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Tiny bronze boar with a karã̄ 'torc, bangle' on neck dug up in Cambridgeshire garden Indus Script hieroglyph signifies wood, iron artificer, khār 'blacksmith'

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https://metro.co.uk/2021/01/18/antiques-roadshow-guest-floored-by-value-of-statue-dug-up-in-garden-13924334/

I submit that the torc worn on the neck is like the torc of the person seated in penance on Gundestrup Cauldron. This, together with the boar hieroglyph are Indus Script hieroglyphs.

Detail from interior plate A. The seated Kernunnos holds a torc on his right hand.
See: 

https://tinyurl.com/yav9oxk3


Indus Script evidence Tvaṣṭṛ triśiras seal m304 is deciphered as wealth-accounting ledgers of metalwork catalogues. The text message of the seal includes

read rebus in Meluhha, from r.: aya kárṇaka 'fish, rim-of-jar' rebus: ayas kárṇaka'alloymetal, helmsman' karṇika 'scribe, accountant'. 


Model reconstructing the Pillar of the Boatmen in the Musée de Cluny. Kernunnos on the Boatmen pillar, Paris, ca. 1st cent. CE
Cernunnos sur le Pilier des nautesRelief of Cernunnos (the only one that uses this name) on the column dedicated by the boatmen of Paris to Emperor Tiberius andJupiter. Two torcs hang from his antlers. (Musée du Moyen-Âge at Cluny, Paris)
karnanov signified on the Pillar of Boatmen. 

Indus Script hieroglyphs (hypertext) Stalks as horns:  kāṇḍa 'stalk' (as horns) rebus: kāṇḍa 'implement'.

ΚΑΡΝΟΝΟΥ (Greek) karnonov to CARNONOS cognate कारणी 'supercargo' kāraṇīka 'helmsman'Indus Script


The torcs (rings) hung on the horns of the seated person: karã̄ n. pl. 'wristlets, bangles' rebus: khār 'blacksmith'


I suggest that the torcs of Kernunnos (cognate kárṇaka) are conclusive archaeological evidence which trace Kernunnos to the received, remembered, venerated tradition of Tvaṣṭṛ triśiras  (apart from complementary evidence from pictographs on Gundestrup Cauldron).Bronze-age metalwork technology transfers from ancient India to Japan & Slovakia are reinforced by Japanese and Slavic words.  The word med 'copper' in Slavic languages is cognate meḍ 'iron' (Mu.Ho.Santali of Indian sprachbund, 'speech union'). tatara 'smelter' (Japanese)  <  ṭhaṭṭhāra 'brass worker' (Prākr̥tam) (< is indicated as a possibile transfer mode in language contacts for metalwork technical gloss.) 

baḍhia 'boar' (Santali) rebus: badhi, baḍhoria, 'expert in working in iron and wood' baḍiga 'artificer' (Kannada)

(Kannada)









Copper mint smithy, forge; Civilizational Epigraphy, hieroglyph compositions on sculptures of Sarasvati-Sindhu Civilization

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https://tinyurl.com/y2tn8hot

Examples of copper mint smithy, forge; Civilizational Epigraphy, hieroglyph compositions on sculptures of Sarasvati-Sindhu Civilization

 څرخ ṯs̱arḵẖ, 'potter's wheel' (Pashto) arkasal 'goldsmith workshop'

Indus Script hieroglyphs: tāmarasa khambhaṛā 'lotus, fish-fin' rebus tāmra kammaṭa 'copper mint' kolom 'three' rebus kolimi 'smithy, forge'

Hadda, Afghanistan
https://www.facebook.com/ashokatheemperor/posts/1633187476866396

Decorations on hair knots; era 'woman' rebus: eraka 'metal infusion'

Image result for bent-bar punch-marked coin indiaImperial Punch Marked Coin Type 3

kolmo 'three' Rebus: kolimi 'smithy, forge' Hieroglyph: kāˊṇḍa (ṇḍá -- TS.) m.n. ʻ single joint of a plant ʼ AV., ʻ arrow ʼ MBh., ʻ cluster, heap ʼ (in tr̥a -- kāṇḍa -- Pā. Kāś.). [Poss. connexion with gaṇḍa -- 2makes prob. non -- Aryan origin (not with P. Tedesco Language 22, 190 < kr̥ntáti). Prob.  Drav., cf. Tam. ka ʻ joint of bamboo or sugarcane ʼ EWA i 197]

Pa. kaṇḍa -- m.n. ʻ joint of stalk, stalk, arrow, lump ʼ; Pk. kaṁḍa -- , °aya -- m.n. ʻ knot of bough, bough, stick ʼ; Ash. ka ʻ arrow ʼ, Kt. , Wg. kŕãdotdot;, Pr. kə̃, Dm. kā̆n; Paš. lau. ṇḍ, ar. , ku. kō̃, dar. ̄ṛ ʻ arrow ʼ, ̄ṛī ʻ torch ʼ; Shum. kō̃kō̃ ʻ arrow ʼ, Gaw. ṇḍ; Kho. kan ʻ tree, large bush ʼ; Bshk. ˋ'n ʻ arrow ʼ, Tor. kan m., Sv. ̄ṛa, Phal. , Sh. gil. kōn f. ( . kōn, pl. kāna f.), pales. ; K. ̄ḍ m. ʻ stalk of a reed, straw ʼ (kān m. ʻ arrow ʼ  Sh.?); S. kānu m. ʻ arrow ʼ, °no m. ʻ reed ʼ, °nī f. ʻ topmost joint of the reed Sara, reed pen, stalk, straw, porcupine's quill ʼ; L. kānã̄ m. ʻ stalk of the reed Sara ʼ, °nī˜ f. ʻ pen, small spear ʼ; P. kānnā m. ʻ the reed Saccharum munja, reed in a weaver's warp ʼ, kānī f. ʻ arrow ʼ; WPah. bhal. kān n. ʻ arrow ʼ, jaun. ̄ḍ; N. ̄ṛ ʻ arrow ʼ, °o ʻ rafter ʼ; A. ̄r ʻ arrow ʼ; B. ̄ṛ ʻ arrow ʼ,°ā ʻ oil vessel made of bamboo joint, needle of bamboo for netting ʼ, kẽiyā ʻ wooden or earthen vessel for oil &c. ʼ; Or. ṇḍāṛ ʻ stalk, arrow ʼ; Bi. ̄ṛā ʻ stem of muñja grass (used for thatching) ʼ; Mth. ̄ṛ ʻ stack of stalks of large millet ʼ, ̄ṛī ʻ wooden milkpail ʼ; Bhoj. kaṇḍā ʻ reeds ʼ; H. ̄ṛī f. ʻ rafter, yoke ʼ, kaṇḍā m. ʻ reed, bush ʼ ( EP.?); G. ̄ḍ m. ʻ joint, bough, arrow ʼ, ° n. ʻ wrist ʼ, °ī f. ʻ joint, bough, arrow, lucifer match ʼ; M. ̄ḍ n. ʻ trunk, stem ʼ, ° n. ʻ joint, knot, stem, straw ʼ, °ī f. ʻ joint of sugarcane, shoot of root (of ginger, &c.) ʼ; Si. kaaya ʻ arrow ʼ. -- Deriv. A. kāriyāiba ʻ to shoot with an arrow ʼ.ˊṇḍīra -- ; *kāṇḍakara -- , *kāṇḍārā -- ; *dēhīkāṇḍa -- Add.Addenda: kāˊṇḍa -- [< IE. *kondo -- , Gk. kondu/los ʻ knuckle ʼko/ndos ʻ ankle ʼ T. Burrow BSOAS xxxviii 55]S.kcch. ṇḍī f. ʻ lucifer match ʼ? (CDIAL 3023) *kāṇḍakara ʻ worker with reeds or arrows ʼ. [ˊṇḍa -- , kará -- 1]L. kanērā m. ʻ mat -- maker ʼ; H. kãerā m. ʻ a caste of bow -- and arrow -- makers ʼ.(CDIAL 3024) Rebus: लोखंडकाम (p. 723) [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.लोहोलोखंड (p. 723) [ lōhōlōkhaṇḍa ] n (लोह & लोखंड) Iron tools, vessels, or articles in general. khāṇḍa 'tools, metalware'.

The lozenge or oval shape has a unique significance in the context of crucible steel or cake of steel made in a crucible in ancient India.


kolmo 'three' Rebus: kolimi 'smithy, forge'. Hieroglyph: kuṭilá ʻbent, crookedʼ Rebus 1: kuila, katthīl = bronze (8 parts copper and 2 parts tin) Hieroglyph:goṭa a seed or berry. Rebus 2: khōa 'alloy ingot' (Marathi) Alternative reading: muh 'ingot' (Oval or lozenge-shape) PLUS 


kāˊṇḍa 'arrow' rebus: khāˊṇḍa  'equipment'.  Thus, the three ovels and three arrow signify smithy/forge (for) ingots and equipment. The dotted circle is: ya 'one in dice' rebus: dhāv 'ore' PLUS v r̥tta, vaṭṭa 'cirle' rebus together as an expression: dhāva 'smelter'.



M428 Mohenjo-daro. Sun's rays, hieroglyph on seal. arka 'sun, sun's rays' rebus: arka 'copper, gold', eraka 'molten cast'. Synonym of arkakunda'fine gold'. This pictograph is signified on the belly of the one-horned bull of a pectoral from Mohenjo-daro.


Sun hieroglyph: arka 'sun' rebus: erako 'moltencast' arka 'copper, gold'.                                                                                                         



Six spokes emanating from 'dotted circle' are topped with multiple counts (2 or 3 each) of ligatured hieroglyphs: arrow, loop (with variants of ovals, buds, fish, hour-glass, one-horned young bull). 
dula 'two' rebus; dul'metal casting' kolom 'three' rebus: kolimi 'smithy, forge' kaṇḍa 'arrow' rebus: kaṇḍa 'implements' kāca 'loop' rebus:kāsa 'bronze' mũh 'oval shape' rebus: mũh 'ingot' ayo 'fish' rebus: ayas 'metal alloy' aya 'iron' vajra (octagonal) samghāta 'adamantine glue', samgraha, samgaha 'arranger, manager'.



 څرخ ṯs̱arḵẖ, 'potter's wheel' (Pashto); eraka 'knave of wheel' rebus: arka, aka 'gold, copper'; eraka 'metal infusion' 

arā 'spoke' rebus: āra 'brass'


Find spots of ancient coins of India
Find spots of late hoards of India Punch-marked coins












JOURNAL ARTICLE
ELIZABETH ERRINGTON The Numismatic Chronicle (1966-) Vol. 163 (2003), pp. 69-121 
Image result for ancient india coin hoards map

Image result for ancient india coin hoards map

Monographs of Theobald (1890, 1901) list 342 symbols deployed on punch-marked coins. These symbols also survive on later coinages  of Ujjain or Eran or of many janapadas. One view is that early punch-marked coinage in Bharatam is datable to 10th century BCE, predating Lydia's electrum coin of 7th cent. BCE.  “The coins to which these notes refer, though presenting neither king’s names, dates of inscription of any sort, are nevertheless very interesting not only from their being the earliest money coined in India, and of a purely indigenous character, but from their being stamped with a number of symbols, some of which we can, with the utmost confidence, declare to have originated in distant lands and inthe remotest antiquity…The coins to which I shall confine my remarks are those to which the term ‘punch -marked’ properly applies. The ‘punch’ used to produce these coins differed from the ordinary dies which subsequently came into use, in that they covered only a portion of the surface of the coin or ‘blank’, and impressed only one, of the many symbols usually seen on their pieces…One thing which is specially striking about most of the symbols representing animals is, the fidelity and spirit with which certain portions of it may be of an animal, or certain attitudes are represented…Man, Woman, the Elephant, Bull, Dog, Rhinoceros,Goat, Hare, Peacock, Turtle, Snake, Fish, Frog, are all recognizable at a glance…First, there is the historical record of Quintus Curtius, who describes the Raja of Taxila (the modern Shahdheri, 20miles north-west from Rawal Pindi) as offering Alexander 80 talents of coined silver (‘signati argenti’). Now what other, except these punch-marked coins could these pieces of coined silver have been? Again, the name by which these coins are spoken of in the Buddhist sutras, about 200 BCE was ‘purana’, which simply signies ‘old’, whence the General argunes that the word ‘old as applied to the indigenous ‘karsha’,was used to distinguish it from the new and more recent issues of the Greeks. Then again a mere comparison of the two classes of coins almost itself suffices to refute the idea of the Indian coins being derived from the Greek. The Greek coins present us with a portrait of the king, with his name and titles in two languages together with a great number and variety of monograms indicating, in many instances where they have been deciphered by the ingenuity and perseverance of General Cunningham and others, the names of the mint cities where the coins were struck, and it is our ignorance of the geographical names of the period that probably has prevented the whole of them receiving their proper attribution; but with the indigenous coins it is far otherwise, as they display neither king’s head, neame, titles or mongrams of any description…It is true that General Cunningham considers that many of these symbols, though not monograms in a strict sense, are nevertheless marks which indicate the mints where the coins were struck or the tribes among whom they were current, and this contention in no wise invalidates the supposition contended for by me either that the majority of them possess an esoteric meaning or have originated in other lands at a period anterior to the ir adoption for the purpose they fulfil on the coins in Hindustan.” 

(W. Theobald, 1890, Notes on some of the symbols found on the punch-marked coins of Hindustan, and on their relationship to the archaic symbolism of other races and distant lands, Journal of the  Asiatic Society of Bengal, Bombay Branch (JASB), Part 1. History , Literature etc., Nos. III & IV, 1890, pp. 181 to 184) W. Theobald, Symbols on punch-marked coins of Hindustan (1890,1901). 

Itihāsa; chariot of Sinauli compared with Kausambi, Chanhudaro, Harappa, Ur, Elamite chariots

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-- Chariots used by Bhāratam Janam (RV 3.53.12)

Toy chariot from ancient city of Kausambi, the later capital of Kurus. It depicts a warrior on the side. Circa 1st century BCE.

Meluhha hieroglyph. Spoked wheel. Focus on the nave of wheel. Occurs four times on Dholavira sign board with ten hieroglyphs which adorned the northern gateway, as an advertisement hoarding, welcoming entry into the citadel.


Another prayer by Tukulti-Ninurta on a fire-altar:

Altar, offered by Tukulti-Ninurta I, 1243-1208 BCE, in prayer before two deities carrying wooden standards, Assyria, Bronze 

څرخ ṯs̱arḵẖ, s.m. (2nd) ( P چرخ ). 2. A wheeled-carriage, a gun-carriage, a cart. Pl. څرخونه ṯs̱arḵẖūnah. څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel (Pashto) āre 'potter's wheel' rebus: āra 'brass'; څرخ ṯs̱arḵẖ, 'potter's wheel'; arka 'sun's rays'; eraka 'knave of wheel' rebus: arka, aka 'gold, copper'; eraka 'metal infusion' 
Another view of the fire-altar pedestal of Tukulti-Ninurta I, Ishtar temple, Assur. Shows the king standing flanked by two standard-bearers; the standard has a spoked-wheel hieroglyph on the top of the staffs and also on the volutes of the altar frieze.The mediation with deities by king is adopted by Assurnasirpal II.
The two standards (staffs)  are topped by a spoked wheel. āra 'spokes' Rebus: āra 'bronze'. cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) Glyph: eraka

This rebus reading is consistent with the prayer offered to the karaṇḍa 'hard alloy'; karandi 'fire god' (Remo)

Glyphic element: erako nave; era = knave of wheel. Glyphic element: āra ‘spokes’. Rebus: āra ‘brass’ as in ārakūṭa (Skt.) Rebus: Tu. eraka molten, cast (as metal); eraguni to melt (DEDR 866) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tu.lex.) Glyphic element: kund opening in the nave or hub of a wheel to admit the axle (Santali) Rebus: kunda ‘turner’ kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295). 


arká1 m. ʻ flash, ray, sun ʼ RV. [√arc] Pa. Pk. akka -- m. ʻ sun ʼ, Mth. āk; Si. aka ʻ lightning ʼ, inscr. vid -- äki ʻ lightning flash ʼ.(CDIAL 624) அருக்கன் arukkaṉ, n. < arka. Sun; சூரி யன். அருக்க னணிநிறமுங் கண்டேன் (திவ். இயற். 3, 1).(Tamil) agasāle ‘goldsmithy’ (Kannada) అగసాలి [ agasāli ] or అగసాలెవాడు agasāli. n. A goldsmith. కంసాలివాడు. (Telugu) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) cf. eruvai = copper (Tamil) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tulu) Rebus: eraka = copper (Ka.) eruvai = copper (Ta.); ere - a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a = syn. erka, copper, weapons (Ka.) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) akka, aka (Tadbhava of arka) metal; akka metal (Te.) arka = copper (Skt.) erako molten cast (Tulu)  


करडी karaḍī ] f (See करडई) Safflower: also its seed.

Rebus: karaḍa 'hard alloy' of arka 'copper'. 

Photograph of excavation site. Shows three culd stands in situ in Room 6 of Ishtar temple of Tukulti-Ninurta I at Ashur. Courtesy: Vorderaslatisches Museum.



Andrae, 1935, 57-76, pls. 12, 30 1. Jakob-Rust, in Vorderaslatisches Museum 1992, 160, no. 103; Andrae, 1935, 16, figs. 2,3.

करंडा [karaṇḍā] A clump, chump, or block of wood. 4 The stock or fixed portion of the staff of the large leaf-covered summerhead or umbrella. करांडा [ karāṇḍā ] m C A cylindrical piece as sawn or chopped off the trunk or a bough of a tree; a clump, chump, or block.

Rebus: fire-god: @B27990.  #16671. Remo <karandi>E155  {N} ``^fire-^god''.(Munda)

[quote]Description: Although the cult pedestal of the Middle Assyrian king Tukulti-Ninurta mentions in its short inscription that it is dedicated to the god Nuska, the relief on the front that depicts the king in a rare kind of narrative, standing and kneeling in front of the very same pedestal was frequently discussed by art-historians. More strikingly on top of the depicted pedestal there is not the lamp, the usual divine symbol for the god Nuska, but most likely the representation of a tablet and a stylus, symbols for the god Nabû. (Klaus Wagensonner, University of Oxford)[unquote] http://cdli.ox.ac.uk/wiki/doku.php?id=pedestal_tukulti_ninurta

No, it is not a representation of a tablet and a stylus, but a chump, a block of wood, karaṇḍā read rebus: karandi 'fire-god' (Munda). Thus, the chump is the divine symbol of fire-god.

The hieroglyphs on the fire-altar confirm the link to metallurgy with the use of 'spoked-wheel' banner carried on one side of the altar and the 'safflower' hieroglyph flanking the altar worshipped by Tukulti-Ninurta. It is rebus, as Sigmund Freud noted in reference to the dream. 'I have revealed to Atrahasis a dream, and it is thus that he has learned the secret of the gods.' (Epic of Gilgamesh, Ninevite version, XI, 187.)(Zainab Bahrani, 2011, The graven image: representation in Babylonia and Assyria, Univ. of Pennsylvania Press, p. 185).
Sumerian war chariot on the Standard of Ur
Bronze chariot model ca. 2500-2250 BCE
Chariot box on Standard of Ur; chariot has solid wheels; chariot drawn by onagers.
Bronze chariot. Daimabad, Maharashtra. 2000 BCE?


The flow (diffusion) of the civilization is from Sarasvati basin to lower Sindhu areas and thereafter to upper Sindhu regions.
Elamite chariot ca 2500 BCE drawn by four onagers with primitive and painful harnessing. 


Bronze model of chariot-boxes, Chanhudaro, Harappa, ca. 2500 BCE


Sanauli chariot and suggested reconstruction:



Wheel of bronze age chariot discovered from Sanauli ca. 2000 BCE?



Painted decorations from some sites of Sarasvati Sindhu Civilization include Indus Script hieroglyphs read rebus in Meluhha

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https://tinyurl.com/y3fzlbam

Some Indus Script hieroglyphs identified on painted decorations on pottery are read rebus in Meluhha.

ranku 'antelope' rebus: ranku 'tin ore'

kuṭi 'tree' Rebus: kuṭhī 'warehouse, factory, smelter' 

poladu, 'black drongo' bird' rebus: poladu 'steel'.

maraka 'peacock' rebus: maraka loha 'copper alloy' marakaka 'copper alloy, calcining metal' 

kanga 'heron' rebus: kang 'portable brazier' (Kashmiri).

loa 'ficus glomerata' rebus: loh 'copper'

arka 'sun's rays' rebus: arka 'copper, gold' eraka 'metal infusion' 

 karã̄ n. pl. wristlets, banglesRebus: khãr 'blacksmith, iron worker' (Kashmiri).

Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn.(DEDR 2200) Rebus: ko  = artisan’s workshop(Kuwi)

khōṇḍa ‘leafless tree’ (Marathi). Rebus: kõdār’turner’ (Bengali)  कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) कोँद 'potter's kiln' (Kashmiri) kunda'fine gold'

khond 'square' rebus: koṇḍa 'fire trench with live coals' ; agnikunda 'sacred fire-altar'

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.)

pōḷa, 'Zebu, bos indicus' rebus: पोळ pōḷa, 'magnetite, ferrite ore.'

mūke 'flower-bud' rebus: mũh 'ingot'






Source: Painted Decorations on Pottery from Chalcolithic Sites of Gujarat: A Preliminary Study Authors: Preeti Panjwani, Bratati Sen

Abstract
Gujarat region's cultural conglomeration can be traced through decorative paintings on Harappan pottery and later Chalcolithic culture. These paintings are of variety of patterns constitute of motifs and elements like geometric, non-geometric, human, floral motif etc. Regularity of forms, outstanding symmetry between various component motifs, supplemented by the best rhythmic effect is clearly established by Harappan potters. The paintings demonstrate a remarkable blend of geometrical as well as natural motifs, rendering natural harmony to the subject. None of the motifs represent an isolated occurrence, but the entire repertoire of painted designs is found to continue, but of course with variations and modifications, in the cultures that succeeded the Harappa culture throughout India.
...

Almost all Harappan and affiliated sites show examples of horizontal lines and bands, viz. Dholavira, Surkotada, Lothal (Fig. 4), Rangpur, Rojdi (Fig. 3), Kuntasi, Nagwada, Padri, Somnath, Loteshwar, Moti Pipli, Mehgam, Telod, etc. Few examples exhibiting vertical lines and bands may be seen from Loteshwar, Padri, and Rojdi (phase 3, Mehgam, Telod, (Fig. 9) etc. Many times oblique, vertical, or wavy lines radiating from thick bands are also found.

