are united together like rice mixed up with sesamum-seed). -तैलम् sesamum-oil; -द्वादशी The 12th day of a particular month (kept as a festival); तां रणस्वामिनं द्रष्टुं तिलद्वादश्यहे गताम् Rāj. T.5.395. -धेनुः f. sesamum made up in the form of a cow and offered as a present to a Brāhmaṇa. 'यावता वस्त्रेण कृत्स्ना धेनुराच्छादिता भवति तद्वस्त्र- पूरिततिलाः' is the another meaning given in the com.; भरणीषु द्विजातिभ्यस्तिलधेनुं प्रदाय वै Mb.13.64.35. -पर्णः turpentine. (-र्णम्) sandal-wood. -पर्णी 1 the sandal tree. -2 frankincense. -3 turpentine. -पर्णिका, -पर्णि (र्ण)कम् sandal-wood. -पिच्चटम् Sweetmeat of sesamum powder and sugar; L. D. B. -पिञ्जः, -पेजः barren sesamum. -पीडः an oilman; स्नेहेन तिलवत्सर्वं सर्गचक्रे निपीड्यते । तिलपीडैरिव Mb.12.174.24. -भाविनी jasmine. -मयूरः a species of peacock. -रसः, -स्नेहः sesamum oil. -होमः a burnt offering of sesamum.

तिलकः tilakaḥ [तिल्-क्वुन्, तिल इवार्थे स्वल्पे वा कन् वा] 1 A species of tree with beautiful flowers; Rām.2.94.9; आक्रान्ता तिलकक्रियापि तिलकैर्लीनद्विरेफाञ्जनैः M.3,5; न खलु शोभयति स्म वनस्थलीं न तिलकस्तिलकः प्रमदामिव R.9.41. Kālidāsa describes the beauty of this tree as being akin to that of the saffron-mark on the forehead of a woman. The name suggests a relation to tila. the sesame plant, Sesamum indicum Linn. Now this plant has got flowers that have got a very pretty appearance. It is a shrub and not a tree. It grows four to five feet in height. Its flower has five petals. The lower petal is the longest. In wild variety there is a promiment spot on the longest petal which is highly suggestive of the saffron-mark on the forehead of a woman. -2 A freckle or natural mark under the skin. -3 The sesamum tree. -कः, -कम् 1 A mark made with sandal-wood or unguents &c.; मुखे मधुश्री- स्तिलकं प्रकाश्य Ku.3.30; कस्तूरिकातिलकमालि विधाय सायम् Bv.2.4;1.121. -2 The ornament of anything (used at the end of comp. in the sense of 'best', 'chief' or 'distinguished'); कुल˚; जीवलोक˚ Māl.9.21; यस्य न विपदि विषादः संपदि हर्षो रणे न भीरुत्वम् । तं भुवनत्रयतिलकं जनयति जननी सुतं विरलम् ॥ Pt.1.105. -3 The burden of a song (ध्रुवक). -का A kind of necklace. -कम् 1 The bladder. -2 The right lung. -3 A kind of salt. -4 A kind of disease, the appearance of dark spots on the skin without any inflammation. -5 Alliteration. -Comp. -आश्रयः the forehead. तिल्य tilya a. Fit for the cultivation of sesamum. -ल्यम् A field of sesamum. (Apte)

Tila (m. nt.) [Vedic tila m.] the sesame plant & its seed (usually the latter, out of which oil is prepared: see tela), Sesamum Indicum. Often comb^d with taṇḍula, e. g. A i.130=Pug 32; J i.67; iii.53. -- Vin i.212 (navātilā); A iv.108; Sn p. 126; J i.392; ii.352; Vism 489 (ucchu˚); DhA i.79; PvA 47 (tilāni pīḷetvā telavaṇijjaŋ karoti).
-- odana rice with sesame J iii.425; -- kakka sesame paste Vin i.205; -- tela ses. oil VvA 54 (˚ŋ pātukāma); DhA iii.29; Bdhd 105; -- piññāka tila seed -- cake, oilcake VvA 142; -- piṭṭha sesamum -- grinding, crushed s. seed Vin iv.341. -- muṭṭhi a handful of ses. J ii.278; -- rāsi a heap of t. seeds VvA 54; -- vāha a cartload of t. seeds A v.173=Sn p. 126; -- sangulikā a ses. cake DhA ii.75. Tilaka [tila+ka, from its resemblance to a sesame seed] 1. a spot, stain, mole, freckle M i.88; S i.170; VvA 253; DhA iv.172 (˚ŋ vā kālakaŋ vā adisvā). -- 2. a kind of tree Vv 6⁷ (=bandhu -- jīvaka -- puppha -- sadisa -- pupphā ekā rukkha -- jāti). (Pali)

tilá1 (tíla -- Gr.) m. ʻ Sesamum indicum ʼ AV., ʻ small par- ticle ʼ MBh. 2. *tilaka -- 1. 3. *tilla -- (< tilyà -- ?). [Prob. ← Mu. Kuiper Festschr. W. Kirfel 157; Drav. source (T. Burrow BSOAS xii 142, 380) less likely]1. Pa. tila -- m. ʻ sesamum plant ʼ, n. ʻ its seed ʼ, Pk. tila<-> m. ʻ the seed ʼ, K. tēl m., S. tiru m. ʻ plant and seed ʼ, L. P. WPah.bhiḍ. Ku. N. A. B. til m. ʻ the seed ʼ, Or. tiḷa, OAw. tila; H. til m. ʻ sesamum plant and seed, a minute fragment ʼ; OMarw. tila m. ʻ small particle ʼ; M. tīḷ m. ʻ sesamum seed ʼ, Śi. tala ʻ plant and seed ʼ. <-> P.ḍog. tir -- caoli f. ʻ sesamum and rice with sugar ʼ (r through dissim. with following l). 2. Or. tiḷā ʻ a species of sesamum seed ʼ; G. taḷā -- tã̄dḷā m. pl. ʻ as distinct as sesamum and rice, separated, dispersed ʼ; M. tiḷī f. ʻ a small white kind of sesamum ʼ.3. Ku.gng. tīl ʻ sesamum seed ʼ (unless lw. from standard dial.), Bi. tīl, (SWShahabad) tillī ʻ species with a white seed ʼ; Mth. tīl, tilā ʻ sesamum seed ʼ, Bhoj. tīli; G. til, tal m. ʻ sesamum ʼ, talī f. ʻ a small variety ʼ.(CDIAL 5827) tilatailá n. ʻ sesamum oil ʼ Pāṇ. vārtt [tilá -- 1, tailá -- ]
Pk. tilella -- n., M. tiḷyel, tiḷel n., Ko. tiḷela n.(CDIAL 5830) *tilapūpa ʻ sesamum cake ʼ. [tilá -- 1, pūpa -- ]P. talūã̄ m. ʻ sweetmeats ʼ; N. tilawā ʻ sweetmeat of sesamum and molasses ʼ, B. tiluyā, H. tiluā, tilwā m., M. tiḷvā m.; -- or poss. < tilamáya -- .*tilapūrikā ʻ sesamum cake ʼ. [tilá -- 1, pūra -- 2]N. tilauri ʻ a sweetmeat of sesamum and molasses ʼ.tilamáya -- ʻ made of sesamum seed ʼ Pāṇ. [tilá -- 1, maya -- ]. See *tilapūpa -- .(CDIAL 5832, 5833) *tilakāṣṭhikā ʻ sesamum stalk ʼ. [tilá -- 1, kāṣṭhá -- ]L. tilāṭhī f. ʻ stalks of sesamum left standing after the buds have been picked ʼ; Bi. tilāṭhī ʻ dried stalks of mustard ʼ, Mth. tilṭhī.(CDIAL 5829) 5831 *tiladhānikā ʻ sesamum container ʼ. [tilá -- 1, dhāˊna -- ]N. tilāni ʻ a pot to keep a mixture of sesamum, water, barley and kuśa grass for use in ceremonies ʼ.(CDIAL 5831) *tilíya ʻ prepared from sesamum seed ʼ, tilyà -- adj. and n. ʻ field of sesamum ʼ Pāṇ., tiryà -- ʻ made from sesamum (?) ʼ AV. [tilyà -- perh. in *tilla -- s.v. tilá -- 1]
Ku. tilyã̄ ʻ sesamum from which oil has been expressed ʼ.(CDIAL 5835)

5958 tailá n. ʻ sesamum oil, oil ʼ AV. [tilá -- 1]Pa. tēla -- n. ʻ sesamum oil, oil ʼ, tēlaka -- n. ʻ a small quantity of oil ʼ; NiDoc. tela ʻ oil ʼ; Pk. tēla -- , tella -- , tilla<-> n. ʻ oil ʼ, tellaga -- m. ʻ oil -- seller ʼ; Gy. arm. tel ʻ oil, fat, butter ʼ, pers. tell, as. (Kačari) tehl; Paš. tēl ʻ oil ʼ, Kal. urt. tel, rumb. teu, Kho. Sh. tel, K. tēl m., S. telu m., L. tēl m., P. tel m., WPah. (all dial.) tēl m., Ku. N. A. B. tel (B. telā ʻ oily ʼ), Or. tela, Bi. Mth. tel, Bhoj. Aw.lakh. tēl, H. tel m. (whence tilānā ʻ to oil ʼ), G. M. tel n., Ko. Si. tela, Md. teu.tailika -- , *tailiya -- ; *tailakuṭaka -- , taílakuṇḍa -- , *tailatāpikā -- , tailabhāṇḍa -- ; *ātapataila -- , *ēraṇḍat˚, kaṅgunīt˚, *karañjat˚, karaṭat˚, tilatailá -- , *dagdhataila -- , *dīpat˚, *dhattūrat˚, *nārikēlat˚, *priyaṅgut˚, *phullat˚, *śiṁśapāt˚, sarṣapat˚.Addenda: tailá -- : WPah.kṭg. (kc.) J. tēl m. ʻ oil ʼ, Garh. tel, Md. telu, teu, teyo.†tōṭaka -- see *trōṭikā -- . 5959 *tailakuṭaka ʻ oil pot ʼ. [tailá -- , kuṭa -- 1]N. tilauro ʻ pot for sesamam oil or other oils ʼ. 5960 taílakuṇḍa n. ʻ pot for oil ʼ AV. [tailá -- , kuṇḍá -- 1]P. talūṇī f. ʻ earthen oil vessel ʼ (< *taḷūnī?).

5961 *tailatāpikā ʻ cooking pot for oil ʼ. [tailá -- , tāpaka -- ]Bi. telāy ʻ earthen vessel for cooking oil or ghee ʼ. 5962 *tailabhāṇḍa ʻ oil -- vessel ʼ. [tailá -- , bhāṇḍa -- 1]Bi. telahaṇḍā, telhã̄ṛī ʻ oil -- vessel ʼ; H. telhãṛā m. ʻ big earthen oil -- vessel ʼ. 5963 tailika m. ʻ oil -- miller ʼ Mn., ˚kī -- f., tailin -- m. lex. [tailá -- ]Pk. tellia -- m. ʻ oilman ʼ, S. L. P. WPah.khaś. bhal. telī m., N. A. teli, A. teliyā, B. teli, tili, Or. teli, Bi. Mth. telī, Bhoj. Aw.lakh. tēlī, H. Marw. G. M. telī m.; -- L. teliṇ f. ʻ oilman's wife ʼ, P. Marw. telaṇ f., G. telaṇi f. 5964 *tailiya ʻ oily ʼ. [tailá -- ]Pa. tēliya -- ʻ oily ʼ; L. telia ʻ dark bay (of horses) ʼ; P. teliyā ʻ oily ʼ; N. teliyā ʻ slave (from the custom of anointing on head at purchase) ʼ; A. teliyā ʻ oily ʼ; Or. teliā; Bi. tĕliyā ʻ dark (of clay) ʼ; H. teliyā ʻ oily ʼ, G. teliyũ, M. telyā; Si. teliyā ʻ a kind of fish ʼ.(CDIAL 5958 to 5964)

↧

Yuezhi are Gujjars, Tushara = Tocharian, when did Amāvasu migrate to Araṭṭa?

May 4, 2020, 10:36 pm

≫ Next: Sarasvati Civilization Overview and Opportunities -- S. Kalyanaraman (video 1:27:43)

≪ Previous: तिलौदन sacred offering शत० ब्रा०; jar-tila, tila, 'sesame' jhāṛ 'bush' exports to Sumer ca 3rd m BCE are Meluhha words attested in Atharva Veda

Yuezhi is self-identification by vaišya signified on Indus Script as šē̃ṣṭrĭ̄ 'squirrel' rebus šrēṣṭhin 'merchant' https://tinyurl.com/ur6bqa8

Archaeological evidence that both Yuezhi and Meluhha artisans traded in gems and metals https://tinyurl.com/vn26evb

Itihāsa of Bhāratam Janam: Vessa were Yuezhi, Kushana túṣāra, Meluhha (Mleccha) merchants of Bronze Age in Eurasiahttps://tinyurl.com/qgghbrd

Bhāratīya, itihāsa Araṭṭa is derived from rāṣṭrá > Lāṭa, land of Gurjara-s (evidence from R̥gveda, Baudhāyana-Śrautasūtra) https://tinyurl.com/y94nfbhw
Baudhāyana-Śrautasūtra refers to migrations to Gāndhāra, Parśu and Araṭṭa (raṭṭha, gujrāṭ).

etad āyavam. Pratyan amāvasus tasyaite gāndhārayas pārśavo raṭṭa ity, etad amāvasyavam (BŚS 18.44: 397.9 sqq.)

Translation: Ayu migrated eastwards. His (people) are the Kuru-Pancalas and the Kasi-Videhas. This is the Ayava (migration). Amāvasu migrated westwards. His (people) are the Gāndhāra, Parśu and Araṭṭa. This is the Amāvasu (migration).

I suggest that Amāvasu migrated to Araṭṭa which is the earlier name of Gurjara des'a.. This equivalence may explain the Out of India Theory which can reconcile the reverse migration of Gurjars = Yuezhi back into Bharat during the historical periods.

This will require archaeological proof for the migration of Gurjars into Tarim Basin. Is there evidence either textual or archaeological for this migration?

Archaeological evidence that both Yuezhi and Meluhha artisans traded in gems and metals

https://tinyurl.com/vn26evb

Vaiśya of Tuṣāra who called themselves Yuezhi (pronunciation variant AND cognate of
vaiśya) returned to India ca. 30 CE. Evidences and arguments for the possible roots of Yuezhi from among Meluhha people of Sarasvati Civilization are presented.

This is an addendum to: Tuṣāra, vaiśya are Yuezhi (Tocharian speakers) who migrated to Xinjiang are traders of Maujavata soma; and returned to India ca. 30 CE https://tinyurl.com/u6qv8qn

A possible link with Meluhha (suggesting migration of Sarasvati people into Gansu province, China, Xinjiang) is provided by the fact that Yuezhi traded in gems and metal artifacts; the same commodities recorded in Indus Script Corpora.
Yuezhi traders traded in jade and also metals which should have included ancu 'iron' cognate ams'u 'Soma' (Rgveda): "The Chinese capital, Chang’an (Xi’an), was the eastern starting point of this trading route. Strictly speaking, the Silk Road was not a single highway but a network of roads that twisted and turned on the way from east to west. From Chang’an, for example, one branch went southwest to the mouth of the Ganges in India. Among the luxury products traveling west were jade, turtle shells, bird feathers, and, of course, silk. Traders also brought metals—silver, iron, lead, tin, and gold—and foodstuffs—saffron and other spices, tea, carrots, and pomegranates."
https://www.nationalgeographic.com/history/magazine/2018/01-02/silk-road-history/

Adesh Kataria (plast.adesh@gmail.com) has compiled some links which indicate possible origins of Yuezhi.

One link refers to the identification of Kushan (Yuezhi) with Gurjars.

About mummies found in Tarim Basin

In a Feb. 18, 2011 photo, the Beauty of Xiaohe, a mummy discovered in the Tarim Basin in far western... [+] China, is shown at the "Secrets of the Silk Road" exhibit at the University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia. The exhibit is scheduled to run through until March 15. Philadelphia is the final stop before the artifacts return to China. (AP Photo/Matt Rourke)

DNA Reveals These Red-Haired Chinese Mummies Come From Europe And Asia

Lady of Tarim (Also, a reconstruction)

Source: http://factsanddetails.com/asian/cat62/sub406/item2567.html

“One mummy…of a teenaged girl with blond hair and blue eyes, found in a cave, has become quite a tourist attraction in Beijing. Her remains are in such a remarkable state of preservation that the dead girl looks as if she were just sleeping. She has been nicknamed ‘The Lady of Tarim’ and she is on display to throngs of museum visitors in the Chinese capital. Apparently she was a princess or a priestess of some kind over 3000 years ago, for she was buried in fine embroidered garments of wool and leather, along with beautiful jewelry, jars and ornaments of gold, silver, jade and onyx. Here it is remarkable point that Yuezhi peoples are famous for jade and gems trade from India to China and these linkages indicates about expansion of the Indo-European people from their homeland, Aryavart (Ancient India) to North….As far back as the second century BCE, Chinese texts refer to alien peoples called the Yuezhi and the Wusun, who lived on China’s far western borders; the texts make it clear that these people were regarded as troublesome ‘barbarians’…some archaeologists have begun to argue that these supposed barbarians might have been responsible for introducing into China such basic items as the wheel and the first metal objects…Intriguingly, evidence of a long-extinct language belonging to the Indo-European family does exist in Central Asia…Could the Xinjiang people have been their ancestors, speaking an early version of Tocharian? ‘My guess is that they would have been speaking some form of Indo-European,’ comments Don Ringe, a historical linguist at the University of Pennsylvania, ‘but whether it was an early form of Tocharian or some other branch of the family, such as Indo-Iranian, we may never know for sure’. Yuezhi (Tocharian) and other Central Asian people in Indian literature…The ancient Sanskrit Literature refers to Tocharians as Tusharas, Tukharas, Tokharas and Tuharas etc…There are extensive references to people of Central Asia in Indian literature like Atharvaveda, Vamsa Brahmana of Samaveda, Aitareya Brahmana, Satapatha Brahmana, Puranas, Manusmriti, Ramayana, Mahabharata, Raghuvamsa, Brihat Katha Manjari, Katha Saritsagara, Rajatarangini, Mudra-Rakshasa, Kavyamimamsa and host of other old Sanskrit literature…Atharvaveda makes references to Gandhari, Mujavat and Bahlika from north-west (Central Asia)…Mujava (land of Soma) refer to Hindukush Pairs (the Kamboja region)…Atharvaveda Parisista…Kambojas, Shakas, Tusharas, Bahlikas and Gandharas at this time wre all located as neighbors in the Uttarapatha…Prof. Jean Przylusky has shown that Bahlika (Balkh) was an Iranian settlement of the Madras who were known as Bahlika Uttaramadras, i.e. the northern Madras, living in Bahlika or Bactria country. These Bahlika Uttara Madras are the Uttara Madras of the Aitareya Brahmana…The Kambojas as neighbors of the Uttara Madras here obviously refers to the trans-Himalayan branch of the Kambojas who became known as Parama Kambojas in epic times. Both these nations belonged to Central Asia…Aitareya Brahmana…Uttara Kuru and Uttara Madra, the janapadas of Parama Kamboja and the Lohas. These were also located north of the Himalayas, which should mean in Central Asia. These also mention Gandhara and Kamboja as among the sixteen ‘Mahajanapadas’ or ‘great nations’ of ancient South Asia…Mahabharata says the kings of the Kambojas and the Tusharas were present in the Rajasuya conducted by Yudhishthira. They had later participated in the Mahabharata war on the side of Kauravas. But the people of the area are looked down upon as mlechas or barbarians…Such close interaction between North West India and Central Asia and Tarim Basin point to the possibility that the ancient tribes who populated these areas were migrants from North Wesst India at some point in prehistoric times…VS Aggarwala thinks that the Uttarakuru was located to the north of Pamirs in Central Asia. Thus, it probably comprised parts of Kyrgystan and Tian Shan. Incidentally, Uttarakuru was also famous for its horses. The regular references to horses from Uttarakuru rules out any possibility of locating Uttarakuru in Kashmir and Uttarakhand states in India as some authors have suggested, since these regions have never been noted for their horses.” (Sourcd: KS Krishnan, 2019, Origin of Vedas, Notion Press)

https://www.academia.edu/31033336/Origin_of_Yuezhi_Tribe?email_work_card=view-paper

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Sarasvati Civilization Overview and Opportunities -- S. Kalyanaraman (video 1:27:43)

May 5, 2020, 6:38 am

≫ Next: Archaeological proof validating decipherment of + & dotted-circle hieroglyphs of Indus Script, Discovery of yajna kunda from Ganga basin

≪ Previous: Yuezhi are Gujjars, Tushara = Tocharian, when did Amāvasu migrate to Araṭṭa?

#LockDownLiveTALK_Series#VijnanaBharati#VIBHA Sarasvati Civilization Overview and Opportunities by Dr S Kalyanaraman https://www.youtube.com/watch?v=OuyZSl5MNH0&feature=em-lsb-owner

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Archaeological proof validating decipherment of + & dotted-circle hieroglyphs of Indus Script, Discovery of yajna kunda from Ganga basin

May 5, 2020, 9:11 pm

≫ Next: Sarasvati Civilisation, New Findings and Opportunities (Video 2:45:06)

≪ Previous: Sarasvati Civilization Overview and Opportunities -- S. Kalyanaraman (video 1:27:43)

https://tinyurl.com/y9pqdkjg

https://www.harappa.com/indus3/187.html

Faience button seal Harappa Archaeological Research Project A faience button seal with geometric motif (H2000-4491/9999-34) was found on the surface of Mound AB at Harappa by one of the workmen.

Malhar is an archaeological site on the Ganga River Basin in the Dist. of Bilaspur. At this site, a yajna kunda, a sacred fire altar has been discovered, dated ca. 1900 BCE, a date when iron was smelted in a number of furnaces discovered in sites of Ganga basin such as Lohardiwa, Raja-Nal-ki-Tila,in addition to Malhar.

The shape of the trench and the brick structure is exactly replicated on the sign hieroglyph of Indus Script. This + hieroglyph is seen on a pictorial motif of a six-sided remarkable seal. Hieroglyphs of dotted circles surrounding the + hieroglyph which have been deciphered signify the function of this fire-altar, yajna kunda. The fire altar is a smelter.

Emphatic archaeological evidence discovered at Malhar, Dist. Bilaspur on the Ganga River Basin validates + hieroglyph as the shape of yajna kunda, fire-altar.
What was processed in this fire-altar? Dotted circle hieroglyphs define the process. They are dhāv, dāya 'one in dice' + vaṭṭa 'circle' rebus धावड dhāvaḍa 'red ferrite ore smelter'. Thus, the Yajna kunda, fire-altar is an iron metal smelter.

Malhar.Yajna Kunda.

Bharatkalyan97: Evidence of Indus seals of Ahar-Banas culture is ...

Tablets Indus Script with + hieroglyph, stylized geometric designs of wavy water flows

m0352 cdef

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

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

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

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

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

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

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

Abiding Indus Script hypertext dotted circle is dhāv, dāya 'one in dice' + vaṭṭa 'circle' rebus धावड dhāvaḍa 'red ferrite ore smelter' https://tinyurl.com/y8fed8xd Dotted circle hieroglyhs are also shown on ivory counters.

Duck, dotted circles on Ivory rod, Mohenjo-daro seal, vartaka, karaṛa 'aquatic bird' Rebus karandi 'fire-god' (Munda.Remo), करडा [ karaḍā ] Hard from alloy--iron, silver &c. vartaka 'bell-metal merchant' dhāvaḍa 'iron smelter' https://tinyurl.com/yxfo2o tj
[quote]A Counting Disc? Was this disc (Image 1) from Mohenjo-daro at the National Museum of Pakistan in Karachi used for counting? The circles with dots in the middle are identical to those found on other ivory objects from Mohenjo-daro thought to have been used as counters (2). Merchants or officials might have used these to keep track of goods, running their thumbs over the dots to track quantities. Or could there have been some other purpose?
Let us look at the counting argument. The disc seems to have three circles of dots, of 15, 11 and 6 dots. These add up to 34, which is not divisible by 8. We tend to think that Indus people, used a base eight system to count with, which corresponds to the sum of fingers on two hands, using the thumb to count with, as people still do. Yet looking at the other counters (2), only the final one (d) seems to largely have groups of 4 and 8 dots. The first object (a) has 7 dots, and is similar to a rectangular ivory object with 4 dots on it from Nausharo that might have been used as a counter or dice (Fig. 113, in Kenoyer, Ancient Cities of the Indus Valley Civilization, p. 214). The second (b) has a set of four dots on top, then what seem to be 3 dots (the bottom one is obscured but the dot and part of a circle is visible). The third counter (c) has 7 dots at the top, and then is broken into 5 groups of 3, which corresponds nicely to the 15 in the circular disc. Indeed, perhaps in the circular disc (1) it is not 6 but 7 dots in the innermost circle, for a grand total of 35? Neither do any of these numbers seem to fit a base 10 or decimal system that the Harappans also seem to have used.
Note too that the same dots are found on an ivory comb far away in Gonur Depe, Turkmenistan https://www.harappa.com/content/prehistoric-contacts-between-central-asia-and-india. Could they have had a purely decorative purpose?...
Mark Kenoyer writes, of objects similar to those in the second image and specifically (c), that "bone and ivory counters with circles and lines, carved in ways that do not correspond to dice, may have been used for predicting the future" (Ancient Cities, p. 120).[unquote]
https://www.facebook.com/KacchiPlains/

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

Bird 1: quail or duck

vartaka = a duck (Skt.) batak = a duck (Gujarati) vartikā quail (Rigveda) baṭṭai quail (Nepalese) vártikā f. ʻ quail ʼ RV. 2. vārtika -- m. lex. 3. var- takā -- f. lex. (eastern form ac. to Kātyāyana: S. Lévi JA 1912, 498), °ka -- m. Car., vārtāka -- m. lex. [Cf.vartīra -- m. Suśr., °tira -- lex., *vartakara -- ] 1. Ash. uwŕe/ ʻ partridge ʼ NTS ii 246 (connexion denied NTS v 340), Paš.snj. waṭīˊ; K. hāra -- wüṭü f. ʻ species of waterfowl ʼ (hāra -- < śāˊra -- ).2. Kho. barti ʻ quail, partridge ʼ BelvalkarVol 88.3. Pa. vaṭṭakā -- f., °ka -- in cmpds. ʻ quail ʼ, Pk. vaṭṭaya -- m., N. baṭṭāi (< vārtāka -- ?), A. batā -- sarāi, B. batui, baṭuyā; Si. vaṭuvā ʻ snipe, sandpiper ʼ (ext. of *vaṭu < vartakā -- ). -- With unexpl. bh -- : Or. bhāṭoi, °ṭui ʻ the grey quail Cotarnix communis ʼ, (dial.) bhāroi, °rui (< early MIA. *vāṭāka -- < vārtāka -- : cf. vāṭī -- f. ʻ a kind of bird ʼ Car.).Addenda: vartikā -- [Dial. a ~ ā < IE. non -- apophonic o (cf. Gk. o)/rtuc and early EMIA. vāṭī -- f. ʻ a kind of bird ʼ Car. < *vārtī -- ) (CDIAL 11361)

Rebus: paṭṭar-ai community; guild as of workmen (Ta.); pattar merchants (Ta.); perh. vartaka (Skt.) pātharī ʻprecious stoneʼ (OMarw.) (CDIAL 8857) பத்தர் pattar, n. perh. vartaka. Merchants; வியாபாரிகள். (W.) battuḍu. n. The caste title of all the five castes of artificers as vaḍla b*, carpenter. वर्तक mfn. who or what abides or exists , abiding , existing , living; n. a sort of brass or steel; merchant. వర్తకము vartakamu vartakamu. [Skt.] n. Trade, traffic, commerce. బేరము, వ్యాపారము. A sort of quail, Perdix oilvacca. వెలిచెపిట్ట, మీనవల్లంకిపిట్ట, వర్తకుడు vartakuḍu. n. A merchant, or trader. బేరముచేయువాడు.

Rebus: *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.*aṅkavarta -- , *kajjalavarta -- , *kalaśavarta -- , *kṣāṇavartaka -- , *cūrṇavarta -- , parṇavartikā -- , *hiṅgulavarta -- .Addenda: *varta -- 2: Md. vař ʻ circle ʼ (vař -- han̆du ʻ full moon ʼ).(CDIAL 11347)

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

वर्तक a [p= 925,2] n. a sort of brass or steel वर्तः (Usually at the end of comp.) Living, liveli- hood; as in कल्यवर्त q. v. -Comp. -जन्मन् m. a cloud. -तीक्ष्णम्, -लोहम् bell-metal, a kind of brass.

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

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

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

dhāvaḍa kolimi 'smelter smithy, forge'.

Indus Script hypertext, dot + circles = dāya 'one in dice' + vaṭṭa 'circle' rebus dhā̆vaḍ 'smelter'

https://tinyurl.com/y8h49x4t

Dices and chips in bone, Roman time. Gallo-Roman Museum of Saint-Romain-en-Gal-Vienne.

https://commons.wikimedia.org/wiki/File:Mus%C3%A9e_GR_de_Saint-Romain-en-Gal_27_07_2011_13_Des_et_jetons.jpg

Indus Script hypertext/hieroglyph: Dotted circle: दाय 1 [p= 474,2] dāya n. game , play Pan5cad.; mfn. ( Pa1n2. 3-1 , 139 ; 141) giving , presenting (cf. शत- , गो-); m. handing over , delivery Mn. viii , 165 (Monier-Williams)

தாயம் tāyam :Number one in the game of dice; கவறுருட்ட விழும் ஒன்று என்னும் எண். Colloq. (Tamil)

rebus: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ(whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻrelic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773) धाव (p. 250) dhāva m f A certain soft, red stone. Baboons are said to draw it from the bottom of brooks, and to besmear their faces with it. धावड (p. 250) dhāvaḍa m A class or an individual of it. They are smelters of iron. In these parts they are Muhammadans. धावडी (p. 250) dhāvaḍī a Relating to the class धावड. Hence 2 Composed of or relating to iron. (Marathi).

PLUS

Hieroglyph: vaṭṭa 'circle'.

Thus, together, the hypertext reads rebus dhā̆vaḍ 'smelter'

The dotted circle hypertexts link with 1. iron workers called धावड (p. 250) dhāvaḍa and 2. miners of Mosonszentjános, Hungary; 3. Gonur Tepe metalworkers, metal traders and 4. the tradition of अक्ष-- पटल [p= 3,2] n. court of law; depository of legal document Ra1jat. Thus, अक्ष on Indus Script Corpora signify documents, wealth accounting ledgers of metal work with three red ores. Akkha2 [Vedic akṣa, prob. to akṣi & Lat. oculus, "that which has eyes" i. e. a die; cp. also Lat. ālea game at dice (fr.* asclea?)] a die D i.6 (but expld at DA i.86 as ball -- game: guḷakīḷa); S i.149 = A v.171 = Sn 659 (appamatto ayaŋ kali yo akkhesu dhanaparājayo); J i.379 (kūṭ˚ a false player, sharper, cheat) anakkha one who is not a gambler J v.116 (C.: ajūtakara). Cp. also accha3. -- dassa (cp. Sk. akṣadarśaka) one who looks at (i. e. examines) the dice, an umpire, a judge Vin iii.47; Miln 114, 327, 343 (dhamma -- nagare). -- dhutta one who has the vice of gambling D ii.348; iii.183; M iii.170; Sn 106 (+ itthidhutta & surādhutta). -- vāṭa fence round an arena for wrestling J iv.81. (? read akka -- ).

దాయము (p. 588) dāyamu dāyamu. [Skt.] n. Heritage. పంచుకొనదగినతంత్రిసొమ్ము. Kinship, heirsh జ్ఞాతిత్వము. A gift, ఈవి. దాయము, దాయలు or దాయాలు dāyamu. [Tel.] n. A certain game among girls. గవ్వలాట; గవ్వలు పాచికలు మొదలగువాని సంఖ్య. (Telugu)
ஏர்த்தாயம் ēr-t-tāyam , n. < id. +. Ploughing in season; பருவகாலத்துழவு. (W.)காணித்தாயவழக்கு kāṇi-t-tāya-vaḻakku, n. < id. +. Dispute between coparceners about hereditary land; பங்காளிகளின் நிலவழக்கு. (J.)தர்மதாயம் tarma-tāyam , n. < id. + dāya. Charitable inams; தருமத்துக்கு விடப்பட்ட மானியம். (G. Sm. D. I, ii, 55.)தாயம் tāyam , n. < dāya. 1. Patrimony, inheritance, wealth of an ancestor capable of inheritance and partition (R. F.); பாகத்திற்குரிய பிதிரார்ச்சிதப்பொருள். 2. Share; பங்கு. (யாழ். அக.) 3. Paternal relationship; தந்தைவழிச் சுற்றம். (யாழ். அக.) 4. A fall of the dice; கவறுருட்ட விழும் விருத்தம். முற்பட இடுகின்ற தாயம் (கலித். 136, உரை). 5. Cubical pieces in dice-play; கவறு. (யாழ். அக.) 6. Number one in the game of dice; கவறுருட்ட விழும் ஒன்று என்னும் எண். Colloq. 7. Gift, donation; கொடை. (யாழ். அக.) 8. Good opportunity; சமயவாய்ப்பு. (யாழ். அக.) 9. Affliction, distress; துன்பம். (யாழ். அக.) 10. Delay, stop; தாக்காட்டு. (W.) 11. A child's game played with seeds or shells on the ground; குழந்தை விளையாட்டுவகை. 12. Excellence, superiority; மேன்மை. தாயமாம் பதுமினிக்கு (கொக்கோ. 1, 28).தாயப்பதி tāya-p-pati

n. < id. +. City or town got by inheritance; தனக்கு உரிமையாகக் கிடைத்துள்ள

வாழிடம் அல்லது ஊர். தாயப்பதிகள் தலைச்சிறந் தெங்கெங்கும் (திவ். திருவாய். 8, 6, 9).தாயபாகம் tāya-pākam, n. < dāyabhāga. 1. Division of an estate among heirs; ஞாதிகள் தம்முள் பிரித்துக்கொள்ளும் உரிமைப்பங்கு. 2. A treatise on the Hindu law of inheritance by jīmūtavākaṉa; பாகப்பிரிவினையைப்பற்றி ஜீமூத வாகனர்

இயற்றிய நூல். 3. Chapter on the law of inheritance in the Mitākṣara of Vijñāṉēšvara, 12th c. (R. F.); பன்னிரண்டாம் நூற்றாண்டில் விஞ் ஞானேசுரர் இயற்றிய

மிதாக்ஷரத்தில் தாயவுரிமை யைப்பற்றிக் கூறும் பகுதி.தாயம் tāyam, n. < dāya. 1. Patrimony, inheritance, wealth of an ancestor capable of inheritance and partition (R. F.); பாகத்திற்குரிய பிதிரார்ச்சிதப்பொருள். 2. Share; பங்கு. (யாழ். அக.) 3. Paternal relationship; தந்தைவழிச் சுற்றம். (யாழ். அக.) 4. A fall of the dice; கவறுருட்ட விழும்

விருத்தம். முற்பட இடுகின்ற தாயம் (கலித். 136, உரை). 5. Cubical pieces in dice-play; கவறு. (யாழ். அக.) 6. Number one in the game of dice; கவறுருட்ட விழும்

ஒன்று என்னும் எண். Colloq. 7. Gift, donation; கொடை. (யாழ். அக.) 8. Good opportunity; சமயவாய்ப்பு. (யாழ். அக.) 9. Affliction, distress; துன்பம். (யாழ். அக.) 10. Delay, stop; தாக்காட்டு. (W.) 11. A child's game played with seeds or shells on the ground; குழந்தை விளையாட்டுவகை. 12. Excellence, superiority; மேன்மை.

தாயமாம் பதுமினிக்கு (கொக்கோ. 1, 28).

Ivory is also used to record an inscription in Harappa:

h101 Ivory stick Hypertext 4561 dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter) koDa 'one' rebus: koD 'workshop' khANDA 'notch' rebus: kaNDa 'implements'. Thus, Smelter (ores) and implements workshop.

Fillets with Indus script hieroglyphs of dotted circles, lathe, brazier signify पोतृ purifier priest of kole.l 'smithy, temple'

http://tinyurl.com/nacgzus

Indus Script Corpora are sangara 'proclamations'. This is signified by sangada 'hieroglyph-multiplex of lathe and brazier.' The proclamation is also recorded on a gold fillet of Mohenjodaro which most likely was worn on the forehead of a leader of the guild, community of metalworkers. This decipherment is consistent with the trefoil and dotted circle fillet which adorn the statue of a Potr, purifier in kole.l'smithy, temple'. The dotted circles also adorn the 'standard device' of lathe and brazier hieroglyph-multiplex. This decipherment is also a determinative of Indus Script Corpora as catalogus catalogorum of metalwork.

Dotted circles are used on head-bands or fillets to signify priests of Mohenjo-daro.

Standard device is a hieroglyph-multiplex composed of lathe, brazier and dotted circles signified on gold fillets of the civilization to signify sãgaḍ rebus: sangara 'proclamation'. See: http://bharatkalyan97.blogspot.in/2015/08/set-theory-venn-diagram-set.html

What do the headbands or fillets on artefacts, say, of statues of eminent persons, signify? paṭṭa is a badge of distinction. The wearer of the badge is recognized as a guide. It is an appellation of dignity, of high office in a community. Hence, the priests, purifiers, Potr̥, पोतृ, are identified by the paṭṭa 'badge' or fillet. Potr̥, पोतृ, are signified by trefoils: kolom 'three' Rebus: kolimi 'smithy,forge' PLUS Dotted circle khaṇḍa ‘A piece, bit, fragment, portion’; kandi ‘bead’ Rebus: khaṇḍā ‘tools, pots and pans and metal-ware’; kanda 'fire-altar'. pot ʻ glass bead ʼ (Bengali) Rebus: पोतृ [p= 650,1] प्/ओतृ or पोतृ, m. " Purifier " , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; = यज्ञस्य शोधयिट्रि Sa1y. ) RV. Br. S3rS. Hariv. Rebus: போற்றி pōṟṟi, < id. n. 1. Praise, applause, commendation; புகழ்மொழி. (W.) 2.Brahman temple-priest of Malabar; கோயிற் பூசைசெய்யும் மலையாளநாட்டுப் பிராமணன். (W.) 3. See போத்தி, 1.--int. Exclamation of praise; துதிச்சொல்வகை. பொய்தீர் காட்சிப் புரையோய் போற்றி (சிலப். 13, 92).போத்தி pōtti, n. < போற்றி. 1. Grandfather; பாட்டன். Tinn. 2.Brahman temple- priest in Malabar; மலையாளத்திலுள்ள கோயிலருச் சகன்.

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

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

Gold fillet showing sacred device--- sangaḍa.

Gold fillet depicting the standard device, Mohenjo-daro, 2600 BCE. [Source: Page 32 in: Deo Prakash Sharma, 2000, Harappan seals, sealings and copper tablets, Delhi, National Museum]. At a Marshall, MIC, Pl. CLI are specimens of fillets consisting of thin bands of beaten gold with holes for cords at their ends.
Image result for dotted circle bharatkalyan97

Image result for dotted circle bharatkalyan97

Gold fillet, Mohenjo-daro, with Indus script hypertext of dotted circles, lathe, brazier signify पोतृ purifier priest of kole.l 'smithy, temple'.

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

Image result for gold pectoral mohenjodaro

m1654 Ivory cube with dotted circles Dotted circle hieroglyphs on each side of the cube (one dotted circle surrounded by 7 dotted circles): dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter).

Button seal. Baror, Rajasthan

Button tablet. Harappa. Dotted circles

Artifacts from Jiroft.

Ivory combs. Turkmenistan.

Ivory objects. Sarasvati Civilization

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

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

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

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

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

Circular seal, of steatite, from Bahrein, found at Lothal.

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

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

See:

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

http://tinyurl.com/z3x7zev

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

Potr, 'purifier priest' (RV) Poddār, पोतदार [pōtadāra] 'assayer of metals'(Bharatiya sprachbund, 'speech union') Seated male sculpture, or "Priest King" from Mohenjo-daro (41, 42, 43). Fillet or ribbon headband with circular inlay ornament on the forehead and similar but smaller ornament on the right upper arm. The two ends of the fillet fall along the back and though the hair is carefully combed towards the back of the head, no bun is present. The flat back of the head may have held a separately carved bun as is traditional on the other seated figures, or it could have held a more elaborate horn and plumed headdress. Two holes beneath the highly stylized ears suggest that a necklace or other head ornament was attached to the sculpture. The left shoulder is covered with a cloak decorated with trefoil, double circle and single circle designs that were originally filled with red pigment. Drill holes in the center of each circle indicate they were made with a specialized drill and then touched up with a chisel. Eyes are deeply incised and may have held inlay. The upper lip is shaved and a short combed beard frames the face. The large crack in the face is the result of weathering or it may be due to original firing of this object.

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

Marshall 1931: 356-7, pl. XCVIII

Bharatkalyan97: A 'Priest King' at Shahr-i Sokhta? -- Massimo ...

Male head (back and side) Mohenjodaro http://www.harappa.com/indus/40.html

Male head probably broken from a seated sculpture. Finely braided or wavy combed hair tied into a double bun on the back of the head and a plain fillet or headband with two hanging ribbons falling down the back. https://www.harappa.com/slide/male-head-mohenjo-daro

The upper lip is shaved and a closely cropped and combed beard lines the pronounced lower jaw. The stylized almond shaped eyes are framed by long eyebrows. The wide mouth is very similar to that on the "Priest-King" sculpture. Stylized ears are made of a double curve with a central knob.

Material: sandstone

Dimensions: 13.5 cm height

Mohenjo-daro, DK-B 1057

Mohenjo-daro Museum, MM 431

Dales 1985: pl. IIb; Ardeleanu-Jansen 1984: 139-157

Bactria silver vase,Miho Museum

Bharatkalyan97: Indus Script hypertexts signify Brahman and 7 ...

Ardeleanu-Jansen's reconstruction of the Priest-king

(After Ardeleanu-Jansen, A., 'The sculptural art of the Harappan culture' in M Jansen et al, ed., Forgotten cities on the Indus: early cvilization in Pakistan from the 8th to the 2nd millennium BCE, Mainz: Verlag Philipp von Zabern, 1991.)

Dholavira. Stone statue.

http://tinyurl.com/qetwb4l

पाती [ pātī ] f A share of some joint concern. Ex. ह्या सावकारींत चौघांची पाती आहे. 2 A slip of solder or of leaf-metal; a slip or bar (of iron &c.) 3 The cross piece or bar of a फरा over which the strickle moves. 4 A short slip of bamboo, over which is wound the जानवें &c. 5 A pinnate or long-shaped leaf (as of the sugarcane, cocoanut-palm, onion-plant, certain grasses &c.)(Marathi)

पांती [ pāntī ] f (Or पाती) A share of some joint concern.पातीदार or पांतीदार [ pātīdāra or pāntīdāra ] c An associate in some joint or common concern, a partner.(Marathi)

पट्टापट्टी (p. 484) [ paṭṭāpaṭṭī ] f (पट्टा by redup.) Drawing of stripes or lines, as with ashes, over the body.पट्टी (p. 484) [ paṭṭī ] f (S) A strip, slip, shred; a narrow and long piece (of cloth, metal, wood &c.) 2 A slip (of ground or land.) 3 A clamp. 4 A roll or list of a general collection, as by Government from a village; of a general contribution for a charitable or other purpose; of an assessment, amercement, or exaction in general. Note. The idea of Roll or list being dropped, पट्टी comes to signify simply Cess or tax (the subject-matter of the roll); and, with the designating noun prefixed, forms compounds quite numberless. The examples subjoined therefore, and the few instances occurring in marginal order, are as specimens only; but they will be accepted as ample:--खारी- पट्टी Cess to defray the expenses of a jaunt or an excursion of the Raja or other grandee; पालखी- पट्टी Exaction, for a service, of the pálkhís of the people; गोसावीपट्टी Cess to meet the wants of a swarm of Gosávís arrived at a village;खुशालपट्टी Cess to defray the expenses of some festal occasion (as the birth of a son &c.); लग्नपट्टी Cess to pay a marriage; केरपट्टी Cess to pay the sweepers entertained for a village, or for an occasion; कोंबडी- पट्टी Exaction of fowls or a fowl; black mail; घर- पट्टी, झाडपट्टी, म्हैसपट्टी Tax upon houses, trees, buffaloes &c. &c. 5 The paper containing the list of a general assessment or collection or contribution. 6 A fold, plait, ply, ruffle (as of a turban &c.) 7 A roll (of the betel-leaf &c.) 8 A division of a village; a part, a quarter, a region. 9 The front-portion of a side of the hair of women as combed smoothly towards the two sides and divided by a line in the middle. 10 The flowered or ornamental edge (of a garment or cloth), the border. 11 A string of flowers. See under तुरा. 12 A line or row (of the doctors and literati) in a सभा, as assembled to chant the Veda &c.: also a row of Bráhmans at a meal. 13 With पट्टी, in a humorously figurative application of the fourth sense, very numerous compounds occur, all bearing the general import of Vehement vituperation or scolding. See खडसपट्टी, खरडपट्टी, झाडपट्टी, भोसडपट्टी, फोदलपट्टी, धूळपट्टी, उधळपट्टी, भादरपट्टी, झवरपट्टी, घसरपट्टी. पट्टी काढणेंg. of o. To take the conceit out of. पट्टी चालली or लागली The general impost or the general contribution is under collection, is proceeding. पट्टी फाडणें orतासणें To draw up a list of names, attaching to each the sum to be demanded. पट्ट्या देणें To pack off or turn out.

पट्टीचा वैदिक (p. 484) [ paṭṭīcā vaidika ] m A वैदिक or doctor of the Vedas worthy to sit in the पट्टी (assembly or line of the learned). Hence a term for a skilful disputant, or a scholar, savant, or erudite person gen.
पट्टींतला (p. 484) [ paṭṭīntalā ] a Competent to sit in the पट्टी or row of Bráhmans to read the Vedas. Hence Competent, capable, proficient, smart gen.;--used of कारकून -कारभारी -गाणार -वाजंत्री -कथेकरी -सोदा- शिंदळ -लबाड &c.पट्टीपासोडी (p. 484) [ paṭṭīpāsōḍī ] f (पट्टी & पासोडी as an alliterative reduplication or term of amplification.) A general assessment, amercement, or collection of other kind.

पट [ paṭa ] m f (पट्ट S) A chequered board or cloth (to play at chess, songṭyá &c.) 2 A roll, list, catalogue (as of names): a roll, record, chronicle: a writing registering particulars or exhibiting the rule and practice; a table or a schedule: also, as संक्रांतिपट, ग्रहणपट, लग्नपट, मुहूर्त्तपट, a paper detailing (with astrological reference) the points and items connected with the sun's passage through the signs; with eclipses, auspicious periods and conjunctions &c.: also a string of pictures pasted one to another. 3 S Cloth. 4 n A fold (of a door or window-shutter). 5 A confederate or banded body.

पट्टा [ paṭṭā ] m ( H) A kind of sword. It is long, two-edged, and has a hilt protecting the whole fore arm. Applied also to a wooden sword for practice and sports. 2 A stripe, streak, line. 3 A slip or long piece of ground. 4 A strip (as of lace or cloth, of border or edging). 5 A cincture (of silver or gold) for the waist: also a zone, girdle, or belt more generally. 6 A deed of lease or tenure. पट्टा ओढणें-घालणें-पाडणें (To draw a stripe.) To draw the razor rudely along the head (in head-tonsure). Hence, generally, (कामाचा पट्टा ओढणें &c.) To perform rudely or roughly: also (i.e. to draw the lines indicative of commencement) to make a rude or rough beginning. पट्ट्याचा हात फिरविणें To brandish the पट्टा.

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

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

பட்டை² paṭṭai

, n. < paṭṭa. [T. K. paṭṭe, M. paṭṭam.] 1. Plate, slab, tablet; தகடு. 2. Flatness; தட்டையான தன்மை. 3. Lace-border; சரிகைப்பட்டை. 4. Painted stripe, as on a temple wall; பட்டைக்கோடு. 5. Dapple, piebald colour;

தட்டார்பாட்டம் taṭṭār-pāṭṭam

, n. < தட் டான்¹ +. Profession tax on goldsmiths; தட்டார் இறுக்கும் அரசிறைவகை. (S. I. I. ii, 117.)

3878 Ta. paṭṭai flatness; paṭṭam flat or level surface of anything, flat piece (as of bamboo). Ko. paṭ flatness (of piece of iron, of head); paṭm (obl.paṭt-) ground for house. To. poṭ site of dairy or house. ? Koḍ. paṭṭi space before house, spreading space; maṇa-paṭṭi sandbank. Nk. paṛ place. Pa.paḍ place, site. Pe. paṭ kapṛa top of the head. Manḍ. paṭ kapṛa id. Malt. paṭa numeral classifier of flat objects.

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

3866 Ta. paṭṭaṭai neck-ornament (< Te.). Tu. paṭṭaḍi a kind of necklace. Te. paṭṭeḍa a sort of ornament worn by women round the neck.

Image result for gold fillet mohenjodaro

Bharatkalyan97: Potr̥, 'purifier priest', धावड dhāvaḍa 'iron ...

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

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

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

A cloak is draped over the edge of the left shoulder and covers the folded legs and lower body, leaving the right shoulder and chest bare. The left arm is clasping the left knee and the hand is visible peeking out from underneath the cloak. The right hand is resting on the right knee which is folded beneath the body.

Material: limestone

Dimensions: 28 cm height, 22 cm width

Mohenjo-daro, L 950

Islamabad Museum

Marshall 1931:358-9, pl. C, 1-3 http://www.harappa.com/indus/46.html

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

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

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

Poddār, पोतदार [pōtadāra] 'assayer of metals'

ପୋଦାର୍— Podār [synonym(s): পোদ্দার पोहार] ବୈଦେ. ବି. (ଫା. ଫୌତା=ଭୁକର, ଖଜଣା; ଫୋତାହାର=ୟେ ରାଜସ୍ବ ଟଙ୍କା ପରୀକ୍ଷା କରେ)— 1। ଟଙ୍କା କୃତ୍ରିମ କି ଭଲ ତାହା ପରୀକ୍ଷା କରିବା ବ୍ୟକ୍ତି— 1. A person who sets coins; poddar. 2। ତହବିଲ୍ଦାର୍ କର୍ମଚାରୀ—2. A cash keeper; cashier. 3। ବଣିଆ; ସ୍ବର୍ଣ୍ଣ ରୌପ୍ଯ ବ୍ୟବସାଯୀ ବଣିକ— 3. Goldsmith; jeweller. 4। ମୁଦ୍ରା ବ୍ୟବସାଯୀ; ଅର୍ଥବଣିକ— 4. Money-changer; banker. ପୋଦ୍ଦାର୍— Poddār [synonym(s): পোদ্দার पोहार] ବୈଦେ. ବି. (ଫା. ଫୌତା=ଭୁକର, ଖଜଣା; ଫୋତାହାର=ୟେ ରାଜସ୍ବ ଟଙ୍କା ପରୀକ୍ଷା କରେ)— 1। ଟଙ୍କା କୃତ୍ରିମ କି ଭଲ ତାହା ପରୀକ୍ଷା କରିବା ବ୍ୟକ୍ତି— 1. A person who sets coins; poddar. 2। ତହବିଲ୍ଦାର୍ କର୍ମଚାରୀ—2. A cash keeper; cashier. 3। ବଣିଆ; ସ୍ବର୍ଣ୍ଣ ରୌପ୍ଯ ବ୍ୟବସାଯୀ ବଣିକ— 3. Goldsmith; jeweller. 4। ମୁଦ୍ରା ବ୍ୟବସାଯୀ; ଅର୍ଥବଣିକ— 4. Money-changer; banker. ପୋଦାରୀ— Podārī [synonym(s): পোদ্দারী पोद्दारी] ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār. ପୋଦ୍ଦାରୀ— Poddārī [synonym(s): পোদ্দারী पोद्दारी] ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār.

वट [p= 914,3] m. (perhaps Prakrit for वृत , " surrounded , covered " ; cf. न्यग्-रोध) the Banyan or Indian fig. tree (Ficus Indica) MBh.Ka1v. &c RTL. 337 (also said to be n.); a pawn (in chess) L. (Monier-Williams) Ta. vaṭam cable, large rope, cord, bowstring, strands of a garland, chains of a necklace; vaṭi rope; vaṭṭi (-pp-, -tt-) to tie. Ma. vaṭam rope, a rope of cowhide (in plough), dancing rope, thick rope for dragging timber. Ka. vaṭa, vaṭara, vaṭi string, rope, tie. Te. vaṭi rope, cord. Go. (Mu.) vaṭiya strong rope made of paddy straw (Voc. 3150). Cf. 3184 Ta. tār̤vaṭam. / Cf. Skt. vaṭa- string, rope, tie; vaṭāraka-, vaṭākara-, varāṭaka- cord,string; Turner, CDIAL, no. 11212. (CDIAL 5220)vaṭa2 ʻ string ʼ lex. [Prob. ← Drav. Tam. vaṭam, Kan. vaṭi, vaṭara, &c. DED 4268] N. bariyo ʻ cord, rope ʼ; Bi. barah ʻ rope working irrigation lever ʼ, barhā ʻ thick well -- rope ʼ, Mth. barahā ʻ rope ʼ. (CDIAL 11212).

See: https://tinyurl.com/y85goask Wealth of a nation...

Trefoil decorated bull; traces of red pigment remain inside the trefoils. Steatite statue fragment. Mohenjo-daro (Sd 767). After Ardeleanu-Jansen, 1989: 196, fig. 1; cf. Parpola, 1994, p. 213. Trefoils painted on steatite beads. Harappa (After Vats. Pl. CXXXIII, Fig. 2) Trefoil on the shawl of the priest. Mohenjodaro. The discovery of the King Priest acclaimed by Sir John Marshall as “the finest piece of statuary that has been found at Moenjodaro….draped in an elaborate shawl with corded or rolled over edge, worn over the left shoulder and under the right arm. This shawl is decorated all over with a design of trefoils in relief interspersed occasionally with small circles, the interiors of which are filled with a red pigment “. Gold fillet with ‘standard device’ hieroglyph. Glyph ‘hole’: pottar, பொத்தல் pottal, n. < id. [Ka.poṭṭare, Ma. pottu, Tu.potre.] trika, a group of three (Skt.) The occurrence of a three-fold depiction on a trefoil may thus be a phonetic determinant, a suffix to potṛ as in potṛka.

Rebus reading of the hieroglyph: potti ‘temple-priest’ (Ma.) potR `" Purifier "'N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman), यज्ञस्य शोधयिट्रि (Vedic) Rebus reading is: potri ‘priest’; poTri ‘worship, venerate’. Language is Meluhha (Mleccha) an integral component of Indian sprachbund (linguistic area or language union). The trefoil is decoded and read as: potr(i).

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

Hieroglyph-multiplex of dotted circles as 'beads': kandi 'bead' Rebus: kanda 'fire-altar' khaNDa 'metal implements'

Trefoil Hieroglyph-multiplex as three dotted circles: kolom 'three' Rebus: kole.l kanda 'temple fire-altar'

(After Fig. 18.10 Parpola, 2015, p. 232) (a) Neo-Sumerian steatite bowl from Ur (U.239), bearing symbols of the sun, the moon (crucible), stars and trefoils (b) Fragmentary steatite statuette from Mohenjo-daro. After Ardeleanu-Jansen 1989-205, fig. 19 and 196, fig. 1

A finely polished pedestal. Dark red stone. Trefoils. (DK 4480, cf. Mackay 1938: I, 412 and II, pl. 107.35). National Museum, Karachi.