Varieties in Composition (PLATES 23)

  1. Vertical lines suspended from or with horizontal lines to form register and space (Figs. 10, 11, 12).
  2. Oblique lines used for space filling (Fig. 13, 14), criss-cross oblique lines (Fig. 15); reported from Somnath, Rangpur, Amra (Fig. 16. 17), Kuntasi, Lothal, etc. At Somnath curved lines in-group were hatched.
  3. Lattice (Fig. 13, 14). – Each specimen is found at Surkotada, Somnath, and Rangpur.
  4. Ladder – generally drawn into two vertical or oblique lines filled with horizontal lines as its steps (Fig. 20). Such types are found in Gujarat only.

b) WAVY AND ZIGZAG LINES (PLATES 45)

Wavy lines possibly had their origin in the effort to produce ripples of meandering course of the rivers and zigzag in the undulating cliffs. Such motifs are useful and easy for covering large spaces as fillers and divider, it was also found on a number of pot-sherds from many Harappan as well as post- Harappan sites of Gujarat. e.g. from Lothal, Surkotada, Rangpur, Somnath, Amra, Lakhabawal, Mehgam, Telod, Bhagatrav, Jokha, Dhatwa, Loteshwar, Nagwada, etc.

Varieties in Compositions:

  1. Curvilinear from: Such types are found from Rangpur (Fig. 22), Somnath (Fig. 24), Surkotada (Fig. 23).
  2. Wavy lines in horizontal group: many times these lines are drawn close and many times at distance. These are found from quite a few sites in Gujarat (Fig. 25).
  3. Wavy lines in vertical group: These vertical wavy lines are found either within horizontal bands (Fig. 26), suspended from other side (Fig. 27), or drawn independently (Fig. 28). Sometimes scrolls are attached on both sides. Such specimens are found from Lothal, Rangpur (Fig. 29), Surkotada, and Rojdi.
  4. This type symbolizes range of hills and a rather a rare element (Fig. 30).
  5. Ripple like: Aspecial feature of the post- Harappan pottery of Gujarat. This is a typical motif at Surkotada and also found at Somnath during post- Harappan period.
  6. Step like wavy lines or oblique wavy lines: A single line of this type, produced the effect of step, but in a group it appears like a spring flowing down the hill-slope. Sometimes these wavy lines are drawn in the background of a triangle, symbolizing the mountain. e.g. From Rangpur, Surkotada, Somnath, Rojdi, Kuntasi, etc. (Figs. 31, 32)
  7. Thick wavy lines: Almost similar to the above motif only thicker and mostly found on big jars. (Fig. 34)
  8. Chevron pattern: This motif is not very common in Gujarat. Chevron is a band of inverted V-shaped design. It has been found from sites like Rangpur, Somnath, and also at Lothal and Padri. At Rangpur, it was found horizontally, giving the impression of mat. Vertical chevrons at regular intervals at Lothal Aand B are unique. (Fig. 35)

c) LOOPS (PLATES 678)

With the introduction of potters' wheel, the triangles and angular motifs steadily gave place to loops and curving elements. In Gujarat, although loops emerged as purely geometrical, but were also used as arch motifs for enclosing other motifs.

Varieties in Composition

  1. Loop with elevated curve: This has more curving elevation than angular. Such specimens are found at Lothal, Rangpur, Surkotada, Somnath, etc. (Fig. 40)
  2. Loop with low curve: Commonly found on most of the specimens from Gujarat. (Fig. 41)
  3. Drawn closely like fish-scale: Loops are drawn very closely as a result they form fish-scale pattern as seen on pottery from Rangpur, Somnath, Surkotada, Lothal, Kuntasi, Loteshwar. At Somnath this motif bears dots in it. (Fig. 42)
  4. Intersecting loops: They are found in plenty on the rim portions from Harappan and post- Harappan sites in Gujarat. (Fig. 43)
  5. Concentric loops: These are drawn in such a manner that the innermost loop is the smallest. But a number of inner loops vary. There may be one or many loops inside. Many times loops with cross-hatching filled with dots or horizontal or vertical lines are also found from sites like Rangpur, Surkotada, Lothal, Somnath, Rojdi, Kuntasi etc. (Figs. 44, 45, 46)
  6. Loops having a secondary purpose: (Figs. 47, 48)
    1. Loops are found in vertical as well as oblique lines.
    2. Loops work as a frame to enclose inner motifs, e.g. Sun, plant, dots in the circle, hatching, etc. During the post- Harappan period in Gujarat it was rarely observed.

d) TRIANGLES (PLATE 9)

Triangle is the basic geometric motif, representing hills or hillocks. It was even used in incised decorations before the use of the painted decoration. Triangles were represented in upright and pendent posture as locked, hatched or merely in linear positions. With the use of grid, triangle motif became rare in frequency and popularity. It was used for blocking the half of the diagonally bisected square or filling four triangles created by crossing the square diagonally the use of triangle in grid, gave rise to another motif known as 'Double-axe' or 'Butterfly motif'. At Rangpur, Lothal, Surkotada these were freely used in a vertical or horizontal zone as a filler or divider, otherwise this motif is rarely used in Gujarat. At Somnath, the triangles are shown with wavy lines or sun-motif (dot in circle), perhaps having a symbolic meaning, indicating sunrise. Another typical motif of the post- Harappan pottery found at Rangpur is the crosshatched triangles, with side scrolls were depicted.

Forms of Triangles:

  1. Equilateral (Fig. 53)
  2. Triangle with unequal sides (Fig. 54)
  3. Wavy lines triangle (Fig. 55)
  4. Alternatively filled and hatched (Fig. 56)
  5. Triangles forming battle axe pattern (Fig. 57)
  6. Concentric (Fig. 67)

e) SQUARES (PLATE 10)

Squares are represented as secondary motifs and mainly found to enclose other motifs like four-petal flowers, sun motif, opposite hatched triangle. Alternatively filled or hatched squares served the purpose of space fillers, also a basic form of grid decoration. Specimens of this type are found from sites like Rangpur, Surkotada, and Lothal.

Varieties in Composition

  1. Squares filled with cross-hatching and lattice. (Fig. 61)
  2. Squares with chequer pattern. (Fig. 61a)
  3. quares with hatched triangles or alternately filled. (Fig. 61b)
  4. Squares with four petal flowers. (Fig. 61c)

At Somnath a peculiar example of hatched square with one line on top, dots on each side, two links from each block crossing each other. These are symbolized human beings in-group dance with hands in hands.

f) CIRCLES AND DOTS (PLATE 11)

Circles and its formations require a special mention in the painted pottery of Gujarat. These are also used as space-fillers, as border, as separate motif, as enclosure etc.

Varieties in Composition

  1. Enclosure to inner motifs: In some cases circles are used to enclose motifs like sun, cross, triangles, etc. (Fig. 64)
  2. Close-circles forming net pattern: This pattern is found at Surkotada, where small circles are placed closely. At Somnath in the post- Harappan phase big circles with dots were placed closely as space fillers. (Fig. 66)
  3. Cross and obliquely hatched: This type of design is found at Surkotada, where two overlapping circles are obliquely hatched. At Lothal, one specimen is found to be joined by wavy lines and cross-hatching. (Fig. 67)
  4. Filled dots: This is founding abundance in both Harappan and post- Harappan phases, both in regular and irregular forms. Filled circles or dots joined by a straight line or many lines are found frequently at Rangpur, Somnath, Surkotada, Lothal, Rojdi, and Kuntasi etc. (Fig. 71)
  5. Hatched oval: This kind is found only at Surkotada. (Fig. 72)
  6. Volute and Spiral (PLATE 12): During Harappan period this was found on the inner side of a bowl at Surkotada, as an inner part of sun motif at Rangpur, and Surkotada. It is quite interesting that it does not occur further. (Fig. 73)
  7. Other patterns like intersecting circles producing rosette or flower like patterns are popular. (Fig. 74)

g) DIAMOND OR LOZENGE PATTERN (PLATE 13)

Any rhombus figure drawn vertically or horizontally is a diamond or lozenge. In Gujarat this motif appears very often in almost all Harappan and post-Harappan sites. These were used in the bands as borders drawn either vertically or horizontally or even as a series.

Varieties in Composition

  1. Curvilinear form: In this form two sides of a diamond are incurved in form and not angular in form. E.g. Surkotada. It was always vertical, filled with cross-hatching or straight lines or oblique strokes. (Fig. 77)
  2. Angular form: In this type the sides of a diamond are angular rather than being curvilinear. This is found in plenty from all the post- Harappan sites of Gujarat, placed either horizontally or obliquely. (Fig. 78, 79, 80, 81, 82)
  3. Diamonds with oblique and vertical wavy lines: This was the specialty of Gujarat, particularly found in panel motifs at Somnath. Here diamonds were drawn with vertical and oblique wavy lines in-group. (Fig. 83)
  4. Diamonds divided by cross line into four little diamonds: This as an important motif at Somnath, where the diamond was divided by an oblique cross into four little diamonds and then occasionally filled with dots. (Fig. 84)
  5. Diamond with dots: Such type of motif was found at Rangpur and Somnath, where a diamond was placed with a big dot and the background was hatched. (Fig. 23)
  6. Filled diamonds: It was a noteworthy motif at Lothal and Rangpur. At Rangpur filled diamond was found placed in the center of square.

II. NATURALISTIC MOTIFS:

Naturalistic motifs are the representations of the living world in graphic forms. They include vegetation (floral), birds and animals (faunal), and human motifs.

A) FAUNAL MOTIFS (PLATES 14151617)

Faunal motifs indicated from paintings where animals like bison, bull, etc. was drawn. Human figures are also found along with these animals, as in hunting scenes.

  1. Caprids (deer): Of all the animals this animal most fascinated the artists from Gujarat. Best examples are found from Lothal and Surkotada, where the deer is depicted in various forms, postures, and moods. The animal is depicted very realistictically with majestic horns and graceful neck and delicate legs, full of youth and sometimes also in natural mood. In the late and post- Harappan period, stylization of this motif appears as at Rangpur. (Fig. 86, 87)
  2. Bull: The Harappans of Gujarat although depicted the bull naturally on seals, yet rarely attempted to draw this animal on pottery. This motif appears only in the post-Harappan at Rangpur, which is not a very realistic representation. The face of the bull is visible, along with hump and muzzle and 'X' shaped horns. (Figs. 88, 89, 90)
  3. Fish: At Lothal artists' keen observation is reflected in the depiction of birds carrying fish in their beaks. Generally fish is shown associated with other motifs specially birds. In Gujarat we do not come across independent fish motifs. (Figs. 91, 92)
  4. Serpent: It is also a typical motif drawn on pottery of Gujarat and particularly at Lothal only. It is represented by a wavy line with a small blob representing the head at one end and the thinning line, the tail, on the other. (Fig. 93)
  5. Wolf: Wolf is also depicted rarely in a stylized form. It is shown under a tree. (Fig. 94)
  6. Crow: Crow is depicted only on a few specimens from Lothal. In one instance crow is shown on a big jar, on another side is a beautiful caprid. On another specimen, a whole group of crows is shown perched on a big tree, holding fish in their beaks. Few are flying and others are on the verge of flying. A jackal like animal is shown standing under a tree perhaps waiting for fish to drop from the beaks of crows. (Fig. 95)
  7. Duck, Crane and Heron: Potters seem to have executed all these birds, practically on all pottery types. In the Mature Harappan period they were realistically drawn, later they become stylized. Specimens from Surkotada and Rangpur are found. (Fig.LXIII, nos. 96, 97, 98, 99, 100)
  8. Peacock: Peacock is rarely represented, only found at Rangpur and Lothal. Here, the depiction is realistic, it is not graceful, and hence the effect is not pleasant. A painted jar from Lothal shows rosettes and superimposed rows of peacocks. (Fig. LXIV, nos. 102, 103)

B) FLORAL MOTIFS (PLATES 181920)

The Harappan potter painters were inspired by nature. It was possible to identify the palm-trees, neem trees, acacia, banana, or some other trees with broad leaves and above all Pipal tree, the ficus-religiosa. Some conventional plants with stylized leaves were present but subsidiary to realistic trees with beautifully swaying branches.

  1. Pipal tree or ficus-religiosa: It is one of the typical motifs found on the Mature Harappan painted pottery. It appears in both tree and mere leaf form. e.g. from Lothal and Surkotada. Leaves are always crosshatched. At Somnath, Rangpur, and Nagwada stylized leaves are found. (Figs. 104, 105, 106, 107)
  2. Palm or Acacia: This is the most popular form of vegetative motif depicted on the pottery of Gujarat. It is found in the form of a tree, in the form of a branch and in the stylistic and realistic forms. Some faunal motifs are also associated. (Figs. 109, 110)
  3. Banana or tree with big leaves: It is drawn generally in panel designs on big jars. It is shown unassociated with their big and long size. E.g. from Surkotada and Lothal. (Figs. 111, 112)
  4. Rosette or flowers: It may be either four petal or multi petals or dot tipped in form .in Gujarat both forms are found. First type is used as a space filler or panel design or fixed in square box, and always associated with sun motif. The second type is the tipped rosette motif found at Lothal, Rangpur, and Somnath .in this there is a dot in the center around which there are several dots and each dot is joined by a line. (Figs. 113, 114, 115)
  5. Lotus: In some instances from Lothal we come across full-blown lotus motif. (Figs. 116, 117)
  6. Wheat-chaff: It is a typical motif found only at Lothal, where a realistic representation is found drawn below the horizontal bands. (Fig. 118, 119)
  7. Besides the above reeds, leaves and weeds of various unidentified types are drawn on the pots, as found from Lothal, Rangpur, Surkotada, etc.
  8. Frods and scrolls: They are found abundantly from Surkotada, Lothal, and Rangpur. Some indicate oblique lines, or are obliquely hatched. Stylized specimens are found from Lothal and Rangpur. At some places these motifs are found attached with triangle. (Fig. LXVII, nos 120, 121, 122, 123)
  9. Stylized tree: Found only at Rangpur. The tree is shown with few vertical curved lines. In one case it is shown associated with an animal (caprid). (Fig. 124)

C) HUMAN MOTIF (PLATE 21A)

Purely human motifs are absent in the painted decorations of Gujarat. No human figure was depicted realistically. At Somnath stylized representations of a group dance is noticed, as mentioned earlier (Fig. 125, 126, 127). A unique human figure representation is found at Padri (PLATE 21A). It is a standing human male figure, crowned by a pair of large hatched horns and braided hair and wearing a garment represented by wavy lines (“grass-skirt”), which has been identified as “Lord of Beasts” (Shinde 1991).

III. OTHER SYMBOLS AND DESIGNS (Fig. LXVIII)

A) SUN MOTIF (PLATE 21)

Like the pipal leaf sun motif might be a religious symbol. The sun-motif was popular as pottery painting element, although gradually it took the form of bands. In the post- Harappan phase, sun was represented by only a filled dot. The panel design at Somnath shows a dot between triangles denoting “rising sun between two mountains.

Varieties in Composition

  1. Simple circular form: in this type, only a filled circle represents sun. (Fig. 130)
  2. Having concentric circles: This type signifies the motion in sun, when it glitters. Such specimens are found from Rangpur and Surkotada. (Fig. 131)
  3. With radiating rays in straight line: This is the most popular type of depiction, which signifies the mild form of sun, e.g. Lothal and Surkotada. This type is always associated with animals, birds, and plant life. (Fig. 132)
  4. With dot inside: It is another popular type found in Gujarat especially at Lothal. (Fig. 132)
  5. Sun with wavy line rays and spirals: This type is found painted in white on the inner surface of Black and red ware pot, while at Rangpur, it is found in lustrous red ware. (Fig. 133)
  6. Semi-circular form: This type of depiction is found in late and post- Harappan phase, indicating rising or setting sun. e.g. Rangpur on lustrous red ware. (Fig. 134)

B) HOOK OR ANCHOR MOTIF (PLATE 22)

It is so called because of its shape. This motif is found mainly at Somnath and on one specimen at Rangpur. It is analogue to the moustache-like motif from Kalibangan. Also a combination of hook, triangles and human motifs, although stylized are found.

Itihāsa. Kr̥ṣṇāvatāra ends, predicted by Gāndhāri's curse; exodus from Dwāraka, ca. 3102 BCE described in Mahābhārata

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The calamity of tsunami is described in MBh --co-terminus with the realization of Gāndhāri's curse of the end of  Kr̥ṣṇāvatāra iss narrated by Vaishampayana. 

The date of the event is close to the end of  Kr̥ṣṇāvatāra which is 3102 BCE, Kaliyugābda.

Vaishampayana said: “While the Vrishnis and the Andhakas were thus endeavouring (to avoid the impending calamity), the embodied form of Time (death) every day wandered about their houses. He looked like a man of terrible and fierce aspect. Of bald head, he was black and of tawny complexion. Sometimes he was seen by the Vrishnis as he peered into their houses. The mighty bowmen among the Vrishnis shot hundreds and thousands of shafts at him, but none of these succeeded in piercing him, for he was none else than the Destroyer of all creatures. Day by day strong winds blew, and many were the evil omens that arose, awful and foreboding the destruction of the Vrishnis and the Andhakas. The streets swarmed with rats and mice. Earthen pots showed cracks or broke from no apparent cause. At night, the rats and mice ate away the hair and nails of slumbering men. Sarikas chirped, sitting within the houses of the Vrishnis. The noise made by those birds ceased not for even a short while by day or by night. The Sarashas were heard to imitate the hooting of the owl, and goats imitated the cries, O Bharata, of jackals. Many birds appeared, impelled by Death, that were pale of complexion but that had legs red of hue. Pigeons were seen to always disport in the houses of the Vrishnis. Asses were born of kine, and elephants of mules. Cats were born of bitches, and mouse of the mongoose. The Vrishnis, committing sinful acts, were not seen to feel any shame. They showed disregard for Brahmanas and the Pitris and the deities, They insulted and humiliated their preceptors and seniors. Only Rama and Janardana acted differently. Wives deceived their husbands, and husbands deceived their wives. Fires, when ignited, cast their flames towards the left. Sometimes they threw out flames whose splendour was blue and red. The Sun, whether when rising or setting over the city, seemed to be surrounded by headless trunks of human form. In cook rooms, upon food that was clean and well-boiled, were seen, when it was served out for eating, innumerable worms of diverse kinds. When Brahmanas, receiving gifts, blessed the day or the hour (fixed for this or that undertaking) or when high-souled men were engaged in silent recitations, the heavy tread was heard of innumerable men running about, but no one could be seen to whom the sound of such tread could be ascribed.

The constellations were repeatedly seen to be struck by the planets. None amongst the Yadavas could, however, obtain a sight of the constellation of his birth. When the Panchajanya was blown in their houses, asses of dissonant and awful voice brayed aloud from every direction. “Beholding these signs that indicated the perverse course of Time, and seeing that the day of the new moon coincided with the thirteenth (and the fourteenth) lunation, Hrishikesa, summoning the Yadavas, said unto them these words: The fourteenth lunation has been made the fifteenth by Rahu once more. Such a day had happened at the time of the great battle of the Bharatas. It has once more appeared, it seems, for our destruction. “The slayer of Keshi, Janardana, thinking upon the omens that Time showed, understood that the thirty-sixth year had come, and that what Gandhari, burning with grief on account of the death of her sons, and deprived of all her kinsmen, had said was about to transpire. The present is exactly similar to that time when Yudhishthira noted at such awful omens when the two armies had been arrayed in order of battle.

Vasudeva, having said so, endeavoured to bring about those occurrences which would make Gandharis words true. That chastiser of foes commanded the Vrishnis to make a pilgrimage to some sacred water. The messengers forthwith proclaimed at the command of Keshava that the Vrishnis should make a journey to the sea-coast for bathing in the sacred waters of the ocean.”

After Kr.s.n.a’s soul departs the mortal body---

विवृद्धमूषका रथ्या विभिन्नमणिकास तथा
      चीची कूचीति वाश्यन्त्यः सारिका वृष्णिवेश्मसु
      नॊपशाम्यति शब्दश च स दिवारात्रम एव हि
अनुकुर्वन्न उलूकानां सारसा विरुतं तथा
      अजाः शिवानां च रुतम अन्वकुर्वत भारत (MBh., Mausala, 2.5 to 2.7)

Streets swarmed with rats and mice, earthen pots showed cracks or were broken from no apparent cause, sarika_s chirped ceaselessly day and night, sa_ras hooted like owls, goats cried like jackals, pigeons departed from their homes, and asses brayed aloud in disconsonant and awful voices (Ganguly, 1998).

निर्याते तु जने तस्मिन सागरॊ मकरालयः
दवारकां रत्नसंपूर्णां जलेनाप्लावयत तदा (MBh., Mausala, 7.41)
तद अद्भुतम अभिप्रेक्ष्य दवारकावासिनॊ जनाः
तूर्णात तूर्णतरं जग्मुर अहॊ दैवम इति बरुवन (MBh., Mausala, 7.43)

The sea, the abode of monsters, engulfed the gem-filled Dwāraka with waves soon after the people departed the place. Seeing this astounding incident, the citizens of Dwāraka ran away, exclaiming, ‘O, our fate’. (Ganguly, 1998).

After the submergence of Dwāraka, Arjuna encamped in pañcanad region.

sa pañcanadam āsādya dhīmān atisamṛddhimat

deśe gopaśudhānyāḍhye nivāsam akarot prabhuḥ [Mahabharata: 16-8-43]

“Arrived at the country of the five waters, the puissant Dhananjaya planted a rich encampment in the midst of a land that abounded with corn and kine and other animals”.

Location of Mul Dwāraka

Arjuna Wijaya monument in JakartaIndonesia
Reference to Dwāraka as Tuvarai in an ancient Sangam text

Ayasipur is a Vedic expression. अयस् n. iron , metal RV. &c अयस्मय (अयोमय) a. (-यी f.) Ved. Made of iron or of any metal. -यी N. of one of the three habita- tions of Asuras. pur पुर् f. (Nom. sing. पूः; instr. du. पूर्भ्याम्) 1 A town, fortified town; thus ayasipur refers to a fortification made of stone or metal. (पूरण्यभिव्यक्तमुखप्रसादा R.16.23)

துவரை² tuvarain. See துவாரகை. உவரா வீகைத் துவரை யாண்டு (புறநா. 201). துவாரகை tuvārakain. < dvārakā. The capital of Kṛṣṇa on the western side of Gujarat, supposed to have been submerged by the sea, one of catta-puri, q. v.; சத்தபுரியுளொன் றாயதும் கடலாற்கொள்ளப்பட்ட தென்று கருதப்படுவதும் கண்ணபிரான் அரசுபுரிந்ததுமான நகரம்.

This Vedic expression āyasipur is consistent with the description of Dwāraka in Puṟanāṉūru as a fortification with walls made of copper (metal).