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

'blacksmith'; kole.l 'smithy, temple' (Kota)

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

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

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

Trefoil inlay decorated on a bull calf. Uruk (W.16017) ca. 3000 BCE. kõdā 'young bull calf' Rebus: kõdā 'turner-joiner' (forge),

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

http://bharatkalyan97.blogspot.in/2015/08/rearming-bharatam-janam-with-literary.html

...

Read on https://tinyurl.com/y8fed8xd

Image result for Steatite statue fragment. Mohenjo-daro (Sd 767). After Ardeleanu-Jansen, 1989: 196, fig. 1; cf. Parpola, 1994, p. 213. Trefoils painted on steatite beads. Harappa (After Vats. Pl. CXXXIII, Fig. 2)

Steatite statue fragment; Mohenjodaro (Sd 767); trefoil-decorated bull; traces of red pigment remain inside the trefoils. After Ardeleanu-Jansen 1989: 196, fig. 1; Parpola, 1994, p. 213.

	Statue, Uruk (W.16017), c. 3000 B.C.; bull with trefoil inlays; shell mass with inlays of lapis lazuli; 5.3 cm. long; Vorderasiatisches Museum, Berlin; Parpola, 1994, p. 213.
	Trefoils painted on steatite beads, Harappa (After Vats, Pl. CXXXIII, Fig.2)
	Tre-foil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone; National Museum of Pakistan, Karachi; After Mackay 1938: I, 411; II, pl. 107:35; Parpola, 1994, p. 218.
	Two decorated bases and a lingam, Mohenjodaro.
	Lingam, grey sandstone in situ, Harappa, Trench Ai, Mound F, Pl. X (c) (After Vats). "In an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I... in this jar, six lingams were found along with some tiny pieces of shell, a unicorn seal, an oblong grey sandstone block with polished surface, five stone pestles, a stone palette, and a block of chalcedony..." (Vats, EH, p. 370)

One badge used had a bangle with trefoil hieroglyph.

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

minerals'.

Terracotta bangle fragments decorated with red trefoils outlined in white

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

shows both sides of the two fragments

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

Detail of terracotta bangle with red and white trefoil on a green background H98-3516/8667-01 from Trench 43).

miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Munda)

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

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

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

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

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

It has been suggested at

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

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

Single strand (one dotted-circle)

Two strands (pair of dotted-circles)

Three strands (three dotted-circles as a trefoil)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[After Fig. 8 in Dennys Frenez (2016) opcit. On the lower register of broken fragments of stick dice with Schreger lines visible in section forming an angle of 115 degrees characteristic of extant proboscidea (Courtesy A. Caubet)]. Indicative of Elephas Maximus.

"Schreger lines are visual artifacts that are evident in the cross-sections of ivory.They are commonly referred to as cross-hatchings, engine turnings, or stacked chevrons. Schreger lines can be divided into two categories. The easily seen lines which are closest to the cementum are the outer Schreger lines. The faintly discernible lines found around the tusk nerve or pulp cavities are the inner Schreger lines. The intersections of Schreger lines form angles, which appear in two forms: concave angles and convex angles. Concave angles have slightly concave sides and open to the medial (inner) area of the tusk. Convex angles have somewhat convex sides and open to the lateral (outer) area of the tusk. Outer Schreger angles, both concave and convex, are acute in extinct proboscidea and obtuse in extant proboscidea." https://en.wikipedia.org/wiki/Schreger_line

Foot note 4 in Dennys Frenez, opcit. Tusks of both elephant and mammoth show a typical surface pattern of intersecting arcs visible on cross-sections taken perpendicular to the longitudinal axis of the tusk. Thispattern,first described by Bernard Schreger (1800), is termed in the gemological litera-ture Schreger lines ” and consists of rhomb-shaped curvilinear lozenges created by the regular intersections of gentle arcs of alternating brownish and yellowish striae. This surface texture is an optical eﬀect caused by the reflection of light from the extremely fine fibers of the collagen protein, which are oriented in two distinct directions in the matrix surrounding each dentine tubule. The Schreger lines are unique to elephant and mammoth ivory: the Schreger angles are obtuse in elephantine ivory (>115 degrees), while in mammoth ivory they are acute (>90 degrees) (Espinoza and Mann, 1993; Bracco et al.,2013).

The Schreger lines on Gonur Tepe ivory artifacts and on Mosonszentjános ivory dice indicate that the Gonur Tepe ivory is obtained from tusks of Indian elephants (Elephas Maximus Indicus or Asiatic elephants).

István Koncz, Zsuzsanna Tóth,, 2016, '6th century ivory game pieces from Mosonszentjános' in:
Dissertationes Archaeologicae ex Instituto Archaeologico Universitatis de Rolando Eötvös Nominatae, Ser. 3, No. 4 (2016), pp. 161-178
http://dissarch.elte.hu/download.php?file=http://dissarch.elte.hu/index.php/dissarch/article/download/284/249&id=284

http://dissarch.elte.hu/public/journals/1/homeHeaderTitleImage_en_US.jpg

Schreger Lines in a Mammoth Ivory
https://www.scribd.com/document/362315298/6th-century-ivory-game-pieces-from-Mosonszentjanos-Istvan-Koncz-Zsuzsanna-Toth-2016

6th century ivory game pieces from Mosonszentjános (István Koncz,Zsuzsanna Tóth, 2016) by Srini Kalyanaraman on Scribd

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

Mirror: http://tinyurl.com/z3x7zev
**Dotted circles, tulips on ivory combs signify dāntā 'ivory' rebus dhāˊtu 'ore of red colour' (Rigveda) tagaraka 'tulip' rebus tagara 'tin'**
Discovery of tin-bronzes was momentous in progressing the Bronze Age Revolution of 4th millennium BCE. This discovery created hard alloys combining copper and tin. This discovery was also complemented by the discovery of writing systems to trade in the newly-produced hard alloys.The discovery found substitute hard alloys, to overcome the scarcity of naturally occurring arsenical copper or arsenical bronzes. The early hieroglyph signifiers of tin and copper on an ivory comb made by Meluhha artisans & seafaring merchants point to the contributions made by Bhāratam Janam (RV), ca. 3300 BCE to produce tin-bronzes. The abiding significance of the 'dotted circle' is noted in the continued use on early Punch-marked coins.
http://bharatkalyan97.blogspot.in/2016/10/vajra-six-angled-hypertext-of-punch.html Vajra षट्--कोण 'six-angled' hypertext of Punch-marked coins khambhaṛā 'fish-fin' rebus: kammaṭa 'mint'.
A hypertext is orthographed with three arrows emanating from the dotted circle and three ‘twists’ emanating from the dotted circle, thus signifying six-armed semantic extensions. baṭa ‘six’ rebus:baṭa 'iron' bhaṭa ‘furnce’. kaṇḍa ‘arrow’ rebus: khaṇḍa ‘implements’ मेढा mēḍhā ‘twist’ rebus: meḍ ‘iron’ med ‘copper’ (Slavic languages) medha ‘yajna, dhanam’.

This comb discovered in Tell Abraq (ca. 2200 BCE) has two Harappa Script hieroglyphs: 1. dotted circles; and 2. tabernae montana 'mountain tulip' Rebus readings: 1.Hieroglyph: dotted circles: dāntā 'ivory' rebus dhāˊtu 'ore of red colour' 2. Hieroglyph: tagaraka 'tabernae montana, mountain tulip' rebus: tagara 'tin'. Thus, two mineral ores are signified by the two hieroglyphs: ferrite, copper ores and tin ore (cassiterite).

h1522 Potsherd ca. 3300 BCE (from Indus Writing Corpora) Note: The first known examples of writing may have been unearthed at an archaeological dig in Harappa, Pakistan. So-called 'plant-like' and 'trident-shaped' markings have been found on fragments of pottery dating back 5500 years. According to Dr Richard Meadow of Harvard University, the director of the Harappa Archaeological Research Project, these primitive inscriptions found on pottery may pre-date all other known writing. http://news.bbc.co.uk/2/hi/science/nature/334517.stm http://news.bbc.co.uk/2/hi/science/nature/334517.stm
A rebus reading of the hieroglyph is: tagaraka, tabernae montana. Rebus:
tagara ‘tin’ (Kannada); tamara id. (Skt.) Allograph: ṭagara ‘ram’. Since tagaraka
is used as an aromatic unguent for the hair, fragrance, the glyph gets depicted on a stone flask, an ivory comb and axe of Tell Abraq.

A soft-stone flask, 6 cm. tall, from Bactria (northern Afghanistan) showing a winged female deity (?) flanked by two flowers similar to those shown on the comb from Tell Abraq.(After Pottier, M.H., 1984, Materiel funeraire e la Bactriane meridionale de l'Age du Bronze, Paris, Editions Recherche sur les Civilisations: plate 20.150). Ivory comb with Mountain Tulip motif and dotted circles. TA 1649 Tell Abraq.(D.T. Potts, South and Central Asian elements at Tell Abraq (Emirate of Umm al-Qaiwain, United Arab Emirates), c. 2200 BCE—CE 400, in Asko Parpola and Petteri Koskikallio, South Asian Archaeology 1993: , pp. 615-666).

Tell Abraq axe with epigraph (‘tulip’ glyph + a person raising his arm above his shoulder and wielding a tool + dotted circles on body) [After Fig. 7 Holly Pittman, 1984, Art of the Bronze Age: Southeastern Iran, Western Central Asia, and the Indus Valley, New York, The Metropolitan Museum of Art, pp. 29-30].

tabar = a broad axe (Punjabi). Rebus: tam(b)ra ‘copper’ tagara ‘tabernae montana’, ‘tulip’. Rebus: tagara ‘tin’. Glyph: eṛaka ‘upraised arm’ (Tamil); rebus: eraka = copper (Kannada) erako 'molten cast'(Tulu)
Image result for Tell abraq

Found in a tomb in Tell Abraq
http://www.abc.es/cultura/arte/abci-ciudad-mitica-hallada-desierto-201604182034_noticia.html

Ivory comb (Archaeological Collection. Ministry of Heritage and Culture Muscat 2009: 30) Ras al-Jinz, Building I, Room 1 Ivory 2400 BCE Among the luxury imported objects discovered in Ras al-Jinz, along the Omani coast, there is this beautiful comb made of elephant ivory. As well as pots, beads and a copper stamp seal, the comb comes from Harappa, one of the main sites of the Indus civilization. It represents a clear proof of the relations between Oman and the Indus Valley during the 3rd Millennium BC. A similar but fragmentary object has been discover at Tell Abraq. (AP)
http://ancientoman.cfs.unipi.it/index.php?id=399Findings from Salut, Oman strongly corroborate the evidence of an intense interaction between the local communities and the greater Indus Valley. kolom 'three' rebus: kolimi 'smithy, forge' sal 'splinter' rebus: sal 'workshop'. Thus, smithy workshop. dāntā 'tooth, tusk' rebus: dhāˊtu 'ore of red colour' (ferrite ores, copper ores). ranku 'liquid measure' rebus: ranku 'tin'. ti 'ox' rebus: bharata 'alloy of pewter, copper, tin'.

This seal, dated to the last centuries of the 3rd millennium, is one of them. Although made from local chlorite, its shape, iconography, and the presence of a line of Harappan script, clearly indicate that the seal was inspired by Indus examples, if not made itself by some engraver of Indian origin.

Trading place. Arabia was perfectly positioned to be the linchpin of trade among the world’s first great civilizations. Locations of Tell Abraq and R'as al Jinz

http://www.andrewlawler.com/a-forgotten-corridor-rediscovered/

Reed-and palm-built boats of the Middle East. a. Small raft-boats (Arabic shashat or shush), made of the mid-ribs of date palm leaves, still used in the Gulf (photographed in Bahrain by J. Connan); b. Assyrian stone relief from the palace of Assurnasirpal at Nimrud (c.860 BC), northern Iraq, showing soldiers transported in reed or palm boats; c. Quffah of the Tigris River, made of plaited palm, wood and coated with a bituminous mastic (Musée de la Marine, Paris, reference no. 3 EX 9, diameter 163 cm, height 58 cm, gift from the Mission Française in Baghdad in 1901. Photograph from the catalogue of the exhibition 'A la rencontre de Sinbad', Musée de la Marine, 1994).

'Black boats of Magan': the bituminous slabs of Ra's al-Jinz (RJ-2, Oman); a. Scale 1/20 model of a Bronze Age reed boat, as proposed by Vosmer, Model of a Third Millennium BC Reed Boat (photo courtesy of Tom Vosmer); b. Bituminous slabs in situ at Ra's al-Jinz (RJ-2), in a shallow pit in Building I, Room 2, Period IIa (c.2500–2200 BC). In the centre of the picture, a fragment shows a rope impression, whereas two other fragments exhibit clear mat patterns (photo S. Cleuziou); c. Inner face of bituminous slab no. 725 (Building I, Room 2) with mat impression (photo J. Connan); d. Outer face of slab no. 182 (Building I, Room 6) showing encrusted barnacles and embedded vegetal remains (photo S. Cleuziou).

Ras al-Jinz, distribution of bitumen and imported objects in Building I and II (Cleuziou S., Tosi M., In the shadow of the Ancestors, Muscat 2007: 237, fig. 253)

தந்தம்¹ tantam , n. < danta. 1. Tooth; பல். (திவா.) 2. Tusk, as of elephant; யானை முதலியவற்றின் கொம்பு. காழுற்ற தந்த மின்ன (கந்தபு. தெய்வயா. 105).

dantín ʻ tusked ʼ MaitrS., m. ʻ elephant ʼ MBh. [dánta -- ] Pk. daṁti -- m. ʻ elephant ʼ; S. ḍ̠andyo m. ʻ a species of fish ʼ; WPah.jaun. dãdiau ʻ harrow ʼ < dãdi hau, (< halá -- ); Ku. danīṛo m. ʻ harrow ʼ; N. dã̄deʻ toothed ʼ sb. ʻ harrow ʼ; A. dãtīyā ʻ having new teeth in place of the first ʼ, dã̄tinī ʻ woman with projecting teeth ʼ; Or. dāntiā ʻ toothed ʼ; H. dã̄tī f. ʻ harrow ʼ; G. dã̄tiyɔ m. ʻ semicircular comb ʼ, dãtiyɔ m. ʻ harrow ʼ.(CDIAL 6163) *dantāla ʻ toothed ʼ. [dánta -- ] Pk. daṁtāla -- m., °lī -- f. ʻ grass -- cutting instrument ʼ; S. ḍ̠andārī f. ʻ rake ʼ, L. (Ju.) ḍ̠ãdāl m., °lī f.; Ku. danyālo m. ʻ harrow ʼ, gng. danyāw (y fromdanīṛo < dantín -- ); N. dãtār ʻ tusked ʼ (← a Bi. form); A. dãtāl adj. ʻ tusked ʼ, sb. ʻ spade ʼ; B. dã̄tāl ʻ toothed ʼ; G. dãtāḷ n., °ḷī f. ʻ harrow ʼ; M. dã̄tāḷʻ having projecting teeth ʼ, dã̄tāḷ, °ḷē, dãtāḷ n. ʻ harrow, rake ʼ.Addenda: *dantāla -- : Garh. dãdāḷu ʻ forked implement ʼ, Brj. dãtāl, dãtāro ʻ toothed ʼ, m. ʻ elephant ʼ.(CDIAL 6160) dantaka (a) ʻ *having teeth ʼ. (b) in cmpd. ʻ tooth ʼ TS. (c) m. ʻ projection on a rock ʼ lex. [dánta -- ] (a) K. dondu ʻ tusked ʼ; Or. dāntā ʻ having teeth ʼ; G. dã̄tɔ m. ʻ a kind of rake or harrow ʼ. -- (b) Pa. dantaka<-> m. ʻ ivory pin ʼ; S. ḍ̠ando m. ʻ tooth of an instrument ʼ; L. ḍandā m. ʻ tooth (of rake &c.) ʼ, dandī f. ʻ milk -- tooth ʼ; Or. dāntī ʻ toothlike projection ʼ; H. dã̄tā m. ʻ large tooth, tooth (of comb &c.) ʼ, dã̄tī f. ʻ tooth, cog ʼ; G. dã̄tɔ ʻ cog ʼ, dã̄tī f. ʻ wedge between the teeth of a comb ʼ; M. dã̄tā ʻ tooth (of rake &c.), cog ʼ; Si. dätta, st. däti<-> ʻ tooth (of a saw) ʼ. -- (c) L. dandī f. ʻ cliff ʼ; N. dã̄ti ʻ edge of a hole used in a game ʼ; A. dã̄ti ʻ edge ʼ; -- ext. -- r -- : L.awāṇ. dandrī ʻ edge ʼ, A. dã̄tri ʻ edge of platform ʼ. <-> S. ḍ̠andi f. ʻ selvage of a web ʼ, L. dand f. ʻ precipice ʼ < *dantī -- ? (CDIAL 6153) dánta m. ʻ tooth ʼ RV. [dánt -- RV.] Pa. danta -- m. ʻ tooth, tusk ʼ; Pk. daṁta -- m. ʻ tooth, part of a mountain ʼ; Gy. eur. dand m. ʻ tooth ʼ, pal. dṓndă, Ash. dō˘nt, Kt. dut, Wg. dō̃t, dū̃t, Pr.letum, lätəm, 'ätəm ʻ my (?) tooth ʼ, Dm. dan, Tir. d*lndə, Paš. lauṛ. dan(d), uzb. dōn, Niṅg. daṅ, Shum. dandem ʻ my tooth ʼ, Woṭ. dan m., Gaw. dant, Kal.urt. d*ln, rumb. dh*lndōŕy*lk (lit. ʻ front and back teeth ʼ? -- see *dāṁṣṭra -- ); Kho. don, Bshk. d*lndə, Tor. d*ln, Kand. dɔdi, Mai. dān, Sv. dānd, Phal. dān, pl. dānda, Sh.gil. do̯n, pl. dōnye̯ m. (→ Ḍ. don m.), pales. d*ln, jij. dɔn, K. dand m., rām. pog. ḍoḍ. dant, S. ḍ̠andu m.; L. dand, mult. ḍand, (Ju.) ḍ̠ãd m., khet. dant ʻ tooth ʼ, (Shahpur) dãd f. ʻ cliff, precipice ʼ; P. dand m. ʻ tooth, ʼ WPah.bhad. bhal. paṅ. cur. dant, cam. dand, pāḍ. dann, Ku. N. dã̄t (< *dã̄d in N. dã̄de ʻ harrow, a kind of grass ʼ), A. B. dã̄t, Or. dānta, Mth. Bhoj. Aw.lakh. H. Marw. G. M. dã̄t m., Ko. dāntu, Si. data. -- Ext. --ḍa -- : Dm. dandə́ŕi, dánduri ʻ horse's bit ʼ, Phal. dándaṛi. --

Addenda: dánta -- : S.kcch. ḍandh m.pl. ʻ teeth ʼ; WPah.kṭg. (kc.) dānd m., J. dã̄d m., Garh. dã̄t, Md. dat.(CDIAL 6152)

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

m1651 Ivory stick A, D, F

Hypertext 2947 Dotted circle hieroglyphs at the ends of the rod: dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter) dATu 'cross' rebus: dhatu 'mineral'. Fish-fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus: kammaTa 'mint, coiner, coinage'.muh 'ingot' PLUS khANDA 'notch' rebus: kaNDa 'implements' (Thus, ingot implements) koḍa 'sluice'; Rebus: koḍ 'artisan's workshop (Kuwi) karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). thus the message is: Working with dhatu (minerals), mint (coiner), ingot implements workshop, Supercargo (scribe, account), Turner (alloys) of metal, Smelter.

Source: Chattisgarh Excavations in Malhar, Dist. Bilaspur, in:

Rakesh Tiwari, DN Dimri & Indus Prakash (eds), 2016, Indian Archaeology 2010-2011 -- A Review, Delhi, ASI, pp. 5 to 7
http://www.asihyderabadcircle.com/storage/files/Qs6R3biq0ujJZZbFRTK7gMsChc1eNwA40BeNhyG7.pdf

"The archaeological site of Malhar (2183’73” and 8216’41”E) is situated in the District Bilaspur. Locally known as Gadh (meaning fort), the site is one of the thirty-six forts after which the state of Chhattisgarh is perhaps named...new evidences regarding the structural complexes, terracotta sealings, coins, terracotta human and animal figurines, objects of daily use made on stone, iron, copper, ivory, etc...A burnt brick square kunda structure...measures approximately 1.60m. Square at the top, it has five steps leading to centre of the structure in descending order originally from all the four sides. The entire structure is lime plastered from inside. At this level a significant find of the season is very big storage jar excavated in situ which is coloured from the interior with red wash. Perhaps this is the biggest ever a storage vessel excavated anywhere in India so far. The ceramic finds of this period were red ware, dull red ware, red slipped ware, black and red ware and limited quantity of black/grey ware. The pottery types consisted of storage jars, globular vessels, carinated handis, and bowls of different sizes, very narrow neck small to medium size globular vessels, flask, basins, lid with knob and a religious vessel having seven spouts. Similar pots are said to be still in use with the present day villagers during the marriage rituals. This period is marked by the presence of sealings. One of them read “ran~yo sivamaghasa(si)ra(ri)sa” and the other depicting a seated humped bull to right and below the legend within a parallel margin reads “rusabha yasa”, both sealings are assignable to 1 st Century BCE-CE on the basis of palaeographical studies. A Satavahana silver portrait coin of Vashishthiputra Pulumavi, from this period marks an important milestone at Malhar for the first time. It makes all the more important since this has come from proper field excavation. Just below this important numismatic find, a two-room Satavahana brick structure was excavated with an open lime plastered verandah (Pls. 6-9)...Antiquarian finds from this period include beads of glass, terracotta and semiprecious stone. A highly decorated square stone plaque with religious symbols engraved and arranged in a circle is one of the objects of secular nature among the important finds. Two silver Roman Portrait coins (dinar) were excavated from the upper deposit of this period. One of them was later converted in locket while the other is intact. But, unfortunately both of them are highly worn out. Objects of iron include sickle, nails of different kinds and sizes, knife, choppers, arrow, spear heads etc. Other finds include copper coins, terracotta sealings, saddle quern, terracotta tiles with finger marks and double perforation. This season, the excavation has yielded approximately four periods of deposit, encountering nearly twenty two layers of occupation with an evidence of flood that has caused complete erosion of the site at the twentieth layer of habitation. "(opcit., pp.5-7)

Copies of Plate 6 to Plate 8 cited in the document Excerpt from Indian Archaeology Review 2010-11 on Excavations at Malhar, Dist. Bilaspur, UP
http://www.asihyderabadcircle.com/storage/files/Qs6R3biq0ujJZZbFRTK7gMsChc1eNwA40BeNhyG7.pdf

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Sarasvati Civilisation, New Findings and Opportunities (Video 2:45:06)

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Pragna Bharati

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Speaker is Dr S. Kalyanaraman Director, Saraswathi Research Centre. His works include the findings of the ancient tin route from south east Asia through India to Haifa in modern  Israel. From the seals of Harappa and Mohenjo-Daro, he had deciphered  information that substantiates the metallurgical expertise of ancient India’s artisans and the adventurous sea farers. He has also established through his studies that more than 25 Indian languages are inter connected.

https://www.youtube.com/watch?v=WHJDXuzNBoo (2:45:06)

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Three clay sealings of Harappa (HARP discovery) signify cargo of iron stone ore and bars of metal for processing in mint/smithy-forge

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h1721

h1720A, B

h1719

Three clay sealings from the Harappa Phase levels (2600-1900 BCE) that may have come from large bundles of goods shipped to the site from a distant region. The clay does not appear to be the same type of clay as found near Harappa and each sealing has the impression of two different seals.

Harappa Archaeological Research Project

https://www.harappa.com/category/slide-photographer/harappa-archaeological-research-project

Sealing 1: The sealing h1719 Text message: From warehouse of iron stone ore smithy/forge and bar of metal

Meluhha rebus readings:

Sign 162 kolom 'rice plant' rebus: kolimi 'smithy, forge'

Sign1 kāḍ 'stature', kāṭi 'body stature rebus: khad 'iron stone' PLUS meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic);

Thus, the rebus reading is: iron stone ore.

Sign 169 kor̤u 'sprout' Rebus: kor̤u 'bar of metal'

Variant of Sign 193

maṇḍa. ʻ thatched cover ʼ rather than ʻ raised platform ʼ (BHS ii 402) Rebus: maṇḍā 'warehouse'

Sealing 2: The sealing h1721 signifies a cargo of bronze and stone ores (copper and alloy metals)

Fish-fin Variant of Sign

This is a hypertext, ligaturing 'fish-fin' to 'fish'

Sign 59 hieroglyph: khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner,coinage' PLUS aya 'fish'

rebus: aya 'iron' (Gujarati) ayas 'alloy metal'(RV); thus, the hypertext Sign67 signifies alloy metal mint.

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.) Rebus: kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone ʼ lex.]

Bshk. kōr ʻ large stone ʼ AO xviii 239.(CDIAL 3018)

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 ʼ AV., m.n. ʻ bell -- metal ʼ Pat. as in S., but would in Pa. Pk. and most NIA. lggs. collide with kāˊṁsya -- to which L. P. testify and under which the remaining forms for the metal are listed. 2. *kaṁsikā -- .1. Pa. kaṁsa -- m. ʻ bronze dish ʼ; S. kañjho m. ʻ bellmetal ʼ; A. kã̄h ʻ gong ʼ; Or. kãsā ʻ big pot of bell -- metal ʼ; OMarw. kāso (= kã̄ -- ?) m. ʻ bell -- metal tray for food, food ʼ; G. kã̄sā m. pl. ʻ cymbals ʼ; -- perh. Woṭ. kasṓṭ m. ʻ metal pot ʼ Buddruss Woṭ 109.2. Pk. kaṁsiā -- f. ʻ a kind of musical instrument ʼ; A. kã̄hi ʻ bell -- metal dish ʼ; G. kã̄śī f. ʻ bell -- metal cymbal ʼ, kã̄śiyɔ m. ʻ open bellmetal pan ʼ. (CDIAL 2756)

Sealing 3 h1720 text message: The text Meluhha message is: (Cargo for) smithy/forge, metalcasting, iron stone ore, metal bar mint

Text r.to l.: kolmo 'three' rebus: kolimi 'smithy, forge'

kor̤u 'sprout' Rebus: kor̤u 'bar of metal'

Sign1 kāḍ 'stature', kāṭi 'body stature rebus: khad 'iron stone' PLUS meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic);

Thus, the rebus reading is: iron stone ore.

Two bows-arrows: kamaḍha 'bow' Rebus: kammaṭa 'mint, coiner' PLUS duplicated: dula 'pair' rebus: dul 'metal casting'.Thus,metalcasting (cire perdue,lost-wax casting) mint.

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

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Nine Indus Script Inscriptions of Ancient Near East, catalogues of metalwork, lapidary work repertoire

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Decipherment of Seal h010

h010 Harappa seal/Modern seal impression. Delhi, Central Asian Antiquities Museum, in:

Arthur Llewellyn Basham Collections https://openresearch-repository.anu.edu.au/handle/1885/162902

Text 4003 h010

h010 seal

Seal of a goldsmith, metalwork artisan working in a fine gold, ornament gold mint. Wavy indentations on the face of the young bull are intended to emphasise the hieroglyph rebus reading: mũh 'face' Rebus mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends;kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali). Thus, read together with spiny horn, the reading is: singi 'ornament gold' PLUS kunda 'fine gold' PLUS mũhã̄ 'ingot'.

(Santali) The semantics retained in Santali are dated to Sarasvati Civilization, ca.3rd millennium BCE.

The 'unicorn' is signified, orthographically, as a 'forward-thrusting, spiny-horned' young bull. The pannier on the shoulder and rings on neck of the youngbull are semantic determinatives of the word कोंद kōnda 'young bull'

khōṇḍī 'pannier sack' खोंडी [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) khOnda ‘young bull’ (Marathi)

kot.iyum [kot., kot.i_ neck] a wooden circle put round the neck of an animal (Gujarati) Rebus: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) kōḍiya, kōḍe = young bull (Gujarati)కోడె kōḍe. [Tel.] n. A bullcalf. కోడెదూడ. A young bull. కాడిమరపదగినదూడ. Plumpness, prime. తరుణము. జోడుకోడయలు a pair of bullocks. కోడె adj. Young. కోడెత్రాచు a young snake, one in its prime. "కోడెనాగముం బలుగుల రేడుతన్ని కొని పోవుతెరంగు" రామా. vi. కోడెకాడు kōḍe-kāḍu. n. A young man. పడుచువాడు. A lover విటుడు.