இவர் யார் என்குவை ஆயின் இவரே
ஊருடன் இரவலர்க்கு அருளித் தேருடன்
முல்லைக்கு ஈத்த செல்லா நல்லிசை
படுமணி யானைப் பறம்பின் கோமான்
நெடுமாப் பாரி மகளிர் யானே
தந்தை தோழன் இவர் என் மகளிர்
அந்தணன் புலவன் கொண்டு வந்தனனே
நீயே வட பால் முனிவன் தடவினுள் தோன்றிச்
செம்பு புனைந்து இயற்றிய சேண் நெடும் புரிசை
உவரா ஈகைத் துவரை யாண்டு
நாற்பத்து ஒன்பது வழி முறை வந்த
வேளிருள் வேள விறல் போர் அண்ணல்
தார் அணி யானைச் சேட்டு இருங்கோவே
ஆண் கடன் உடைமையின் பாண் கடன் ஆற்றிய
ஒலியற் கண்ணிப் புலிகடிமாஅல்
யான் தர இவரைக் கொண்மதி வான் கவித்து
இரும் கடல் உடுத்த இவ் வையகத்து அரும் திறல்
பொன்படு மால் வரைக் கிழவ வென் வேல்
உடலுநர் உட்கும் தானைக்
கெடல்அரும் குரைய நாடு கிழவோயே !

If you ask who they are, they are his daughters,
he who granted cities to those who came in need
and earned great fame for gifting
a chariot to the jasmine vine to climb,
he who owned elephants with jingling bells,
the lord of Parampu, the great king Pāri.
They are my daughters now.
As for me, I am their father’s friend, a Brahmin,
a poet who has brought them here.

You are the best Vēlir of the Vēlir clan,
with a heritage of forty nine generations of Vēlirs
who gave without limits,
who ruled Tuvarai with its long walls that
seemed to be made of copper, the city that
appeared in the sacrificial pit of a northern sage (Yaja).
King who is victorious in battles!


Great king with garlanded elephants!
Pulikatimāl with a bright garland
who knows what a man’s responsibility is,
and what you can do for bards!
I am offering them. Please accept them.
Lord of the sky high mountain that yields gold!
You whose strength cannot be equaled on the earth
that is covered by an arched sky and surrounded
by the ocean, you whose army puts fear into
enemies with victorious spears!
O ruler of a land that can never be ruined!

Irunkovel is supposed to be 49th generation of a king from (Tuvarai) Dwāraka. It can mean two things. Assuming about 50 years per generation, about 2500 years earlier Dwāraka which had walls made of copper. Dating the early phase of Sarasvati-Sindhu civilization to ca. 3500 BCE, and the submergence of Dwāraka to ca. 3100 BCE , which necessitated the movements of Sarasvati's children down the coastline to Kerala, this text places Sangam literature text of Puṟanāṉūru to ca. 400 BCE.

(Source: http://historum.com/asian-history/76340-satyaputras-earliest-indo-aryanizers-south-india-3.htmlMigration from Tuvarai (Dwāraka) is attested in a 12th century inscription (Pudukottai State inscriptions, No. 120) cited by Avvai S. Turaicaami in Puranānuru, II (SISSW Publishing Soc., Madras, 1951). துவரை மாநகர் நின்ருபொந்த தொன்மை பார்த்துக்கிள்ளிவேந்தன் நிகரில் தென் கவரி நாடு தன்னில் நிகழ்வித்த நிதிவாளர் 



Itihāsa. Sarasvati River Basin sites are over 80% of all sites of the Civilization

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अम्बितमे नदीतमे देवितमे सरस्वति |
''Best mother, best river, best goddess, Sarasvatī—''
– Rigveda 2.41.16
Why the Rigvedic rishis/ sages said so? Well... here is a reason:
See the map below, the map shows the distribution of Harappan sites. Note the magnificent amount of concentration, of Harappan sites, detected along Sarasvati River (Modern Ghaggar-Hakra). River Sarasvati was just not the life force of the glory of Vedic Arya Civilization, but also of the great Harappan Civilization. So, when ~4000 years ago, she started to fade, the great civilization also couldn't remain and slowly transformed...
Map via 
Krishnendu Das

Map reference: Joshi JP, Bisht RS (1994) India and the Indus civilization. National Museum Institute, New Delhi. 

Shortugai linked to Aral through Oxus? Indus Seal found at Shortugai is metal bar (ingot) equipment

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https://tinyurl.com/yyqub9wn

Shortugai site was discovered in 1976 and, since then, excavators were able to find carnelian and lapis lazuli beads, bronze objects, terracotta figurines. Other typical finds of the Indus Valley Civilization include one seal with a short inscription and a rhinoceros motif, clay models of cattle with carts and painted pottery. (Henri-Paul Francfort: Fouilles de Shortughai, Recherches sur L'Asie Centrale Protohistorique Paris: Diffusion de Boccard, 1989, pl. 75, no.7; pl. 81, 82; pl. 59, 61; Robinson, Andrew (2015). The Indus: Lost Civilizations. London: Reaktion Books. p. 92.

Location of Shortugai


Sami William Devinck

This area which, according to Ellsworth Huntington's theory, was navigable from start to finish during the Bronze Age and the Neolithic. Note that the map does not represent the Murghab river which led to Gonur Tepe. According to this theory one could sail from Hindu Kush to the Black Sea, it would have been the first "silk road" in history, even if the silk was not yet sold there. I come back again to Shortugai, which seems to have had a large port facility on the satellite photos

Shortugai was a trading outpost of Sarasvati Civilization, in the context of the Ancient Maritime Tin Route of 3rd millennium BCE. “Another source of gold was along the Oxus river valley in northern Afghanistan where a trading colony of the Indus cities has been discovered at Shortughai. Situated far from the Indus Valley itself, this settlement may have been established to obtain gold, copper, tin and lapis lazuli, as well as other exotic goods from Central Asia.” (JM Kenoyer, 1998, Ancient Cities of the Indus Valley Civilization, OUP, p.96)


Shortugai (Shortughai) was an Indus Valley Civilization trading colony established around 2000 BC on the Oxus river (Amu Darya) near the lapis lazuli mines in northern Afghanistan. It is considered to be the northernmost settlement of the Indus Valley Civilization. According to Bernard Sergent, "not one of the standard characteristics of the Harappan cultural complex is missing from it".
The town consists of two hills called A and B by the excavators. One of them was once the town proper, the other one the citadel. Each of them is about 2 hectares large.
Typical finds of the Indus Valley Civilization include one seal with a short inscription, clay models of cattle with carts and painted pottery. Pottery with Harappan design, jars, beakers, bronze objects, gold pieces, lapis lazuli beads, other types of beads, drill heads, shell bangles etc. are other findings. Square seals with animal motiff and script confirms this as a site belonging to Indus Valley Civilisation (not just having contact with IVC). Bricks had typical Harappan measurements.
Shortugai was a trading post of Harappan times and it seems to be connected with lapis lazuli mines located in the surrounding area. It also might have connections with tin trade (found at Afghanistan) and camel trade.
This is an Indus Script seal discovered in Shortugai Francfort: (Fouilles de Shortughai, pl. 75, no. 7)

Decipherment of the Indus Script inscription of Shortugai:  The unique hypertext of Sign 430 on Shortugai seal also occurs on other inscriptions of Sarasvati Civilization.

Decipherment of Sign 190

Sign 190 is read as four 'twigs' in a watery-field:

A suggested Meluhha rebus reading: Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.

Alternative reading: कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 कौशिक-सूत्र, according to Sāyaṇa. = बदरी, "Christ's thorn")(Monier-Williams)
 kūdī 'bunch of twigs' (Sanskrit) rebus: kuhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements.  Alternative: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.

Sign 190 which appears on Shortugai seal has a number of variants in other inscriptions: 




 The Indus Script inscriptions which appear with Sign 190 on seals and on copper tablets are shown below together with their decipherment as metalwork catalogues, wealth-accounting ledgers.


Shortugai sealMohenjo-daro seal

Mohenjo-daro copper plate

Mohenjo-daro copper plate

Mohenjo-daro copper plate

Mohenjo-daro copper plate

Mohenjo-daro seal
m02182175 Seal M-218 with inscription. Sign 190 
Sign 69   aya 'fish' rebus: aya 'iron' ayas 'alloy metal'. 
Sign 176
khareḍo 'a currycomb (Gujarati) Rebus: karaḍā खरडें 'daybook, wealth-accounting ledger'. Rebus: kharādī ' turner' (Gujarati). 


See: 

 https://tinyurl.com/y8jernfy


Note: Signs and Sign Numbers used in this monograph are from 1977 Archaeological Survey of India Memoir, also called Mahadevan Concordance.

Sign 331 Variants of Sign 331 The ligature of this unique pictorial motif with the rimless pot is significant. The rimless pot signifies baṭa 'rimless pot' rebus:bhaṭa 'furnace'. The ligaturing sign is Sign 169
Variants of Sign 169I suggest that the ligaturing sign is a semantic determinant of bhaṭa 'furnace' to emphasise that what is signified is a smelter furnace. In one alternative reading: Sign 169 signifies. kūdī 'bunch of twigs' (Sanskrit) rebus: kuhi 'smelter furnace' (Santali) Alternartive: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
The same semantic significance is seen in another ligature of Sign 190. 

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

Shortugai, Bactria (Jarrige 1984) h-48A kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Alternative: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
Thus, the hypertext signifies smelter implements.  Field symbol:gaṇḍa 'rhinoceros'; rebus:khaṇḍa 'tools, pots and pans .
m-2047 AB kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Alternative: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
Thus, the hypertext signifies smelter implements. Field symbol: kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'.

n-1498AB (Copper tablet) m-543A (Copper tablet)Field symbol: roo, pattar 'feeding trough' rebus paṭṭī 'inventory' పట్ర para, patta'village, hamlet, maritime town' pāan; pattar 'goldsmith guild' PLUS कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' PLUS Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: me (Ho.); mhet 'iron' (Munda.Ho.) med 'copper' (Slavic languages)
 kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Alternative: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
Thus, the hypertext signifies smelter implements. PLUS barao 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi).PLUS  khār  खार 'backbone, spine' rebus: khār खार्'blacksmith' (Kashmiri) PLUS bhaa 'warrior' rebus: bha'furnace'. कर्णक káraka, 'rim of jar',  karaī'scribe, supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.', kañi-āra 'helmsman'.PLUS गोटी [ ī ] f (Dim. of गोटा) A roundish stone or pebble.rebus:  गोटी [ī ] 'A lump of silver'.
m-546A (Copper tablet) kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. Alternative: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
PLUS barao 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi).PLUS  khār  खार 'backbone, spine' rebus: khār खार् 'blacksmith' (Kashmiri) This could be a semantic re-inforcement, determinative of with bharat khār blacksmithy work (on) mixed alloys.

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

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

 


The locus of the Sarasvati Civilization sites on the Sarasvati River Basin extending into the Ganga-Yamuna doab (typical site: Alamgirpur) are presented in the following maps. The monograph discusses a unique hypertext of Sign 190 found on six inscriptions of the Sarasvati Civilization:


Sign 190 is read as four 'twigs' in a watery-field: kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements.  Alternative: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.

Variants of Sign 190 (as reported by Wim Borsboom) and by Mahadevan
Variants of Sign 169

Even though the Sign 169 may be a variant of Sign 162, alternative reading is suggested because this hieroglyph is quadrupled in a unique hypertext discussed in this monograph.
Sign 162 is translated as kolmo 'rice-plant' rupaka 'metapor' of rebus: kolimi 'smithy, forge'.
Sign 169 is translated as kūdī rupaka 'metapor' of rebus: kuhi, 'smelter'.

Thus, a clear distinction may be drawn that Sign 162 signifies metal used in smithy/forge while Sign 169 signifies metal produced out of a smelter.

If interpretedd as a sprout, the reading is: sprouts (in watery field), twigs: kūdī 'bunch of twigs' (Sanskrit) rebus: kuhi 'smelter furnace' (Santali). 
कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 
कौशिक-सूत्र, according to Sāyaṇa. = बदरी, "Christ's thorn")(Monier-Williams)
Sign 169 may be a variant of Sign 162. Sign 162 is kolmo 'rice plant' rebus: kolimi 'smithy, forge'.  Both signs are circumscripted by an oval or lozenge-shaped glyph, Signs 387 and 389: the hypertexts are read: Sign 387 kolimi mũhã̄ 'smithy/forge ingot'. Sign 389 kuhi mũhã̄ , 'smelter ingot'
Lothal 97 seal Text kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS kolom 'three' rebus: kolami 'smithy, forge' PLUS dula 'two' rebus: dul 'metal casting'. 
 
The circumscript  has the shape of oval or lozenge is the shape of a bun ingot.
mũhã̄ = the quantity of iron produced atone time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed likea four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes andformed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt komūhā akata = the Kolhes have to-day produced pig iron (Santali). Thus, Sign 373 signifies word, mũhã̄ 'bun ingot'. 

h-48A kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements.  Alternative: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
Field symbol: कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' PLUS sangaa 'lathe, portable brazier' PLUS  [ kammaṭamu ] Same as కమటము 'portable furnace' rebus: sangarh 'fortification', sangar 'trade', kamma'mint, coiner, coinage'. 
Shortugai, Bactria (Jarrige 1984) h-48A kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements.  Field symbol:gaṇḍa 'rhinoceros'; rebus:khaṇḍa 'tools, pots and pans . Alternative: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.

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

n-1498AB (Copper tablet) m-543A (Copper tablet)Field symbol: pāṭroṛo, pattar 'feeding trough' rebus paṭṭī 'inventory' పట్ర paṭra, patta'village, hamlet, maritime town' pāṭan; pattar 'goldsmith guild' PLUS कोंद kōnda 'young bull' rebus: कोंद kōnda 'engraver, turner, smelter.' कोंद kōnda 'kiln, furnace' PLUS Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.) med 'copper' (Slavic languages)
 kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. Alternative: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
 PLUS baraḍo 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi).PLUS  khār  खार 'backbone, spine' rebus: khār खार् 'blacksmith' (Kashmiri) PLUS bhaa 'warrior' rebus: bha'furnace'. कर्णक kárṇaka, 'rim of jar',  karaṇī'scribe, supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.', kañi-āra 'helmsman'.PLUS गोटी [ gōṭī ] f (Dim. of गोटा) A roundish stone or pebble.rebus:  गोटी [gōṭī ] 'A lump of silver'.
m-546A (Copper tablet) kolom 'three' rebus: kolimi 'smithy, forge' PLUS kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali) PLUS gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' khaṇḍa 'implements, metalware'. Thus, the hypertext signifies smelter implements. Alternative: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
PLUS baraḍo 'spine, backbone' rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi).PLUS  khār  खार 'backbone, spine' rebus: khār खार् 'blacksmith' (Kashmiri) This could be a semantic re-inforcement, determinative of with bharat khār blacksmithy work (on) mixed alloys.

Referenced without comment, leaving the reader to judge the validity of the divergent translation/decipherment claims. See variant readings by Wim J Borsboom:
https://www.academia.edu/7751469/Decipherment_Interpretation_and_Translation_of_Indus_Script_Sign_430_Sinha  "Decipherment, Interpretation and Translation of Indus Script Sign 430 (Sinha) "The Indus Script sign  430 (Sinha), consisting of four vertical uprights that look like sticks/twigs/branches and a number of cross-wise horizontals that look like woven-like twigs, had been identified by S. M. Sullivan in her “Indus Script Dictionary” (2011) as the phoneme ‘gat’, which together with ‘ja’ forms the Sanskrit word ‘jagat’ - ‘world’, ‘people’. Instead, I propose that it stands for the Sanskrit phoneme ‘gar’, as in ‘-nagar’, ‘garta’ - area, place (SP) and ‘gada’ - ‘fence’, ‘screen’, ‘enclosure’, (phonologically, the ‘d’ and ‘r’ are interchangeable). The grapheme resembles the way ‘wattle & daub’ walls and fences were constructed out of woven twigs." - Wim J Borsboom
Lothal 97 seal Text kūdī 'bunch of twigs' (Sanskrit) rebus: kuhi 'smelter furnace' (Santali) PLUS kolom 'three' rebus: kolami 'smithy, forge' PLUS dula 'two' rebus: dul 'metal casting'. Alternative: kor̤u 'sprout' Rebus: kor̤u'bar of metal'

https://www.facebook.com/groups/416065382227600/

 m0596Atm0596Bt 3313
Tablet M-596, B side with single-sign inscription
Sign 346 = Sign 342 PLUS duplicated ‘three linear strokes’
PLUS duplicate ‘splinters’

Sign 342  'rim-of-jar'कर्णक m. (ifc. f(आ).) a prominence or handle or projection on the side or sides (of a vessel &c ) , a tendril S3Br. Ka1tyS3r. Rebus: कर्णिक having a helm; a steersman; m. pl. N. of a people VP. (Monier-Williams) rebus:karṇī 'supercargo', 'engraver' (Marathi) .
Sign 389Sign 389,  bun-ingot shape (oval) + 'twig', i.e. ingots produced from a smelter. This indicates that copper plates on which this hypertext occurs with high frequency are accounting ledgers of products produced from a smelter.  The message is ingots from smelter.
कूदी[p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 कौशिक-सूत्र, according to Sāyaṇa. = बदरी, "Christ's thorn")(Monier-Williams) 
kūdī 'bunch of twigs' (Sanskrit) rebus: kuhi 'smelter furnace' (Santali). Alternative: kor̤u 'sprout' Rebus: kor̤u'bar of metal'

Sign 72Modifier on Sign 72: sloping stroke: ḍhāḷiyum = adj. sloping, inclining (G.) The ligatured glyph is read rebus as: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati). Sign 59 aya 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, Sign 72 is a hypertext to signify: alloy metal ingot.
Sign 326 loa 'ficus glomerata' rebus: loh 'metal, copper'
Sign 342 'rim-of-jar'कर्णक m. (ifc. f(आ).) a prominence or handle or projection on the side or sides (of a vessel &c ) , a tendril S3Br. Ka1tyS3r. Rebus: कर्णिक having a helm; a steersman; m. pl. N. of a people VP. (Monier-Williams) rebus:karṇī 'supercargo', 'engraver' (Marathi) .

Ligatured ‘rim-of-jar’ appears on copper tablets.  This same inscription appears on tablets designated A2, where an iconic animal takes the place of ligatured ‘rim-of-jar’ sign.  This animal is a composite, with a bovine body and bearing short, curved horns, but with an apparent tiger’s tail.  Parpola interprets this juxtaposition as indicating the sign represents the animal.

Tvaṣṭṛ takṣa 'engraver' is creator of takṣat vAk 'engraved speech'.  Takṣa has made a significant contribution to the abhyudayam, 'welfare' of people: by creating a writing system which revolutionized and intensified peoples' contacts and resulted in exchanges of ideas and archaeometallurgical and other technological inventions for the benefit of mankind. 


A unique feature of Mohenjo-daro inscriptions is that over 260 inscriptions (out of a total of 2951) are on copper tablets both engraved and painted. (See 262 tablets analysed in: Franke-Vogt, U. 1990. Die Glyptik aus Mohenjo-Daro. Uniformität und Variabilität in der Induskultur: Untersuchungen zur Typologie, Ikonographie und räumlichen Verteilung, I-III. Ph.D. dissertation, Freien Universität Berlin. [Published in 1992 in two parts as volume 13 in the series Baghdader Forschungen]. 

In addition, tens of inscriptions are written (in ferrous oxide red or white paint) on metal implements. Mackay (1938, Further excavations at Mohenjo-daro, p. 364) explained the red colour on the tablets: “After cleaning, if the tablet is not too corroded, the animal or inscription, as the case may be, appears in faint dark red lines upon the lighter red of the copper, the incisions being filled in with cuprous oxide.” Silver stamp seals are with intaglio text and iconography.

Copper tablets mostly rectangular in shape range in size from 1.2X0.5 in. to 1.5x1.0 in. They vary in thickness from -.07 in. to 0.12 in. The incised hypertext (hieroglyph compositions) inscriptions are cut with a burin.

Hypertexts include pictorial motifs of: elephant, antelope (with head turned to look behind), hare, rhinoceros, buffalo, short-horned bull, archer, goat, bos indicus (zebu), tiger, two-headed animal, composite animal (hind-quarters of a rhinoceros and fore-quarters of a leopard or tiger with the horn of a young bull with a standard device in front, body of antelope with a head on either end, monkey(?), rope pattern (endless knot motif).

Mohenjo-daro Copper plates with inscriptions

--An analysis of 205 copper tablets made by Asko Parpola (1973)

Note: Set A2 (six copper plates) have a pictorial motif of a composite animal on one side and an inscription on the obverse. The same inscription occurs on Set C4a (six copper plates) which have a ligatured sign Sign 

The unique infixed ligatures to the 'rim-of-jar' hieroglyph Sign 342
are: pair of three linear strokes and a pair of 'twigs' joined together. The rebus readings are: kolmo 'three' rebus: kolimi 'smithy, forge'. 
कूदी[p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 कौशिक-सूत्र, according to Sāyaṇa. = बदरी, "Christ's thorn")(Monier-Williams) 
kūdī 'bunch of twigs' (Sanskrit) rebus: kuhi 'smelter furnace' (Santali). Alternative: kor̤u 'sprout'Rebus: kor̤u'bar of metal'
Thus, the composite hypertext of Sign 346 signifies: 

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

Note: It is clear that the bunch of twigs ligatured on Sign 346 signify 
कूदी[p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 कौशिक-सूत्र, according to Sāyaṇa. = बदरी, "Christ's thorn")(Monier-Williams) 
kūdī 'bunch of twigs' (Sanskrit) rebus: kuhi 'smelter furnace' (Santali). Alternative: kor̤u 'sprout'Rebus: kor̤u'bar of metal'


The dual of a pair of three linear strokes: dula 'pair' rebus: dul 'metal casting' PLUS kolmo 'three' rebus: kolimi 'smithy, forge'. The inscripted ligatured pair of 'three linear strokes' signifies metal casting smithy/forge.

Thus, together Sign 346 is a reading of a steersman, helmsman carrying and responsible as a seafaring merchant to manage the cargo metal products out of a smelter, smithy, forge.

The composite animal pictorial motif on set A2 (six copper plates) is an antelope which looks back and with a tail shaped like a cobra hood. 

The readings of the hieroglyphs are: ranku 'antelope' rebus: ranku 'tin' PLUS krammara 'look back' rebus: kamar 'blacksmith' PLUS phaḍa 'cobrahood' rebus: phaḍa 'metals manufactory. Thus, the pictorial motif signifies blacksmith's tin and other alloy metal products out of a manufactory.