The orthography repeatedly communicates the word: khoṇḍa, kōḍe with the rebus readings related to lapidary, smithy work with a furnace and fine gold, ornament gold.

Field symbol: Spiny horn is vividly orthographed: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' singhin 'spiny-horned' rebus: singi 'ornament gold' PLUS sangaḍa 'lathe, portable brazier' PLUS [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kammaṭa 'mint, coiner, coinage'. khōṇḍa 'sack, pannier'; khōṇḍa 'young bull' rebus: kō̃da कोँद 'potter's kiln' (Kashmiri) kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 1]
A. kundār, B. kũdār, ˚ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, ˚rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297) kunda m. ʻ a turner's lathe ʼ lex. [Cf. *cunda -- 1]N. kũdnu ʻ to shape smoothly, smoothe, carve, hew ʼ, kũduwā ʻ smoothly shaped ʼ; A. kund ʻ lathe ʼ, kundiba ʻ to turn and smooth in a lathe ʼ, kundowā ʻ smoothed and rounded ʼ; B. kũd ʻ lathe ʼ, kũdā, kõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibā, kū̃d˚ ʻ to turn ʼ (→ Drav. Kur. kū̃d ʻ lathe ʼ); Bi. kund ʻ brassfounder's lathe ʼ; H. kunnā ʻ to shape on a lathe ʼ, kuniyā m. ʻ turner ʼ, kunwā m.(CDIAL 3295) 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)

loa 'ficus glomerata' rebus: loh 'copper, metal' PLUS dula 'pair' rebus: dul 'metal casting'; thus, copper metal castings.

From l. to r.: Two 'sun's ray hieroglyphs' dula 'two' rebus: dul 'metalcasting

Alternative reading: arka 'sun's rays' rebus: arka 'gold, copper' eraka 'molten metal infusion' PLUS dula 'pair' rebus: dul 'metal casting'. Thus, cire perdue gold casting with metal infusion.

kāmaṭhiyo a bowman; an archer (Skt.) Rebus: .kammaTa 'mint, coiner, coinage'

gaṇḍa 'four' rebus: kaṇḍa 'equipment '+ dula 'pair' rebus: dul 'metal casting'; thus metalcast equipment

ranku 'liquid measure' PLUS dula 'pair' rebus: ranku 'tin' + dul 'metal casting'; thus, metal castings. Or, tin castings

गोटी [ gōṭī ] f (Dim. of गोटा) A lump of silver: as obtained by melting down lace or fringe. Rebus: gö̃ṭh, a bell, a plate of brass or mixed metal for striking the hours, a gong. (Kashmiri); thus, bell-metal work

Sign 391 Ligatured glyph. ara 'spoke' rebus: ara 'brass'. era, er-a = eraka =?nave; erako_lu = the iron axle of a carriage (Ka.M.); cf. irasu (Ka.lex.)[Note Sign 391 and its ligatures Signs 392 and 393 may connote a spoked-wheel,nave of the wheel through which the axle passes; cf. ara_, spoke] tsarkh 'potter's wheel' (Pashto) 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'.

Gold pendant of arka sun's rays Indus Script Hypertext on kõda young bull of Mohenjodaro pectoral signifies kundaṇa 'fine gold'

https://tinyurl.com/y7osutjz

-- kār-kund 'manager'.sãghāṛɔ 'lathe' rebus jangadiyo 'military guard'; kamaṭamu 'portable furnace', kammata 'mint'
-- kār-kunda 'manager' of lokhaṇḍa 'metal tools, pots and pans, metalware'.

Extended Sarasvati Civilization in the Persian Gulf, 3rd m. BCE with three Indus Script seals documenting metalwork

https://tinyurl.com/wxagddq

Persian Gulf type seal from Failaka with four heads of anteloe and four dotted circles.

Two Dilmun seal impressions Discussed by Elizabeth CL During Caspers.

I suggest that the hieroglyphs on these three seals (two from Dilmun and one from Failaka) are Indus Script inscriptions.

Failaka seal: gaṇḍa 'four' rebus: khaṇḍa 'implements' PLUS dotted circles: Potti 'gold bead' rebus: potR 'purifier priest' potadara, poddar 'assayer of metals' PLUS miṇḍāl 'markhor' (Tōrwālī) meḍho a ram (G.) rebus: mẽṛhẽt, meḍ 'iron'. This seal signifies production of metal implements, ironwork by assayer of metals.

Dilmun seal 1: barad, balad, 'ox' rebus: bharata 'metal alloy' (5 copper, 4 zinc and 1 tin); melh, mr̤eka 'goat or antelope' rebus: milakkhu 'copper' PLUS dula 'pair' rebus; metal casting'; This inscription signifies production of alloy called Bharata (alloy of copper, zinc and tin) and cire perdue copper metal casting.

Dilmun seal 2: barad, balad, 'ox' rebus: bharata 'metal alloy' (5 copper, 4 zinc and 1 tin); kolmo 'rice plant' rebus: kolimi 'smithy, forge'; Hieroglyph: person with raised hand: meḍ 'body' rebus: mẽṛhẽt, meḍ 'iron' PLUS eraka 'raised hand' rebus: eraka 'metal infusion, moltencast' (cire perdue casting).koḍa 'sprout'.rebus: koḍa 'workshop'. This inscription signifies a workshop producing alloy called Bharata (alloy of copper, zinc and tin), smithy, forge; iron metal infusion and cire perdue casting.

Source: Elisabeth C. L. During Caspers, Proceedings of the Seminar for Arabian Studies

Vol. 6, Proceedings of the Ninth SEMINAR FOR ARABIAN STUDIES held at The School of Oriental & African Studies and the Institute of Archaeology, London on 7th-9th July, 1975 (1976), pp. 8-39 https://www.jstor.org/stable/41223168

Harappa: Furnace for melting metal, Harappa, Museum, "Both copper and bronze were smelted by the Indus Valley people usually for sculpture, but also for weapons and certain tools, In casting sculpture, the method of cire perdue or 'waste mold' was used continually and has survived in India for more than 5000 years, Copper was the metal most often used and combined with about ten per cent tin, Bronze was second, Iron was not known at this period, Smelting furnaces were built in the courtyards of shops specializing in metal work and were relatively compact in size."

http://hdl.handle.net/1885/162857

Source: Sir Mortimer Wheeler, Civilizations of the Indus Valley and Beyond, London, Thames & Hudson, 1966, p, 37, nos, 41, 42
https://openresearch-repository.anu.edu.au/handle/1885/162910

Hieroglyph: Foot sole, step: Hieroglyph: step: meḍ 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D. Stampe's Munda etyma) meṭṭu to tread, trample, crush under foot, tread or place the foot upon (Te.); meṭṭu step (Ga.); mettunga steps (Ga.). maḍye to trample, tread (Malt.)(DEDR 5057) మెట్టు (p. 1027) [ meṭṭu ] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు, నడుచు, త్రొక్కు. "మెల్ల మెల్లన మెట్టుచుదొలగి అల్లనల్లనతలుపులండకు జేరి." BD iv. 1523. To tread on, to trample on. To kick, to thrust with the foot.మెట్టిక meṭṭika. n. A step , మెట్టు, సోపానము (Telugu)

Hieroglyph: step, foot: The gloss is meḍ 'dance' (Remo); meḍ 'step' (Santali) మెట్టు [meṭṭu] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు (Telugu) Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.).

barad, balad, 'ox' rebus: bharata 'metal alloy' (5 copper, 4 zinc and 1 tin), baran id. (Punjabi)

This is the rebus reading on the ox/bull shown on the following six steatite seals:

Decipherment Fig 1 Text message:

śrēṣṭrī 'ladder' Rebus: seṭh ʻ head of a guild

kanac, khū̃ṭ, konḍ 'corner' are rebus kañcu 'bronze'

gaṇḍa 'four' rebus: khaṇḍa 'implements'

baṭa = rimless pot (Kannada)Rebus:baṭa = a kind of iron (Gujarati) bhaṭa 'furnace'

kāḍ 'stature', kāṭi 'body stature rebus: khad 'iron stone' PLUS mē̃d, mēd 'body, womb, back' rebus: med 'iron' (Mu.Ho.) med 'copper' (Slavic languages)

Hieroglyph 'khāra, šē̃ṣṭrĭ̄ 'ears, squirrel' Rebus: plaintext: khār 'blacksmith'. śrēṣṭhin 'guild-master'

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

Pot + pair of 'three': baṭa = rimless pot (Kannada) Rebus:baṭa = a kind of iron (Gujarati) bhaṭa 'furnace' PLUS dula 'pair' rebus: dul 'metalcasting' PLUS kolom 'three' rebus: kolimi 'smithy, forge'.. Thus, metalcasting iron furnace, smithy/forge

Decipherment Fig 2 Text message:

dula 'pair' rebus: dul 'metal casting' PLUS kāḍ 'stature', kāṭi 'body stature rebus: khad 'iron stone' PLUS mē̃d, mēd 'body, womb, back' rebus: med 'iron' (Mu.Ho.) med 'copper' (Slavic languages) PLUS koDa 'one' rebus: koD 'workshop' Thus, cast iron metal casting workshop.

Three peaks: kolom 'three' rebus: kolimi 'smithy, forge' PLUS Ta. meṭṭu mound, heap of earth; mēṭu height, eminence, hillock; muṭṭu rising ground, high ground, heap. Ma. mēṭu rising ground, hillock; māṭu hillock, raised ground; miṭṭāl rising ground, an alluvial bank; (Tiyya) maṭṭa hill. Ka. mēḍu height, rising ground, hillock; miṭṭu rising or high ground, hill; miṭṭe state of being high, rising ground, hill, mass, a large number; (Hav.) muṭṭe heap (as of straw). Tu. miṭṭè prominent, protruding; muṭṭe heap.

Te. meṭṭa raised or high ground, hill; (K.) meṭṭu mound; miṭṭa high ground, hillock, mound; high, elevated, raised, projecting; (VPK) mēṭu, mēṭa, mēṭi stack of hay; (Inscr.) meṇṭa-cēnu dry field (cf. meṭṭu-nēla, meṭṭu-vari). Kol. (SR.) meṭṭā hill; (Kin.) meṭṭ, (Hislop) met mountain. Nk. meṭṭ hill, mountain. Ga. (S.3, LSB 20.3) meṭṭa high land. Go. (Tr. W. Ph.) maṭṭā, (Mu.) maṭṭa mountain; (M. L.) meṭāid., hill; (A. D. Ko.) meṭṭa, (Y. Ma. M.) meṭa hill; (SR.) meṭṭā hillock Konḍa meṭa id.
Kuwi (S.) metta hill; (Isr.) meṭa sand hill.(DEDR 5058). Rebus: meḍ ‘iron’ (Ho.Munda)mẽṛhet iron (metal), meD 'iron' (Ho.) med 'copper' (Slavic) Thus, together, the three peaks signify iron smithy-forge.

aya 'fish' rebus: aya 'iron' (Gujarati) ayas 'alloy metal' (RV)

Antelope looks back: krammara 'look back' rebus: kamar 'blacksmith,artisan' PLUS melh 'goat; rebus: milakkhu 'copper'

Decipherment Fig 3 Text message:

aya 'fish' rebus: aya 'iron' (Gujarati) ayas 'alloy metal' (RV) PLUS fish-fin: khambhaṛā 'fish-fin' rebus: kammaṭa, kambāra in smithy, mint. coiner, coinage'

gaṇḍa 'four' rebus: khaṇḍa 'implements' PLUs kolom 'three' rebus: kolimi 'smithy, forge'

kāḍ 'stature', kāṭi 'body stature rebus: khad 'iron stone' PLUS mē̃d, mēd 'body, womb, back' rebus: med 'iron' (Mu.Ho.) med 'copper' (Slavic languages)

Decipherment Fig 4:

barad, balad, 'ox' rebus: bharata 'metal alloy' (5 copper, 4 zinc and 1 tin), baran id. (Punjabi)

Platform: maṇḍa 'raised platform' rebus maṇḍa 'warehouse'

Decipherment Fig 5:

Hieroglyph: tabernae montana fragrant flower:tagaraka 'tabernae montana' Rebus: tagara 'tin ore'

kanac, khū̃ṭ, konḍ 'corner' are rebus kañcu 'bronze'

maṇḍa 'raised platform' rebus maṇḍa 'warehouse'

kanac, khū̃ṭ, konḍ 'corner' are rebus kañcu 'bronze' PLUS muh 'bun ingot shape' Rebus; muh 'ingot'

Decipherment Fig 6: Gadd seal 1 with cuneiform text and Indus Script Field symbol of bull/ox

Harappa Script hieroglyph + cuneiform text SAG-KU-ZI (DA) on ...

Seal; BM 122187; dia. 2.55; ht. 1.55 cm. Gadd PBA 18 (1932), pp. 6-7, pl. 1, no. 2

Seal impression and reverse of seal (with pierced lug handle) from Ur (U.7683; BM 120573); image of bison and cuneiform inscription; length 2.7, width 2.4, ht. 1.1 cm. cf. Gadd, PBA 18 (1932), pp. 5-6, pl. I, no.1; Mitchell 1986: 280-1 no.7 and fig. 111; Parpola, 1994, p. 131: signs may be read as (1) sag(k) or ka, (2) ku or lu or ma, and (3) zi or ba (4)?. SAG.KU(?).IGI.X or SAG.KU(?).P(AD)(?) The commonest value: sag-ku-zi

See decipherment at

1. Harappa Script hieroglyph + cuneiform text SAG-KU-ZI (DA) on Diqdiqqqah (Ur) seal, Mesopotamia raʾš, SAG 'head', chief'कुसितः 'inhabited country' http://tinyurl.com/jasease

2. Archaeology finds the role of कुसीद kusida 'money-lender' in Indus Script & Cuneiform writing

https://tinyurl.com/uzel3k4

3. Itihāsa.Dilmun armourers, آهن ګران āhan-garān 'thunderbolt makers' of Sarasvati Civiliztion, Indus Script Meluhha hypertexts, Part 3/3

https://tinyurl.com/y7vsvtdm
his renewed attempt to decipher the inscription on the seal starts with a hypothesis that the cuneiform sign readings as: SAG KUSIDA. The ox is read rebus in Meluhha as: barad, barat 'ox' Rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c. The gloss bharata denoted metalcasting in general leading to the self-designation of metalworkers in Rigveda as Bharatam Janam, lit. metalcaster folk.
While SAG is a Sumerian word meaning 'head, principal', KUSIDA is a Meluhha word well-attested semantically in ancient Indian sprachbund of 4th millennium BCE. The semantics of the Meluhha gloss, kusida signifies: money-lender. Thus SAG KUSIDA is a combined Sumerian-Meluhha phrase signifying 'principal of chief money-lender'. This could be a clear instance of Sumerian/Akkadian borrowing a Meluhha gloss.

SAG KUSIDA + ox hieroglyphon Gadd Seal 1, read rebus signifies: principal money-lender for bharata metal alloy artisans. This reading is consistent with the finding that the entire Indus Script Corpora are metalwork catalogs.

The money-lender who was the owner of the seal might have created seal impressions as his or her signature on contracts for moneys lent for trade transactions of seafaring merchants of Meluhha.
The Gadd Seal 1 of Ur is thus an example of acculturation of Sumerians/Akkadians in Ur with the Indus writing system and underlying Meluhha language of Meluhha seafaring merchants and Meluhha communities settled in Ur and other parts of Ancient Near East.

Sag kusida, 'chief money-lender' for bharata, 'metalcasters' -- cuneiform text on an Indus seal of Ur including kusida as a borrowed word from Meluhha PLUS hieroglyph 'ox' read rebus in Meluhha as bharata, 'metal alloy of copper, pewter, tin'.
Seal impression and reverse of seal (with pierced lug handle) from Ur (U.7683; BM 120573); image of bison and cuneiform inscription; length 2.7, width 2.4, ht. 1.1 cm. cf. Gadd, PBA 18 (1932), pp. 5-6, pl. I, no.1; Mitchell 1986: 280-1 no.7 and fig. 111; Parpola, 1994, p. 131: signs may be read as (1) sag(k) or ka, (2)ku or lu or ma, and (3) zi or ba (4)?. SAG.KU(?).IGI.X or SAG.KU(?).P(AD)(?) The commonest value: sag-ku-zi

1. Steatite seals with the image of the short-horned bulls with lowered head from Failaka (1), Bahrein (2-3), Bactria (4), the Iranian Plateau (5). Nr. 6 comes from the surface of the site of Diqdiqqah, near Ur. Not in scale. See: http://www.aakkl.helsinki.fi/melammu/pdf/vidale2004.pdf The Melammu project (In particular, Massimo Vidale, 2004, Growing in a foreign world: for a history of the 'Meluhha villages' in Mesopotamia in the 3rd millennium BCE. The article discusses archaeological and textual evidences; Plate XIX).

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Empowering Panchayati Raj, Creating भारत राष्ट्रं a union of 639 District Panchayats under NaMo, Hon'ble PM

May 6, 2020, 6:29 pm

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OECD Organization for Economic Cooperation and Development asked Angus Maddison, the Cambridge Economic Historian to provide a monograph defining the contours of European co-operation and development. This brilliant economist came up with the study which resulted in the chart. . This showed that India accounted for 33% of Global GDP in 1 Common Era and declined from 1700 due to Colonial impoverishment.

He laid out the contours of 2000 year economic history of nations. This report became the framework for proposing the European Union, starting with a European Parliament, a Common Market, abolition of tariffs among European states, common currency of Euro as a rival to the supremacy of the US $ for intl. finance, Shenzen visa system and so on. That Britain got into a mess and exiting tortuously out of the European Union is another story. The basic historic lesson Angus demonstrated was that the decline of the Super Economic Power Status of India since 1CE occurred because the nation was left in shambles, impoverished as the technologies of Industrial Revolution were NOT allowed into Bharat. Bharat's cotton industry was shattered to benefit the British textile industry; steel industry was left in the doldrums, looting the richest iron ore from the nation into Britain for powering its steel plants. Bharat had to face the genocide caused by the British regime of millions of deaths in Bengal famine by a failed distribution system. This narration convinced Germany, UK and France to join hands to undo the damage of the 1930s Depression and agree to create a European Common Market as a Union of States. European Union became an inevitable governing structure. That the European Union is now in shambles is another story (comparable to our federalism story). The Euro Currency was screwed up big time by the Financial Markets under the control of Britain. Germany dominated the Euro status. France was left high-and-dry. UK in an underdeveloped status with the setting of the sun from the British Empire and the Commonwealth as a non-starter. The moral for Bharat to learn from the Angus Maddison narrative is this: Bharatam will progress ONLY as a united entity and not get diverted into secular or federalism jargon which will only deflect the mission of restoring more than 10% growth rate per annum to get back to the Super Economic Power Status Bharat had in 1 Common Era. This can be achieved with a National Mission.एक भारत श्रेष्ठ भारत Restore Dharmpal's Beautiful Tree, educating all the 1.3 billion Bharatiyas and follow Basava's dictum कायकवे कैलास 'Work is worship''Do your work, unleash your potential, that is Kailaasa, moksham'. We have to overcome the time-lag of not using the benefits of Industrial Revolution for over 300 years of slavery under colonial rule. We need a शिवाजी guided by a नारायणगुरु to set on the road to भारत राष्ट्रं This is what the Angus Maddison bar chart says to undo the impoverishment and to restore the विश्वगुरु धर्म, श्रेणि धर्म as a True Commonwealth with people sharing the fruits of their hard work and help one another. This is एक भारत श्रेष्ठ भारत, True Union of India, unwavering from the path of progress and ignoring the organization of provinces on linguistic basis, positing a country endowed with cultural and language unity from 4th millennium BCE. A nation blessed with the Himalayas cannot have water problems. Water is a defining resource for the राष्ट्रं says the Devi Suktam RV 10.125, together with the skills of artisans and fertile land

भूदेवी भूमाता | 649,481 villages in India are our jana-padas. Let us restore the Balutedar system of commonwealth. We can get there, to Basava's कैलास Just imagine every Sarpanch lady taking charge of all local development projects of a Panchayat. That will be revolution. Let there be a Parliament of 739 District Panchayats led by NaMo. That will be empowerment, that will take us to Uttaramerur Inscription cited by Tanguturi Prakasam in Constituent Assembly debates as true democratic tradition of elections for village committees using pot-based ballot system to elect village development functionaries. Let us release the nation from the clutches of the bureaucrats and hand it over to Lady Sarpanches.

बलुतेदार of Janapada, Commonwealth where

12 बलुतेदार are entitled to share of the agricultural produce

बलुतें balutēm n A share of the corn and garden-produce assigned for the subsistence of the twelve public servants of a village, for whom see below. 2 In some districts. A share of the dues of the hereditary officers of a village, such as पाटील, कुळकरणी &c.

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

बलोतें balōtēm, बलोतेदार balōtēdāra, बलोता balōtā, बलोत्या balōtyā Commonly बलुतें &c.

बलोत्तर balōttara a (Commonly बलवत्तर) Powerful, strong &c.

अलुता alutā, अलुत्या alutyā m (A formation alliteratively from बलुत्या in extension of the application of that word.) A common term for certain Village officers secondary to the बलुते. Thus बारा अलुते आणि बारा बलुते of whom see the full list under बलुतेदार.

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Languages and dialects of Bharatiya Meluhha sprachbund 'speech union' in Indian Lexicon - S. Kalyanaraman

May 7, 2020, 3:14 am

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A. Assamese
al. Alashai dialect of Pashai
amg. Ardhamāgadhī Prakrit
Ap. Apabhraṁśa
Ar. Arabic
Ar. Aryan, i.e. Indo-iranian
ar. Areti dialect of Pashai
Aram. Aramaic
Arm. Armenian
arm. Armenian dialect of Gypsy
as. Asiatic dialects of Gypsy
Aś. Aśokan, i.e. the language of the
Inscriptions of Aśoka
Ash. Ashkun (Aṣkū̃ — Kaf.)
Austro-as. Austro-asiatic
Av. Avestan (Iranian)
Aw. Awadhī
awāṇ. Awāṇkārī dialect of Lahndā
B. Bengali (Baṅglā)
Bal. Balūčī (Iranian)
bāṅg. Bāṅgarū dialect of Western Hindī
Bashg. Bashgalī (Kaf.)
bh. Bairāṭ Bhābrū Minor Rock Edict of
Aśoka
bhad. Bhadrawāhī dialect of West Pahāṛī
bhal. Bhalesī dialect of West Pahāṛī
bhaṭ. Bhaṭěālī sub-dialect of Ḍogrī
dialect of Panjābī
bhiḍ. Bhiḍlàī sub-dialect of Bhadrawāhī
dialect of West Pahāṛī
Bhoj. Bhojpurī
BHSk. Buddhist Hybrid Sanskrit
Bi. Bihārī
bir. Birir dialect of Kalasha
boh. Bohemian dialect of European Gypsy
Brah. Brāhūī (Dravidian)
Brj. Brajbhāṣā
bro. Brokpā dialect of Shina
Bshk. Bashkarīk (Dard.)
bul. Bulgarian dialect of European Gypsy
Bur. Burushaski
cam. Cameāḷī dialect of West Pahāṛī
Chil. Chilīs (Dard.)
chil. Chilasi dialect of Shina or of
Pashai
cur. Curāhī dialect of West Pahāṛī
Ḍ. Ḍumāki
dar. Darrai-i Nūr dialect of Pashai
Dard. Dardic
dh. Dhauli Rock Inscription of Aśoka
Dhp. Gāndhārī or Northwest Prakrit (as
recorded in the Dharmapada ed. J. Brough, Oxford 1962)
Dm. Dameli (Damε̃ḍīˊ — Kaf.-Dard.)
ḍoḍ. Ḍoḍī (Sirājī of Ḍoḍā), a dialect of
Kashmiri in Jammu
ḍog. Ḍogrī dialect of Panjābī
dr. Drās dialect of Shina
Drav. Dravidian
Eng. English
eng. English dialect of European Gypsy
eur. European (Gypsy)
Fr. French
G. Gujarātī
Ga. Gadba (Dravidian)
Garh. Gaṛhwālī
Gau. Gauro (Dard.)
gav. Gavīmaṭh Inscription of Aśoka
Gaw. Gawar-Bati (Dard.)
germ. German dialect of European Gypsy
ghis. Ghisāḍī dialect of wandering
blacksmiths in Gujarat
gil. Gilgitī dialect of Shina
gir. Girnār Rock Inscription of Aśoka
Gk. Greek
Gmb. Gambīrī (Kaf.)
gng. Gaṅgoī dialect of Kumaunī
Goth. Gothic
gr. Greek dialect of European Gypsy
gul. Gulbahārī dialect of Pashai
gur. Gurēsī dialect of Shina
Gy. Gypsy or Romani
H. Hindī
hal. Halabī dialect of Marāṭhī
haz. Hazara Hindkī dialect of Lahndā
h.rudh. High Rudhārī sub-dialect of
Khaśālī dialect of West Pahāṛī
hung. Hungarian dialect of European
Gypsy
IA. Indo-aryan
IE. Indo-european
Ind. Indo-aryan of India proper
excluding Kafiri and Dardic
Indo-ir. Indo-iranian or Aryan
Ir. Iranian
ish. Ishpi dialect of Pashai
Ishk. Ishkāshmī (Iranian)
isk. Iskeni dialect of Pashai
it. Italian dialect of European Gypsy
jau. Jaugaḍa Rock Inscription of Aśoka
jaun. Jaunsārī dialect of West Pahāṛī
jij. Jijelut dialect of Shina
jmag. Jaina Māgadhī Prakrit
jmh. Jaina Mahārāṣṭrī Prakrit
jt. Jāṭū sub-dialect of Bāṅgarū dialect
of Western Hindī
jub. North Jubbal dialect of West Pahāṛī
K. Kashmiri (Kāśmīrī)
kach. Kāchṛī dialect of Lahndā
Kaf. Kafiri
Kal. Kalasha (Kaláṣa — Dard.)
kāl. Kālsī Rock Inscription of Aśoka
Kamd. See Kmd.
Kan. Kanarese (Kannaḍa — Dravidian)
Kand. Kandia (Dard.)
kar. Karači (Transcaucasian) dialect of
Asiatic Gypsy
kash. or kiś. Kashṭawāṛī dialect of
Kashmiri
Kaṭ. Kaṭārqalā (Dard.)
kāṭh. Kāṭhiyāvāḍi dialect of Gujarātī
kb. Kauśāmbī Pillar Edict of Aśoka
kc. Kocī dialect of West Pahāṛī
kcch. Kacchī dialect of Sindhī
kch. Kachur-i Sala dialect of Pashai
kgr. or kng. Kāṅgrā sub-dialect of Ḍogrī
dialect of Panjābī
KharI. MIA. forms occurring in Corpus
Inscriptionum Indicarum Vol. II Pt. 1
khas. Khasa dialect of Kumaunī
khaś. Khaśālī dialect of West Pahāṛī
khet. Khetrānī dialect of Lahndā
Kho. Khowār (Dard.)
Khot. Khotanese (Iranian)
kiś. See kash.
kiũth. Kiũthalī dialect of West Pahāṛī
Kmd. or Kamd. Kāmdeshi (Kaf.), Kāmdesh
dialect of Kati
kṇḍ. Kaṇḍak dialect of Pashai
kng. See kgr.
Ko. Koṅkaṇī
Koh. Kohistānī (Dard.)
koh. Kohistānī dialect of Shina
Kol. Kōlāmī (Dravidian)
kōl. Kōlā dialect of Shina
kq. Kauśāmbī (Queen's Edict) Inscription
of Aśoka
Kt. Kati or Katei (Kaf.)
Ku. Kumaunī
Kur. Kuruḵẖ (Dravidian)
kuṛ. Kuṛaṅgali dialect of Pashai
Kurd. Kurdish (Iranian)
kurd. Kurdari dialect of Pashai
ky. Kanyawālī dialect of Maiyã̄
L. Lahndā
la. Lāṛī dialect of Sindhī
lagh. Laghmani dialect of Pashai
lakh. Lakhīmpurī dialect of Awadhī
Lat. Latin
lauṛ. Lauṛowānī dialect of Pashai
Lith. Lithuanian
l.rudh. Low Rudhārī sub-dialect of
Khaśālī dialect of West Pahāṛī
ludh. Ludhiānī dialect of Panjābī
M. Marāṭhī
mag. Magahī dialect of Bihārī
Mai. Maiyã̄ (Dard.)
Mal. Malayāḷam (Dravidian)
Māl. or Malw. Mālwāī
mald. See Md.
Malw. See Māl.
man. Mānsehrā Rock Inscription of Aśoka
marm. Marmatī sub-dialect of Khaśālī
dialect of West Pahāṛī
Marw. Mārwāṛī
Md. or mald. Maldivian dialect of
Sinhalese
mg. Māgadhī Prakrit
mh. Mahārāsṭrī Prakrit
MIA. Middle Indo-aryan
mi. Delhi Mīrat Pillar Edict of Aśoka
mid.rudh. Middle Rudhārī sub-dialect of
Khaśālī dialect of West Pahāṛī
Mj. Munǰī (Iranian)
Mth. Maithilī
mth. Mathiā (Lauṛiyā-Nandangaṛh)
Inscription of Aśoka
Mu. Muṇḍā
mult. Multānī dialect of Lahndā
N. Nepāli
New. Newārī
ng. Nāgārjunī Cave Inscription of Aśoka
NIA. New (modern) Indo-aryan
NiDoc. Language of `Kharoṣṭhī
Inscriptions discovered by Sir Aurel Stein in Chinese Turkestan' edited by A. M. Boyer, E. J. Rapson, and E. Senart
nig. Niglīvā Inscription of Aśoka
nij. Nijelami (Neẓəlāˊm) dialect of
Pashai
Niṅg. Niṅgalāmī (Dard.)
nir. Nirlāmī dialect of Pashai
Nk. Naiki (Dravidian)
norw. Norwegian dialect of European
Gypsy
OHG. Old High German
OPruss. Old Prussian
Or. Oṛiyā
Orm. Ōrmuṛīˊ (Iranian)
OSlav. Old Slavonic
Oss. Ossetic (Iranian)
P. Panjābī (Pañjābī)
Pa. Pali
pach. See pch.
pāḍ. Pāḍarī sub-dialect of Bhadrawāhī
dialect of West Pahāṛī
Pah. Pahāṛī
Pahl. Pahlavi (Iranian)
paiś. Paiśācī Prakrit
pal. Palestinian dialect of Asiatic
Gypsy of the Nawar
pales. Palesī dialect of Shina
paṅ. Paṅgwāḷī dialect of West Pahāṛī
Par. Parachi (Parāčī — Iranian)
Parth. Parthian (Iranian)
Paš. Pashai (Pašaī — Dard.)
paṭ. Paṭṭanī dialect of Gujarātī
pch. or pach. Pachaghani dialect of Pashai
Pers. Persian (Iranian)
pers. Persian dialect of Asiatic Gypsy
Phal. Phalūṛa (Dard.)
Pk. Prakrit
pog. Pǒgulī dialect of Kashmiri
pol. Polish dialect of European Gypsy
poṭh. Poṭhwārī dialect of Lahndā
pow. Pōwādhī dialect of Panjābī
Pr. Prasun (Kaf.)
Prj. Parji (Dravidian)
Psht. Pashto (Iranian)
pun. Punchī dialect of Lahndā
punl. Puniali dialect of Shina
rām. Rāmbanī dialect of Kashmiri in
Jammu
rdh. Radhia (Lauṛiyā Ararāj) Pillar
Edict of Aśoka
Rj. Rājasthānī
roḍ. Roḍiyā dialect of Sinhalese
roh. Rohruī dialect of West Pahāṛī
rp. Rāmpurvā Rock Edict of Aśoka
ru. Rūpnāth Inscription of Aśoka
rudh. Rudhārī sub-dialect of Khaśālī
dialect of West Pahāṛī
rum. Rumanian dialect of European Gypsy
rumb. Rumbūr dialect of Kalasha
rus. Russian dialect of European Gypsy
Russ. Russian
S. Sindhī
ś. Śaurasenī Prakrit
sah. Sahasrām Inscription of Aśoka
Sang. Sanglechi (Saṅlēčī — Iranian)
Sant. Santālī (Muṇḍā)
Sar. Sarīkolī (Iranian)
SEeur. South-east European dialects of
Gypsy
śeu. Śeuṭī sub-dialect of Khaśālī
dialect of West Pahāṛī
Sh. Shina (Ṣiṇā — Dard.)
shah. Shāhbāzgaṛhī Rock Inscription of
Aśoka
sham. Shamakaṭ dialect of Pashai
she. Shewa dialect of Pashai
Shgh. Shughnī (Iranian)
Shum. Shumashti (Šumāštī — Dard.)
shut. Shutuli dialect of Pashai
Si. Sinhalese
Sik. Sikalgārī (Mixed Gypsy Language:
LSI xi 167)
sir. Sirājī dialect of West Pahāṛī
sirm. Sirmaurī dialect of West Pahāṛī
Sk. Sanskrit
sn. Sārnāth Inscription of Aśoka
snj. Sanjan dialect of Pashai
sod. Sǒdōcī dialect of West Pahāṛī
Sogd. Sogdian (Iranian)
sop. Bombay-Sopārā Inscription of Aśoka
sp. Spanish dialect of European Gypsy
srk. Sirāikī dialect of Sindhī
suk. Suketī dialect of West Pahāṛī
Sv. Savi (Dard.)
Tam. Tamil (Dravidian)
Tel. Telugu (Dravidian)
Tib. Tibetan
Tir. Tirāhī (Dard.)
Toch. Tocharian
top. Delhi-Tōprā Pillar Edict of Aśoka
Tor. Tōrwālī (Dard.)
Tu. Tuḷu (Dravidian)
Turk. Turkish
urt. Urtsun dialect of Kalasha
uzb. Uzbini dialect of Pashai
vrāc. Vrācaḍa Apabhraṁśa
waz. Waziri dialect of Pashto
weg. Wegali dialect of Pashai
wel. Welsh dialect of European Gypsy
Werch. Werchikwār or Wershikwār (Yasin
dialect of Burushaski)
Wg. Waigalī or Wai-alā (Kaf.)
Wkh. Wakhi (Iranian)
Woṭ. Woṭapūrī (language of Woṭapūr and
Kaṭārqalā — Dard.)
WPah. West Pahāṛī
Yazgh. Yazghulami (Iranian)
Yghn. Yaghnobi (Iranian)
Yid. Yidgha (Iranian)
LANGUAGES AND DIALECTS OF BHARATIYA SPRACHBUND "SPEECH UNION"
included in Indian Lexicon by S. Kalyanaraman This Lexicon is available for download at
https://www.academia.edu/37229973/Indian_Lexicon_--Comparative_dictionary_of_over_8000_semantic_clusters_in_25_ancient_Bharatiya_languages

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Itihāsa. BB Lal who rediscovered the civilizational India buried under the colonial past - Shri Prahlad Singh Patel

May 7, 2020, 7:41 am

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Ministry of Culture

On the occasion of centenary year of great archaeologist Prof B. B. Lal, Union Culture Minister releases e-book “Prof. B. B. Lal -India Rediscovered” today in New Delhi

Prof Lal is a precious gem of Indian archaeology who rediscovered the civilizational India buried under the colonial past – Shri Prahlad Singh Patel

Posted On: 02 MAY 2020 12:46PM by PIB Delhi

On the occasion of centenary year of great archaeologist Professor B. B. Lal, Union Culture Minister Shri Prahlad Singh Patel released an e-book “Prof. B. B. Lal -India Rediscovered” today in New Delhi. Secretary, Ministry of Culture Shri Anand Kumar was also present on this occasion. Prof Lal was born on 02nd may 1921 in village Baidora, District Jhansi, Uttar Pradesh. The book is a centenary special edition which has been prepared by Ministry of culture in collaboration with Prof B B Lal Centenary Celebration Committee. The book is a tribute from Ministry of culture for his immense contribution to the field of archaeology. Earlier in the morning Culture Minister Shri Prahlad Singh Patel visited Prof B. B. Lal personally and paid his respect and greetings on his birthday.

Speaking on the occasion Shri Patel said that Prof B.B. Lal is a living legend and India is lucky to have such a great personality like him. He said that Prof Lal is a precious gem of Indian archaeology who rediscovered the civilizational India buried under the colonial past. He further said that it is a matter of immense pleasure that Ministry of Culture is celebrating the centenary year of great archaeologist who dedicated his whole life in the service of motherland. Shri Patel said that Prof Lal is an eternal inspiration not only for archaeologists but also for every citizen of India.

Prof. B. B. Lal was conferred upon Padma Bhushan in the year of 2000. He was the Director General of the Archaeological Survey of India (ASI) from 1968 to 1972 and has served as Director of the Indian Institute of Advanced Studies, Shimla. Prof Lal also served on various UNESCO committees. In a career spanning over five decades Prof Lal made immense contribution to the field of archaeology. Prof Lal was trained by Sir Mortimer Wheeler at Taxila in 1944 and later joined Archaeological Survey of India. Prof. Lal excavated several important landmark sites including Hastinapura (U.P.), Sisupalgarh (Orissa), Purana Qila (Delhi), Kalibangan (Rajasthan). From 1975-76 onwards, Prof. Lal investigated sites like Ayodhya, Bharadvaja Ashrama, Sringaverapura, Nandigrama and Chitrakoota under the Archaeology of Ramayana Sites. Prof. Lal has authored 20 books and over 150 research articles on various national and international journals.

https://pib.gov.in/PressReleasePage.aspx?PRID=1620325

Professor B B Lal-The Archaeologist Who Should Be Worshipped

07:08 PM, May 07, 2020
Shesha Kumar

BB Lal is The Living Legend, Turned 99 on May 2nd. He is a precious gem of Bharatiya archaeology who rediscovered the Civilizational Bharat buried under the colonial past. Perhaps, no other archaeologist has contributed to Bharat as Prof B B Lal did.

Braj Basi Lal (born 2 May 1921) was born at Jhansi. He obtained Master's in Sanskrit and Vedas.
After his studies, Lal developed interest in archaeology and in 1943, became a trainee in excavation under a veteran British archaeologist, Mortimer Wheeler, starting with TAKSHASHILA.

In 1952, on a shoe string budget, B.B. Lal shone a New Light on the "Dark Age" of Indian History: Recent Excavations at the Hastinapura Site. Nehru govt didn't release funds for Archeological Survey of India (ASI), as he felt it was not important.

For 50 years, from 1943 Prof Lal did nothing except bringing back the forgotten past of HINDU CIVILIZATION. Prof B B Lal traced the towns and cities associated with Mahabharata and came out with irrefutable findings.

When the Harappan cities went for Pakistan after partition, Amlan Ghosh, head of ASI asked his team to excavate Kalibangan.

Prof Lal and his team excavated for 9 yrs and gave the evidence of the earliest (2800 BCE) ploughed agricultural field ever revealed through an excavation. This dated back to PRE - HARAPPAN ERA. In 1964, Prof B B Lal came with "Indian Archaeology Since Independence". In 1975-76, Prof Lal worked on the "Archaeology of Ramayana Sites" by excavating five sites mentioned in the Ramayana - Ayodhya, Bharadwaj ashram, Nandigram, Chitrakoot and Shringaverapur. In the seven-page preliminary report submitted to the ASI, Lal disclosed the discovery by his team of "pillar bases", south of the Babri mosque structure in Ayodhya. In response, the then Congress government headed by Prime Minister Indira Gandhi stopped the excavations. Prof. B. B. Lal published over 20 books and over 150 research papers and articles in national and international scientific journals.

Prof Lal was awarded Padma Bhushan in 2000. (Please note Irfan Habib, Romila Thapar were rewarded and awarded by successive Congress governments for toeing their line).

The following are a set of interesting tributes to his work. Any serious researcher must definitely consider reading them to understand and appreciate the phenomenal contributions made by Prof BB Lal

The Open Magazine on the eve of 25 years of Demolition of Babri Masjid carried out a wonderful article-In the Name of Rama 1. The Tribute read-“The Excavator: BB Lal IN the 1970s, when archaeologist BB Lal and his team started digging near the Babri Masjid in Ayodhya, he had little idea of a mass movement brewing over a dispute that would come to redefine politics”.
Also "Ayodhya Revisited" book by Kishore Kunal tells how Indira found excavation of the Ramajanmasthan at Ayodhya contentious and abandoned excavation.
In his book, "The Saraswati Flows On" written in 2002, Lal criticized the Aryan invasion theory
and explains in detail how the historians bent over backwards towards west and discredited Hindu Civilization.
Archaeologist B.B. Lal's latest research capsizes some dearly held views on the Indus Valley Civilization and the arrival Aryan who are believed to be warmongers 2. Prof B B Lal's book ‘The Rigvedic People: ‘Invaders’?/ ‘Immigrants’?/ or Indigenous?’ proves that the Rigvedic People and the authors of the Harappan civilization were the same, they were the two faces of the same coin.
The interview of Prof B B Lal with Jayashree Saranathan is certainly a good read. It covers in great detail AIT and debunks the propaganda. Aryan Invasion – Interview with Prof B.B.Lal. A blog to bring out forgotten values and wisdom of Hinduism 3.
Prof B B Lal, in his 2008 book, "Rāma, His Historicity, Mandir and Setu: Evidence of Literature, Archaeology and Other Sciences", writes- "Attached to the piers of the Babri Masjid, there were twelve stone pillars, which carried not only typical Hindu motifs and moldings, but also figures of Hindu deities. It was self-evident that these pillars were not an integral part of the Masjid, but were foreign to it."
And let’s not forget Prof Lal's student KK Muhammed here, because he was with his mentor throughout.

The NDA government headed by Prime Minister Narendra Modi, recognized and honored Prof B B Lal. On the eve of his 99th birthday Union Culture Minister Prahlad Singh Patel visited him personally and greeted him. He launched an e-book titled- “Prof. B.B. Lal: India Rediscovered”. E-book was launched on the occasion of centenary year of great archaeologist Professor B. B. Lal.

https://myind.net/Home/viewArticle/professor-b-b-lal-the-archaeologist-who-should-be-worshipped

Thursday, December 24, 2015

Aryan Invasion – Interview with Prof B.B.Lal

From

http://www.newsgram.com/no-evidence-for-warfare-or-invasion-aryan-migration-too-is-a-myth-b-b-lal/

and

http://www.newsgram.com/vedic-and-harappan-are-respectively-literary-and-material-facets-of-same-civilization-b-b-lal/

B. B. Lal is a renowned archeologist and former Director General of the Archaeological Survey of India (ASI) who has written many books and papers on the Aryan issue including his 2015 book- ‘The Rigvedic People: Invaders?/ Immigrants? Or Indigenous?"

Here is an interview with him by Mr Nithin Sridhar for Newsgram.com.

Nithin Sridhar: How deep are the roots of the most ancient civilization of the Indian subcontinent, known as the Harappan Civilization, and through what stages did it develop?

B. B. Lal: The Harappan Civilization (also called the Indus Civilization or Indus-Sarasvati Civilization), which reached its peak in the 3rd millennium BCE, grew up on the Indian soil itself. While there are likely to have been earlier stages, the earliest one so far identified is at Bhirrana, a site in the upper reaches of the Sarasvati valley, in Haryana. This is the stage when the people dwelt in pits and used incised and appliqué pottery called the Hakra Ware. According to Carbon-14 dates, it is ascribable to the 6th -5th millennium BCE. I call it Stage I.

In Stage II, identified at a nearby site called Kunal, the people gave up pit-dwellings and built houses on the land-surface, used copper and silver artifacts and a special kind of pottery which was red in color and painted with designs in black outline, the inner space being filled with white color. This Stage may be assigned to the 4th millennium BCE.

In Stage III, beginning around 3,000 BCE, a new feature came up, namely the construction of a peripheral (fortification?) wall around the settlement, which has been noted at Kalibangan, located on the left bank of the Sarasvati in Hanumangarh District of Rajasthan. Another important feature that can be noted here is an agricultural field, marked by a criss-cross pattern of furrows. It may incidentally be mentioned that this the earliest agricultural field ever discovered anywhere in the world in an excavation. An earthquake, occurring around 2,700 BCE, brought about the end of Stage III at Kalibangan. This is the earliest evidence of earthquake ever recorded in an archeological excavation.

However, after about a century or so the people returned to Kalibangan, but with a bang. This is Stage IV. They now had two parts of the settlement, a ‘Citadel’ on the west and a ‘Lower Town’ on the east. Both were fortified. In the Lower Town there lived agriculturalists and merchants, while the Citadel was the seat of priests and elites. In the southern part of the Citadel, there were many high, mud-brick platforms on which there stood specialized structures, including fire-altars and sacrificial pits. There is ample evidence of writing, seals, weights, measures, objects of art in this Stage, assignable to circa 2600 to 2000 BCE. The peak had been reached.

Citadel, Middle Town, and Lower Town were also features of other sites of Indus-Sarasvati civilization.

For various reasons, including sharp climatic changes, the drying up of the Sarasvati, and steep fall in trade, the big cities disappeared and there was a reversal to the rural scenario. Some people migrated from the Sarasvati valley into the upper Ganga-Yamuna terrain, as indicated by sites like Hulas and Alamgirpur. The curtain was drawn on a mighty Indian civilization.

Photo: www.boloji.com

NS: Many people hold that there was an ‘Aryan Invasion’ which destroyed the Harappan Civilization. How far is this true?

Lal: Let us first go to the background against which the ‘Aryan Invasion’ theory emerged. In the 19^th century, Max Muller, a German Indologist, dated the Vedas to 1200 BCE. Accepting that the Sutras existed around 600 BCE and assigning 200 years to each of the preceding stages, namely those of the Aranyakas, Brahmanas, and Vedas, he arrived at the magic figure of 1,200 BCE.

There were serious objections to such ad-hocism by contemporary scholars, like Goldstucker, Whitney, and Wilson. Thus cornered, Max Muller finally surrendered by stating: “Whether the Vedic hymns were composed in 1000 or 1500 or 2000 or 3000 BC, no power on earth will ever determine.” But the great pity is that some scholars even today cling to 1200 BCE and dare not cross this Lakshamana Rekha!

In the 1920s, the Harappan Civilization was discovered and dated to 3^rd millennium BCE on the basis of its contacts with West Asian civilizations. Since the Vedas had already been dated, be it wrongly, to 1200 BCE, the Harappan Civilization was declared to be Non-Vedic. And since the only other major language group in India was the Dravidian, it was readily assumed that the Harappans was a Dravidian-speaking people.

In 1946, Wheeler discovered a fort at Harappa; and since the Aryan god Indra has been mentioned in the Rigveda as puramdara, i.e. ‘destroyer of forts’, he lost no time in declaring that Aryan Invaders destroyed the Harappan Civilization.

In the excavations at Mohenjo-Daro, some human skeletons had been found. In support of his ‘Invasion’ theory, Wheeler stated that these were the people who had been massacred by the invaders. However, since the skeletons had been found at different stratigraphic levels and could not, therefore, be related to a single event, much less to an invasion, Wheeler’s theory was prima facie wrong. Dales, an American archeologist, has rightly dubbed it as a ‘mythical massacre’.

Indeed, there is no evidence whatsoever of an invasion at any of the hundreds of Harappan sites. On the other hand, there is ample evidence of continuity of habitation, though marked by gradual cultural devolution.

A detailed study of human skeletal remains from various sites by Hemphill and his colleagues has established that no new people at all entered India between 4500 and 800 BCE.

Thus, if there is no evidence of warfare or of entry of an alien people where is the case for any ‘invasion’, much less by Aryans?

NS: In the last few decades, many scholars have taken recourse to the theory of ‘Aryan Migration’ from Central Asia. How far does this new theory stand scrutiny?

B.B. Lal: The ghost of ‘Invasion’ has re-appeared in a new avatāra (incarnation), namely that of ‘Immigration’. Romila Thapar says: “If the invasion is discarded, then the mechanism of migration and occasional contacts come into sharper focus. These migrations appear to have been of pastoral cattle breeders who are prominent in the Avesta and Rigveda.” Faithfully following her, R. S. Sharma adds: “The pastoralists who moved to the Indian borderland came from Bactria-Margiana Archaeological Complex or BMAC which saw the genesis of the culture of the Rigveda.”

Contrary to what has been stated by Thapar and Sharma, the BMAC is not a pastoral culture, but a highly developed urban one. The settlements are marked not only by well-planned houses but also by distinctive public buildings like temples, e.g. those at Dashly-3 and Toglok-21 sites. Then there were Citadel complexes like that at Gonur. The antiquities found at BMAC sites also speak volumes about the high caliber of this civilization. In the face of such a rich heritage of the BMAC, would you like to deduce that the BMAC people were nomads – whom Thapar and Sharma would like to push into India as progenitors of the Rigvedic people? I am sure, you wouldn’t.

But much more important is the fact that no BMAC element, whether seals or bronze axes or sculptures or pot-forms or even the style of architecture ever reached east of the Indus, which was the area occupied by the Vedic Aryans as evidenced by the famous Nadi-stutihymn (RV 10.75.5-6). Hence, there is no question of the BMAC people having at all entered the Vedic region.

Thus, the theory of ‘Aryan Migration’ too is a myth.

Photo: www.boloji.com

NS: Some people hold that the Rigvedic flora and fauna pertain to a cold climate and hence the Rigvedic people must have come from a cold region. What do you think of this view?

B.B. Lal: If the attempt at bringing the Vedic Aryans into India from the BMAC has failed, why not try other means? In this category falls the attempt by certain scholars who hold that that Vedic flora pertains to a cold climate and, therefore, the Ṛigvedic people must have come from a cold region and cannot be indigenous. In this context, they refer to species such as birch, Scotch pine, linden, alder, and oak. But, let us examine Rigveda.

In the Rigveda the following trees are mentioned: Aśvattha (Ficus religiosa L.); Kiṁśuka(Butea monosperma [Lamk.]; Khadira (Acacia catechu Wild.); Nyagrodha (Ficus benghalensis L); Vibhīdaka/Vibhītaka (Terminalia Billerica Roxb.); Śālmali (Bombax Ceiba L. Syn. Salmalia malabarica [DC.] Schott); Śiṁsipā (Dalbergia sisso Roxb,).

The main regions of the occurrence the foregoing trees are – India, Pakistan, Afghanistan, Sri Lanka, and Myanmar.

In fact, what is true in the case of the flora is equally true in the case of the fauna as well. Some of the animals mentioned in the Ṛigveda include Vṛiṣabha (Bos Indicus); Siṁha (Lion,Panthera leo L.); Hastin/Vaaaraṇa (Elephas maximus L. and Loxodonta africana), which all typically occur in a tropical climate.

Moreover, even the birds testify to the fact that Ṛigveda have been composed in a tropical climate. In this context, two typical birds may be cited: Mayūra (Pavo cristatus L.) and Chakravāka (Anus Casarca).

From what has been stated in the preceding paragraphs, it must have become abundantly clear that the flora, as well as fauna mentioned in the Ṛigveda, are typically tropical. Further, no cold-climate flora and fauna find a place in this text. Thus, there is no case to hold that the authors of the Ṛigveda belonged to a cold climate.

NS: If the Aryans were neither ‘Invaders’ nor ‘Immigrants’, were they ‘Indigenous’?

B.B. Lal: To answer this question, we must first settle the date of the Rigveda since the entire mess has been created by wrongly dating the Vedas to 1200 BCE.

In this context, the history of the River Sarasvati plays a very vital role. In the Rigveda, it has been referred to as a mighty river, originating in the Himalayas and flowing all the way down to the ocean (RV 7.95.2). But by the time of the Panchavimsha Brahmana(XXV.10.16) it had dried up.

Against this literary background, let us see what archaeology and other sciences have to say in the matter.

Along the bank of the Sarasvati (now called the Ghaggar) is located Kalibangan, a site of the Harappan Civilization. It had to be abandoned while it was still in a mature stage, owing to the drying up of the adjacent river. According to the radiocarbon dates, this abandonment took place around 2000.

Since, as already stated, during the Rigvedic times the Sarasvati was a mighty flowing river and it dried up around 2,000 BCE, the Rigveda has got to be earlier than 2000 BCE.How much earlier is anybody’s guess; but at least a 3^rd millennium BCE horizon is indicated.

Further, Rigveda X.75.5-6 very clearly defines the area occupied by Rigvedic people, in the 3^rd millennium BCE, as follows:

imam me Gaṅge Yamune Sarasvati Śutudri stotam sachatā Parus̩n̩yā / Asiknyā Marudvr̩idhe Vitastayā Ārjīkīye śr̩in̩uhya- Sus̩omayā // 5 //

Tr̩is̩tāmayā prathamam yātave sajūh̩.Susartvā Rasayā Śvetyā tyā / Tvam Sindho Kubhayā Gomatīm Krumum Mehatnvā saratham yābhir̄iyase // 6 //

Which means the area occupied by Rigvedic people was from the upper reaches of the Ganga-Yamuna on the east to the Indus and its western tributaries on the west.

Map showing a correlation between Rigvedic area and Harappan Civilization during 3rd millennium BC. Red lines- Rigvedic area. Black Dotted lines- Harappan Civilization. Photo Source: The Rigvedic People by B. B. Lal

Now, if a simple question is asked, viz. archaeologically, which culture occupied this very area during the Rigvedic times, i.e. in the 3^rd millennium BCE, the inescapable answer shall have to be: ‘The Harappan Civilization’.

Thus, it is amply clear that the Harappan Civilization and the Vedas are but two faces of the same coin. Further, as already stated earlier, the Harappans were the sons of Indian soil. Hence, the Vedic people who themselves were the Harappans were indigenous.

NS: But, materially, many objections has been raised against the Vedic = Harappan equation. How do you reconcile them?

B.B.Lal: Yes, I am aware that against such a chronological-cum-spatial Vedic = Harappan equation, many objections have been raised. Notably, three important objections have been raised, namely:

(1) Whereas the Vedic people were nomads, the Harappans were urbanites; (2) The Vedic people knew the horse while the Harappans did not; and (3) The Vedic people used spoked wheels, but the Harappans had no knowledge of such wheels.

Let us take up the first question. The Vedic people were not nomads wandering from place to place, but had regular settlements, some of which were even fortified. In RV 10.101.8 the prayer is: “stitch ye [oh gods] the coats of armour, wide and many; make metal fortssecure from all assailants.” RV 7.15.14 runs as follows: “And, irresistible, be thou a mighty metal fort to us, with hundred walls for man’s defense.”

Even on the economic front, the Vedic people were highly advanced. Trade was carried on even on the seas. Says RV 9.33.6: “O Soma, pour thou forth four seas filled with a thousand-fold riches.” The ships had sometimes as many as ‘a hundred oars(sataritra)’.

Politically, the Vedic people had sabhas and samitis and even a hierarchy of rulers: Samrat, Rajan and Rajakas (RV 6.27.8 & 8.21.8). That these gradations were real and not imaginary is confirmed by the Satapatha Brahmana (V.1.1.12-13): “By offering Rajasuya he becomes Raja and by Vajapeya, Samrat; the office of Raja is lower and of Samrat, higher.”

In the face of the foregoing evidence, can we still call the Rigvedic people ‘Nomads’?

Now coming to the horse, in his Mohenjo-daro Report, Mackay states: “Perhaps the most interesting of the model animals is the one that I personally take to represent a horse.”Wheeler confirmed the above view of Mackay, adding that “a jawbone of a horse is also recorded from the same site.”

Now a lot of new material has come to light: from Lothal, Surkotada, Kalibangan, etc. Lothalhas yielded a terracotta figure as well as the faunal remains of the horse.