Sami William Devinck
Posted on Facebook Feb. 10, 2019
The shortugai site and Ellsworth Huntington's theoryAccording to the theory of this American geologist, there are still 3000 years water levels in the Caspian Sea and Aral were still so high in Central Asia, the Oxus River had a flow rate so much greater than it was possible that goods are sailing from Shortugai to the Black Sea. A waterway called Greeks Phase River, also connected the Caspian Sea to the Black Sea, and that since the Neolithic and the creation of it there 7500 BP.

On the satellite photos one sees perfectly the old bed of the river, dating 2200 BCE according to the rare studies. And we also see a huge circular structure that looks like an old port. Too bad the French teams led Henri Paul Frank did not go further in their search in this region. Nevertheless genetic studies of ancient burials show a strong Indian presence in the former Bactrio-margian space, I believe that one has not yet understood yet the full extent of the Indian economy of the Bronze Age ...
Note that the Greeks of the classical period have sought this waterway, especially in the time of Alexander, but it did not exist already at that time ... 
And that according to Russian archaeologists this region around shortugaï would be the birthplace of the prophet Zarathustra around 2000 BCE, a region strongly influenced by ancient India.

I also put on line a rare document of the old channels dating from the 3rd and 2nd millennia BC. I think we should think about who built them ???

https://tinyurl.com/sokynmo

The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.

Paul Yule has demonstrated a 'bar of metal' of Sarasvati-Sindhu Civilization is an ingot. The bars of metal as shown in the figure are used in the smithy/forge to create metal equipment, metalware and metal weapons.
Sign 190 is a hypertext composed of 1. count of four; 2. sprout. Thus, the message is: bar of metal & equipment.
Variants of Sign 190
 Sprout hieroglyph
Variants of Sign 169

Image result for paul yule bar of metal
Fig4. Metal hoard implements from Haryana, including harpoons, so-called bars, and flat axes. Chemical analyses prove these implements are made of copper, not bronze. Recent discoveries at sites in the doab are shedding light on people who made these objects and aspects of their culture.

The Copper Hoards of Northern India

By: Paul Yule in: Expedition, 
  • Volume 39
  •  
  • Issue 
  •  
  • 1997
  • Fig2. Map of India showing major cities, states, and sites referred to in text (Map prepared by J. Edens, after author's original)https://www.penn.museum/sites/expedition/the-copper-hoards-of-northern-india/

     
    Text 2455 m036

    The first sign from r. a variant of Sign 190; the slanted stroke ligature  on the 'four sprouts in a watery field' hypertext signifies dhALa 'slanted' Rebus: dhALako 'large ingot' as a semantic determinative of kor̤u 'sprout'Rebus: kor̤u'bar of metal'& gaṇḍa 'four' Rebus:kaṇḍa'equipment'signified by the ligatured hypertext of Sign 190 . The bar of metal is a large metal ingot. I submit that this seal inscription is a remarkable validation of the practice of using a bar of metal as a large ingot.

    I submit that this seal signifies a śrēṣṭrī seṭh ʻ head of a guild, Members of the guild'
    The 'one-horned young bull' has a unique descriptive pictograph of a ring on neck shown like a ladder. koDiyum 'ring on neck' (Gujarati) Rebus: koDe 'workshop' PLUS 

    śrēṣṭrī 'ladder' Rebus: seṭh ʻ head of a guild, Members of the guild'.


    The parenthesis is split oval or lozenge shape which is an Indus Script hypertext: mũh 'lozenge-shape' rebus: mũh '(copper) ingot' (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron smelters' (Santali) PLUS dula 'two' Rebus: dul 'metal casting'.


    Hieroglyph: dhvajapaṭa m. ʻ flag ʼ Kāv. [dhvajá -- , paṭa -- ]Pk. dhayavaḍa -- m. ʻ flag ʼ, OG. dhayavaḍa m. Rebus: Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāūdhāv 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.  ʻ relic (CDIAL 6773)  PLUS sal 'splinter' Rebus: sal 'workshop' Thus, smelter workshop.

    dula 'two' Rebus: dul 'metal casting'

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

     koṭhār 'treasury, warehouse' Rebus:  kuṭhāru 'armourer'

    This sign is a ligature of two hieroglyphs: bun ingot PLUS X hieroglyph:  mũh '(copper) ingot' (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron smelters' (Santali) PLUS dāṭu 'cross' rebus: dhatu 'mineral ore'. Thus mineral ore ingot. 

    Sign 342: kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar'(Skt.) Rebus: khãḍ ʻtools, iron, ironwareʼ PLUS karṇaka 'scribe, accountant' (Te.); karṇika 'supercargo, helmsman'


    Abstract: Decipherment of Seal 1203 A,B

    Indus Script inscriptions are wealth-accounting ledgers of artisans and seafaring merchants of metalwork, lapidary work with gems and jewels. An Indus Script seal is presented with decipherment of pictorial motifs and text message.


    The image of the seal is presented at https://www.nature.com/news/ancient-civilization-cracking-the-indus-script-1.18587?fbclid=IwAR0ZHDxjgNR4V0woIJ_UE9SQuFq8Ot0CdOVd2lNUpli_BJMV19diQXiskdU (copy attached for ready reference)
    Seal m1203. The boss of the seal also an Indus Script hypertext.

    Government of India in the Budget 2020 presentation, has declared that Indus Script has been deciphered. Here is a 3:33 min. excerpt video. https://www.hashcut.com/v/x28zsKv I submit that Nature should consider publishing this communication from me as the decipherer of over 8000 Indus Script inscriptions.

    Field symbols: singhin 'forward-thrusting spiny-horned' Rebus: singi 'ornament gold' PLUS khoNDa 'young bull, pannier' Rebus:konda 'furnace,kiln' PLUS kunda 'lathe' Rebus: kunda 'fine gold' PLUS kammata 'portable furnace' Rebus: kammaTa 'mint, coiner, coinage'

    Text message of the inscription: ranku 'liquid measure' Rebus: ranku 'tin ore'; Sign 190 The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'. baṭa = rimless pot Rebus: baṭa 'iron' (Gujarati), bhaṭa 'furnace' PLUS muka 'ladle' (Tamil)(DEDR 4887) Rebus: mū̃h 'ingot' (Santali) Alternative: Sign 17 Hieroglyph: warrior: kṣatríya ʻ ruling ʼ RV., m. ʻ one of the ruling order ʼ AV. [kṣatrá -- ]Pa. khattiya -- m. ʻ member of the Kṣatriya caste ʼ, °yā<-> f., Pk. khattia -- m., °ti -- m.f., °tiṇī -- , °tiyāṇī -- f., L. khattrī m., °rāṇī f., P. khattrī m.; Si. käti ʻ warrior ʼ.(CDIAL 3649) Rebus:  khātī m. ʻmember of a caste of wheelwrightsʼ.kāmṭhiyɔ kāmaṭhiyo a bowman; an archer (Skt.) (CDIAL 2760) rebus: kammaṭa 'mint, coiner'; kamaṛkom = fig leaf (Santali) Rebus: kamar 'blacksmith'कर्मार an artisan , mechanic , artificer; a blacksmith &c RV. x , 72 , 2 AV. iii , 5 , 6 VS. Mn. iv , 215 &c (Monier-Williams) Rgveda word. This seal was discussed by Andrew Robinson at https://www.nature.com/news/ancient-civilization-cracking-the-indus-script-1.18587

     m1203A,B Text 1018 The third sign from the right 'rimless pot + ladle' is repeated on the boss of the seal on the reverse side, a semantic determinative that the ingot came out of the furnace.

    m0356 Text 1406
    From l.to r. Alternative: Sign 17 Hieroglyph: warrior: kṣatríya ʻ ruling ʼ RV., m. ʻ one of the ruling order ʼ AV. [kṣatrá -- ]Pa. khattiya -- m. ʻ member of the Kṣatriya caste ʼ, °yā<-> f., Pk. khattia -- m., °ti -- m.f., °tiṇī -- , °tiyāṇī -- f., L. khattrī m., °rāṇī f., P. khattrī m.; Si. käti ʻ warrior ʼ.(CDIAL 3649) Rebus:  khātī m. ʻmember of a caste of wheelwrightsʼ.kāmṭhiyɔ kāmaṭhiyo a bowman; an archer (Skt.) (CDIAL 2760) rebus: kammaṭa 'mint, coiner'; kamaṛkom = fig leaf (Santali) Rebus: kamar 'blacksmith'कर्मार an artisan , mechanic , artificer; a blacksmith &c RV. x , 72 , 2 AV. iii , 5 , 6 VS. Mn. iv , 215 &c (Monier-Williams) Rgveda word.

    kuṭi 'curve' Rebus 1: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) Rebus 2: kuṭhi 'smelter'
     څرخ ṯs̱arḵẖ, āre 'potters wheel' rebus: arka 'gold'.eraka 'metal infusion'
    dula 'two' Rebus: dul 'metal casting'
    kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) Rebus: kammaṭa 'mint, coiner, coinage'.
    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
    ranku 'liquid measure' Rebus: ranku 'tin ore'
    Rebus: wealth-accounting ledgers -- kharada खरडें 'daybooks' Hieroglyph: Currycomb, scraper: khareḍo 'a currycomb' (Gujarati); खरड्या   kharaḍyā a (खरडणें) That writes or shaves rudely and roughly; a mere quill-driver; a very scraper. khareḍo = a currycomb (Gujarati) खरारा [ kharārā ] m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: 1. करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 2. kharādī ‘ turner’ (Gujarati) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi). 


     h028 Text 4040 Field symbols: singhin 'forward-thrusting spiny-horned' Rebus: singi 'ornament gold' PLUS khoNDa 'young bull, pannier' Rebus:konda 'furnace,kiln' PLUS kunda 'lathe' Rebus: kunda 'fine gold' PLUS kammata 'portable furnace' Rebus: kammaTa 'mint, coiner, coinage'
    koṭhār 'treasury, warehouse' Rebus:  kuṭhāru 'armourer'
    baṭa = rimless pot Rebus: baṭa 'iron' (Gujarati), bhaṭa 'furnace' PLUS muka 'ladle' (Tamil)(DEDR 4887) Rebus: mū̃h 'ingot' (Santali)
    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
    ranku 'liquid measure' Rebus: ranku 'tin ore'

    h271 Text 4069 Field symbols: singhin 'forward-thrusting spiny-horned' Rebus: singi 'ornament gold' PLUS khoNDa 'young bull, pannier' Rebus:konda 'furnace,kiln' PLUS kunda 'lathe' Rebus: kunda 'fine gold' PLUS kammata 'portable furnace' Rebus: kammaTa 'mint, coiner, coinage'
    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
    ranku 'liquid measure' Rebus: ranku 'tin ore'

    The suffix -sāḷī in ṭaksāḷī is explained orthographicallhy on Sign 341 variants which insert furrows or lines or row (See variants of Sign 341: 4069, 4102, 1484, 2225, 1426, 2644, 1340); thus, the orthographyof Sign 341 can be explained as 'hoof' PLUS sāl read together as  ṭaksāḷ,  ṭaksāḷī Rebus:  ṭaksāḷī 'mint-master':  Ta. cāl furrow in ploughing, track of a sower while passing and repassing in sowing; cālai street, avenue, road. Ma. cāl furrow, channel, track, line, direction. Ko. ca·l furrow. To. so·l id. Ka. sāl a continuous line, a furrow. Koḍ. ca·llï line, furrow, one complete ploughing of a field, people related in any way by descent. Tu. sālů line, row, furrow. Te. cālu id., groove, track; cālupu line, row, series. Ga. (S.3) sālu furrow made by plough. Go. (Ko.) āl furrow (< Te.; Voc. 140). Konḍa (BB, 1972) sāl id.



    Sign 341 variants
    List of 63 inscriptions (ASI 1977 Mahadevan Concordance) which contain Sign 341 variants
    Sign 342: kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar'(Skt.) Rebus: khãḍ ʻtools, iron, ironwareʼ PLUS karṇaka 'scribe, accountant' (Te.); karṇika 'supercargo, helmsman' PLUS infix:kolom 'three' Rebus: kolimi 'smithy, forge'.

    m0218 Text 2175 Field symbols: singhin 'forward-thrusting spiny-horned' Rebus: singi 'ornament gold' PLUS khoNDa 'young bull, pannier' Rebus:konda 'furnace,kiln' PLUS kunda 'lathe' Rebus: kunda 'fine gold' PLUS kammata 'portable furnace' Rebus: kammaTa 'mint, coiner, coinage'
    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
    aya 'fish' Rebus: aya 'iron' ayas 'alloy metal'

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

    m0402 Text 2395
    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. dō̃tdū̃t, Pr. letumlätəm'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. dandə́ŕidánduri 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: dhatu 'mineral ore'.

    khaṇḍa 'division'. rebus: kaṇḍa 'implements' 

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

    kāmṭhiyɔ kāmaṭhiyo a bowman; an archer (Skt.) (CDIAL 2760) rebus: kammaṭa 'mint, coiner' PLUS 'notch'hieroglyph: खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool’ Rebus: khaṇḍa ‘implements’

    kolom 'three' Rebus: kolimi 'smithy, forge'
    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
    h048 Text 4091 Field symbols: singhin 'forward-thrusting spiny-horned' Rebus: singi 'ornament gold' PLUS khoNDa 'young bull, pannier' Rebus:konda 'furnace,kiln' PLUS kunda 'lathe' Rebus: kunda 'fine gold' PLUS kammata 'portable furnace' Rebus: kammaTa 'mint, coiner, coinage'
    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
    . kolom 'three' Rebus: kolimi 'smithy, forge'.

     
    m0546 A,B Text 3383 Copper tablet
     m1498 A,BText 2917 Copper tablet

    kolom 'three' Rebus: kolimi 'smithy, forge'
    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.

    baraḍo 'spine, backbone' rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)
    kāmṭhiyɔ kāmaṭhiyo a bowman; an archer (Skt.) (CDIAL 2760) rebus: kammaṭa 'mint, coiner'

    Sign 342: kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar'(Skt.) Rebus: khãḍ ʻtools, iron, ironwareʼ PLUS karṇaka 'scribe, accountant' (Te.); karṇika 'supercargo, helmsman' 


    mũh 'lozenge-shape' rebus: mũh '(copper) ingot' (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron smelters' (Santali) Alternative:

    small ball hieroglyph:
    Hieroglyph: small ball: *gōṭṭa ʻ something round ʼ. [Cf. guḍá -- 1. -- In sense ʻ fruit, kernel ʼ cert. ← Drav., cf. Tam. koṭṭai ʻ nut, kernel ʼ, Kan. goṟaṭe &c. listed DED 1722]K. goṭh f., dat. °ṭi f. ʻ chequer or chess or dice board ʼ; S. g̠oṭu m. ʻ large ball of tobacco ready for hookah ʼ, °ṭī f. ʻ small do. ʼ; P. goṭ f. ʻ spool on which gold or silver wire is wound, piece on a chequer board ʼ; N. goṭo ʻ piece ʼ, goṭi ʻ chess piece ʼ; A. goṭ ʻ a fruit, whole piece ʼ, °ṭā ʻ globular, solid ʼ, guṭi ʻ small ball, seed, kernel ʼ; B. goṭā ʻ seed, bean, whole ʼ; Or. goṭā ʻ whole, undivided ʼ, goṭi ʻ small ball, cocoon ʼ, goṭāli ʻ small round piece of chalk ʼ; Bi. goṭā ʻ seed ʼ; Mth. goṭa ʻ numerative particle ʼ; H. goṭ f. ʻ piece (at chess &c.) ʼ; G. goṭ m. ʻ cloud of smoke ʼ, °ṭɔm. ʻ kernel of coconut, nosegay ʼ, °ṭī f. ʻ lump of silver, clot of blood ʼ, °ṭilɔ m. ʻ hard ball of cloth ʼ; M. goṭā m. ʻ roundish stone ʼ, °ṭī f. ʻ a marble ʼ, goṭuḷā ʻ spherical ʼ; Si. guṭiya ʻ lump, ball ʼ; -- prob. also P. goṭṭā ʻ gold or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ, S. goṭo m. ʻ gold or silver lace ʼ); M. goṭ ʻ hem of a garment, metal wristlet ʼ.*gōḍḍ -- ʻ dig ʼ see *khōdd -- .Addenda: *gōṭṭa -- : also Ko. gōṭu ʻ silver or gold braid ʼ.(CDIAL 4271) Rebus:  L. khoṭ f. ʻ alloyʼ,°ṭā ʻ alloyed ʼ, awāṇ. khoṭā ʻ forged ʼ; P. khoṭ m. ʻ base, alloy ʼG. khoṭũ ʻ alloyedʼ; M. khoṭā ʻ alloyed ʼ(CDIAL 3931) 


    m543 A,B Text 3363 Note the ‘heart’ orthograph on the body of the antelope. This is comparable to Sign 323 Field symbol: markhor PLUS feeding-trough: pattar 'trough' rebus: pattar 'goldsmith guild' B8-B9: The markhor-goat (or a composite animal consisting of the horns and tail of the markhor and the head and body of a ‘unicorn’ bull, with a kidney-shaped figure in the forepart of the body: cf. B1).T
    or. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus 1:meḍ 'iron(Ho.Mu.)
    Add caption

     

    Overflowing pot is an abiding metaphor on Ibni Sharrum cylinder seal and many other Ancient Near East artifacts.
    The inverted heart on belly of the young bull appears as a gold pendant.
    Image result for gold pectoral bharatkalyan97Image result for gold pectoral bharatkalyan97m1656 Pectoral. Gold Pendant. Harappa. National Museum, New Delhi

    Sun's rays arka 'sun, rays of sun' rebus: arka 'copper, gold' eraka 'moltencast'. 
    Orthography of the young bull clearly shows sun’s rays on the belly of the bovine.
    So, Sign 323 signifies arka 'sun's rays' rebus: arka 'copper, gold' as in Kannada arkalgud, a place name. agasale 'goldsmith workshop'.





    ​Belly is kōttha ʻ belly ʼ. [Cf. *kōtthala -- , kṓṣṭha -- 1?]Pk. kottha -- ʻ pertaining to the belly ʼ; Or. kothā ʻ corpulent ʼ, kothala˚thāḷa ʻ pot -- bellied ʼ; -- X *gōdda<-> in kodā˚dāḷiā ʻ id. ʼ?(CDIAL 3510).​ Rebus: koda 'workshop'.

    Thus, the inverted heart symbol Sign 323 on the belly of the young bull signifies a goldsmith's workshop. This is a semantic determinative of the word kunda which signifies fine gold.






    Two lines Text 1704 Mohenjo-daro kolom 'three' Rebus: kolimi 'smithy, forge' 

    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
    baṭa = rimless pot Rebus: baṭa 'iron' (Gujarati), bhaṭa 'furnace' PLUS muka 'ladle' (Tamil)(DEDR 4887) Rebus: mū̃h 'ingot' (Santali)
    kolom 'three' Rebus:kolimi 'smithy, forge'
    kuṭi 'curve' Rebus 1: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) Rebus 2: kuṭhi 'smelter' PLUS dula 'two' Rebus: dul 'metal casting'

    Sign 342: kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar'(Skt.) Rebus: khãḍ ʻtools, iron, ironwareʼ PLUS karṇaka 'scribe, accountant' (Te.); karṇika 'supercargo, helmsman' 

    Text 4380 Harappa, Text 5203, 5204 
    Hieroglyph: small ball: *gōṭṭa ʻ something round ʼ. [Cf. guḍá -- 1. -- In sense ʻ fruit, kernel ʼ cert. ← Drav., cf. Tam. koṭṭai ʻ nut, kernel ʼ, Kan. goṟaṭe &c. listed DED 1722]K. goṭh f., dat. °ṭi f. ʻ chequer or chess or dice board ʼ; S. g̠oṭu m. ʻ large ball of tobacco ready for hookah ʼ, °ṭī f. ʻ small do. ʼ; P. goṭ f. ʻ spool on which gold or silver wire is wound, piece on a chequer board ʼ; N. goṭo ʻ piece ʼ, goṭi ʻ chess piece ʼ; A. goṭ ʻ a fruit, whole piece ʼ, °ṭā ʻ globular, solid ʼ, guṭi ʻ small ball, seed, kernel ʼ; B. goṭā ʻ seed, bean, whole ʼ; Or. goṭā ʻ whole, undivided ʼ, goṭi ʻ small ball, cocoon ʼ, goṭāli ʻ small round piece of chalk ʼ; Bi. goṭā ʻ seed ʼ; Mth. goṭa ʻ numerative particle ʼ; H. goṭ f. ʻ piece (at chess &c.) ʼ; G. goṭ m. ʻ cloud of smoke ʼ, °ṭɔm. ʻ kernel of coconut, nosegay ʼ, °ṭī f. ʻ lump of silver, clot of blood ʼ, °ṭilɔ m. ʻ hard ball of cloth ʼ; M. goṭā m. ʻ roundish stone ʼ, °ṭī f. ʻ a marble ʼ, goṭuḷā ʻ spherical ʼ; Si. guṭiya ʻ lump, ball ʼ; -- prob. also P. goṭṭā ʻ gold or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ, S. goṭo m. ʻ gold or silver lace ʼ); M. goṭ ʻ hem of a garment, metal wristlet ʼ.*gōḍḍ -- ʻ dig ʼ see *khōdd -- .Addenda: *gōṭṭa -- : also Ko. gōṭu ʻ silver or gold braid ʼ.(CDIAL 4271) Rebus:  L. khoṭ f. ʻ alloyʼ,°ṭā ʻ alloyed ʼ, awāṇ. khoṭā ʻ forged ʼ; P. khoṭ m. ʻ base, alloy ʼG. khoṭũ ʻ alloyedʼ; M. khoṭā ʻ alloyed ʼ(CDIAL 3931) 
    kolom 'three' Rebus: kolimi 'smithy, forge' 
    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
    m0366
    Text 2077 
    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
    kolom 'three' Rebus: kolimi 'smithy, forge'
    poḷaḍu 'black drongo' Rebus: पोलाद pōlāda, 'crucible steel'
    meD 'body' Rebus: mẽṛhẽt,med 'iron' (Mu.Ho.) med 'copper' (Slavic) PLUS Hieroglyph ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal' 

    Sign 342: kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar'(Skt.) Rebus: khãḍ ʻtools, iron, ironwareʼ PLUS karṇaka 'scribe, accountant' (Te.); karṇika 'supercargo, helmsman' PLUS kolom 'three' Rebus: kolimi 'smithy, forge'
    Text 2191 Mohenjo-daro Gold fringe hieroglyph: goṭā  ‘round pebble’ Rebus: goṭā 'gold-braid' khoṭa 'ingot, wedge' Rebus: गोटी [ gōṭī ] f (Dim. of गोटा)  A lump of silver: as obtained by melting down lace or fringe. PLUS ḍato 'claws or pincers (chelae) of crab Rebus: dhatu 'mineral' (Santali)
    Hieroglyph 'bun ingot' muh 'ingot' PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool' Rebus: khaṇḍa 'equipment' 
    kolom 'three' Rebus: kolimi 'smithy, forge'
    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.


     Text 7081 Lothal Sign 190 Field symbols: singhin 'forward-thrusting spiny-horned' Rebus: singi 'ornament gold' PLUS khoNDa 'young bull, pannier' Rebus:konda 'furnace,kiln' PLUS kunda 'lathe' Rebus: kunda 'fine gold' PLUS kammata 'portable furnace' Rebus: kammaTa 'mint, coiner, coinage'
    The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.

    Text 2601 Mohenjo-daro Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'. kolom 'three' Rebus: kolimi 'smithy, forge'
    kanac 'corner' Rebus:kancu 'bell-metal' PLUS sal 'splinter' Rebus: sal 'workshop'
    कटक kaṭaka 'link of a chain' rebus कटकम् kaṭakam 'caravan, an army, a camp' 
    koDa 'one' Rebus:koD 'workshop' PLUS ieroglyph ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal' 
    ṭã̄gā, ˚gī ʻ adze ʼ(Bihari) Rebus: ṭanka 'mint'

    Text 9205 Banawali 21 Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'. PLUS kolom 'three' Rebus: kolimi 'smithy, forge'
    dāṭu 'cross' rebus: dhatu 'mineral ore'.
    badhi 'to ligature, to bandage, to splice' Rebus 1: badhi 'artificer', baḍiga 'artificer' badhi 'worker in wood and iron' Rebus 2: vāḍhi 'merchant'. 

    Text 7032 Lothal 090 

    Alternative: Sign 17 Hieroglyph: warrior: kṣatríya ʻ ruling ʼ RV., m. ʻ one of the ruling order ʼ AV. [kṣatrá -- ]Pa. khattiya -- m. ʻ member of the Kṣatriya caste ʼ, °yā<-> f., Pk. khattia -- m., °ti -- m.f., °tiṇī -- , °tiyāṇī -- f., L. khattrī m., °rāṇī f., P. khattrī m.; Si. käti ʻ warrior ʼ.(CDIAL 3649) Rebus:  khātī m. ʻmember of a caste of wheelwrightsʼ.kāmṭhiyɔ kāmaṭhiyo a bowman; an archer (Skt.) (CDIAL 2760) rebus: kammaṭa 'mint, coiner'; kamaṛkom = fig leaf (Santali) Rebus: kamar 'blacksmith'कर्मार an artisan , mechanic , artificer; a blacksmith &c RV. x , 72 , 2 AV. iii , 5 , 6 VS. Mn. iv , 215 &c (Monier-Williams) Rgveda word.

    badhi 'to ligature, to bandage, to splice' Rebus 1: badhi 'artificer', baḍiga 'artificer' badhi 'worker in wood and iron' Rebus 2: vāḍhi 'merchant'. 


     

    Text 1713 m525 A,B Copper tablet Field symbol: B4: Water buffalo with a manger. 

    kuṇḍī = crooked buffalo horns (L.) rebus: kuṇḍī = chief of a village.
    rāngo ‘water buffalo bull’ (Ku.N.)(CDIAL 10559) Rebus: rango ‘pewter’. ranga, rang pewter is an alloy of tin, lead, and antimony (anjana) (Santali)raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1] Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅrāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562) B. rāṅ(g) ʻ tinsel, copper -- foil ʼ.(CDIAL 10567) pattar 'feeding trough' + paṭṭi 'stripe' Rebus: pattar paṭṭi 'goldsmith guild market, goldsmith guild.

    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'. PLUS kolom 'three' Rebus: kolimi 'smithy, forge'

    śrēṣṭhin khār guild-master of blacksmith artisans and merchants PLUS मेंढा mēṇḍhā 'A crook or curved end (of a stick)' Rebus 1: meḍ 'iron' (Ho.Mu.) Rebus 2: medho 'helper of a merchant'
    badhi 'to ligature, to bandage, to splice' Rebus 1: badhi 'artificer', baḍiga 'artificer' badhi 'worker in wood and iron' Rebus 2: vāḍhi 'merchant'. 

    Sign 342: kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar'(Skt.) Rebus: khãḍ ʻtools, iron, ironwareʼ PLUS karṇaka 'scribe, accountant' (Te.); karṇika 'supercargo, helmsman' 

    dāṭu 'cross' rebus: dhatu 'mineral ore'.


    Text 3079 m1322a 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. dō̃tdū̃t, Pr. letumlätəm'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. dandə́ŕidánduri 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: dhatu 'mineral ore'.
    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'. PLUS kolom 'three' Rebus: kolimi 'smithy, forge'.
     Text 6222 Chanhudaro 16a Field symbols: singhin 'forward-thrusting spiny-horned' Rebus: singi 'ornament gold' PLUS khoNDa 'young bull, pannier' Rebus:konda 'furnace,kiln' PLUS kunda 'lathe' Rebus: kunda 'fine gold' PLUS kammata 'portable furnace' Rebus: kammaTa 'mint, coiner, coinage'
    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'.
    kuṭi 'curve' Rebus 1: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) Rebus 2: kuṭhi 'smelter'
    dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool' Rebus:  khṇḍa 'equipment'

    Sign 342: kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar'(Skt.) Rebus: khãḍ ʻtools, iron, ironwareʼ PLUS karṇaka 'scribe, accountant' (Te.); karṇika 'supercargo, helmsman' PLUS notch hieroglyph: खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool’ Rebus: khaṇḍa ‘implements’
    Sign 190The hieroglyph, 'four spouts in watery field' is a hypertext composed of two hieroglyphs: 1. count of four; 2. sprout. The Meluhha rebus expression reads: kor̤u 'sprout' PLUS gaṇḍa 'four' Rebus: kor̤u'bar of metal' PLUS kaṇḍa'equipment'. PLUS kolom 'three' Rebus: kolimi 'smithy, forge'.







    Interlocking cāli tiger bodies Indus Script hypertext kol 'tiger' koli 'weaver'; koli sāle, xāl, xāli ʻhouse, workshop, factoryʼ

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    I submit that an intimation of the street of weavers/artisans and their workshops is signified by a pictorial motif of interlocked bodies of tigers. I submit that this deploys Hypertext Transfer Protocol (HTTP).

    This is an addendum to:



    A spinner is shown on an Elamite sculptural frieze. She signifies a wheelwright. Spinners of the civilization learn the art of weaving cloths using spun threads of cotton and silk. A metal and woodwork artisan gains the competence of a weaver of cloth. A revolution is unleashed to clothe the people of the contact areas of Sarasvati Sindhu Civilization.

    cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali) Did the Bharhut architect who designed the Western Torana (Gateway) with hieroglyph multiplex of 3 tigers (winged) intend to send the message that the precincts are: Hieroglyph: cāli 'interlocking bodies' Rebus: sal 'workshop'?

    kōlika m. ʻ weaver ʼ Yaśast., kaulika -- Pañcat. [EWA i 273 ← *kōḍika -- (in Tam. kōṭikar ʻ weaver ʼ) ~ Mu. word for ʻ spider ʼ in Pk. mak -- kōḍā -- s.v. markaṭa -- ]Pk. kōlia -- m. ʻ weaver, spider ʼ; S. korī m. ʻ weaver ʼ, koriaṛo m. ʻ spider ʼ; Ku. koli ʻ weaver ʼ, Or. (Sambhalpur) kuli, H. kolīkolhī m. ʻ Hindu weaver ʼ; G. koḷī m. ʻ a partic. Śūdra caste ʼ; M. koḷī m. ʻ a caste of watercarriers, a sort of spider ʼ; -- G. karoḷiyɔkarāliyɔ m. ʻ spider ʼ is in form the same as karoḷiyɔ ʻ potter ʼ < kaulālá -- .Addenda: kōlika -- : WPah.kṭg. koḷi m. ʻ low -- caste man ʼ, koḷəṇ, kc. koḷi f. ʻ his wife ʼ (→ Eng. cooly HJ 249).(CDIAL 3535)

    *kōlhu ʻ machine for pressing sugarcane or oilseeds ʼ.Pk. kolluga -- , kolhua -- m. ʻ sugarcane press ʼ, S. kolū m., P. kolhūkuhulū m. ʻ oilpress, sugarcane press ʼ; WPah. bhal. kōˋlū m. ʻ oilpress ʼ, N. kol; Or. kohliākolihā˚liā ʻ sugarcane press ʼ; Bi. kolh˚hū, (Gaya) kelhū ʻ oilpress ʼ, Mth. kōlh, Bhoj. kōlhu; H. kolhū, kolū m. ʻ sugarcane press, oilpress ʼ; G. kohlu m. ʻ sugarcane press ʼ. -- Deriv.: B. Or. kalu ʻ oil -- man (by caste) ʼ, H. kolū m.*kōlhuvagāra -- , *kōlhuśālā -- .Addenda: *kōlhu -- : WPah.kṭg. kóllhu m. ʻ sugar -- cane or oil press ʼ. (CDIAL 3536) *kōlhuvagāra ʻ mill house ʼ. [*kōlhu -- , agāra -- ]P. kolhār m. ʻ oil factory ʼ; Bi. kolhuār ʻ sugarcane mill and boiling house ʼ.*kōlhuśālā ʻ pressing house for sugarcane or oilseeds ʼ. [*kōlhu -- , śāˊlā -- ]
    Bi. kolsār ʻ sugarcane mill and boiling house ʼ.(CDIAL 3537, 3538)


    Sanchi Stupa. West gateway

    Bharhut. Capital of Gateway post (After Cunningham)

    Left pillar:


     

    Right pillar:

    शालिका [p= 1067,2] f. a house , shop (» नापित-श्°)(Monier-Williams) śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar.šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xālxāli 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 -- aha° ʻ hall, market -- hall ʼ.(CDIAL 12414) *kōlhuśālā ʻ pressing house for sugarcane or oilseeds ʼ. [*kōlhu -- , śāˊlā -- ]Bi. kolsār ʻ sugarcane mill and boiling house ʼ.(CDIAL 3538) *kōlhu ʻ machine for pressing sugarcane or oilseeds ʼ.Pk. kolluga -- , kolhua -- m. ʻ sugarcane press ʼ, S. kolū m., P. kolhū, kuhulū m. ʻ oilpress, sugarcane press ʼ; WPah. bhal. kōˋlū m. ʻ oilpress ʼ, N. kol; Or. kohliā, kolihā, °liā ʻ sugarcane press ʼ; Bi. kolh, °hū, (Gaya) kelhū ʻ oilpress ʼ, Mth. kōlh, Bhoj. kōlhu; H. kolhū, kolū m. ʻ sugarcane press, oilpress ʼ; G.kohlu m. ʻ sugarcane press ʼ. -- Deriv.: B. Or. kalu ʻ oil -- man (by caste) ʼ, H. kolū m. WPah.kṭg. kóllhu m. ʻ sugar -- cane or oil press ʼ.(CDIAL 3536)
     
    Hieroglyph: kul 'tiger' (Santaliकोल्हें [ kōlhēṃ ] A jackal (Marathi) kol 'tiger, jackal' (Konkani.) kOlupuli 'tiger' (Telugu) కోలు [ kōlu ] kōlu. [Tel.] adj. Big, great, huge పెద్ద. కోలుపులి or కోల్పులి a royal tiger. Rebus: kolimi 'smithy, temple'; kol 'working in iron'. Thus kol(m) could have connoted a tiger. 

    *ut-- śāla ʻ leaping up ʼ. (CDIAL 1846) śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex. Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xālxāli 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 -- aha° ʻ hall, market -- hall ʼ.(CDIAL 12414) *kōlhuśālā ʻ pressing house for sugarcane or oilseeds ʼ. [*kōlhu -- , śāˊlā -- ] Bi. kolsār ʻ sugarcane mill and boiling house ʼ.(CDIAL 3538)  karmaśālā f. ʻ workshop ʼ MBh. [kárman -- 1, śāˊlā -- ]Pk. kammasālā -- f.; L. kamhāl f. ʻ hole in the ground for a weaver's feet ʼ; Si. kamhala ʻ workshop ʼ, kammala ʻ smithy ʼ.(CDIAL 2896) 2898 karmāˊra m. ʻ blacksmith ʼ RV. [EWA i 176 < stem *karmar -- ~ karman -- , but perh. with ODBL 668 ← Drav. cf. Tam. karumā ʻ smith, smelter ʼ whence meaning ʻ smith ʼ was transferred also to karmakāra -- ] Pa. kammāra -- m. ʻ worker in metal ʼ; Pk. kammāra -- , °aya -- m. ʻ blacksmith ʼ, A. kamār, B. kāmār; Or. kamāra ʻ blacksmith, caste of non -- Aryans, caste of fishermen ʼ; Mth. kamār ʻ blacksmith ʼ, Si. kam̆burā. Md. kan̆buru ʻ blacksmith ʼ.(CDIAL 2898) *karmāraśālā ʻ smithy ʼ. [karmāˊra -- , śāˊlā -- ] Mth. kamarsārī; -- Bi. kamarsāyar?(CDIAL 2899)

    I suggest that the three tigers with interlocked bodies DOES connote cāli 'interlocked bodies' Rebus-metonymy layered cipher yields the plain text message : kola 'tiger'> kolom 'three' PLUS cāli 'interlocked bodies' :kammasālā 'workshop' (Prakritam) < kol(m) PLUS śāˊlā, i.e. smithy workshop.

    Obverse of m1395 and m0441 had the following images of a multi-headed tiger.
    m1395B, m0441B

    Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script. Hieroglyphs. Centrepiece is a scorpion, surrounded by a pair of oxen (bulls), rhinoceros, monkey, elephant, a tiger looking back, a standing person with spread legs. This hieroglyph cluster is duplicated on six tablets.
    Hieroglyphs. Centrepiece is a scorpion, surrounded by a pair of oxen (bulls), rhinoceros, monkey, elephant, a tiger looking back, a standing person with spread legs. This hieroglyph cluster is duplicated on a six tablets.
    m02015 A,B, m2016, m1393, m1394, m1395, m0295, m0439, m440, m0441 A,B On some tablets, such a glyphic composition (hypertext) is also accompanied (on obverse side, for example, cf. m2015A and m0295) with a glyphic of two or more joined tiger heads to a single body. In one inscription (m0295), the text inscriptions are also read. bica ‘scorpion’ rebus: bica ‘haematite, ferrite ore’ kola ‘tiger’ rebus: kol ‘furnace, forge’ kol ‘metal’ PLUS krammara ‘look back’ rebus: kamar ‘smith’ karabha ‘trunk of elephant’ ibha ‘elephant’ rebus: karba ‘iron’ ib ‘iron’ ibbo ‘merchant’ kaṇḍa ‘rhinoceros’ rebus; kaṇḍa ‘implements’ kuThAru ‘monkey’ rebus: kuThAru ‘armourer’ dula ‘two’ rebus: dul ‘metal casting’ dhangar ‘bull’ rebus; dhangar ‘blacksmith’. .barada, balad 'ox' rebus: bharata,baran 'factitious alloy of copper, pewter, tin'.

    m2015, m0295

    kola ‘tiger’ rebus: kol ‘furnace, forge’ cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali) Hieroglyph of joined, interlocked bodies: cāli (IL 3872); rebus: śālika (IL) village of artisans. cf. sala_yisu = joining of metal (Ka.)

     Ta. cāl furrow in ploughing, track of a sower while passing and repassing in sowing; cālai street, avenue, road. Ma. cāl furrow, channel, track, line, direction. Ko. ca·l furrow. To. so·l id. Ka. sāl a continuous line, a furrow. Koḍ. ca·llï line, furrow, one complete ploughing of a field, people related in any way by descent. Tu. sālů line, row, furrow. Te. cālu id., groove, track; cālupu line, row, series. Ga. (S.3sālu furrow made by plough. Go. (Ko.) āl furrow (< Te.; Voc. 140). Konḍa (BB, 1972) sāl id.(DEDR 2871)

    Orthography of Harappa Script Corpora presents two variants of 'interlocked' bodies of kola, 'tigers' (rebus: kol 'blacksmith'): e.g., (a) m0295 (PLUS Text message hieroglyphs), (b) m1395 with upto six bodies of tigers intertwined" (bha
    a 'six' rebus: bhaa 'furnace').

    m0295m1395
    m0295 Text message: bronze workshop, scribe/account iron supercargo, helmsman, smithy/forge/temple.
    Obverse of the tablets (e.g. m1395) signify functions of the manager of the guild of artisans/merchants: 



    1. bica ‘scorpion’ rebus ‘haematite, ferrite ore  
    2. krammara ‘look back’ rebus: kamar ‘smith’ PLUS kola 'tiger' rebus: kol, kolle 'blacksmith'
    3. karabha ‘trunk of elephant’ ibha ‘elephant’ rebus: karba ‘iron’ ib ‘iron’ ibbo ‘merchant’ 
    4. kaṇḍa ‘rhinoceros’ rebus; kaṇḍa ‘implements’ 
    5. kuhāru ‘monkey’ rebus: kuhāru ‘armourer’ 
    6. dula ‘two’ rebus: dul ‘metal casting’ dhangar ‘bull’ rebus; dhangar ‘blacksmith’. barada, balad 'ox' rebus: bharata,baran 'factitious alloy of copper, pewter, tin'. 

    The message is: haematite (ferrite ore), blacksmith artisan, iron implements merchant, armourer, hard alloy metalcasting.

    --Data mining of Harappa Script Corpora, kara
    a aquatic bird, kola, 'tiger',  poa, 'zebu' tied to a rope, stake -- signifiers of working in karaa, 'hard alloys', poa, 'magnetite (ferrite ore)', kol, 'working in iron'.

    cāli 'interlocked' rebus śālikā 'village of artisans, shop' kola 'tiger' sāṅgaḍa 'joined' rebus, kol 'blacksmith, working in iron', saṁgaha, 'manager arranger'.

    Thus, blacksmith manager of the artisans' village/shop.


    m1395 [PLUS hieroglyphs on obverse of tablet: haematite (ferrite ore), blacksmith artisan, iron implements merchant, armourer, hard alloy metalcasting]




    There are at least six multiples of (m1395) tablets with this frame of 'interlocked' bodies of tigers on one side and other hieroglyphs/hypertexts on the reverse side. 

    The hypertexts on the reverse side are detailed metalwork catalogues. सांगड (p. 495) sāṅgaḍa f A body formed of two or more (fruits, animals, men) linked or joined together. Rebus: सं-ग्रह [p=1129,2] a guardian , ruler , manager , arranger R. BhP. keeping , guarding , protection Mn. MBh. &c; complete enumeration or collection , sum , amount , totality (एण , " completely " , " entirely ")Ya1jn5. MBh. &c (Monier-Williams) Pa. saṅgaha -- m. ʻ collection ʼ, Pk. saṁgaha -- m.; Bi. sã̄gah ʻ building materials ʼ; Mth. sã̄gah ʻ the plough and all its appurtenances ʼ, Bhoj. har -- sã̄ga; H. sãgahā ʻ collection of materials (e.g. for building) ʼ; <-> Si. san̆gaha ʻ compilation ʼ ← Pa.(CDIAL 12852) Rebus: सांगड (p. 495) 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.  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.

    m0295
    Location: Mohenjo Daro, Larkana Dt., Sind, Pakistan
    Site: Mohenjo Daro
    Monument/Object: carved seal
    Current Location: National Museum, New Delhi, India
    Subject: interlinked tigers
    Period: Harappa/Indus Civilization (Pakistan) (3300-1700 BCE)
    Date: ca. 2100 - 1750 BCE
    Material: stone
    Scan Number: 27412
    Copyright: Huntington, John C. and Susan L.
    Image Source: Huntington Archive
    kul ‘tiger’ (Santali); kōlu id. (Telugu) kōlupuli = Bengal tiger (Te.) कोल्हा [ kōlhā ] कोल्हें [kōlhēṃ] A jackal (Marathi) Rebus: kol, kolhe, ‘the koles, iron smelters speaking a language akin to that of Santals’ (Santali) kol ‘working in iron’ (Tamil) kōla1 m. ʻ name of a degraded tribe ʼ Hariv. Pk. kōla -- m.; B. kol ʻ name of a Muṇḍā tribe ʼ.(CDIAL 3532) 

    కరుకోల (p. 252) karukōla karu-kōla. [Tel.] n. A firing iron, for cautery. கொல்லுலை kol-l-ulai 
     , n. < id. +. Black-smith's forge; கொல்லனுலை. கொல்லுலைக் கூடத் தினால் (குமர. பிர. நீதிநெறி. 14).கொல்² kol Working in iron; கொற்றொழில். Blacksmith; கொல்லன். 5. Lock; பூட்டு. (பிங்.)  Brass or iron bar nailed across a door or gate; கதவு முதலியவற்றில் தைக்கும் இரும்பு முதலிய வற்றாலாகிய பட்டை. Loc.

    Ta. kol working in iron, blacksmith; kollaṉ blacksmith. 
    Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.;U.P.U.) konimi blacksmith(Gowda)
    kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.)kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge.(DEDR 2133)

    Here is a rendering of this Mohenjo-daro seal with three entwined tigers, in colour by a Historian, Walter Plitt Qintin:



    cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali) Allograph: sal ‘splinter’
    Pict-61: Composite motif of three tigers
    Text1386 Note how the hieroglyph components of the text are displayed in the space available on the seal after the pictorial motif hieroglyphs have been put together as part of the hypertext. The broken corner of the seal may have included other 'text hieroglyphs called signs'. The text messageis: bronze workshop, scribe/account iron supercargo, helmsman, smithy/forge/temple.