Reporting on the faunal remains from Surkotada, the renowned international authority on horse-bones, Sandor Bokonyi of Hungary, emphasized: “The occurrence of true horse (Equus Caballus L.) was evidenced by the enamel pattern of the upper and lower cheek and teeth and by the size and form of the incisors and phalanges (toe bones).”

Terracotta wheel, Mature Harappan. Photo Credit: http://www.ifih.org

Now lastly, the spoked wheel. Though the hot and humid climate of India does not let wooden specimens survive, there are enough terracotta models of spoked wheels, e.g. from Kalibangan, Rakhigarhi, Banawali, etc.

Thus, all the objections against the Vedic=Harappan equation are baseless. The two are respectively the literary and material facets of the same civilization.

NS: Some proponents of the ‘Aryan Invasion’ or ‘Aryan Migration’ theory hold that the Harappans was a Dravidian-speaking people. What do you think of that?

B.B. Lal: According to the ‘Aryan Invasion’ thesis, the Invading Aryans drove away the supposed Dravidian-speaking Harappans to South India.

If there was any truth in it, one would find settlements of Harappan refugees in South India, but there is not even a single Harappan or even Harappa-related settlement in any of the Dravidian-speaking States, be it Tamil Nadu, Andhra Pradesh, Karnataka or Kerala!

Further, it is seen that even when new people occupy a land, the names of at least some places and rivers given by earlier people do continue. For example, in USA names of rivers like Missouri and Mississippi or of places like Chicago and Massachusetts, given by earlier inhabitants, do continue even after the European occupation. But there is no Dravidian river/place-name in the entire area once occupied by the Harappans, viz. from the Indus to upper reaches of the Yamuna.

All told, therefore, there is no evidence whatsoever for holding that the Harappans was a Dravidian-speaking people.

NS: Some scholars have stated that Vedic Aryans migrated from India towards the West. Did some Vedic people really emigrate to the West?

B.B.Lal: The answer is in the affirmative and the evidence is as follows:

Inscribed clay tablets discovered at Bogazkoy in Turkey record a treaty between a Mitanni king named Matiwaza and a Hittite king, Suppilulima. It is dated to 1380 BCE. In it the two kings invoke, as witnesses, the Vedic gods Indra, Mitra, Nasatya and Varuna.

Commenting on this treaty, the renowned Indologist T. Burrow observes: “Aryans appear in Mitanni as the ruling dynasty, which means that they must have entered the country as conquerors.”

‘Conquerors from where?’ may not one ask? At that point of time (1380 BCE) there was no other country in the world except India where these gods were worshipped. Thus, the Aryans must have gone from India.

This emigration from India is duly confirmed by what is recorded in the Baudhayana Srautasutra.

“Pranayuh pravavraja.Tasyaite Kuru-Panchalah Kasi-Videha ityetad Ayavam pravrajam Pratyan Amavasus * Tasyaite Gandharayas Parsvo Aratta ityetad Amavasavam.”

The verb used in the first part is pravavraja. Thus, as per rules of grammar, the unstated verb in the second part * should also be ‘pravavraja’. The correct translation of the second part would, therefore, be: “Amavasu migrated westwards. His (people) are the Gandhari, Parsu and Aratta.”

Thus, the Baudhayana Srautasutra does in fact narrate the story of a section of the Vedic Aryans, namely the descendants of Amavasu, having migrated westwards, via Kandahar (Gandhara of the text) in Afghanistan to Persia (Parsu) and Ararat (Aratta) in Armenia. From there they went to Turkey, where the Bogazkoy tablets of the 14^thcentury BCE, as already stated, refer to the Vedic gods Indra, Mitra, Varuna and Nasatyas.

Migration of Vedic People Westwards as mentioned in te Baudhayana Srautasutra. Photo Credits: The Rigvedic People by B. B. Lal

Indeed, there is enough archaeological, epigraphic, and literary evidence from Iran, Iraq and Turkey, which duly establishes this westward migration of the Vedic people in the 2^nd -3^rd millennium BCE.

NS: There is a clear linguistic relationship between various languages in the Indo-European family. How is this explained if there was no invasion/migration of the Aryans into India?

B.B.Lal: No doubt similarity of language between any two areas does envisage a movement of some people from one to the other. But why must it be presumed that in the case under consideration, it must necessarily be from west to east? A movement of people from east to west would also lead to the same result? Isn’t it?

There is plenty of archaeological evidence that the Harappans, who were none other than the Vedic people (as I mentioned before), spread outside India into Afghanistan, Central Asia, Iran, and Iraq. In Afghanistan, there was a full-fledged settlement of the Harappans, at Shortughai. In Central Asia, sites like Namazga Tepe have yielded a great deal of Harappan material. At the southern end of the Persian Gulf, there was a colony of the Harappans in Oman. In Bahrain a seal bearing Harappan script and the Indian national bird, the peacock, stand as indisputable testimony to the presence of the Harappans in that island. In fact, king Sargon of Akkad hailed Harappan boats berthed in the quay of his capital. All these movements of the Harappans are assignable the 3rd millennium BCE.

In answer to the previous question, I had mentioned that there was an unquestionable presence of the Vedic people in the region now known as Turkey, in the second millennium BCE. From Turkey to Greece it is a stone-throw distance and from there Italy is just next door.

The entire foregoing evidence would squarely explain the similarity between Sanskrit, Greek, and Latin. For this, one need not conjure up an ‘Aryan Invasion’ of India!

NS: It has been held by some scholars that the Harappan Civilization became extinct, leaving no vestiges behind. How far is this true?

B.B.Lal: Because of various reasons, such as break up in external trade, drastic climatic changes, the drying up of the Sarasvati and so on, the Harappan urbanization had a major setback: cities gradually vanished, but villages continued. There was no extinction of the people who carried on their day-to-day life, though in a humble way than before. Thus, we find many of the Harappan traits in vogue even today.

For example, the application by married Hindu women of vermilion (sindūra) in the partition line of the hair on the head, the wearing of multiple bangles on the arms and of pāyalaaround the ankles; practice of yogic exercises; worshipping Lord Shiva, even in the form ofliṅga-cum-yoni; performing rituals using fire-altars, using sacred symbols like the svastika; and so on. Indeed, be not surprised if I told you that the way you greet each other withnamaste goes back to the Harappan times. Above all, even some of the folk tales, like those of ‘A Thirsty Crow’ or ‘The Cunning Fox’, which grandmothers narrate to the children while putting them to sleep originated in the Harappan times. Tradition dies hard!

Archaeologist B.B. Lal talks about his book 'The Saraswati Flows On'

Archaeologist B.B. Lal's latest research capsizes some dearly held views on the Indus Valley Civilisation and the arrival of what are thought to be the warmongering Aryans.

Anshul Avijit
November 12, 2001
ISSUE DATE: November 12, 2001
UPDATED: September 27, 2012 18:18 IST

B. B. Lal

Archaeologist B.B. Lal's latest research is out to capsize some dearly held views on the Indus Valley Civilisation and, consequently, the arrival of what are thought to be the warmongering Aryans. Did you think these guys came from outside the subcontinent, from a convenient fatherland called Central Asia?

Lal's voice is unable to contain the seditious thrill of demystification. "Not possible," he says slowly. "Saraswati, the river revered by the Aryans, is repeatedly mentioned in the Rig Veda as 'overflowing'. Recent discoveries show that Saraswati dried up in 2000 B.C., the age of the Indus Valley." He stops there? letting the explosive inferences of what he has said hang in the air like unearthed dust.

Lal's obsession in The Saraswati Flows On (Aryan Books) is basically to counter arguments of ancient Indian historian R.S. Sharma (also NCERT's history author) and his ideological advocates who basically said that the emigrant Aryans entered the Khyber in 1500 B.C., about 300 years after the dissipation of the Indus Valley.

He also refutes the charge of archaeological jingoism, perceived to be the logical corollary of the indigenous origin theory. "The climate of the time would suggest that I'm saffronising history. That is a great tragedy. I only ask everyone to look at the facts. And I do hope R.S. Sharma gives a rejoinder." Conspicuous in Lal's south Delhi apartment is the POP version of Mohenjodaro's "bearded priest", symbolic of a life of subterranean disclosure.

Lal, now 80, was drawn to archaeology after studying Sanskrit at Allahabad University. In 1943 he became a trainee under Mortimer Wheeler in the outpost of Taxila, and remembers how he was audacious enough to point out some errors in Wheeler's dating strategy.

He later excavated many ancient sites, including Kalibangan, and became the director of the ASI in 1968. Now he's also trying to prove the historical basis of the Mahabharata, saying that many of the names of places in the epic still exist and that the PGW pottery found there is of the same period as the epic. Sharma?

https://www.indiatoday.in/magazine/society-the-arts/books/story/20011112-archaeologist-b.b.-lal-talks-about-his-book-the-saraswati-flows-on-774641-2001-11-12?fbclid=IwAR0tSlL_I3j_UJUdvvIJD8Yin7fHp4cbqVVfRdor21HwudICM-uINRD1pyQ

AYODHYA: 25 YEARS LATER

In the Name of Rama

From behind the scenes as well as the frontline, they provided the intellectual, political and spiritual ballast to a movement that culminated on Demolition Day

Amita Shah | 30 Nov, 2017

he Excavator: BB Lal

IN the 1970s, when archaeologist BB Lal and his team started digging near the Babri Masjid in Ayodhya, he had little idea of a mass movement brewing over a dispute that would come to redefine politics. “I was looking only at the antiquity of the Ramjanmabhoomi,” says Lal, referring to Lord Rama’s birthplace, at his Hauz Khas home in Delhi. At 96, he remembers the excavation work carried out from 1977 to 1986 quite distinctly. “The Babri Masjid was a small structure. Attached to [its] piers were 12 pillars with Hindu motifs and deities,” he says, “The excavated pillar bases along the boundary wall penetrated the complex, raising the question if these had a link with the pillars of the piers,” he says. About four decades later, Lal documented these details in a book, Rama: His Historicity, Mandir and Setu. After a talk he gave in 1991 at Vijayawada on his findings, scholars asked him if there was a temple under the mosque.

Lal says he answered as an archaeologist would—that unless the actual area of concern was excavated, no such conclusion could be drawn, adding that the mosque’s floor was wide enough to conduct spot probes without damaging the structure. By then, the Ramjanmabhoomi issue had turned into a full-fledged political movement, and when the Masjid was pulled down on December 6th, 1992, he says, “Personally, speaking I was unhappy about it.” To him, it was incidental that he was involved with the 1977-86 excavations. Ayodhya was one of five sites taken up for the Ramayana Project of the Indian Institute of Advanced Studies, Shimla, of which Lal was appointed director after he quit as director general of the Archaeological Survey of India in 1972. As an academic, he says, he had three ‘curiosities’: uncovering archaeological remains of the Ramayana, Mahabharata and the Aryans. The findings of the Mahabharata Project, for which excavations were done in the early 1950s, had encouraged him to take up the historicity of the Ramayana. Lal had no political connections and was never in touch with any leader of the agitation for a temple in Ayodhya, though he always had his political views. “There is only one god in this country—the vote,” he says. His role in Rama’s ascent as a political icon may have been unwitting, but was significant all the same. “A story on Ayodhya would be incomplete without him,” says Ram Bahadur Rai, a former journalist who heads the board of the Indira Gandhi Centre for Arts, “His findings were cited as evidence in the agitation.”

The Initiator: Ramchandra Das Paramhans

Two years before Lal first began excavation work in 1952 on the Mahabharata Project, Ramachandra Das Paramhans, born as Chandreswar Tiwari in Bihar in 1913, had filed a law suit for prayers to continue and idols to be retained under the central dome of the Ayodhya structure. An earlier suit for the right to perform puja at the site had been filed in Faizabad by one Gopal Simla Visharad soon after an idol of Ram Lalla was found placed there overnight in 1949, but as head of the Digambar Akhara, a congregation of Naga sadhus based in Ayodhya, Paramhans was among the first to mobilise an effort to claim the disputed site’s legal title. “He was convinced of the historicity of the place and was adamant that Ramjanmabhoomi should be liberated. Till his last breath, he said he will fight for it,” recounts BJP leader R Balashankar, a former journalist and former editor of the RSS publication Organiser. With his flowing grey beard and yellow dhoti, Paramhans shot to fame as president of the Ramjanmabhoomi Nyas, an entity dedicated to the cause. In 1985, he even threatened to immolate himself if the gates of the shrine were not opened by Ram Navami the following year (neither happened). According to Balashankar, Paramhans had lost faith in the judiciary and believed that only a mass movement would deliver Hindus justice. He died in 2003, aged 90.

The Pathfinder: Moropant Pingley

Moropant Pingley, a senior RSS leader, worked for the cause behind the scenes. A full-time pracharak, he came up with several ideas to give the movement ballast. “I met Pingley several times. He joked a lot, but never divulged his plans,” says Ram Bahadur Rai, a former journalist. As a founding member of the Vishwa Hindu Parishad, the Sangh affiliate that spearheaded the temple agitation in the 1980s, Pingley was the man who drew out the road map. He died a couple of months after Paramhans.

Frontline Fighter: Ashok Singhal

As the man deputed in 1981 by the RSS to lead the VHP, Ashok Singhal was at the forefront the movement. He had caught the Sangh leadership’s attention that year with a speech at an RSS conclave in Bangalore asking for a Hindu awakening in the aftermath of the mass conversion of Dalits to Islam in Meenakshipuram, Tamil Nadu. Singhal was among the organisers of the first VHP ‘dharma sansad’ in 1984, attended by hundreds of sadhus and others, at Vigyan Bhavan in Delhi. He was among those present at the site during the demolition of the Babri Masjid. Balashankar recalls that when he met the VHP chief at an Agra guest house where he was under arrest after the event—along with such BJP leaders as Advani, Murli Manohar Joshi and Uma Bharti—Singhal had said the demolition had happened in the heat of the moment. “He told me it was not in the scheme of things to bring down the structure. At the same time, he said he was not unhappy about it,” recalls Balashankar. Singhal died in 2015.

Priest with a Cause: Mahant Avaidyanath

In 1984, Mahant Avaidyanath, the saffron-clad chief priest of the Gorakhnath temple and a Hindu Mahasabha leader, founded the Ramjanmabhoomi Mukti Yajna Samiti to ‘liberate’ the disputed site. This body planned processions with Hindu nationalist slogans to be chanted. “He was a strong orator with a powerful personality,” says Balashankar. Like Paramhans, Avaidyanath is among those listed by the Liberhan Commission report on the Babri Masjid demolition for having made ‘provocative speeches’. He joined electoral politics in 1962, winning UP’s Maniram Assembly seat, which he won four more times after that. Avaidyanath also won the Gorakhpur Lok Sabha seat four times—as a Hindu Mahasabha candidate in 1970 and 1989 and as a BJP leader in 1991 and 1996. Ten years before his death in 2014, he passed the mantle of the Gorakhnath temple on to his protégé Yogi Adityanath, who also represented Gorakhpur in Parliament several times and is now Chief Minister of UP.

https://openthemagazine.com/cover-stories/ayodhya-25-years-later/in-the-name-of-rama/?fbclid=IwAR2Y1AC5yub4xS5SyMNwms8OlLOy7AP_mXZCcsqIAm03oS4RHI89h19B-Uw

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Necklace, hair-knot of dwarf', गण sculpture, Indus Script Meluhha hypertext, mũh dhāu ayo kammaṭa 'ingot ore alloy metal mint'

May 7, 2020, 5:22 pm

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https://tinyurl.com/y6vnjp7h

Yaksha? No, गण, kharva'dwarf, गण' similar to the dwarfs shown on Bhutes'var sculptural friezes.

Indus Script Meluhha hieroglyphs on the sculpture:

kharva, 'dwarf', गण'rebus: karba 'iron'

Hieroglyph hair-knot: kuṇḍa3 n. ʻ clump ʼ e.g. darbha -- kuṇḍa -- Pāṇ. [← Drav. (Tam. koṇṭai ʻ tuft of hair ʼ, Kan. goṇḍe ʻ cluster ʼ, &c.) T. Burrow BSOAS xii 374] (CDIAL 3266) Rebus: kō̃da कोँद 'furnace for smelting': payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (a potter's, a lime-kiln, and brick-kiln, or the like); a furnace (for smelting). -thöji - or -thöjü -; । परिपाक-(द्रावण-)मूषाf. a crucible, a melting-pot. -ʦañĕ -। परिपाकोपयोगिशान्ताङ्गारसमूहः f.pl. a special kind of charcoal (made from deodar and similar wood) used in smelting furnaces. -wôlu -वोलु&below; । धात्वादिद्रावण-इष्टिकादिपरिपाकशिल्पी m. a metal-smelter; a brick-baker. -wān -वान् । द्रावणचुल्ली m. a smelting furnace.

āmalaka m. ʻ the small tree Phyllanthus emblica or myrobalan ʼ, n. ʻ its fruit ʼ ChUp.
Pa. āmalaka -- m., ˚kī -- f.; Pk. āmalaya -- m. ʻ the tree ʼ, n. ʻ its fruit ʼ, āmalaī -- f. ʻ the tree ʼ, āmala -- m.n. ʻ its fruit ʼ (cf. āmaṁḍa -- m. ʻ wild myrobalan ʼ)(CDIAL 1247) Rebus: māˊlā f. ʻ wreath, garland ʼ Gr̥S., mālikā -- f. lex. [← Drav., Tam. mālai ʻ wreath ʼ &c. DED 3954, EWA ii 628 with lit. Derivation from *vr̥tman -- (P. Tedesco JAOS 67, 87) is phonet. unacceptable]
Pa. mālā -- f. ʻ garland ʼ, Pk. mālā -- , ˚liā -- f.; Ash. karmalík ʻ ear -- ring ʼ; Wg. mālik ʻ flower ʼ; Kt. mol ʻ garland ʼ, vaċīˊ -- mol ʻ monal pheasant's feather used as ornament for returning warriors ʼ; Dm. khoi -- māˊli ʻ river -- bank ʼ, Paš. nandə -- mālāˊ IIFL iii 3, 132; Kal.rumb. mal ʻ monal pheasant's feather ʼ; K. māl f. ʻ wreath, garland ʼ; Ku.gng. māw, pl. ˚wa ʻ garland ʼ, B. māl; Or. māḷa ʻ garland, necklace ʼ, māḷi ʻ rosary ʼ; Mth. māl ʻ garland ʼ, OAw. māra f., H. māl f., OMarw. māla f., G. M. māḷ f. (G. also ʻ leather or cotton belt connecting two wheels ʼ), Ko. māḷa; Si. mal -- a ʻ flower ʼ, Md. mau, male ʼ. (CDIAL 10092)

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

The dwarf गण wears two remarkable hypertexts each composed of human face PLUS joined fish-fins. The rebus Meluhha readings are: mũhe ‘face’ (Santali) Rebus: mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali) kaula mengro ‘blacksmith’ (Gypsy) mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) The Samskritam gloss mleccha-mukha should literally mean: copper-ingot absorbing the Santali gloss, mũh, as a suffix.; aya 'fish' rebus; aya 'alloy metal' PLUS khambhaṛā 'fish-fin' (Lahnda CDIAL 13640) rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236) PLUS dula 'pair' rebus: dul 'metal casting'.

This catalogue related to metalwork is reinforced by other sculptural friezes found around Mathura Museum archaeological sites. Three sculptural friezes show a smelter (building constructed with bricks) and surrounded by dwarfs. On top of the building an ekamukha s'ivalinga is shown. The mukha on the linga is a hieroglyph: mũhe ‘face’ (Santali) Rebus: mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) kharva 'dwarf' rebus: karba 'iron'. In the background of the building, a tree is shown: kuṭi 'tree' Rebus: kuṭhī 'warehouse, factory, smelter'. Thus, the sculptural friezes signify iron smelters.

The pair of fish-fins is mirrored on Sanchi torana and Bharhut pillars.
Bharatkalyan97: Bharhut stupa toraṇa: Architectural splendour of ...

Bharatkalyan97: Bharhut stupa toraṇa: Architectural splendour of ...

Bharhut torana

Sanchi torana The reading of the hypertext of joined fish-fins is validated by Mahavams'a text: ayo kammaṭa dvāra, 'metals mint workshop entrance' (Mahāvamsa. XXV, 28)

Thus, the hypertext of the dwarf, wearing necklace with beads reads in Meluhha: karba mũh aya kammaṭa 'iron ingot alloymetal mint'.

Carved sculpture, Satvahana period, Kundala and Mālā comprise multiple Amalaka like beads. Image courtes: ASI, http://justrippingg.blogspot.com/2019/07/the-three-yakshis-of-indian-museum.html

Cults and Shrines in Early Historical Mathura (c. 200 BC-AD 200)

Bharatkalyan97: Linga and stupa in relation to metalwork of the ...

चित्र:Workship-of-Siva-Linga-by-the-Gandharvas-Mathura-Museum ...

Cave 2 : Dancing gana figures on the outer left wall. Badami , Karnataka, India

Viṣṇu Trivikrama and dwarfs. Badami caves.
Image result for gana of dwarfs badami

Naṭaraja, dwarfs PLUS Gaṇapati doing a karaṇa, 'dance posture' next to a drummer . Badami caves, Karnataka.
Image result for gana of dwarfs badami

Gaṇa Musicians at Upper Śivālaya, North Badami Fort, Karnataka
File:Gana, dwarfs goblins in Indian temple architecture.jpg

Gana is a dwarf or goblin, usually with big belly found in Indian temple base, pillars and elsewhere. They typically are shown in humorous postures, sometimes with musical instruments or dancing or singing or dressed like a prankster.

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Itihāsa. An outstanding report by CEA on the economic framework for Bharatam post-Covid

May 7, 2020, 6:45 pm

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The finest, lucid, balanced report of any economist I have read so far. Kudos, KVS. Economy will stage comeback post-Covid, says CEA Krishnamurthy Subramanian

S. Kalyanaraman, Sarasvati Research Centre

‘Stimulus must be in line with tax-GDP ratio’

Eco Recovery Will Be Better For India: CEA

Sidhartha & Surojit Gupta TNN

New Delhi:
The Indian economy will recover better than most countries once the Covid-19 outbreak subsides, chief economic adviser (CEA) Krishnamurthy Subramanian has said and cautioned against a large fiscal stimulus, saying that the size should be in line with the country’s sovereign rating and tax-to-GDP ratio.

“Careful research for Spanish Flu shows that geographical regions that implemented lockdowns early and for longer periods benefited both in terms of lower mortality rate and sharper economic revival following the pandemic. India has been very strict in enforcing restrictions, starting with screening passengers at airports when the first few cases showed up in January,” Subramanian said in an interview to TOI.“The overall magnitude of the numbers itself is lower than other countries. As a percentage of the population, it is extremely low. Therefore, one can expect the economic recovery to be better for India,” Subramanian said, using the Spanish flu as a proxy for Covid-19 to assert his point of view. He said several factors have to be taken into account before deciding on a stimulus package. “When you compare with the US or the UK, look at their tax-GDP ratios, which are much higher,” Subramanian said.

“For the US, dollar is a reserve currency. Therefore, it gives them space that no other country has. The last point is if you look at the magnitude of stimulus among countries that have a sovereign rating similar to India, that number is far lower. One has to take all these differences among countries into account to do a proper comparison.”

The CEA said several options for raising funds were being discussed and that included market borrowings as well as taking advantage of being part of the global sovereign bond indices. “Market borrowings is certainly one of them. And the measures that were announced in the Budget, to be able to be part of the sovereign bond index, that can actually bring a significant amount of supply.”

“About $4 trillion of money tracks these sovereign bond indices and India is expected to have a weight of about anywhere between 1.5% and 3% in these indices. At 1.5%, that translates into $60 billion, and from a completely new clientele. That is about the amount of gross borrowing that we had last year. That translates into a 100% increase in supply from a completely new clientele. This can bring down the cost of financing and provide avenues for raising finances. Remember, these borrowings are in rupee terms,” the CEA said.

Subramanian said there was a case for providing some space to states to accommodate their spending by raising the borrowing limit and expressed confidence that debt consolidation for the Centre won’t be a problem even in the worst case scenario. “This is an unusual year with an unusual pandemic that we are living through.”

Subramanian said the Jan Dhan-Aadhaar-Mobile trinity had helped the country to provide relief to the vulnerable sections swiftly and much faster compared to developed countries. “Even if you compare with the US now, we have benefited enormously from the infrastructure of JAM trinity. They are sending out these cheques for transfers to the vulnerable sections of the population, which take time for the benefit to reach.” “In contrast, for us, it’s just one entry and amounts go directly into bank accounts.When you look at all these, there is some evidencebased reason to think that India may not be as badly affected as some of the other economies, the CEA said.

For full report, log on to www.timesofindia.com

Economic Relief Package 2.0 soon, possible to raise $60 billion by listing govt bonds overseas: CEA KV Subramanian

By: FE Bureau |

Published: May 8, 2020 6:30:33 AM

In an interview to India Today channel, the CEA said: “About $4 trillion of money tracks these (global) bond indices. India is expected to get a weight of around 1.5-3%. Even if you take 1.5%, that translates into $60 billion.”

The important point is that the rate of borrowing will be far lower than our nominal GDP growth rates.

An economic relief package to fight the Covid-19 crisis will come any time soon, chief economic advisor (CEA) Krishnamurthy V Subramanian said on Thursday and indicated that borrowing of around $60 billion to fund the rising fiscal deficit can theoretically be through listing government bonds on the global bond indices.

In an interview to India Today channel, the CEA said: “About $4 trillion of money tracks these (global) bond indices. India is expected to get a weight of around 1.5-3%. Even if you take 1.5%, that translates into $60 billion.”

In March, the Reserve Bank of India announced the opening up of key government securities to full foreign investment in a bid to find a place in global bond indices. The Centre had budgeted gross market borrowing of Rs 7.8 lakh crore for FY21 and had recently announced its plan to borrow 62.6% of it in the first half itself. However, its plans have gone haywires due to the Covid-19 crisis.

While acknowledging the serious challenges being faced by the businesses and even workers in the wake of the Covid crisis, the CEA refuted the notion of a large-scale distress, saying the Jan Dhan deposits have gone up from the level witnessed in the week before the lockdown was imposed from March 25.

The economy could grow at 1.5-2% in FY21, with a contraction in the first half. This will be followed by a V-shaped recovery, he said, drawing a parallel with a similar rebound witnessed after the Spanish flu outbreak, which was, in fact, more devastating.

Talking about the debt-to-GDP ratio following massive borrowing to fund productive spending, Subramanian said even if the country witnesses 4% real GDP growth for 5-10 years from FY22, the debt levels will come down. The important point is that the rate of borrowing will be far lower than our nominal GDP growth rates.

The CEA said while the first package addressed the vulnerable sections (mainly a demand-side measure), the next round of relief could focus on the supply side of the economy, including the ways to boost credit flow or liquidity in the system. Already, the central bank has initiated a raft of steps to improve liquidity in the system.

Commenting on the need to have a massive stimulus package, in sync with the ones offered by the developed countries, the CEA said if the loan guarantee is removed from the package extended by the UK, it would be worth only 3.7% of the GDP, and not 15%. Similarly, the US package will be worth 6.5% of its GDP, instead of 10%.

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Dancer statuettes, Sign 342 'rim-of-jar' Indus Script hypertexts deciphered bhāṭi karaṇa sāla 'furnace writers'workshop'

May 7, 2020, 11:13 pm

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https://tinyurl.com/ycjjzahy

The dancer of Harappa is a statuette of grey stone. The two dancing girls of Mohenjo-daro are made using cire perdue technique (lost-wax casting) in bronze.

The most frequently used hypertext on Indus Script Corpora is Sign 342: káraṇa bāṭī = karaṇa + splinter hieroglyph = śalá m. ʻ staff ʼ TBr., ʻ dart, spear ʼ lex. [~ śará -- 1: cf. śilī -- ]S. sarī f. ʻ a stick forming part of a waterwheel ʼ; Or. saḷa ʻ pin, thorn ʼ; Bi. sar ʻ sticks used in setting up the warp ʼ, Mth. sarkā; H. sal m. ʻ stake, spike, splinter, thorn, difficulty ʼ; G. saḷī f. ʻ small thin stick ʼ, saḷiyɔ m. ʻ bar, rod, pricker ʼ; -- Kho. šoḷ ʻ reed ʼ < *śōṭha2 -- rather than X noḷ < naḍá -- .(CDIAL 12343) Rebus: śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.(CDIAL 12414)

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.