    Hieroglyph of ‘looking back’ is read rebus as kamar 'artisan': క్రమ్మరు 
    [krammaru] krammaru. [Tel.] v. n. To turn, return, go  back. మరలు.  క్రమ్మరించు or  క్రమ్మరుచు  krammarinsu. V. a. To turn, send back, recall. To revoke, annul, rescind.క్రమ్మరజేయు.  క్రమ్మర krammara. Adv. Again. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరుkrəm backʼ(Kho.)(CDIAL 3145) Kho. Krəm ʻ back ʼ NTS ii 262 with (?) (CDIAL 3145)[Cf. Ir. *kamaka – or *kamraka -- ʻ back ʼ in Shgh. Čůmč ʻ back ʼ, Sar. Čomǰ EVSh 26] (CDIAL 2776) cf. Sang. kamak ʻ back ʼ, Shgh. Čomǰ (< *kamak G.M.) ʻ back of an animal ʼ, Yghn. Kama ʻ neck ʼ (CDIAL 14356). Kár, kãr  ‘neck’ (Kashmiri) Kal. Gřä ʻ neck ʼ; Kho. Go ʻ front of neck, throat ʼ. Gala m. ʻ throat, neck ʼ MBh. (CDIAL 4070)  Rebus: karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali)

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

    kola 'tiger' Rebus: kol 'working in iron'; kolle 'blacksmith'; kolimi 'smithy, forge'; kole.l 'smithy, temple'

    कर्णक kárṇaka कर्णक kárṇaka,kannā m. du. the two legs spread out AV. xx , 133 'spread legs'; 

    (semantic determinant) rebus: kárṇaka, kannā कर्णक 'helmsman'.PLUS 

    me ‘body’ Rebus: me ‘iron’ (Mu.) 


    kaṇḍ kanka ‘rim of jar’; Rebus: karnI 'supercargo', karṇika ‘scribe’; kaṇḍ ‘furnace, fire-altar’. Thus the ligatured Glyph is decoded: 

    kaṇḍkarṇaka ‘furnace scribe'


    kole.l smithy, temple in Kota village (Ko.)

    kōna corner (Nk.); tu. u angle, corner (Tu.); rebus: kõdā ‘to turn in a lathe’ (Bengali) Alternative reading; kanac 'corner' rebus: kañcu 'bronze'

    sal 'splinter' Rebus: sal 'workshop'

    Thus, the message on the seal reads: me ‘iron’; kāḍ  ‘stone’;  karṇaka karṇika ‘helmsman, supercargo, furnace scribe'; kolimi 'smithy, forge' kole.l 'smithy, temple'; sal ‘workshop’ PLUS kõdā sal 'turner workshop' (Alternative: kañcu sal 'bronze workshop')

    Ta. cālikaṉ, cāliyaṉ a caste of weavers. Ma. cāliyan a weaver. Ka. sāliga, sāliya id. Tu. tālye weaver; spider; (Shanmugam) sālye caste of weavers; fem. sālyetti. Te. sāle caste of weavers; sālī˜ḍu, sālevã̄ḍu a weaver. Ga. (S.2sāle pinḍake spider; sāle paṭṭu spiderweb. Kuwi (S.) sāliesi weaver. Cf. 2809 Ta. cēṇṭiravar. (DEDR 2475)

    சாலிகன் cālikaṉ , n. 1. See சாலியன், 1. 2. Cloth manufactured by weavers; சாலியன் நெய்த ஆடை. (நன். 289, மயிலை.) சாலியச்சி cāliyacci , n. Fem. of சாலியன். Woman of the weaver caste; சாலியர்குலத்திற் பிறந்தவள். சாலியன் cāliyaṉ , n. < šālika. [M. cāliyan.] 1. A caste of weavers; நெசவுச் சாதிவகை யான். பட்டுச்சாலிய ரிருக்கு மிடங்களும் (சிலப். 5, 17, உரை). 2. Member of a caste of cinnamon peelers; இலவங்கப்பட்டையை உரிக்கும் யாழ்ப்பாணத் துச் சாதியான். (J.)சாலியன்கூறை cāliyaṉ-kūṟai , n. < id. +. Bride's wedding cloth; விவாகத்தில் மணமக ளுடுத்துங் கூறைப்புடைவைLoc   சாலு cālu , n. < U. shāl. [K. sālu.] சாலுவை cāluvai , n. [K. sāluve.] See சால்வை. தண்டிகையும் போர்த்திட்ட சாலுவையும் (பணவிடு. 245).

    चाळा cāḷā  A form of mortising, or of intersertion or interlocking of bodies or of parts: viz. that of the dove-tail; of the fingers intertwined with the ends downwards; of the parts of hinges; of the unwoven threads of cloth where divisions are to be made; an articulation or a joint; as हाताचा-मणगटाचा-मानेचा-खवाट्याचा-गुडघ्याचा- चाळा

    चाळा cāḷā  In the loom. The cord connecting the पावडा and the पावसरा. 7 A spot in a web or texture left unwoven, or become open by the slipping aside of the threads. 8 That member of the loom otherwise called ओवी or वही, where see it described. ओवी ōvī The member of a loom, consisting of cords called गोमटा, through which proceed, alternately raised and depressed, the threads of the warp. Often used pl ओव्यावही vahī f That member of a loom through which pass the threads of the warp.

    Kol. (Haig) sālē, (Kin.) salle, (Pusad; BB 1957) sāle quail. Nk. sāḷe (sāṛe) id.(DEDR 2480)

    சாலகம்¹ cālakam , n. < jālaka. 1. Net, rope-net; வலை. (அக. நி.) 2. Cobweb; சிலந்தி வலை. 3. Ornament worn on the forehead by the sacrificer's wife; யாகபத்தினிகள் நெற்றியில் அணியும் அணிவிசேடம். (புறநா. 166, உரை.) 4. Bird's nest; பறவைக்கூடு. 5. Latticed window; பலகணி. மங்கைமார சாலகவாசல் பற்றி (திவ். பெரி யாழ். 3, 4, 1). 6. Flower-bud; அரும்பு. (பிங்.). 7. Trick, magic; ஜாலம். (W.)

    Ta. cāḷikai money-bag. Ma. cāḷika id. Ka. jāḷige id., purse. Te. jāliya, jāle, jāleya a sort of purse. / ? < Skt. jālaka-. (DEDR 2477)

    சாளிகை² cāḷikai , n. prob. jālaka. [T. jāliya, K. jāḷige, M. cāḷika.] Money-bag; பணப்பை. மாளிகையும் பணச்சாளிகையும் (கந்த ரலங். 78). சாளிகைப்பணக்காரன்

    cāḷikai-p-paṇa-k-kāraṉ , n. < சாளிகை² +. Person with long purse, wealthy man; பெருஞ்செல்வன். (W.)

    वहिवाट vahivāṭa f (वह S) Administration or management of; carrying on or conducting. 2 Skill or tact in carrying on, management, despatch. 3 (For वहिवाटपत्र) A report or return (as of a public officer) of his conduct of affairs. 4 Business, traffic, dealing. 5 Enjoying, using, wearing; enjoyment, use, wear. Ex. शंभर वर्षें ह्या वृत्तीची व॰ मी करीत आलोंशालजोडी नेहमी वहिवाटींत पाहिजे नाहीं तर कसर लागेल. 6 Practice. Ex. तिकडेस जाण्यायेण्याची आमची व॰ नाहीं मग ते कोठून अढळतील. 7 Intercourse, conversancy or familiar acquaintance with. वहिवाटणें vahivāṭaṇēm v i (वहिवाट) To be holding intercourse or to have conversancy with; to be working, acting, moving (in, with, amongst, or at) वहिवाटणें vahivāṭaṇēm v c (वहिवाट) To conduct, carry on, manage. 2 To enjoy, use, wear; to have fruition of, or to hold in use. 3 To employ, work, keep (in, amongst, at); and thus familiarize with or accustom unto. Ex. हा घोडा लशकरांत वहिवाटलेला आहे. 4 To avert or dispose of; to carry away or over (a calamity &c.) 5 To use carnally (a female).वहिवाटदार 
    vahivāṭadāra c The officer entrusted with the administration (of a province &c.); with the collection of the revenues (of a district or town); with the conduct or management (of an extensive concern or business in general); a vicegerent or lieutenant, a conductor or manager, a factor, agent, foreman, major domo &c.

    वही vahī f ( H) A stitched book (for accounts &c.); a tradesman's register; any book (blank, written, or printed) consisting of a few sheets stitched together. The common compounds are खातेवही, पावतीवही, रोजकीर्दवही &c.

    சாலிகை cālikai , n. prob. jālikā. Armour, coat of mail; கவசம். சாலிகை யுடம்பினர் தறுகணாளரே (சீவக. 2217). 

    சாலிகை cālikai , n. prob. jālikā. Toll, customs, duty; சுங்கவிறைசாலிபகுதி cāli-pakuti , n. A tax on shops; கடைகளுக்கு விதிக்கும் வரிவகை. (R. T.)

    சாளிகை³ cāḷikai , n. < Mhr. jhārī. Jar; சாடி.

    சாலை¹ cālai , n. < šālā. 1. Alms-house, feeding-house; உணவு அளிக்கும் அறச்சாலை. தண்ட மிட்டன்றிச் சாலை உண்ணப்பெறார் (T. A. S. I, 9). 2. Sacrificial hall; யாகசாலை. திருத்திய சாலை புக் கனன் (கம்பரா. திருவவ. 84). 3. School; பள்ளிக் கூடம். கறையறு கல்விகற்குங் காமர்சாலையும் (குசே லோ. குசே. வைகுந். 23). 4. Stable, elephant-stable; குதிரை யானை முதலியவற்றின் கூடம். (பிங்.). 5. Cow shed; பசுக்கொட்டில். ஆத்துறுசாலைதோறும் (கம்பரா. ஊர்தேடு. 101). 6. Large public hall; பெரிய பொதுமண்டபம்Loc. 7. Royal palace; அரசன் அரண்மனை. (பிங்.). 8. House, mansion; வீடு. விதுரன்சாலைக் கரும்புது விருந்தாமருந்தே (அழகர்கல. 5). 9. Avenue, public road shaded by trees; இருபக்கமும் மரஞ்செறிந்த பாதை.



    Itihāsa; कलियुगे शककर्त्तृषु -- Śaka Era in Kaliyuga

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    The debates about Old Śaka Era and Śaka epoch of 78 CE is yet an unsettled issue.

    The Epoch of Śaka Era: A critical study | IndiaFactsIndiaFactsThe Epoch of Śaka Era: A critical study by Vedveer Arya

    Kota Venkatachalam has reconstructed the Aihole inscription. See: Kota Venkata Chelam - Ancient Indian History: 3. The Aihole inscription (trueindianhistory-kvchelam.blogspot.com)

    Śaka m. pl. N. of a partic. white-skinned tribe or race of people (in the legends which relate the contests between Vasiṣṭha and Viśvāmitra the Śakas are fabled to have been produced by the Cow of Vasiṣṭha, from her sweat, for the destruction of Viśvāmitra's army; in Mn. x, 44 , they are mentioned together with the Pauṇḍrakas, Oḍras, Draviḍas, Kāmbojas, Javanas or Yavanas, Pāradas, Pahlavas, Cīnas, Kirātas, Daradas, and Khaśas, described by, Kull.  as degraded tribes of Kṣatriyas called after the districts in which they reside: according to the VP. iv, 3 , king Sagara attempted to rid his kingdom of these tribes, but did not succeed in destroying them all : they are sometimes regarded as the followers of Śaka or Śāli-vāhana, and are probably to be identified with the Tartars or Indo-Scythians [Lat. Sacae] who overran India before the Āryans, and were conquered by the great Vikramâditya; they really seem to have been dominant in the north-west of India in the last century before and the first two centuries after the beginning of our era), AV.Pariś.Mn. ; MBh.  &c.  (Monier-Williams)

    शकः śakaḥ 1 N. of a king (especially applied to Śālivāhana; but scholars do not seem to have yet agreed as to the precise meaning and scope of the word). -2 An epoch, era (the term is especially applied to the era of Śālivāhana which commences 78 years after the Christian ear). -काः (m. pl.) 1 N. of a country. -2 N. of a particular tribe or race of people (mentioned in Ms.10.44 along with the Pauṇḍrakas &c.; see Mu.5.11 also). -Comp. -अन्तकः, -अरिः epithets of king Vikramāditya who is said to have exterminated the Śakas. -अब्दः, -कालः a year of the Śaka era. -कर्तृ, -कृत् m. the founder of an era. (Apte)

    शकः, पुं, (शक+ अच्) जातिभेदःनृपभेदः।इतिमेदिनीनृपःशकादित्यःइतिशालिवाहनइतिनाम्नाख्यातःतस्यमरणदिनावधिवत्सरगणनाङ्कःशकाब्देतिनाम्नापञ्जिकायांलिख्यतेम्लेच्छ-जातिविशेषःसत्ययुगेसगरराजेनास्यमस्त-कार्द्धंमुण्डयित्वावेदबाह्यत्वमकारियथा, --“ततःशकान्सयवनान्काम्बोजान्पारदां-स्तथा।पह्नवांश्चापिनिःशेषान्कर्त्तुंव्यवसितोनृपः॥तेहन्यमानाबीरेणसगरेणमहौजसा।वशिष्ठंशरणंजग्मुःसूर्य्यवंशपुरोहितम्॥वशिष्ठःशरणापन्नानसमयेस्थाप्यतानृषिः।सगरंवारयामासतेभ्योदत्त्वाभयंतदा॥सगरस्तांप्रतिज्ञान्तुनिशम्यसुमहाबलः।धर्म्मंजघानतेषाञ्चवेशानन्यांश्चकार॥अर्द्धंशिरःशकानान्तुमुण्डयामासभूपतिः।जवनानांशिरःसर्व्वंकाम्बोजानामपिद्विज॥पारदान्मुक्तकेशांस्तुपह्रवान्श्मश्रुधारिणः।निःस्वाध्यायवषट्कारान्सर्व्वानेवचकारइतिपाद्मेस्वर्गखण्डेसगरोपाख्यानम्१५अः॥देशभेदःइतिविश्वः(यथा, मात्स्ये।१२०४५तुषारान्वर्व्वरान्कारान्पह्रवान्पारदान्शकान्।एतान्जनपदान्मङ्क्षुप्लावयित्वोदधिंगता”)

    -- शब्दकल्पद्रुमः

    शक पु०शक--अच्जातिभेदेब्रात्यक्षत्रियः१९०७पृ०दृश्यमदेशभेदेस्वराज्यावधिवत्सराङ्कप्रवर्त्तके२नपभेदेतदीयेवत्सरेकलियुगेशककर्त्तृषुषट्सुयुधिष्ठिरःविक्रमादित्यःशालिवाहनश्चेतित्रयोगताविजयाभिनन्दनादयस्तयोभविष्यन्तितथाहिकलौषट्शककर्त्तारःतल्लक्षणादिज्योतिर्वि०१०अ०उक्तयथाकलौभविष्यन्त्यथभारतावनौमहीभुजोबाहुमृतोऽप्य-नेकशःशकास्तथैषामभिषेचनादिकंहितंसदोदी-रितकालसाधितम्धराधिभूर्भिल्लशकादिजातिजस्त-दासनस्थोऽभिजनैर्नमस्कृतःस्ततौराजाधिजनैःप्रतिष्ठितोमन्त्रभेदाद्यभिषेचनोचितःनिहन्तियोभूतलमण्डलेशकान्सपञ्चकोट्यब्जदलप्रमान्कलौ।सराजपुत्रःशककारकोभवेत्नृपाधिराज्येह्युतशाक-कर्त्तृहा(तत्रशककारकस्यविक्रमादित्यस्यहननात्शालिवाहवस्यशककर्त्तृत्वम्) “यधिष्ठिरोविक्रमशालि-वाहनौनराधिनाथौविजयाभिनन्दनःइमेऽनुनागार्जुनमेदिनीबिभुर्वलिःक्रमात्षट्शककारकाःकलौ।तत्प्रवृत्तिकालांस्तत्राहयुधिष्ठिरात्वेदयुगाम्बरा-ग्नयः(३०४४) कलम्बविश्वे(१३५) ऽभ्रखखाष्टभूमयः१८०००ततोऽयुतं१००००लक्षचतुष्टयंक्रमात्धरादृगष्टाविति (८२१) शाकवत्सराःयुघिष्ठिरोऽभूद्भुविहस्तिनापुरेतथोज्जयिन्थांपुरिविक्रसाह्वयःशाले-यभूमीभृतिशालिवाहनःसुचित्रकूटेविजयाभिनन्दनः।नागार्जुनोरोहितकेक्षितौबलिर्भविष्यतीन्द्रोभृगु-कच्छपत्तनेकृतप्रवृत्तिस्तदनन्तरंभवेत्तदाभविष्यन्त्यबनी-भृतोऽर्कतःअत्रयुधिष्ठिरात्प्राक्कलौशककर्त्त्र-न्तराभावात्कलियुगारम्भकालादेवतस्यशककालउक्तःवराहसंहितायां१३अ०तुतद्राज्यावधितएवतच्छककालइत्यभिप्रायेणआसन्मधासुमुनयःशासतिपृथ्वींयुधिष्ठिरेनृपतौषड्द्विकपञ्चद्वियुतः(२५२६) शककालस्तस्यराज्ञश्चतेनकलेः(५१८) वर्षेषुगतेषुयुधिष्ठिरस्यराज्यप्रवृत्तिःषट्कर्तृवत्सरसमष्टिश्च

    ·         युधि०३०४४इतिकलिमानसंख्याविरोधः

    ·         विक्र०१३५अतएवज्योतिर्विदाभरणशेषेग्रन्थ-

    ·         शालि०१८०००कृतैववर्षैःसिन्धुरदर्शनाम्बरगणै-

    ·         विजया०१००००यांतेकलौसम्भितैःइतिकलि-

    ·         नागा०४०००००युगस्यैव३०६८वर्षंषुगतेषुग्रन्थ-

    ·         बलि०८२१करणमुक्तम्।३३२०००

    --वाचस्पत्यम्

    śaka—kāla m. the Śaka era (beginning C.E.78, and founded by king Śāli-vāhana; an expired year of the Śaka era is converted into the corresponding year C.E. by adding to it 78-79; e.g. 654 expired = C.E. 732-733), VarBṛS. ; Rājat.  (Monier-Williams)

    śaka m. pl. N. of a partic. white-skinned tribe or race of people (in the legends which relate the contests between Vasiṣṭha and Viśvāmitra the Śakas are fabled to have been produced by the Cow of Vasiṣṭha, from her sweat, for the destruction of Viśvāmitra's army; in Mn. x, 44 , they are mentioned together with the Pauṇḍrakas, Oḍras, Draviḍas, Kāmbojas, Javanas or Yavanas, Pāradas, Pahlavas, Cīnas, Kirātas, Daradas, and Khaśas, described by, Kull.  as degraded tribes of Kṣatriyas called after the districts in which they reside: according to the VP. iv, 3 , king Sagara attempted to rid his kingdom of these tribes, but did not succeed in destroying them all : they are sometimes regarded as the followers of Śaka or Śāli-vāhana, and are probably to be identified with the Tartars or Indo-Scythians [Lat. Sacae] who overran India before the Āryans, and were conquered by the great Vikramâditya [q.v.]; they really seem to have been dominant in the north-west of India in the last century before and the first two centuries after the beginning of our era), AV.Pariś. ; Mn. ; MBh.  &c.  (Monier-Williams)

    शकः śakaḥ 1 N. of a king (especially applied to Śālivāhana; but scholars do not seem to have yet agreed as to the precise meaning and scope of the word). -2 An epoch, era (the term is especially applied to the era of Śālivāhana which commences 78 years after the Christian ear). -काः (m. pl.) 1 N. of a country. -2 N. of a particular tribe or race of people (mentioned in Ms.10.44 along with the Pauṇḍrakas &c.; see Mu.5.11 also). -Comp. -अन्तकः, -अरिः epithets of king Vikramāditya who is said to have exterminated the Śakas. -अब्दः, -कालः a year of the Śaka era. -कर्तृ, -कृत् m. the founder of an era. (Apte)

    शकः, पुं, (शक+ अच्) जातिभेदःनृपभेदः।इतिमेदिनीनृपःशकादित्यःइतिशालिवाहनइतिनाम्नाख्यातःतस्यमरणदिनावधिवत्सरगणनाङ्कःशकाब्देतिनाम्नापञ्जिकायांलिख्यतेम्लेच्छ-जातिविशेषःसत्ययुगेसगरराजेनास्यमस्त-कार्द्धंमुण्डयित्वावेदबाह्यत्वमकारियथा, --“ततःशकान्सयवनान्काम्बोजान्पारदां-स्तथा।पह्नवांश्चापिनिःशेषान्कर्त्तुंव्यवसितोनृपः॥तेहन्यमानाबीरेणसगरेणमहौजसा।वशिष्ठंशरणंजग्मुःसूर्य्यवंशपुरोहितम्॥वशिष्ठःशरणापन्नानसमयेस्थाप्यतानृषिः।सगरंवारयामासतेभ्योदत्त्वाभयंतदा॥सगरस्तांप्रतिज्ञान्तुनिशम्यसुमहाबलः।धर्म्मंजघानतेषाञ्चवेशानन्यांश्चकार॥अर्द्धंशिरःशकानान्तुमुण्डयामासभूपतिः।जवनानांशिरःसर्व्वंकाम्बोजानामपिद्विज॥पारदान्मुक्तकेशांस्तुपह्रवान्श्मश्रुधारिणः।निःस्वाध्यायवषट्कारान्सर्व्वानेवचकारइतिपाद्मेस्वर्गखण्डेसगरोपाख्यानम्१५अः॥देशभेदःइतिविश्वः(यथा, मात्स्ये।१२०४५तुषारान्वर्व्वरान्कारान्पह्रवान्पारदान्शकान्।एतान्जनपदान्मङ्क्षुप्लावयित्वोदधिंगता”)

    -- शब्दकल्पद्रुमः

    शक पु०शक--अच्जातिभेदेब्रात्यक्षत्रियः१९०७पृ०दृश्यमदेशभेदेस्वराज्यावधिवत्सराङ्कप्रवर्त्तके२नपभेदेतदीयेवत्सरेकलियुगेशककर्त्तृषुषट्सुयुधिष्ठिरःविक्रमादित्यःशालिवाहनश्चेतित्रयोगताविजयाभिनन्दनादयस्तयोभविष्यन्तितथाहिकलौषट्शककर्त्तारःतल्लक्षणादिज्योतिर्वि०१०अ०उक्तयथाकलौभविष्यन्त्यथभारतावनौमहीभुजोबाहुमृतोऽप्य-नेकशःशकास्तथैषामभिषेचनादिकंहितंसदोदी-रितकालसाधितम्धराधिभूर्भिल्लशकादिजातिजस्त-दासनस्थोऽभिजनैर्नमस्कृतःस्ततौराजाधिजनैःप्रतिष्ठितोमन्त्रभेदाद्यभिषेचनोचितःनिहन्तियोभूतलमण्डलेशकान्सपञ्चकोट्यब्जदलप्रमान्कलौ।सराजपुत्रःशककारकोभवेत्नृपाधिराज्येह्युतशाक-कर्त्तृहा(तत्रशककारकस्यविक्रमादित्यस्यहननात्शालिवाहवस्यशककर्त्तृत्वम्) “यधिष्ठिरोविक्रमशालि-वाहनौनराधिनाथौविजयाभिनन्दनःइमेऽनुनागार्जुनमेदिनीबिभुर्वलिःक्रमात्षट्शककारकाःकलौ।तत्प्रवृत्तिकालांस्तत्राहयुधिष्ठिरात्वेदयुगाम्बरा-ग्नयः(३०४४) कलम्बविश्वे(१३५) ऽभ्रखखाष्टभूमयः१८०००ततोऽयुतं१००००लक्षचतुष्टयंक्रमात्धरादृगष्टाविति (८२१) शाकवत्सराःयुघिष्ठिरोऽभूद्भुविहस्तिनापुरेतथोज्जयिन्थांपुरिविक्रसाह्वयःशाले-यभूमीभृतिशालिवाहनःसुचित्रकूटेविजयाभिनन्दनः।नागार्जुनोरोहितकेक्षितौबलिर्भविष्यतीन्द्रोभृगु-कच्छपत्तनेकृतप्रवृत्तिस्तदनन्तरंभवेत्तदाभविष्यन्त्यबनी-भृतोऽर्कतःअत्रयुधिष्ठिरात्प्राक्कलौशककर्त्त्र-न्तराभावात्कलियुगारम्भकालादेवतस्यशककालउक्तःवराहसंहितायां१३अ०तुतद्राज्यावधितएवतच्छककालइत्यभिप्रायेणआसन्मधासुमुनयःशासतिपृथ्वींयुधिष्ठिरेनृपतौषड्द्विकपञ्चद्वियुतः(२५२६) शककालस्तस्यराज्ञश्चतेनकलेः(५१८) वर्षेषुगतेषुयुधिष्ठिरस्यराज्यप्रवृत्तिःषट्कर्तृवत्सरसमष्टिश्च

    ·         युधि०३०४४इतिकलिमानसंख्याविरोधः

    ·         विक्र०१३५अतएवज्योतिर्विदाभरणशेषेग्रन्थ-

    ·         शालि०१८०००कृतैववर्षैःसिन्धुरदर्शनाम्बरगणै-

    ·         विजया०१००००यांतेकलौसम्भितैःइतिकलि-

    ·         नागा०४०००००युगस्यैव३०६८वर्षंषुगतेषुग्रन्थ-

    ·         बलि०८२१करणमुक्तम्।३३२०००

    --वाचस्पत्यम्म्

    Composite animal with human face & other hieroglyphs on a Mohenjodaro seal signify ingots & workshop of a metals manufactory

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     https://tinyurl.com/y2f6tlfc

    Composite animal with human face on Indus Script seal/seal impression. National Museum, New Delhi
    Seal, Mohenjodaro (2700 - 2000 BCE)

    A square, white steatite seal having a perforated boss on reverse and showing an engraved composite animal having human face in profile, two horns, the fore legs of an ox and a trunk. It has three inscribed pictograms in the upper field.

    John Huntington sees the horns of the composite animal as signifiers of a water-buffalo:

    If the horns signify a water buffalo, the rebus reading is:
    rāngo 'water buffalo bull' (Ku.N.)(CDIAL 10559) Rebus: rango 'pewter'. ranga, rang pewter is an alloy of tin, lead, and antimony (anjana) (Santali)

    Decipherment of hieroglyphs:

    Text message hieroglyphs:
    bhaṭa 'warrior' rebus: bhaṭa 'furnace'
    karã̄ n. pl. wristlets, banglesRebus: khãr 'blacksmith, iron worker' (Kashmiri).

    Field symbol:

    Body of an antelope: ranku 'antelope' rebus: ranku 'tin ore'
    Cobrahood as tail: phaḍa फड 'cobra hood' rebus phaḍa, paṭṭaḍa ‘metals manufactory’

    Scarf: dhatu 'scarf' rebus: dhatu 'mineral ore'

    Forelegs of bovine: dhangar 'bull' rebus: dhangar 'blacksmith'
    Hindlegs of feline: kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'

    ib 'elephant' Rebus: ib 'iron' karibha 'elephant' rebus: karba 'iron' (Kannada)

    mũhe ‘face’ (Santali) mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) mũhã̄= the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhāmẽṛht = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛht ko mūhāakata = the Kolhes have to-day produced pig iron (Santali)

    High horns of a zebu: poLa 'zebu' rebus: poLa 'magnetite, ferriteore'; 

     ko·ṛ (obl. ko·ṭ-) horns (Ko.) Rebus: koḍ 'workshop': Ta. kōṭu (incpds. kōṭṭu-) horn, tusk, branch of tree,cluster, bunch, coil of hair, line, diagram, bank of stream or pool; kuvaṭu branchof a tree; kōṭṭāṉ, kōṭṭuvāṉ rock horned-owl (cf. 1657Ta. kuṭiñai). Ko. ko·ṛ (obl. ko·ṭ-) horns(one horn is kob), half of hair on each side of parting, side ingame, log, section of bamboo used as fuel, line marked out. To. kwï·ṛ(obl. kwï·ṭ-) horn, branch, path across stream inthicket. Ka. kōḍu horn, tusk, branch of atree; kōr̤ horn. Tu. kōḍů, kōḍu horn. Te. kōḍu rivulet,

    branch of  river.Pa. kōḍ(pl. kōḍul) horn. Ga. (Oll.) kōr(pl. kōrgul) id. Go. (Tr.) kōr (obl. 

    kōt-, pl. kōhk) horn of cattle orwild animals, branch of a tree; (W. Ph. A. Ch.) kōr (pl. kōhk),(S.) kōr (pl. kōhku), (Ma.) kōr̥u (pl. kōẖku) horn; (M.) kohk branch (Voc. 980); (LuS.) kogoo a horn. Kui kōju (pl. kōska) horn, antler. (DEDR 2200) Rebus: Ma. koṭṭil cowhouse, shed, workshop, house. Ka. koṭṭage, koṭige, koṭṭige stall or outhouse (esp. for cattle), barn, room. Koḍ. koṭṭï shed. Tu. koṭṭa hut or dwelling of Koragars; koṭya shed, stall. Te. koṭṭā̆mu stable for cattle or horses; koṭṭāyi thatched shed. Kol. (Kin.) koṛka, (SR.) korkā cowshed; (Pat., p. 59) konṭoḍi henhouse. Nk. khoṭa cowshed. Nk. (Ch.) koṛka id. Go. (Y.) koṭa, (Ko.) koṭam (pl. koṭak) id. (Voc. 880); (SR.) koṭka shed; (W. G. Mu. Ma.) koṛka, (Ph.) korka, kurka cowshed (Voc. 886); (Mu.) koṭorla, koṭorli shed for goats (Voc. 884). Malt. koṭa hamlet. / Influenced by Skt. goṣṭha-.(DEDR 2058) gōṣṭhá m. ʻ cow -- house ʼ RV., ʻ meeting place ʼ MBh. 2. *gōstha -- . [gṓ -- , stha -- ]1. Pa. goṭṭha -- n. ʻ cowpen ʼ, NiDoc. goṭha, Pk. goṭṭha -- , guṭ˚ n.; Ash. gōṣṭ -- klōm ʻ ceiling ʼ; Tir. guṣṭ ʻ house ʼ, Woṭ. goṭ; Kal. rumb. ghōṣṭ ʻ cattle shed ʼ; Mai. goṭ ʻ house ʼ, Phal. ghōṣṭ, Sh. goṭ m.; K. guṭh, dat. ˚ṭhas m. ʻ place in a village where the cattle collect ʼ; S. goṭhu m. ʻ village, town ʼ; WPah. bhal. gɔ̈̄ṭh n. ʻ standing ground for cattle in meadow or forest ʼ; Ku. goṭh ʻ cattle shed ʼ, gng. ʻ lower storey of house ʼ; N. goṭh ʻ cowshed ʼ; B. goṭh ʻ pasture land, herd, flock ʼ; Or. goṭha ʻ herd, flock ʼ, (Ambalpur) guṭha ʻ cattle pen ʼ; Bhoj. goṭh ʻ cowpen ʼ; G. goṭhɔ m. ʻ cattle yard ʼ; M. goṭhā m. ʻ cowpen ʼ ˚ṭhī ʻ pen for calves ʼ, Ko. goṭ. -- Ext. -- la -- in Si. goṭaluva ʻ hut, cottage ʼ? <-> Sv. guš ʻ house ʼ is unexpl. -- Sh. goṣ ʻ house ʼ (unless a lw. with loss of --  and subsequent treatment of --  > -- <-> in obl. like an orig. --  -- ) prob. < ghōṣa -- .2. Chil. got ʻ house ʼ; P. kgr. gohth f. ʻ place where sheep are penned for the night in the high ranges ʼ.gōṣṭhī -- , gauṣṭha -- ; *gōṣṭhapāla -- ; *saṁbandhigōṣṭha -- .Addenda: gōṣṭhá -- . 1. Sv. guš (goš Buddruss) with regular š < s̊ṭh ZDMG 116, 414; S.kcch. goṭh m. ʻ village ʼ; Garh. goṭh ʻ cowshed ʼ, Brj. goṭh f. (CDIAL 4336)


    i

    Itihāsa; Mahābhārata war occurred in कलिद्वापरयॊरअन्तरे; Kali Yuga calendar starts from Feb.17/18 February 3102 BCE

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    https://tinyurl.com/yyfqkvbs

    I submit that the Mahābhārata text clearly states that the war occurred in the Dvāpara-Kali Yuga Sandhi (interval). This is consistent with calendar reckoning of the Kali Yuga in Hindu tradition starting from Dvāpara-Kali Yuga Sandhi (interval) and a specific date of the conclusion of Śrī Kr̥ṣṇa avatāra which is Feb. 17/18 February 3102 BCE. 

    I submit that astronomy scholars should review this and sumanu, together embark on start a project to display on all planetaria of the globe, the events reported in the most accurately dated Epic in Human civilizational history, the Mahābhārata. This can be an adaptation of Stellarium in the context of Veda culture and can be called ज्योतिष मण्डलं as a tribute to our ancestors who have left for us the heritage, the treasure of ज्योतिष knowledge systems, charting the skymaps of th inexorable movements, in cyclical time, of celestial objects with stellar metaphors of documentations in the oldest human document, the R̥gveda.

    In the context of semantics related to space and time, the word antara signifies an interval or transition time as can be seen from the following translations of expressions: kālāntara n. 

    ‘interval, intermediate time’ (Monier-Williams); काल kāla -अन्तरम्  an interval. -2 a period of time.अन्तर antara  Interval, intermediate time or space, distance; रम्यान्तरः Ś.4.11;kālāntara n. ‘interval, intermediate time’ किंचिदन्तरमगमम् Dk.6; अल्पकुचान्तरा V.4.49; क्रोशान्तरेण पथि स्थिताः H.4 at the distance of; बृहद् भुजान्तरम् R.3.54; अन्तरे oft. translated by between, betwixt; गीतान्तरेषु Ku.3.38 in the intervals of singing; मरणजीवितयोरन्तरे वर्ते betwixt life and death; अस्त्रयोगान्तरेषु Rām.; तन्मुहूर्तकं बाष्पसलिलान्तरेषु प्रेक्षे तावदार्यपुत्रम् U.3 in the intervals of weeping; बाष्पविश्रामोऽप्यन्तरे कर्तव्य एव U.4 at intervals (Apte)

    अन्तरे चैव संप्राप्ते कलिद्वापरयॊर अभूत

          समन्तपञ्चके युद्धं कुरुपाण्डवसेनयॊः (Adi Parva 2.9)

     antare caiva saṃprāpte kalidvāparayor abhūt

          samantapañcake yuddhaṃ kurupāṇḍavasenayoḥ

    In the interval between the Dvāpara and the Kali Yugas there happened at Samanta-pancaka the encounter between the armies of the Kauravas and the Pāṇḍava-s.

    NOTE: The context in which the statement occurs in seen in Kisari Mohan Ganguly's translation of Śrī Balarāma;s dialogue with Pitr-s: (Śrī Bala)rāma said, 'If, O fathers, ye are favourably disposed towards me, the boon I ask is that I may be absolved from the sins born of my having annihilated the Kṣatriyas in anger, and that the lakes I have formed may become famous in the world as holy shrines.' The Pitris then said, 'So shall it be. But be thou pacified.' And Rāma was pacified accordingly. The region that lieth near unto those lakes of gory water, from that time hath been celebrated as Samanta-pancaka the holy. The wise have declared that every country should be distinguished by a name significant of some circumstance which may have rendered it famous. In the interval between the Dvāpara and the Kali Yugas there happened at Samanta-pancaka the encounter between the armies of the Kauravas and the Pāṇḍava-s. In that holy region, without ruggedness of any kind, were assembled eighteen Akṣauhinis of soldiers eager for battle. And, O Brahmanas, having come thereto, they were all slain on the spot. Thus the name of that region, O Brahmanas, hath been explained, and the country described to you as a sacred and delightful one. I have mentioned the whole of what relateth to it as the region is celebrated throughout the three worlds.'

    This is the statement made by Vāsudeva in his conversation with his elder brother Śrī Balarāma.

    प्राप्तं  कलियुगंविद्धिपरतिज्ञां पाण्डवस्य

         आनृण्यंयातुवैरस्यपरतिज्ञायाशपाण्डवः S'alya Parva 59.21

    prāptaṃ kaliyugaṃ viddhi pratijñāṃ pāṇḍavasya ca

         ānṛṇyaṃ yātu vairasya pratijñāyāś ca pāṇḍavaḥ

    Dr. Manish Pandit explains the context in which this statement is made by Vāsudeva (Śrī Kr̥ṣṇa) on this slide image:


    Resolving Arhatiya Protest

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     RESOLVING ARHATIYA PROTEST

    Two suggestions to resolve the Arhatiya Protest: 1. option to states to register them as contract agents; 2. provide incentives to Arhatiya to start AGRO PROCESSING INDUSTRIES by subsidized MSME loans and encourage Arhatiyas to become pioneering AGRO PROCESSING INDUSTRIALISTS.

    I request the Hon’ble PM and Hon’ble Agriculture Minister to consider this submission from a Sr. Executive of Asian Development Bank to resolve the ongoing Arhatiya Agitation (mischievously called Farmers’ Protests by motivated opposition). The principal participants in the protest are Arhatiyas from the SARASVATI RIVER BASIN, sugarcane producers in particular.

    āhṛtī in Lahnda (Punjabi) is a broker, commission agent. Some Arhatiya are also pawn brokers and money lenders. This profession is in vogue in Punjab and Haryana since the days of Rgveda as attested in the following etyma of North Bharat. Arhatiya are thus in close liaison with the farmers to manage the sale of their agricultural produce for generations.

    ādhāpayati caus. of āˊdadhāti ʻ gives, lends ʼ RV., cf. ādhí -- m. ʻ pledge, pawn ʼ RV. 2. Pp. replaced by MIA. *ādhapta -- , cf. ājñapta -- : ājnāpayati. [√dhā]1. Pk. āḍhavaï ʻ begins ʼ, pass. āḍhappaï.2. Pk. āḍhatta -- , aḍḍh˚ ʻ begun, undertaken ʼ; S. āḍ̠ata f. ʻ mercantile correspondence, agency ʼ, āḍ̠atio m. ʻ merchant's correspondent ʼ; L. āhṛtī  m. ʻ broker ʼ, P. āṛhataṛh˚ f. ʻ commission ʼ, āhṛtīah˚ m. ʻ commission agent ʼ; Ku. āṛhat ʻ commission ʼ, āṛati ʻ customer ʼ; B. āṛat ʻ commission ʼ; Mth. āṛhat ʻ brokerage ʼ, aṛhatiā ʻ agent ʼ; H. āṛhataṛh˚ f., āṛhatyā m., G. āṛati f., āṛatīyo m., M. āḍataḍ˚ f., āḍatyāaḍ˚ m. As a commercial term prob. widely spread from one centre. (Comparative Dictionary of Indo-Aryan Languages, CDIAL 1164)

    Arhatiya fear losing their commission from the sale of farmers’ produce.

    I suggest two solutions to alleviate the fears of the Arhatiyas who seem to be concerned about losing their traditional status as Agri produce commission agents.

    I have been a student of Economics and a Senior Executive of Asian Dev. Bank for 18 years. I am also a researcher in Sarasvati Civilization. I find that Arhatiyas have their traditional role as commission agents going back to the days of Rigveda, particularly in Punjab, Rajasthan, Haryana ALONG THE SARASVATI RIVER BASIN.

    First solution to the problem is to provide for the traditional Arhatiyas to continue their role in agricultural produce marketing by PROVIDING IN THE RULES framed under the three farm laws recently enacted (2020) for the State Governments to register Arhatiyas as marketing agents together with other marketing agents from any part of Bharat. This will ensure that the farmers get a competitive price for their produce given the choice provided in the Farm Laws to the farmers to choose their marketing agents. Thus, Arhatiyas should become pioneering AGRO PROCESSING INDUSTRIALISTS.

    Second solution is to provide incentives to the traditional Arhatiyas to start Agricultural Processing Industries to increase their earnings beyond the commissions earned by them as commission agents and in agri produce marketing contracts. Under the MSME programs of Govt. of India, special low-interest loans can be advanced to Arhatiyas to start Agri Processing Industries to facilitate value additions to agri produce and to engage in EXPORT of agri processed goods such as potato starches, enriched atta packages, packaged cereals, processed sugarcane and sugarcane products such as sugar cubes in packages for EXPORT.

    S. Kalyanaraman, Former Sr. Exec., Asian Development Bank February 7, 2021


    Early post-Mauryan coins of Taxila with deciphered Indus Script hieroglyphs including 'fish-fin' hypertext (so-called triratna)

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    Several coins of king Agathocles use the Kharoshthi legend Akathukreyasa "Agathocles" on the obverse, and Hirañasame on the reverse (as one of the known coins of Taxila above). Hirañasame would mean "The Golden Hermitage", an area of Taxila (preferred interpretation), or if read 'Hitajasame would mean "Good-fame possessing", a direct translation of "Agathokles"

    Coin of Agatocles (180-190 BCE). An six-arched hill symbol surmounted by a star. Kharoshthi legend Akathukreyasa "Agathocles". Tree-in-railing, Kharoshthi legend Hirañasame.(Monnaies Gréco-Bactriennes et Indo-Grecques, Bopearachchi, p.176)


    De Parmanand Gupta, 1989, Geography from Ancient Indian Coins & Seals, Concept Publishing Company, p.126





     

    https://tinyurl.com/yxl5vw5a

    --  ghero 'whirl' rebus gar 'stone PLUS dotted circle hieroglyph dhā̆vaḍ 'iron smelter'

    --Pulley hieroglyph on 600 BCE punch-marked coin of Kuntala, Karnataka 

    Thanks to Raj Vedam @RajVedam1 for the insight. Complex pulleys are shown on 600 BCE coins from Kuntala in Karnataka. It allows a force multiplication of 3. Were such pulleys used even earlier in the region to construct megalithic dolmens? Iron was in use in 2000 BCE in southern India. Pulleys were used in Egypt in 1900 BCE.

    Silver, 6.24 g, pulley type with a big pulley-type symbol in the center and a clock-wise Triskeli in two of its orbs(Uniface)

    I submit that the hypertext shown on the Kuntala coin of 600 BCE is read rebus in Meluhha as a wealth resource accounting ledger.

    The hypertext is a combination of 1. dotted circle. 2. trefoil and 3. pulley 


    These are Indus Script hieroglyphs. Rebus Meluhha readings are:

    1. Dotted circle

    Dotted circle hypertext is composed of two hieroglyphs: dhāī 'dot' and vaṭṭa.'circle' read rebus as: dhatu 'mineral ore' PLUS vatti, brath, vrtti 'trade, business'. Thus, together  dhā̆vaḍ 'iron smelter'

    Hieroglyph: circle: vaṭṭa.: 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. [√vr̥t11. 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. waṭṭəwīˊkwaḍḍawik 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  [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. Rebus: vr̥tti f. ʻ mode of life, conduct ʼ Gr̥Śr., ʻ business ʼ MBh., ʻ wages ʼ Pañcav. [√vr̥t1Pa. vutti -- f. ʻ practice, usage ʼ; Pk. vatti -- , vitti -- , vutti<-> f. ʻ life, livelihood ʼ; Gy. eur. buti f. ʻ work ʼ; K. brath, dat. brüċü f. ʻ trade, profession ʼ; P. buttī f. ʻ compulsory labour, unrewarded service of Brahmans and barbers ʼ; Ku. buti ʻ daily labour, wages ʼ, hāt -- but˚ti ʻ domestic work ʼ; Or. butā ʻ work in hand, business ʼ, buti ʻ servant ʼ; H. buttī f. ʻ means of subsistence ʼ, bīṭbīt f. ʻ grazing fee charged by herdsmen ʼ; Si. väṭi ʻ state, condition ʼ SigGr ii 462.(CDIAL 12070)

    Hieroglyph: dhāī strand or wisp: dot or one in dice throw: 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. hāu ʻ red chalk, red ochre ʼ (whence hāuā ʻ reddish ʼ; M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ(whence dhā̆va m. ʻ a caste of iron -- smelters ʼdhāvī ʻ composed of or relating to iron ʼ); -- Si.  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) 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)

     2. Trefoil

    This is a signifier of three mineral ores of iron: haematite, laterite, magnetite. These are  dhāūdhāv soft red stones (Marathi). Hence, the expression is tri-dhatu 'three mineral ores'.

    3. Pulley

    gira, ghero 'pulley' rebus: "gaṛṛah"ʻ stone ʼ gar ʻ stone ʼ(Pashto). Thus, the pulley signifies iron ore stone.

    Together, the hypertext signifies the wealth resources realized in the Kuntala, Karnataka mint using three mineral ores of iron: haematite, laterite and magnetite -- all of which are Indus Script hieroglyphs: 

    bicha 'haematite' signified by bicha 'scorpion' 

    गोटी [ gōṭī ] 'round pebbles, stones' rebus: गोटी [ gōṭī ] 'A lump of silver'. goṭā 'ferrite, laterite ore'

    pola 'magnetite' signified by pola 'zebu, bos indicus'.