All the three statues and Sign 342 are Indus Script hypertexts or composed hieroglyphs of:

1) two dancing girls, male dancer with dance poses & girls with wick-lamp; -- bāṭī 'wick' (WPah.) karaṇa 'dance pose'; PLUS calācalá'movement' rebus: sāla 'workshop'; together, the expression is: bhāṭi karaṇa sāla 'furnace writers' workshop'

and

2) rim-of-jar with projecting handle (Sign 342, the most frequently used sign on Indus Script Corpora) vatti 'projecting rim'; kárṇa, kárṇikā 'handle of a vessel, round protuberance' .The orthography of Sign 342 rendering 'rim-of-jar' and sculptural renderings signify the same words with the same rebus readings in Meluhha: Rebus: bhāṭi 'furnace', bhaṭṭī 'forge' AND kárṇa 'scribe', kārṇī 'supercargo of a ship'; kanahār 'helmsman' kárṇasāla 'writers' workshop'

Constant motion is signified by the dancers: calācalá ʻ evermoving ʼ Pāṇ. [~ carācará -- Pāṇ., Pa. carācara -- ʻ moveable ʼ. -- √cal)Pa. Pk. calācala -- ʻ in constant motion, unsteady ʼ; Paš. čolāˊl ʻ belongings, property ʼ IIFL iii 3, 44 with (?); M. ċaḷāḷ m. ʻ excessive trembling through fear ʼ, ċaḷāḷṇẽ ʻ to flow copiously ʼ (CDIAL 4719) Rebus: sāḷ f. ʻworkshop, school'; together, the expresion is: bhāṭikaraṇa sāla 'furnace writers' workshop'

Both the dancing girl bronze statues found in Mohenjo-daro carry a lamp and strike a dance pose. The dance pose is used as a hieroglyph on a Kalibangan potsherd.

Bhirrana potsherd. Dance posture

The rebus Meluhha readings of the hieroglyphs are:

karaṇa 'dance step, dance posture' rebus: karaṇa 'scribe'

meṭṭu 'step' meḍ iron, मेधा, धन, मेधः' yajna

bāṭī 'wick' (WPah.): várti1 (and vartí -- ) f. ʻ wick ʼ MBh., ʻ small compress ʼ Suśr., ʻ lamp ʼ lex., ˚ikā -- f. ʻ wick ʼ KālP. [√vr̥t1]Pa. vaṭṭi -- , ˚ikā -- f. ʻ wick ʼ, Pk. vaṭṭĭ̄ -- , ˚ṭiā -- , vatti -- f.; Sh. batīˊ ʻ unlit native lamp, candle, wick of European lamp ʼ (← H.?); S. vaṭi f. ʻ wick ʼ; L. vaṭṭ f. ʻ roll of grass, wick ʼ, awāṇ. vaṭ ʻ wick ʼ, P. vaṭṭī, ba˚, battī f.; N. bāti ʻ lamp ʼ (bati ← H.), A. bāti; B. bāti ʻ wick, lamp, candle ʼ; Or. bati ʻ lamp ʼ (← H.), Bi. Mth. Bhoj. bātī; OAw. bātĭ̄ ʻ wick ʼ, H. bātī, battī f. (→ N. Or. and prob. Sh.); G. vāṭ f. ʻ lamp ʼ, vātī f. ʻ perfumed match or taper ʼ; M. vāt f. ʻ wick ʼ, Ko. vāti; Si. väṭ -- a ʻ lamp ʼ, väṭi -- ya ʻ wick ʼ; Md. vo'ʻ lamp ʼ; -- with -- o as from an orig. masculine: Ku. bāto m. ʻ wick, lamp ʼ; N. bāto ʻ rope of twisted cane (to tie down thatch) ʼ.dīpavarti -- , *pādavarti -- , *saṁdhyāvartikā -- .Addenda: várti -- 1: S.kcch. batī, bhatī f. ʻ lamp, torch ʼ ← H.; WPah.kṭg. batti, kc. baṭe f. ʻ wick, lamp, light ʼ, J. bāṭī f.(CDIAL 11359) ବତି (p. 5327) Bati ...A wick. [ଦ୍ର—ସୂତା, ତୁଳା ବା କନାକୁ ବଳି ବତି ପ୍ରସ୍ତୁତ କରାୟାଏ; କାଚର ଲାମ୍ପ୍ ଓ ଲଣ୍ଟନ ଆଦିରେ ଜଳିବାପାଇଁ ମୋଟ ଫିତା ଆକାରର ବତି କଳରେ ବୁଣାୟାଏ।] 2। ମହମ ବତୀ (Oriya)

Rebus: bhāṭi 'smelter'

Statuette of grey stone from Harappa

[Original 1931 text] "And now we come to two small statuettes which are more surprising even than the masterly engraving of the bull . . . .. When I first saw them I found it difficult to believe that they were prehistoric; they seemed to so completely upset all established ideas about early art. Modelling such as this was unknown in the ancient world up to the Hellenistic age of Greece . . .." (Marshall, Mohenjo-daro and the Indus Civilization, Vol. I, p. 45)

"It is the figure of a dancer standing on his right leg, with the body from the waist upwards bent well round to the left, both arms thrown out in the same direction, and the left leg raised high in front. . .. Although its contours are soft ane effeminate, the figure is that of a male, and it seems likely that it was ithyphallic, since the membrum virile was made in a separate piece. I infer, too, from the abnormal thickness of the neck, that the dancer was three-headed or at any rate three-faced, and I conjecture that he may represent the youthful Siva Nataraja." (ibid., p. 46)

https://www.harappa.com/slide/statuette-grey-stone-harappa

Sign 342 is hieroglyph 'rim of jar', 'projecting rim'. The Meluhha speech forms of words which signify this hieroglyph are: vaṭṭi 'circumference, rim, brim' and kárṇa, kárṇikā 'handle of a vessel, round protuberance' .

Rebus readings of both these words are: Rebus: bhāṭi 'furnace', bhaṭṭī 'forge' AND kárṇa 'scribe', kārṇī 'supercargo of a ship'; kanahār 'helmsman'

The dancing male and the dancing girls holding a wick-lamp on their hands signify these two hypertexts: káraṇa 'dance pose' and bāṭī 'wick' (WPah.)

The Sign 342 'rim-of-jar' hieroglyph also signifies two similar sounding words: kárṇa, kárṇikā 'handle or rim of a vessel' and vatti 'projecting rim'

kárṇa 'scribe', kārṇī'supercargo of a ship'; kanahār 'helmsman': 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)karṇadhāra m. ʻ helmsman ʼ Suśr. [kárṇa -- , dhāra -- 1]Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman ʼ.(CDIAL 2836)

varti2 f. ʻ projecting rim ʼ. [√vr̥t1]Pa. vaṭṭi -- , ˚ikā -- f. ʻ circumference, rim, brim ʼ; Pk. vatti -- f. ʻ edge, limit ʼ; Si. väṭi -- ya ʻ edge of bank or river ʼ.(CDIAL 1136)

Rebus: bhrāṣṭra m. ʻ gridiron ʼ Nir., adj. ʻ cooked on a grid- iron ʼ Pāṇ., ˚ka -- m. (n.?) ʻ frying pan ʼ Pañcat. [NIA. forms all < eastern MIA. *bhāṭha -- , but like Pk. none show medial aspirate except G. with -- ḍ -- poss. < -- ḍh -- . -- bhráṣṭra -- , √bhrajj]Pk. bhāḍa -- n. ʻ oven for parching grain ʼ; Phal. bhaṛ<-> ʻ to roast, fry ʼ (NOPhal 31 < bhr̥kta -- with ?); L. bhāṛ ʻ oven ʼ; Ku. bhāṛ ʻ iron oven, fire, furnace ʼ; Bi. bhār ʻ grain -- parcher's fireplace ʼ, (N of Ganges) bhaṛ -- bhū̃jā ʻ grain -- parcher ʼ; OAw. bhārū, pl. ˚rā m. ʻ oven, furnace ʼ; H. bhāṛ m. ʻ oven, grain -- parcher's fireplace, fire ʼ; G. bhāḍi f. ʻ oven ʼ, M. bhāḍ n.

*bhrāṣṭraśālikā -- . *bhrāṣṭraśālikā ʻ furnace house ʼ. [bhrāṣṭra -- , śāˊlā -- ]

H. bharsārī f. ʻ furnace, oven ʼ.(CDIAL 9684, 9685) 9656 bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj]Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭh m., ˚ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhī, bhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v.bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- .Addenda: bhráṣṭra -- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ. *bhraṣṭrapūra ʻ gridiron -- cake ʼ. [Cf. bhrāṣṭraja -- ʻ pro- duced on a gridiron ʼ lex. -- bhráṣṭra -- , pūra -- 2]P. bhaṭhūhar, ˚hrā, bhaṭhūrā, ˚ṭhorū m. ʻ cake of leavened bread ʼ; -- or < *bhr̥ṣṭapūra -- .*bhraṣṭrāgāra ʻ grain parching house ʼ. [bhráṣṭra -- , agāra -- ]P. bhaṭhiār, ˚ālā m. ʻ grainparcher's shop ʼ. (CDIAL 9656 to 9658)

kárṇa m. ʻ ear, handle of a vessel ʼ RV., ʻ end, tip (?) ʼ RV. ii 34, 3. (CDIAL 2830) kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]
Pa. kaṇṇaka -- ʻ having ears or corners ʼ; Wg. kaṇə ʻ ear -- ring ʼ NTS xvii 266; S. kano m. ʻ rim, border ʼ; P. kannā m. ʻ obtuse angle of a kite ʼ (→ H. kannā m. ʻ edge, rim, handle ʼ); N. kānu ʻ end of a rope for supporting a burden ʼ; B. kāṇā ʻ brim of a cup ʼ, G. kānɔ m.; M. kānā m. ʻ touch -- hole of a gun ʼ.(CDIAL 2831) kárṇikā f. ʻ round protuberance ʼ Suśr., ʻ pericarp of a lotus ʼ MBh., ʻ ear -- ring ʼ Kathās. [kárṇa -- ]Pa. kaṇṇikā -- f. ʻ ear ornament, pericarp of lotus, corner of upper story, sheaf in form of a pinnacle ʼ; Pk. kaṇṇiā -- f. ʻ corner, pericarp of lotus ʼ; Paš. kanīˊ ʻ corner ʼ; S. kanī f. ʻ border ʼ, L. P. kannī f. (→ H. kannī f.); WPah. bhal. kanni f. ʻ yarn used for the border of cloth in weaving ʼ; B. kāṇī ʻ ornamental swelling out in a vessel ʼ, Or. kānī ʻ corner of a cloth ʼ; H. kaniyã̄ f. ʻ lap ʼ; G. kānī f. ʻ border of a garment tucked up ʼ; M. kānī f. ʻ loop of a tie -- rope ʼ; Si. käni, kän ʻ sheaf in the form of a pinnacle, housetop ʼ.(CDIAL 2849)

Hieroglyph: ಕರಣ rhythm, dramatic actin, dancing posture (Kannada)Rebus: करण m. writer , scribe; a class whose occupation is writing, accounts (Monier-Williams)

Rebus: करण m. writer , scribe; m. a man of a mixed class (the son of an outcast क्षत्रिय Mn. x , 22 ; or the son of a शूद्र woman by a वैश्य Ya1jn5. i , 92 ; or the son of a वैश्य woman by a क्षत्रिय MBh. i , 2446 ; 4521 ; the occupation of this class is writing , accounts &c ); n. the special business of any tribe or caste (Monier-Williams)

கரணகளேபரம் karaṇa-kaḷēparam, n. < karaṇa +. The physical body with its sensory organs; பொறிகளும் சரீரமும். கரணகளே பரங்களை யிழந்து (அஷ்டாதச. முமுட்சுப். வ்யா. அவ.). கரணம் karaṇam, n. < karaṇa. A variety in dramatic action, a kind of dancing; கூத்து விகற்பம்.கரணமிட்டுத் தன்மை பேசி (தேவா. 56, 3). 8. Somer-sault, tumbling heels over head; caper; தழைகீழாகப் பாய் கை. கரணம்

போடுகிறான். 9. Instrument; கருவி. (திவா.) 10. Implement, means, material, instrument; உபகரணம். அதனுக்குரியவாய பல்கரணமுந் தருதி (கந்தபு. குமாரபுரி. 65). 11. Number; எண். (பிங்.) 12. (Astron.) One of the five elements of the pañcāṅkam, a division of time, 11 in number, viz., பவம், பாலவம், கௌலவம்,

தைதுலம், கரசை, வணிசை, பத்திரை, சகுனி,சதுஷ்பாதம், நாகவம், கிமித்துக்கினம், the eleven karaṇas being computed to be equal to 30 tithis of a lunar month according to a special calculation; பஞ்சாங்க உறுப்புக்களில் ஒன்று. (விதான.

பஞ்சாங்க. 29.) 13. Title-deed, document (R.F.); சாஸனம். 14. Accountant, karnam;

கணக்கன். (S.I.I. i, 65.)

ବାଟୀ— Bāṭī ସଂ. ବି. (ବାଟ+ସ୍ତ୍ରୀ. ଈ)— 1। ଘର—1. House 2। ଆବୃତ ସ୍ଥାନ; ବାଡ଼ି—2. An enclosed space or garden. 3। ବାସ୍ତୁ; ଘରବାଡ଼ି—3. The site of a house. (Apte). Thus, káraṇa bāṭī is 'office of writers' (Oriya)

କରଣ— Karaṇa Business; trade (Apte) A professional writer.A clerk; scrible; moharrir. ସିଦ୍ଧହସ୍ତ ଲେଖକ—19. An expert writer. ଦେ. ବି.— 1। ଉତ୍କଳର ଲେଖା ବ୍ୟବସାଯୀ କାଯସ୍ଥ ଜାତି— 1. A caste of Kāyasthas of Orissa.କରଣମ୍— Karaṇam ପ୍ରାଦେ. (ଗଞାମ) ବି. (ସଂ. କରଣ; ତେ. କରଣମ୍)— ଗ୍ରାମର ରାଜକୀଯ ହିସାବ ଲେଖକ—A village accountant under the Government. (Oriya)

କୋଠକରଣ Koṭhakaraṇa ...An accountant of a temple. 2। ଛାମୁକରଣ—2. A personal clerk.(Oriya)

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Meluhha are dasyu = म्लेच्छ cognate meluhha, milakkhu signify 'who neglect rites, speak indistinctlyअपशब्दः, who make copper weapons'

May 8, 2020, 6:16 am

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https://tinyurl.com/y7ynfwlt

This is an addendum to:

Meluhha words of metals wealth of deciphered Indus Script cognate with Indic and PIE https://tinyurl.com/spmhjyu

Mleccha, Meluhha have documented over 8000 Indus Script inscriptions in the Corpora. These inscriptions are documentation of wealth-creating activities of artisans, smiths, lapidaries and seafaring merchant guilds in over 2600 archaeological sites of Sarasvati-Sindhu Civiization.They had contacts and settlements along the Persian Gulf and in Ancient Near East in sites such as Susa, Mari.

Who are mleccha and dasyu? -- Manu calls all mleccha speakers as dasyu.

In Aitareya Brahmana (vii.18), dasyu are recognized as descendants of Vis’vamitra; they are called दस्यूणाम् भूयिष्ठाः (शाङ्खायन-श्रौत-सूत्र XV,26,7)

In Manu, dasyu signify ‘uncivilized people’ (Manu v,131; x.32.45) Thus, mleccha and dasyu are attributes of Aryan people who have neglected the essential rites of pious people.

म्लेच्छवाचश्चार्यवाचः सर्वे ते दस्यवः स्मृताः (Manu smrti.10.45). mleccha speakers are dasya. दस्युः dasyuḥ [दस्-युच्] 1 N. of a class of evil beings or demons, enemies of gods and men, and slain by Indra, (mostly Vedic in this sense). -2 An outcast, a Hindu who has become an outcast by neglect of the essential rites; cf. Ms.5.131;10.45; दस्यूनां दीयतामेष साध्वद्य पुरुषा- धमः Mb.12.173.20. -3 A thief, robber, bandit; नीत्वोत्पथं विषयदस्युषु निक्षिपन्ति Bhāg.7.15.46; पात्रीकृतो दस्यु- रिवासि येन Ś.5.20; R.9.53; Ms.7 143. -4 A villain, miscreant; दस्योरस्य कृपाणपातविषयादाच्छिन्दतः प्रेयसीम् Māl.5.28. -5 A desperado, violator, oppressor (Apte) दस्यु m. ( √ दस्) enemy of the gods (e.g. श्/अम्बर , श्/उष्ण , च्/उमुरि , ध्/उनि ; all conquered by इन्द्र , अग्नि , &c ) , impious man (called अ-श्रद्ध्/अ , अ-यज्ञ्/अ , /अ-यज्यु , /अ-पृनत् , अ-व्रत्/अ , अन्य-व्रत , अ-कर्म्/अन्) , barbarian (called अ-न्/आस् , or अन्-/आस् " ugly-faced " , /अधर , " inferior " , /अ-मानुष , " inhuman ") , robber (called धन्/इन्) RV. AV. &c; any outcast or Hindu who has become so by neglect of the essential rites (Manu); Name of a man RV. viii , 51 ; 55 f ; द्/अस्यवे स्/अहस् n. violence to the दस्यु (N. of तुर्वीति) , i , 36 , 18)(Monier-Williams)

RV 1.36.18 Griffith translation: We call on Ugradeva, Yadu, Turvasa, by means of Agni, from afar;

Agni, bring Navavastva and Brhadratha, Turviti, to subdue the foe.

In my view, the detailed essay on Dasyu in the Vedic Index is the most comprehensive presentation of textual evidence related to an understanding the attributes of dasyu as a group of people.

म्लेच्छ अपशब्दे वा चु० उभ० पक्षे भ्वा० पर० अक०सेट् । म्लेच्छयति ते म्लेच्छति अमम्लेच्छत् त अम्लेच्छीत्

म्लेच्छ पु० म्लेच्छ--घञ् । १ अपशब्दे “म्लेच्छोह वा नामयदप्रशब्द” इति श्रुतिः । कर्त्तरि अच् । २ पामरजातौ,३ नीचजातौ च पुंस्त्री० स्त्रियां ङीष् “गोमांसखादकोयस्तु विरुद्धं बहु भाषते । सर्चाचारविहीनश्च म्लेच्छइत्यभिधीयते” बौधायनः । ४ पापरते त्रि० मेदि० ।५ हिङ्गुले न० राजनि० ।म्लेच्छजाति स्त्री म्लेच्छाभिधा जातिः । मांसादिभक्षकेकिरातादिजातिभेदे अमरः ।म्लेच्छदेश पु० म्लेच्छाधारो देशः । चातुर्वर्ण्याचाररहितेदेशे अमरः । “चातुर्वर्ण्यव्यवस्थानं यस्मिन् देशे नविद्यते । म्लेच्छदेशः स विज्ञेय आर्य्यावर्त्तस्ततःपरम्” ।म्लेच्छभोजन न० म्लेच्छैर्भुज्यते भुज--कर्मणि ल्युट् ।१ यावके अन्नभेदे शब्दर० । २ गोधूमे पु० त्रिका० ।म्लेच्छमण्डल न० ६ त० । म्लेच्छदेशे हेमच० ।म्लेच्छमुख न० म्लेच्छानां मुखमिव रक्तत्वात् । ताम्रे अमरः ।म्लेच्छास्यमप्यत्र हारा० ।म्लेच्छित न० म्लेच्छ--क्त । अपशब्दे असंस्कृतशब्दे हारा० ।

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

म्लिष्टं, क्ली, (म्लेच्छ् + क्तः + “क्षुब्धस्वान्तध्वान्तलग्न-म्लिष्टविरिब्धेत्यादि ।” ७ । २ । १८ । इतिनिपातितम् ।) अस्पष्टवाक्यम् । तत्पर्य्यायः ।अविस्पष्टम् २ । इत्यमरः । १ । ६ । २१ ॥म्लिष्टः, त्रि, (म्लेच्छ + क्तः ।) अव्यक्तवाक् । म्लानः ।इति मेदिनी । टे, २५ ॥म्लुच, उ इर् गत्याम् । इति कविकल्पद्रुमः ॥(भ्वा०-पर०-सक०-सेट् ।) उ, म्लोचित्वा म्लुक्त्वा ।इर्, अम्लु चत् अम्लोचीत् । इति दुर्गादासः ॥म्लेच्छ, कि देश्योक्तौ । इति कविकल्पद्रुमः ॥ (चुरा०-वा भ्वा०-पर०-अक०-सक० च-सेट् ।) देश्याग्राम्या उक्तिर्देश्योक्तिरसंस्कृतकथनमित्यर्थः ।कि, म्लेच्छयति म्लेच्छति मूढः । अन्तर्विद्यामसौविद्बान्न म्लेच्छति धृतव्रत इति हलायुधः ॥अनेकार्थत्वादव्यक्तशब्देऽपि । तथा चामरः ।अथ म्लिष्टमविस्पष्टमिति । म्लेच्छ व्यक्तायां वाचिइति प्राञ्चः । तत्र रमानाथस्तु । म्लेच्छति वटु-र्व्यक्तं वदतीत्यर्थः । अव्यक्तायामिति पाठे कुत्-सितायां वाचीत्यर्थः ।‘तत्सादृश्यमभावश्च तदन्यत्वं तदल्पता ।अप्राशस्त्यं विरोधश्च नञर्थाः षट् प्रकीर्त्तिताः ॥’इति भाष्यवचनेन नञोऽप्राशस्त्यार्थत्वात् इतिव्याख्यानाय हलायुधोक्तमुदाहृतवान् । इतिदुर्गादासः ॥म्लेच्छं, क्ली, (म्लेच्छस्तद्देशः उत्पत्तिस्थानत्वेना-स्त्यस्य । अर्शआद्यच् ।) हिङ्गुलम् । इतिराजनिर्घण्टः ॥ (तथास्य पर्य्यायः ।“हिङ्गुलन्दरदं म्लेच्छमिङ्गुलञ्चूर्णपारदम् ॥”इति भावप्रकाशस्य पूर्ब्बखण्डे प्रथमे भागे ॥)म्लेच्छः, पुं, (म्लेच्छयति वा म्लेच्छति असंस्कृतंवदतीति । म्लेच्छ् + अच् ।) किरातशवरपुलि-न्दादिजातिः । इत्यमरः ॥ पामरमेदः । पाप-रक्तः । अपभाषणम् । इति मेदिनी । छे, ६ ॥म्लेच्छादीनां सर्व्वधर्म्मराहित्यमुक्तं यथा, हरि-वंशे । १४ । १५ -- १९ ।“सगरः स्वां प्रतिज्ञाञ्च गुरोर्व्वाक्यं निशम्य च ।धर्म्मं जघान तेषां वै वेशान्यत्वं चकार ह ॥अर्द्धं शकानां शिरसो मुण्डयित्वा व्यसर्जयत् ।जवनानां शिरः सर्व्वं काम्बोजानान्तथैव च ॥पारदा मुक्तकेशाश्च पह्नवाः श्मश्रुधारिणः ।निःस्वाध्यायवषट्काराः कृतास्तेन महात्मना ॥शका जवनकाम्बोजाः पारदाः पह्नवास्तथा ।कोलसप्याः समहिषा दार्व्वाश्चोलाः सकेरलाः ।सर्व्वे ते क्षत्त्रियास्तात धर्म्मस्तेषां निराकृतः ॥वशिष्ठवचनाद्राजन् सगरेण महात्मना ॥”शकानां शकदेशोद्भवानां क्षत्त्रियाणाम् । एवंजवनादीनामिति । अत्र जवनशब्दस्तद्देशोद्भव-वाची चवर्गतृतीयादिः । जवनो देशवेगिनो-रिति त्रिकाण्डशेषाभिधानदर्शनात् ॥ * ॥ तेषांम्लेच्छत्वमप्युक्तं विष्णुपुराणे । तथाकृतान् जवना-दीनुपक्रम्य ते चात्मधर्म्मपरित्यागात् म्लेच्छत्वंययुरिति । बौधायनः ।“गोमांसखादको यश्च विरुद्धं बहु भाषते ।सर्व्वाचारविहीनश्च म्लेच्छ इत्यभिधीयते ॥”इति प्रायश्चित्ततत्त्वम् ॥ * ॥अपिच । देवयान्यां ययातेर्द्वौ पुत्त्रौ यदुः तुर्चसुश्च ।शर्म्मिष्ठायां त्रयः पुत्त्राः द्रुह्युः अनुः पुरुश्च ।तत्र यदुप्रभृतयश्चत्वारः पितुराज्ञाहेलनं कृत-वन्तः पित्रा शप्ताः । ज्येष्ठपुत्त्रं यदुं शशाप तववंशे राजा चक्रवर्त्ती मा भूदिति । तुर्व्वसु-द्रुह्य्वनून् शशाप युष्माकं वंश्या वेदवाह्या म्लेच्छाभविष्यन्ति । इति श्रीभागवतमतम् ॥ * ॥(“असृजत् पह्नवान् पुच्छात् प्रस्रावाद्द्राविडान्शकान् ।योनिदेशाच्च यवनान् शकृतः शवरान् बहून् ॥मूत्रतश्चासृजत् काञ्चीञ्छरभांश्चैव पार्श्वतःपौण्ड्रान् किरातान् यवनान् सिंहलान् वर्व्वरान्खशान् ॥चियुकांश्च पुलिन्दांश्च चीनान् हूनान् सके-रलान् ।ससर्ज्ज फेनतः सा गौर्म्लेच्छान् बहुविधानपि ॥”सा वशिष्ठस्य धेनुः । इति महाभारते । १ । १७६ ।३५ -- ३७ ॥) अन्यच्च । “शकजवनकाम्बोज-पारदपह्नवा हन्यमानास्तत्कुलगुरुं वशिष्ठंशरणं ययुः । अथैतान् वशिष्ठो जीवन्मृतकान्कृत्वा सगरमाह । वत्स वत्सालमेभिर्जीवन्मृत-कैरनुसृतैः । एते च मयैव त्वत्प्रतिज्ञापालनायनिजधर्म्मद्बिजसङ्गपरित्यागं कारिताः । सतथेति तद्गुरुवचनमभिनन्द्य तेषां वेशान्य-त्वमकारयत् । जवनान्मुण्डितशिरसोऽर्द्धमुण्डान्शकान् प्रलम्बकेशान् पारदान् पह्नवांश्च श्मश्रु-धरान्निःस्वाध्यायवषट्कारानेतानन्यांश्च क्षत्त्रि-यांश्चकार । ते चात्मधर्म्मपरित्यागाद्ब्राह्मणैश्चपरित्यक्ता म्लेच्छतां ययुः ।” इति विष्णुपुराणे । ४ ।३ । १८ -- २१ ॥ * ॥ प्रकारान्तरेण तस्योत्-पत्तिर्यया, --सूत उवाच ।“वंशे स्वायम्भुवस्यासीदङ्गो नाम प्रजापतिः ।मृत्योस्तु दुहिता तेन परिणीतातिदुर्मुखी ॥सुतीर्था नाम तस्यास्तु वेनो नाम सुतःपुरा ।अधर्म्मंनिरतः कामी बलवान् वसुधाधिपः ।लोकेऽप्यधर्म्मकृज्जातः परभार्य्यापहारकः ॥धर्म्मचारप्रसिद्ध्यर्थं जगतोऽस्य महर्षिभिः ।अनुनीतोऽपि न ददावनुक्षां स यदा ततः ॥शापेन मारयित्वैनमराजकभयार्द्दिताः ।ममन्थुर्ब्राह्मणास्तस्य बलाद्देहमकल्भषाः ॥तत्कायान्मथ्यमानात्तु निपेतुर्म्लेच्छजातयः ।शरीरे मातुरंशेन कृष्णाञ्जनसमप्रभाः ॥”इति मत्स्यपुराणे । १० । ३ -- ८ ॥ * ॥म्लेच्छभाषाभ्यासनिषेधो यथा, --“न सातयेदिष्टकाभिः फलानि वै फलेन तु ।न म्लेच्छभाषां शिक्षेत नाकर्षेच्च पदासनम् ॥”इति कौर्म्म्ये उपविभागे १५ अध्यायः ॥ * ॥तस्य मध्यमा तामसी गतिर्यथा, मानवे ।१२ । ४३ ।“हस्तिनश्च तुरङ्गाश्च शूद्रा म्लेच्छाश्च गर्हिताः ।सिंहा व्याघ्रा वराहाश्च मध्यमा तामसीगतिः ॥”(मन्त्रणाकाले म्लेच्छापसारणमुक्तं यथा, मनु-संहितायाम् । ७ । १४९ ।“जडमूकान्धवधिरांस्तैर्य्यग्योनान् वयोऽति-गान् ।स्त्रीम्लेच्छव्याधितव्यङ्गान् मन्त्रकालेऽपसार-येत् ॥”“अथवा एवंविधा मन्त्रिणो न कर्त्तव्याः । बुद्धि-विभ्रमसम्भवात् ।” इति तद्भाष्ये मेधातिथिः ॥म्लेच्छानां पशुधर्म्मित्वम् । यथा, महाभारते । १ ।८४ । १५ ।“गुरुदारप्रसक्तेषु तिर्य्यग्योनिगतेषु च ।पशुधर्म्मिषु पापेषु म्लेच्छेषु त्वं भविष्यसि ॥”)

म्लेच्छकन्दः, पुं, (म्लेच्छप्रियः कन्द इति मध्यपदलोपी कर्म्मधारयः ।) लशुनम् । इति राज-निर्घण्टः ॥ (तस्य पर्य्यायो यथा, --“लशुनस्तु रसोनः स्यादुग्रगन्धो महौषधम् ।अरिष्टो म्लेच्छकन्दश्च पवनेष्टो रसोनकः ॥”इति भावप्रकाशस्य पूर्ब्बखण्डे प्रथमे भागे ॥)म्लेच्छजातिः, स्त्री, (म्लेच्छस्य जातिरिति षष्ठी-तत्पुरुषः म्लेच्छरूपा जातिरिति कर्म्मधारयोवा ।) गोमांसखादकबहुविरुद्धभाषकसर्व्वा-चारविहीनवर्णः । यथा, --“गोमांसखादको यस्तु विरुद्धं बहु भाषते ।सर्व्वाचारविहीनश्च म्लेच्छ इत्यभिधीयते ॥”इति प्रायश्चित्ततत्त्वधृतबौधायनवचनम् ॥अपि च ।“भेदाः किरातशवरपुलिन्दा म्लेच्छजातयः ॥”इत्यमरः । २ । ४० । २० ॥अन्यच्च ।“पौण्ड्रकाश्चौड्रद्रविडाः काम्बोजा शवनाःशकाः ।पारदाः पह्नवाश्चीनाः किराताः दरदाःखशाः ॥मुखबाहूरुपज्जानां या लोके जातयो बहिः ।म्लेच्छवाचश्चार्य्यवाचः सर्व्वे ते दस्यवः स्मृताः ॥”इति मानवे १० अध्यायः ॥म्लेच्छदेशः, पुं, (म्लेच्छानां देशः म्लेच्छप्रधानोदेशो वा ।) चातुर्व्वर्ण्यव्यवस्थादिरहित-स्थानम् । तत्पर्य्यायः । प्रत्यन्तः २ । इत्यमरः ।२ । १ । ७ ॥ भारतवर्षस्यान्तं प्रतिगःप्रत्यन्तः । म्लेच्छति शिष्टाचारहीनो भवत्यत्रम्लेच्छः अल् । स चासौ देशश्चेति म्लेच्छदेशः ।किंवा म्लेच्छयन्ति असंस्कृतं वदन्ति शिष्टा-चारहीना भवन्तीति वा पचाद्यचि म्लेच्छानीचजातयः तेषां देशो म्लेच्छदेशः । भारतवर्ष-स्यान्तः शिष्टाचाररहितः कामरूपवङ्गादिः ।उक्तञ्च ।चातुर्व्वर्ण्यव्यवस्थानं यस्मिन् देशे न विद्यते ।म्लेच्छदेशः स विज्ञेय आर्य्यावर्त्तस्ततः पर-मिति ॥”इति भरतः ॥(अपि च, मनुः । २ । २३ ।“कृष्णसारस्तु चरति मृगो यत्र स्वभावतः ।स ज्ञेयो यज्ञियो देशो म्लेच्छदेशस्ततःपरम् ॥”)म्लेच्छभोजनं, क्ली, (भुज्यते यदिति । भुज् + कर्म्मणिल्युट् । ततो म्लेच्छानां भोजनम् ।) यावकः ।इति शब्दरत्नावली ॥म्लेच्छभोजनः, पुं, (भुज्यतेऽसौ इति । भुज् +ल्युट् । म्लेच्छानां भोजनः । (गोधूमः । इतित्रिकाण्डशेषः ॥म्लेच्छमण्डलं, क्ली, (म्लेच्छानां मण्डलं समूहोऽत्र ।)म्लेच्छदेशः । इति हेमचन्द्रः ॥म्लेच्छमुखं, क्ली, (म्लेच्छे म्लेच्छदेशे मुखमुत्पत्ति-रस्य । इत्यमरटीकायां रघुनाथः ।) ताम्रम् ।इत्यमरः । २ । ९ । ९७ ॥ (तथास्य पर्य्यायः ।“ताम्रमौदुम्बरं शुल्वमुदुम्बरमपि स्मृतम् ।रविप्रियं म्लेच्छमुखं सूर्य्यपर्य्यायनामकम् ॥”इति भावप्रकाशस्य पूर्ब्बखण्डे प्रथमे भागे ॥“ताम्रमौडुम्बरं शूल्वं विद्यात् च्छमुख-न्तथा ॥”इति गारुडे २०८ अध्याये ॥)म्लेच्छाशः, पुं, (म्लेच्छैरश्यते इति । अश् + कर्म्मणि+ घञ् ।) म्लेच्छभोजनः । गोधूमः । इतिकेचित् ॥म्लेच्छास्यं, क्ली, (म्लेच्छे म्लेच्छदेशे आस्यमुत्पत्ति-रस्य ।) ताम्रम् । इति हारावली ॥म्लेच्छितं, क्ली, (म्लेछ् देश्योक्तौ + क्तः ।) म्लेच्छ-भाषा । अपशब्दः । तत्पर्य्यायः । परभाषा २ ।इति हारावली ॥म्लेट, ऋ उन्मादे । इति कविकल्वद्रुमः ॥ (भ्वा०-पर०-अक०-सेट् ।) ऋ, अमिम्लेटत् । म्लेटतिलोकः उन्माद्यतीत्यर्थः । इति दुर्गादासः ॥म्लेड, ऋ उन्मादे । इति कविकल्पद्रुमः ॥ (भ्वा०-पर०-अक०-सेट् ।) ऋ, अमिम्लेडत् । म्लेडति ।उन्माद्यतीत्यर्थः । इति दुर्गादासः ॥

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

मुख 'copper';'the edge (of an axe) 'म्लेच्छ n. copper (Skt.) Milakkhu [the Prk. form (A -- Māgadhī, cp. Pischel, Prk. Gr. 105, 233) for P. milakkha] a non -- Aryan D iii.264; Th 1, 965 (˚rajana "of foreign dye" trsl.; Kern, Toev. s. v. translates "vermiljoen kleurig"). As milakkhuka at Vin iii.28, where Bdhgh expl^s by "Andha -- Damil'ādi." (Pali)

Milakkha [cp. Ved. Sk. mleccha barbarian, root mlecch, onomat. after the strange sounds of a foreign tongue, cp. babbhara & mammana] a barbarian, foreigner, outcaste, hillman S v.466; J vi.207; DA i.176; SnA 236 (˚mahātissa -- thera Np.), 397 (˚bhāsā foreign dialect). The word occurs also in form milakkhu (q. v.).म्लेच्छ a person who lives by agriculture or by making weapons; m. a foreigner , barbarian , non-Aryan , man of an outcast race , any person who does not speak Sanskrit and does not conform to the usual Hindu institutions(शतपथ-ब्राह्मण); ignorance of Sanskrit , barbarism (न्यायमाला-विस्तर, Sayana) (Monier-Williams)

म्लेच्छः mlecchaḥ [म्लेच्छ्-घञ्] 1 A barbarian, a non-Āryan (one not speaking the Sanskṛit language, or not conforming to Hindu or Āryan institutions), a foreigner in general; ग्राह्या म्लेच्छप्रसिद्धिस्तु विरोधादर्शने सति J. N. V.; म्लेच्छान् मूर्छयते; or म्लेच्छनिवहनिधने कलयसि करवालम् Gīt.1. -2 An outcast, a very low man; (Baudhāyana thus defines the word:-- गोमांसखादको यस्तु विरुद्धं बहु भाषते । सर्वा- चारविहीनश्च म्लेच्छ इत्यभिधीयते ॥). -3 A sinner, wicked person. -4 Foreign or barbarous speech. -च्छम् 1 Copper. -2 Vermilion. -Comp. -आख्यम् copper. -आशः wheat. -आस्यम्, -मुखम् copper. -कन्दः garlic. -जातिः f. a savage or barbarian race, a mountaineer; पुलिन्दा नाहला निष्ट्याः शबरा वरुटा भटाः । माला भिल्लाः किराताश्च सर्वेऽपि म्लेच्छजातयः ॥ Abh. Chin.934. -देशः, -मण्डलम् a country inhabited by non-Āryans or barbarians, a foreign or barbarous country; कृष्णसारस्तु चरति मृगो यत्र स्वभावतः । स ज्ञेयो यज्ञियो देशो म्लेच्छदेशस्त्वतः परः ॥ Ms.2.23. -द्विष्टः bdellium. -भाषा a foreign language. -भोजनः wheat. (-नम्) barley. -वाच् a. speaking a barbarous or foreign language; म्लेच्छवाचश्चार्यवाचः सर्वे ते दस्यवः स्मृताः Ms.10.45.

म्लेच्छनम् mlecchanam 1 Speaking indistinctly or confusedly. -2 Speaking in a barbarous tongue.

म्लेच्छित mlecchita p. p. Spoken indistinctly or barbarously. -तम् 1 A foreign tongue. -2 An ungrammatical word or speech.

म्लेच्छितकम् mlecchitakam Foreign or barbarous speech. म्लेट् mleṭ, म्लेड् mleḍ (म्लेट-ड-ति) To be mad.

म्लिष्ट mliṣṭa a. 1 Spoken indistinctly (as by barbarians), indistinct; P.VII.2.18; म्लिष्टमस्फुटम् Abh. Chin.266. -2 Barbarous. -3 Withered, faded. -ष्टम् 1 An indistinct or barbarous speech. -2 A foreign language.

म्लुच् mluc, म्लुञ्च् mluñc 1 See म्रच्, म्रुञ्च्. -2 To set; म्लोचन्ति ह्यन्या देवता न वायुः Bṛi. Up.1.5.22.

म्लेच्छ् mlecch, म्लेछ् mlech 1 P., 10 U. (म्लेच्छति, म्लेच्छयति-ते, म्लिष्ट, म्लेच्छित) 1 To speak confusedly, indistinctly, or barbarously. -2 To speak distinctly (व्यक्तायां वाचि); L. D. B.(Apte)

अप-शब्द m. bad or vulgar speech; any form of language not Sanskrit; ungrammatical language; (अप-भ्रंश.); ungrammatical language (compared to a deer as grammar to a lion (Monier-Williams)

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Itihāsa.PIA celebrates and poses a challenge to decipher seal m 1169. PIA, the challenge has been solved.

May 8, 2020, 7:45 pm

≫ Next: m3 seal is kundār arkaśālā 'turner's gold workshop', aya kammaṭa 'alloy metal mint' bronze, brass, copper/gold metal equipment ingots

≪ Previous: Meluhha are dasyu = म्लेच्छ cognate meluhha, milakkhu signify 'who neglect rites, speak indistinctlyअपशब्दः, who make copper weapons'

https://tinyurl.com/yahraoeq

-- On seals from 5000 year old Mohenjo-daro in Pakistan by issuing brass paperweight momentos of seals

-- Drawn from Sarasvati-Sindhu Civilization Indus Script Corpora,PIA gives momentos of brass replicas of seals as paper weights to First Class passengers

-- PIA challenge to scholars is to decipher the worth of the inscription on Seal m1169

-- The challenge has been met and script has been deciphered.All 8000+ of the Indus Script Inscriptions have been deciphered.as wealth accounting ledgers, written down by scribes and Supercargo, कारणी kāraṇī, कारणीक kāraṇīka, representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.

-- Yes, the artisans , lapidaries, turners, smiths and seafaring merchants from sites like Mohenjo-daro and 2000+ sites (over 76%) on Sarasvati River Basin, documented the wealth of the nation on ledgers and catalogues called seals, tablets, epigraphs, sculptural rebus signifiers of Meluhha, Bharatiya sprachbund,'speech union' words..

The momentos are offered with an open challenge to scholars to decipher the worth of the seals. The challenge has been met and the worth of the seals has been computed. The seals constitute documentations of wealth created by artisans, smiths,lapidaries, seafaring merchants and the treasure deposited in the Guild Treasury of the Nation. This documentation helps narrate the Economic History of Ancient Bharat, that is India, from 4th m.BCE with epigraphic and archaeological evidence. This narration explains how Bharat became a Super Economic Power ca. 4th m.BCE

Consider that the first inscription incised on a potsherd was dated to ca.3300 BCE at Harappa. Here is the Indus Script Inscription found at Harappa by HARP team. It says tagara kolimi 'tin smithery'. The hieroglyphs are: 1.three; and 2. tabernae montana fragrant flower which is called tagaraka.The rebus readings are: kolom 'three' rebus:kolimi 'smithy, forge' PLUS tagaraka 'tabernae montana five-petaled flower' rebus: tagara 'tin ore'.

These shining brass momentos are mounted on wood or quartzite, marble or turquoise stones. The replica is carefully, with reverence, wrapped in silk cloth.

At the back of the momento distributed to passengers traveling on PIA flights,an explanation is provided by PIA on a pasted explanatory note.

The pasted note reads: "Seals from Mohenjodaro 5000 year old. These seals have thrown an open challenge to the scholars to decipher their worth. Indus Valley Civilizatio flourished five thousand years ago in Pakistan. The inhabitants lived largely by agriculture but also maintained trade with lands as far away as Mesopotamia."

Read on and see the exquisite brass momentos...

Classic INDUS VALLEY Harappan Civilization SEAL Stamp from Mohenjo Daro (aka Moenjodaro) 2500 BC Ruins ~ Museum Antiquity Replica Seal is made of Brass affixed to a layered White Quartzite base. The seal depicts a tricephalic (three headed) animal with the head of an antelope, unicorn and bull. Vintage PIA Pakistan Airline Souvenir Gift in Original BOX. This appears to be a souvenir given to first class customers. Circa 1970s. Mark: Box - Manufactured by Gift Centre Zaibunnisa Street, Karachi / Phones14 Seal - Sticker with info about the object Measurements ( WxHxD): Box - 4.75 x 1.25 x 4.75 inches Seal - 3 x 0.75 x 3 inches Condition:See photos and use zoom to fully evaluate condition. Box has edge wear and all four corner flaps are torn. Seals from the Indus Valley Harappa and Mohenjo-daro are the two most important ancient cities to have been discovered by archaeologists in the Indus Valley in what is today Pakistan and northeast India. They existed at the same time as civilizations in ancient Egypt and Mesopotamia with comparable complexity and technology. Indus Seals were carved out of stone and then fired to make them more durable. Over 3,500 seals have been found so far. The most typical Indus seal is square, with a set of symbols along the top, an animal in the centre, and one or more symbols at the bottom. Animals found on the seals include rhinoceros, elephants, unicorns and bulls. On the back is a projection, probably to hold while pressing the seal into other materials such as clay. The projections also have a hole for thread, presumably so the seal can be worn or carried as a necklace. The symbols at the top of the seal are generally thought to form the script of the Indus Valley language. The seals were pressed into soft clay to seal the mouths of jars and, as suggested by the imprint of fabric on the back of some seal impressions, were used to create clay tags for sacks of traded goods such as grain. Indus Valley seals have been found as far afield as Mesopotamia (present-day Iraq) in the cities of Umma and Ur, in Central Asia and on the coast of the Arabian Peninsula. Classic INDUS VALLEY Harappan Civilization SEAL Stamp from Mohenjo Daro (aka Moenjodaro) 2500 BC Ruins ~ Museum Antiquity Replica Seal is made of Brass affixed to a layered White Quartzite base. The seal depicts a tricephalic (three headed) animal with the head of an antelope, unicorn and bull. Vintage PIA Pakistan Airline Souvenir Gift in Original BOX. This appears to be a souvenir given to first class customers. Circa 1970s. Mark: Box - Manufactured by Gift Centre Zaibunnisa Street, Karachi / Phones14 Seal - Sticker with info about the object Measurements ( WxHxD): Box - 4.75 x 1.25 x 4.75 inches Seal - 3 x 0.75 x 3 inches Condition:See photos and use zoom to fully evaluate condition. Box has edge wear and all four corner flaps are torn. Seals from the Indus Valley Harappa and Mohenjo-daro are the two most important ancient cities to have been discovered by archaeologists in the Indus Valley in what is today Pakistan and northeast India. They existed at the same time as civilizations in ancient Egypt and Mesopotamia with comparable complexity and technology. Indus Seals were carved out of stone and then fired to make them more durable. Over 3,500 seals have been found so far. The most typical Indus seal is square, with a set of symbols along the top, an animal in the centre, and one or more symbols at the bottom. Animals found on the seals include rhinoceros, elephants, unicorns and bulls. On the back is a projection, probably to hold while pressing the seal into other materials such as clay. The projections also have a hole for thread, presumably so the seal can be worn or carried as a necklace. The symbols at the top of the seal are generally thought to form the script of the Indus Valley language.The seals were pressed into soft clay to seal the mouths of jars and, as suggested by the imprint of fabric on the back of some seal impressions, were used to create clay tags for sacks of traded goods such as grain. Indus Valley seals have been found as far afield as Mesopotamia (present-day Iraq) in the cities of Umma and Ur, in Central Asia and on the coast of the Arabian Peninsula.

Classic INDUS VALLEY Harappan Civilization SEAL Stamp from Mohenjo Daro (aka Moenjodaro) 2500 BC Ruins ~ Museum Antiquity Replica

Seal is made of Brass affixed to a layered White Quartzite base.

The seal depicts a tricephalic (three headed) animal with the head of an antelope, unicorn and bull.

Vintage PIA Pakistan Airline Souvenir Gift in Original BOX.

This appears to be a souvenir given to first class customers. Circa 1970s.

Mark:

Box - Manufactured by Gift Centre Zaibunnisa Street, Karachi / Phones14

Seal - Sticker with info about the object

Measurements ( WxHxD):

Box - 4.75 x 1.25 x 4.75 inches

Seal - 3 x 0.75 x 3 inches

https://www.worthpoint.com/worthopedia/indus-valley-seal-mohenjo-daro-2500-1919695696

See:

1. Challenge posed by Mohenjodaro 5000 year old seal memento of Pakistan Intl Airlines paperweight. Answer, metalwork catalogue. http://tinyurl.com/lk84ykl

2. History of writing on postage stamps, Indus Script memento from PIA and celebration of Indus Script metalwork treasure on postage stamps https://tinyurl.com/y2wor3c5

3. A review of Dr S. Kalyanaraman’s trilogy by Dr Shrinivas Tilak https://www.academia.edu/9643316/A_review_of_Dr_S._Kalyanaraman_s_trilogy_by_Dr_Shrinivas_Tilak

Forty years ago, Pakistan Intl Airlines (PIA) issued a paperweight memento to airline passengers travelling between Karachi and Islamabad. The memento was a paperweight about 3 in. square. A copper plate with a replica of Seal m1169 Mohenjodaro is mounted either on wood or on turquoise stone. The memento is distrubuted to promote awareness about the civilizational heritage of Pakistan dating back to over 5000 years. The write-up on a blurb pasted on the back of the paperweight challenges researchers to decipher the script. The blurb reads: "Seals from Mohenjodaro 5000 year old. These seals have thrown open a challenge to the scholars to decipher their worth. Indus Valley civilization flourished five thousand years ago in Pakistan. The inhabitants lived largely on agriculture but also maintained trade with lands as far away as Mesopotamia."

An image and inscription of the seal used as a model for the mementos is presented below:

m1169 Pict-58: Composite motif: body of an ox and three heads: of a one-horned bull (looking forward), of antelope (looking backward), and of short-horned bull (bison) (looking downward).

Same text message is presented together with an ox on a PIA memento with a wood base (instead of turquoise used for a memento on turquoise stone base).

Another PIA momento mounted on a wooden base of the paper-weight. It carries the same inscription as on m1169.

Mlecchita vikalpa (Meluhha cipher) provides a framework for decipherment of the inscriptions on such Mohenjodaro seals and seals from over 2000 archaeological sites of the civilization of the Bronze Age which become part of the Indus Script Corpora as new excavation results get reported.

Decipherment of inscription on seal m1169 Mohenjodaro

Pictorial motif of three combined animals:

Hieroglyph: sangaḍa 'joined parts of animals' (Marathi) rebus: संगर sangar 'trade',

barad, balad 'ox' rebus: bharata 'factitious alloy of copper, pewter, tin'

कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner'.(metalworker)

melh 'goat' (Brahui) rebus: milakkhu 'copper' (Pali) mleccha 'copper' (Samskrtam)

Text message:

Text 2024 (Mahadevan Concordance)

dula 'two' rebus: dul 'metal casting'

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

పోలడు [ pōlaḍu ] , పోలిగాడు or దూడలపోలడు pōlaḍu. [Tel.] n. An eagle. పసులపోలిగాడు the bird called the Black Drongo. Dicrurus ater. (F.B.I.)(Telugu) rebus: पोळ [ pōḷa ] 'magnetite', ferrous-ferric oxide Fe3O4 (Asuri) पोलाद [ pōlāda ] n ( or P) Steel. पोलादी a Of steel. (Marathi) bulad 'steel, flint and steel for making fire' (Amharic); fUlAd 'steel' (Arabic) The Marathi gloss pōlāda may be formed with pōḷa+hlād = magnetite ore + rejoice.

Parenthesis which encloses the bird is a split lozenge or ingot shape: mũh 'a face' in Indus Script Cipher signifies mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.'

sal 'splinter' rebus: sal 'workshop'. Thus the hypertext composed of four hieroglyphs: bird, ingot, parenthesis, splinter is a Meluhha expression which signifies: workshop (for) magnetite, ferrite ore, steel ingot .

Hieroglyph: kaṇḍa ‘arrow’ (Skt.) H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers (CDIAL 3024). Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā ‘tools, pots and pans, metal-ware’.

Hieroglyph: ayo 'fish' rebus: aya 'iron' (Gujarati) ayas 'alloy metal' (Rigveda) PLUS खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā ‘tools, pots and pans, metal-ware’.

dula 'two' rebus: dul 'metal casting'

ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS khambhaṛā ʻfinʼ rebus: kammaṭa 'coiner, coinage, mint (Kannada)

Hypertext: baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) PLUS muka ‘ladle’ (Tamil)(DEDR 4887) Rebus: mū̃h ‘ingot’ (Santali)

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

The inscription on Mohenjodaro seal m1169 is thus a repository of technical information about metalwork produced by the artisan guild of smithy/forge and transacted for trade. The metalwork catalogue documents the wealth created and traded by working with 1. magnetite (ferrite) ore in furnaces to produce hard iron (steel); 2 bharata, alloy of copper, pewter, tin; 3. copper, ayas metal alloy; 5. metals engraving/sculpting using cire perdue (lost-wax) technique to produce ingots and metal implements.

See:
1. Over 1900 monographs at https://independent.academia.edu/SriniKalyanaraman

2. A review of Dr S. Kalyanaraman’s trilogy by Dr Shrinivas Tilak

https://www.academia.edu/9643316/A_review_of_Dr_S._Kalyanaraman_s_trilogy_by_Dr_Shrinivas_Tilak

3. Kalyanaraman, S. 2010. Indus Script Cipher-Hieroglyphs of Indian Linguistic Area. Herndon: Sarasvati Research Center.

4. Kalyanaraman, S. 2014. Indus Script: Meluhha Metalwork Hieroglyphs. Herndon, VA: Sarasvati Research Center.

5. Kalyanaraman, S. 2014. Philosophy of Symbolic Forms in Meluhha Cipher. Herndon: Sarasvati Research Center.

6. The following seven books published in 2017, 2018, 2019:

S. Kalyanaraman
Sarasvati Research Centre
9 May 2020

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History and Lore of Sesame in Southwest Asia

Vaiśya of Tuṣāra who called themselves Yuezhi (pronunciation variant AND cognate ofvaiśya) returned to India ca. 30 CE. Evidences and arguments for the possible roots of Yuezhi from among Meluhha people of Sarasvati Civilization are presented.

Faience button seal Harappa Archaeological Research Project A faience button seal with geometric motif (H2000-4491/9999-34) was found on the surface of Mound AB at Harappa by one of the workmen.

m0352 cdef

http://tinyurl.com/qetwb4l

தந்தம்¹ tantam , n. < danta. 1. Tooth; பல். (திவா.) 2. Tusk, as of elephant; யானை முதலியவற்றின் கொம்பு. காழுற்ற தந்த மின்ன (கந்தபு. தெய்வயா. 105).

1. Harappa Script hieroglyph + cuneiform text SAG-KU-ZI (DA) on Diqdiqqqah (Ur) seal, Mesopotamia raʾš, SAG 'head', chief'कुसितः 'inhabited country' http://tinyurl.com/jasease

2. Archaeology finds the role of कुसीद kusida 'money-lender' in Indus Script & Cuneiform writing

3. Itihāsa.Dilmun armourers, آهن ګران āhan-garān 'thunderbolt makers' of Sarasvati Civiliztion, Indus Script Meluhha hypertexts, Part 3/3

Professor B B Lal-The Archaeologist Who Should Be Worshipped

07:08 PM, May 07, 2020 Shesha Kumar

Thursday, December 24, 2015

Aryan Invasion – Interview with Prof B.B.Lal

Archaeologist B.B. Lal talks about his book 'The Saraswati Flows On'

Archaeologist B.B. Lal's latest research capsizes some dearly held views on the Indus Valley Civilisation and the arrival of what are thought to be the warmongering Aryans.

In the Name of Rama

The finest, lucid, balanced report of any economist I have read so far. Kudos, KVS. Economy will stage comeback post-Covid, says CEA Krishnamurthy Subramanian

‘Stimulus must be in line with tax-GDP ratio’

Eco Recovery Will Be Better For India: CEA

Economic Relief Package 2.0 soon, possible to raise $60 billion by listing govt bonds overseas: CEA KV Subramanian

In an interview to India Today channel, the CEA said: “About $4 trillion of money tracks these (global) bond indices. India is expected to get a weight of around 1.5-3%. Even if you take 1.5%, that translates into $60 billion.”

Both the dancing girl bronze statues found in Mohenjo-daro carry a lamp and strike a dance pose. The dance pose is used as a hieroglyph on a Kalibangan potsherd.

The rebus Meluhha readings of the hieroglyphs are:

Statuette of grey stone from Harappa

କୋଠକରଣ Koṭhakaraṇa ...An accountant of a temple. 2। ଛାମୁକରଣ—2. A personal clerk.(Oriya)

2. A review of Dr S. Kalyanaraman’s trilogy by Dr Shrinivas Tilak

S. KalyanaramanSarasvati Research Centre9 May 2020

Vaiśya of Tuṣāra who called themselves Yuezhi (pronunciation variant AND cognate of
vaiśya) returned to India ca. 30 CE. Evidences and arguments for the possible roots of Yuezhi from among Meluhha people of Sarasvati Civilization are presented.

07:08 PM, May 07, 2020
Shesha Kumar

S. Kalyanaraman
Sarasvati Research Centre
9 May 2020