    Ta. kiṟukiṟu (-pp-, -tt-) to be giddy, swim (as the head), be confounded, confused, disconcerted; kiṟukiṟuppu giddiness; kiṟu-kiṟeṉal expr. signifying being giddy, moving rapidly; kiṟukku (kiṟukki-) to feel giddy, be delirious; n. giddiness, craziness. Ma. kiṟukiṟukka to become embroiled; kiṟukkam dizziness, giddiness. Ka. giṟi, giṟa, giṟu, giṟake, giṟaki, giṟiki, giṟike whirling, going round; giṟa guṭṭu to go round (as the head from biliousness); giṟṟane with a whirl. Tu. giriyuni to suffer from giddiness; girigiṭṭi a child's toy with wheels whirling round by means of a string between them. Te. giragira round and round, spinning; giṟṟuna circularly, in a circle; giraka, gilaka, (VPK also) girra, gīra, gilla pulley over which to pull water from well; (VPK for all items) wheel of cart. Go. (Tr.) kīrkand a whirligig, water-beetle (Voc. 710). / Cf. Mar. girakṇẽ to whirl.(DEDR 1595) *ghir ʻ go round ʼ. 2. *ghēr -- tr. ʻ make go round, sur- round ʼ. [← Drav. J. Bloch BSOS v 742: cf. *ghūr -- ]1. Wg. (Lumsden) "girum"ʻ whirlpool ʼ; Dm. gíran ʻ again, back ʼ; Paš. gir -- ʻ to turn round ʼ, gir ʻ again ʼ; Woṭ. gir -- ʻ to go round ʼ; Gaw. gir -- intr. ʻ to turn, walk about ʼ, gira -- tr., giri ʻ again ʼ; Bshk. Phal. gir -- ʻ to wander about ʼ; S. ghiraṇu ʻ to feel sick, slide down ʼ, ghirṭu m. ʻ nodding from drowsiness ʼ; P. ghirṇā ʻ to turn round, feel giddy, be surrounded ʼ; WPah. pāḍ. ghiraṇ ʻ to move away ʼ, cam. ghrīṇā ʻ to set (of sun &c.) ʼ; B. ghirā ʻ to surround ʼ; Bi. ghirnī ʻ rope -- maker's twisting instrument ʼ; Bhoj. ghiral ʻ to be surrounded ʼ; H. ghirnā ʻ to be surrounded ʼ, ghirnī f. ʻ pulley ʼ; M. ghĩrṭī f. ʻ a whirl ʼ.2. Paš. gerē -- ʻ to make go round ʼ; Kal. rumb. gherém tr. ʻ I turn round ʼ (whence intr. ghḗrem); K. gērun ʻ to surround ʼ, gyūru m. ʻ giddiness ʼ, gēr m. ʻ circumference ʼ; S. gheraṇu ʻ to surround ʼ, ghero m. ʻ siege ʼ, ˚ri f. ʻ circumference ʼ; P. gherṇā ʻ to surround, blockade ʼ, gher f., ˚rā m. ʻ circumference ʼ, gherṇī f. ʻ dizziness ʼ; WPah. bhal. ghe_ro m. ʻ circular movement ʼ; Ku. gherṇo tr. ʻ to surround ʼ, intr. ʻ to go round ʼ; N. ghernu tr. and intr., ghero ʻ circumference ʼ; A. B. gher, B. gherā ʻ to surround ʼ, Or. gheribāghera, Bhoj. gher˚rā; OAw. gherai ʻ surrounds, besieges ʼ; H. ghernā ʻ to surround ʼ (whence pass. meaning of ghirnā ab.), gher˚rā m. ʻ circumference ʼ, ˚rī f. ʻ vertigo ʼ; G. ghervũ ʻ to surround ʼ, gheraṇ f. ʻ sound sleep ʼ, gherɔ m. ʻ circumference ʼ, ˚rī f. ʻ border of short hair ʼ; M. gherṇẽ ʻ to surround ʼ, gher˚rā m. ʻ circumference ʼ, ˚rī f. ʻ vertigo ʼ. -- X bhramara<-> in L. ghãver m. ʻ vortex, whirlpool, giddiness ʼ. *ghir -- . 2. *ghēr -- : S.kcch. ghero keṇū ʻ to surround ʼ; WPah.kṭg. ghèrɔ m. ʻ circumference, circle, embrace ʼ, poet. ghero m. ʻ courtyard ʼ, kṭg. ghèrnõ ʻ to surround ʼ, J. gherṇu; Md. giranī ʻ stirs (into water) ʼ?(CDIAL 4474) saṁghēr ʻ make go round together ʼ. [*ghir -- H. sãghernā ʻ to hobble two cows together left leg to right leg to prevent straying ʼ, sãgherā m. ʻ the rope with which this is done ʼ.(CDIAL 12864)

    girí m. ʻ rock, mountain ʼ RV. Pa. Pk. giri -- m.; Kt. (Raverty) "gaṛṛah"ʻ stone ʼ, Pr. yireīˊr*l; Sh. giri f. ʻ rock ʼ (→ Ḍ. gīri); Si. gira ʻ rock ʼ, gala ʻ rock, mountain ʼ (X Tam. kal). -- BelvalkarVol 90 Kho. grī ʻ narrow pass ʼ, but rather < grīvāˊ -- .girí -- [Ir. *gari -- in Shgh. žīr, Psht. gar ʻ stone ʼ, Yazgh. gar ʻ mountain ʼ and ʻ stone ʼ EVSh 110] Si. gal ʻ stone ʼ (X Tam. kal), Md. galugau (Md. giri ʻ big rock ʼ ← Sk.?).(CDIAL 4161)

    †*vighēra -- ʻ circular movement ʼ. [*ghir -- ]WPah.kṭg. bhe\ m. ʻ round stone used for grinding ʼ?(CDIAL 11676)

    गरगरा garagarā m (गरगर) Whirling or circling. 2 fig. Whirl as of business. v कर, घाल, पड.(Marathi)

    Pulley hieroglyph on Zoilus II coin.

    Zoilus II Soter (Greek: Ζωΐλος Β΄ ὁ Σωτήρ; epithet means "the Saviour") was an Indo-Greek king who ruled from Sagala in eastern Punjab. Bopearachchi dates his reign to c. 55–35 BCE, a date approximately supported by R. C. Senior. The name is often Latinized as Zoilus. It is possible that some of his coins were issued by a separate king, Zoilos III.


    Monolingual coin of Zoilos II Soter with "boxy" mint-mark. Obv Standing Apollo with bead and reel border. Rev Diadem with Kharoshthi legend "Maharajasa tratarasa Jhahilasa" (Saviour King Zoilos)
    Zoilus II, Gold unit
    Weight: 0.71 gm. Dimensions: 7 x 7 mm. Die axis: 12h
    ZOIΛOY monogram, surrounded by Greek legend around: BAΣIΛEΩΣ (king)
    Diadem, surrounded by Kharoshthi legend: jhahilasa
    Reference: Bopearachchi 1999
    This remarkable coin, apparently from the second Mir Zakah hoard, was published by Bopearachchi in a 1999 paper and appeared in a CNG auction. (photo, courtesy CNG) http://coinindia.com/galleries-zoilus2.html

    There are two Indus Script hypertexts:


    1. DivisionsPLUS two rice-plants: khaṇḍa 'division' rebus: kaṇḍa 'equipment' kolmo 'rce plant' rebus; kolimi 'smithy, forge' PLUS dula 'pair' rebus: dul 'metal asting' Thus, metalcasting smithy, metal equipment

    2. Dotted circle PLUS two chains:dhāu 'strand (dotted circle)' rebus: dhatu 'mineral ore' PLUS chain, link: śã̄gal, śã̄ga ʻchainʼ (WPah.) śr̥khala m.n. ʻ chain ʼ MārkP., °lā -- f. VarBr̥S., śr̥khalaka -- m. ʻ chain ʼ MW., ʻ chained camel ʼ Pā. [Similar ending in mḗkhalā -- ]Pa. sakhalā -- , °likā -- f. ʻ chain ʼ; Pk. sakala -- m.n., °lā -- , °lī -- , °liā -- , sakhalā -- , sikh°sikalā -- f. ʻ chain ʼ Rebus: Vajra Sanghāta 'binding together': Mixture of 8 lead, 2 bell-metal, 1 iron rust constitute adamantine glue. (Allograph) Hieroglyph: sãghāɔ 'lathe'.(Gujarati) dula 'pair' rebus: dul 'metal casting'.
    Bactria: Agathocles, Cupro-nickel dichalkon or double unit, c. 185-170 BCE
    Weight: 7.44 gm., Diam: 23 mm., Die axis: 12 h
    Laureate head of Dionysos facing right /
    Panther standing right with raised paw, grape vine before
         Greek legend: BAΣIΛEΩΣ AΓAΘOKΛEOYΣ
          monogram in exergue panja 'felinepaw' rebus: panja 'kiln, furnace, melter' kola 'tiger' rebus: kol 'working in iron' kuṭi 'tree' rebus: kuṭhi 'smelter'
    Bactria: Agathocles, AE double karshapana, c. 185-170 BCE
    Weight: 14.45 gm., Dim: 22 x 27 mm., Die axis: 12 h
    Female deity moving left, holding flower
         Brahmi legend: Rajane Agathukleyasasa /
    Lion standing right,
         Greek legend: BAΣIΛEΩΣ AΓAΘOKΛEOYΣ 
    This coin parallels the similar issue of Pantaleon, and so has a claim to being the first Greek coin aimed at an Indian audience (since we are not sure whose coins were issued earlier, Agathocles's or Pantaleon's. But we have an Indian style deity (thought by some to represent Lakshmi) holding a lotus blossom), a square flan (recall that Mauryan coins were typically square), a legend in Brahmi, and a weight-standard that seems to be associated with an Indian standard. http://coinindia.com/galleries-agathocles.html



    Bactria, Agathocles. Circa 185-170 BC. AR Drachm. Bilingual series. ΒΑΣΙΛΕΩΣ ΑΓΑΘΟΚΛΕΟΥΣ (VASILEOS AGATHOKLEOUS) the Indian god Balarama-Samkarshana standing facing, in ornate headdress, earrings, & sheathed sword, brandishing gada in his right hand, holding plow-symbol in left / “Rajane Agathuklayasa” in  Brāhmī , the Indian god Vasudeva-Krishna standing facing, in ornate headdress, earrings, & sheathed sword, holding śankha in his right hand.
    For detailed reading of Indus Script hypertexts, see: 

     https://tinyurl.com/y979p38z
    While accepting 'rajane' as a valid Brāhmī reading on the coin, I suggest an alternative reading for the Brahmi syllabic sequence of the word  'rajane'. treating the 3 symbols on the right side of the coin as Indus Script hypertexts, because the symbol for 'ja' is not clear as a symbol on the Al Khanoum coin signifying Śri Kr̥ṣṇa, Śri Balarāma..
    The symbol used is more like 'pupil of the eye' (which is NOT a Brahmi syllable)..

    The rebus renderings in Indus Script cipher and meanings are:

     1. phaḍa 'cobra hood' rebus: phaḍa फड 'manufactory, company, guild',  paṭṭaḍi 'metals workshop'.


    2. kaṇī 'pupil of eye', kaṇa°ṇā ʻeye of seed' PLUS vr̥tta 'circle' rebus: kampaṭam, kaṇvaṭam, 'mint, coiner, coinage' கண்வட்டம் kaṇ-vaṭṭam , n. < id. +. 1. Range of vision, eye-sweep, full reach of one's observation; கண்பார்வைக்குட்பட்ட இடம். தங்கள் கண்வட்டத்திலே உண்டுடுத்துத்திரிகிற (ஈடு, 3, 5, 2). 2. Mint;நாணயசாலை. கண்வட்டக்கள்ளன் (ஈடு.).  Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinagemintKa. kammaṭa id.; kammaṭi a coiner. (DEDR 1236)



    The hypertext composed of two combined hieroglyphs (spoked wheel with sharp edges or fish-fin endings on spokes) PLUS pupil of eye are read together. The ligatured spoked wheel is: vaṭṭa PLUS arā, i.e. circle PLUS spokes PLUS ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS khambhaṛā 'fish fin' rebus: kammaṭa, 'mint, coiner, coinage'. Thus, together, the unique orthography of the spoked wheel is read as: ayo kammaṭa vaṭṭhara 'alloy metal mint, exclusive area of community, enclosed piece of ground earmarked for metal-, mint-work'.  वठार (p. 423) vaṭhāra m C A ward or quarter of a town. वाडगें (p. 433) vāḍagēṃ n (Dim. of वाडी) A small yard or enclosure (esp. around a ruined house or where there is no house). वाडा (p. 433) vāḍā m (वाट or वाटी S) A stately or large edifice, a mansion, a palace. Also in comp. as राज- वाडा A royal edifice; सरकारवाडा Any large and public building. 2 A division of a town, a quarter, a ward. Also in comp. as देऊळवाडा, ब्राह्मण- वाडा, गौळीवाडा, चांभारवाडा, कुंभारवाडा (Marathi) Shown together with the pratimā  of  कृष्ण-वासुदेव , the hypertext is read as: cakrā yudha 'discus weapon' and ayo kammaṭa vaṭṭhara 'alloy mint quarter of town'. For orthographic variants of the spoked-wheel on thousands of punch-marked coins, see: Vajra and Indus Script ivory hypertexts on a seal, ivory artifacts
    https://tinyurl.com/y85goask
    3. hala 'ploughshare' Cognate Meluhha phonetic forms: araka a plough with bullocks, etc. complete. Malt. are a plough. (DEDR 198) hal 'plough' (Santali) phāla [mod. Ind. phār] 'ploughshare'. It is possible that a hieroglyph (apart from the orthographic shape of the plough) which signifies the word is: pāla, 'rice seedling' (Kui). I suggest that on the coin, this symbol signifies phāla 'ploughshare' (which is a semantic expansion of araka, hala 'plough handle').
     
    The other hieroglyphs on the Al Khanoum coins of Kr̥ṣṇa Vāsudeva, Sankarṣaṇa Balarāma are: musala 'pestle', śankha 'conch', chhatra 'parasol', पट्टा (p. 273paṭṭā m ( H) A kind of sword. It is long, twoedged, and has a hilt protecting the whole fore arm. Applied also to a wooden sword for practice and sports. This signifier is also read as a semantic determinative rebus:  phaḍa फड 'manufactory, company, guild'; paṭṭaḍi 'metals workshop'.

    File:Hinduist Coin of Agathocles of Bactria.jpgCoin of Agathocles of Bactria. Obv: (missing) Dancing girl, or Lakshmi, holding a flower. Brahmilegend: RAJANE AGATHUKLAYASHA "King Agathocles".
    Rev: Lion, Greek legend BASILEOS AGATOKLEOU "King Agathocles".(From "Coins of the Indo-Greeks", Whitehead, 1914 edition). On his coins, Agathocles calls himself, ΔΙΚΑΙΟΥ (DIKAIOU 'The Just').Pedigree coin of Agathocles with Alexander the Great. Obverse – Greek inscription reads, ΑΛΕΞΑΝΔΡΟΥ ΤΟΥ ΦΙΛΙΠΠΟΥ i. e. of Alexander son of Philip. Reverse – Greek inscription reads, iI) Pedigree coin of Agathocles with Diodotus the Saviour. Obverse – Greek inscription reads, ΔΙΟΔΟΤΟΥ ΣΩΤΗΡΟΣ i. e. of Diodotus the Saviour.
    File:AgathoklesCoinage.jpgCoin of Agathokles, king of Bactria (ca. 200–145 BC). British Museum.
    Inscriptions in Greek. Upper left and down: ΒΑΣΙΛΕΩΣ ΑΓΑΘΟΚΛΕΟΥΣ (VASILEOS AGATHOKLEOUS)

    Rev Lakshmi, a Goddess of abundance and fortune for Hindus & Buddhists, with Brahmi legend Rajane Agathukleyasasa "King Agathocles".
    File:Bilingual Coin of Agathocles of Bactria.jpgCoin of Agathocles of Bactria.Obv: Arched hills surmounted by a star (Read as Indus Script hypertexts:dang 'hill range' rebus: dhangar 'blacksmith' med 'polar star' rebus: med 'iron') . Rev: Trisula symbol, Kharoshthi legend HITAJASAME "Good-fame-possessing" (lit. meaning of "Agathocles").Source: From "Coins of the Indo-Greeks", Whitehead, 1914 edition, Public Domain. The mint of Al Khanoum proclaims its wealth-producing metallurgical repertoire on the Indus Script messageon the coin.
    Bactria: Agathocles, AE dichalkon, c. 185-170 BCE
    Weight: 4.90 gm., Dim: 20 x 14 mm., Die axis: 12 h
    Railed tree, Kharoshthi legend below: hiranasme (golden hermitage) /
    Six-arched hill, Kharoshthi legend below: akathukreyasa
         Greek legend: BAΣIΛEΩΣ AΓAΘOKΛEOYΣ 
    Agathocles issued this enigmatic coin, thought to have been minted in Taxila. The significance of this type is still not properly understood. http://coinindia.com/galleries-agathocles.html


    An six-arched hill symbol surmounted by a star. 
    Kharoṣṭhī legend Akathukreyasa "Agathocles". Tree-in-railing, Kharoṣṭhī legend Hirañasame 
    (Monnaies Gréco-Bactriennes et Indo-Grecques, Bopearachchi, p.176) The symbols used together with Kharoṣṭhī legends are Indus script hypertexts: dang 'hill range' rebus: dhangar 'blacksmith' med 'polar star' rebus: med 'iron'; khaṇḍa 'divisions' rebus: kaṇḍa 'equipment', kolom 'three' kolmo 'rice plant' rebus; kolimi 'smithy. Thus, the hypertexts signify the metallurgical competence of the mint with smithy/forge working in iron and metal implements. Hence, the message 'hiranasame' which means 'wealth like gold' (of the mintwork and products from the mint).
    Apollodotus coin. Indus Script hypertexts: karibha, ibha 'elephant' rebus: karba, ib 'iron'; hill range, dang 'hill range' rebus  dhangar 'blacksmith' baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron ḍabu 'an iron spoon' (Santali) Rebus: ḍab, ḍhimbaḍhompo 'lump (ingot?) kuṭi 'tree' rebus: kuṭhi 'smelter' sattva 'svastika symbol' rebus: jasta 'zinc'  गोटी [ gōṭī ] 'round pebbles, stones' rebus: गोटी [ gōṭī ] 'A lump of silver' kuṭhāru 'crucible' rebus:kuṭhāru 'armourer' 
    Osmund Bopearachchi - Detail of coin, from Apollodotus I coin photograph in Osmund Bopearachchi, Monnaies Greco-Bactriennes et Indo-Grecques, Pl. 11. The detail is a non-creative 2-dimensional work of art dating to the 1st century BCE, Mathura, India. The 3D frame (coin edge) was cut out in conformity with PD-Art guidelines.


     पोळ pōḷa 'zebu, bos indicus taurus, bull set at liberty' rebus: पोळ pōḷa 'magnetite (a ferrite ore)' 

    https://en.unesco.org/silkroad/sites/silkroad/files/knowledge-bank-article/recent_discoveries_of_coin_hoards_from_central_asia_and_pakistan.pdf

    On the signifiance of six-armed wheel (and link with vajra, 'thunderbolt weapon') atop the elephant, see: Vajra and Punchmarked coins with Indus Script hypertexts https://tinyurl.com/y85goask  Sun symbol, the six edges of six spokes are arrowheads and 'nandipada' symbols which are read as Indus Script hypertexts: 

    arka 'sun' rebus: erako 'moltencast' arka 'copper, gold'      
    dhAu 'strand' rebus: dhAtu 'mineral ore' PLUS Hieroglyph: vaṭa A loop of coir rope, used for climbing palm-trees Rebus: dhā̆vaḍ 'iron-smelter.

    kāˊṇḍa 'arrow'-- [< IE. *kondo -- , Gk. kondu/los ʻ knuckle ʼ, ko/ndos ʻ ankle ʼ T. Burrow BSOAS xxxviii 55]S.kcch. kāṇḍī f. ʻ lucifer match ʼ? (CDIAL 3023) *kāṇḍakara ʻ worker with reeds or arrows ʼ. [kāˊṇḍa -- , kará -- 1]L. kanērā m. ʻ mat -- maker ʼ; H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers ʼ.(CDIAL 3024) Rebus: लोखंडकाम (p. 723) [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.लोहोलोखंड (p. 723) [ lōhōlōkhaṇḍa ] n (लोह & लोखंड) Iron tools, vessels, or articles in general. khāṇḍa 'tools, metalware'.
    goṭi, ‘silver, laterite’ are signified by goṭa, ‘seed’ hieroglyph. PLUS koṭhārī f. ʻcrucible' PLUS khōṭa 'alloy ingot', kuṭi  in cmpd.‘curve' Rebus:kuṭhi'smelter' Rebus: koṭhārī ʻ treasurer '.

    Before the collapse of the Maurya Empire, the main type of coinage was punch-marked coins. After manufacturing a sheet of silver or silver alloys, coins were cut out to the proper weight, and then impressed by small punch-dies. Typically from 5 to 10 punch dies could be impressed on one coin. 
    https://en.wikipedia.org/wiki/Post-Mauryan_coinage_of_Gandhara 


    Coins of Early Gandhara Janapada: AR Shatamana and one-eighth Shatamana (round), Taxila-Gandhara region, 
    c. 600–300 BCE. This coinage was minted under Achaemenid administration in Gandhara.(Errington, Elizabeth; Trust, Ancient India and Iran; Museum, Fitzwilliam (1992). The Crossroads of Asia: transformation in image and symbol in the art of ancient Afghanistan and Pakistan. Ancient India and Iran Trust. pp. 57–59.)












    Following the breakup of the Maurya Empire (321-185 BCE), independent janapada-s started minting their own coins. These are referred to as Post-Mauryan coins of Taxila in vogue in Gandhara area. 

    Single-die coins before Indo-Greek invasions (220-185 BCE)


    Taxila local single-die coinage. (220-185 BCE).Post-Mauryan (Punjab). Taxila (local coinage)Circa 220-185 BC. Æ (17x18mm, 7.71 g). Tree in enclosure flanked by hill surmounted by pot with ladle, crucible, pebble stone, svastika / Blank. AICR 1064; MACW 4393-4; MIG 526; HGC 12, 780.
    https://www.cngcoins.com/Coin.aspx?CoinID=259870


    Column and arched-hill symbol (220-185 BCE).
    Taxila single-die local coinage. Pile of stones, hill, river and Swastika (220-185 BCE).
    Taxila single-dye coin. Pile of stones, hill, river and unknown symbols (220-185 BCE).

    Single-die coins after the Indo-Greek invasions (185 BCE)

    These coins, and particularly those depicting the goddess Lakshmi, were probably minted by Demetrius I following his invasion of Gandhara. (Osmund Bopearachchi, 2016, Emergence of Viṣṇu and Śiva Images in India: Numismatic and Sculptural Evidence)
    Taxila coin

    Taxila coin (185-168 BCE).

    Taxila single die coin with bull and arched-hill symbol (185-168 BCE).

    Taxila single-die coin with Lakshmi and arched-hill symbol (185-160 BCE).

    Taxila coin with hill and tree-in-railing (185-168 BCE).
    Taxila coin









    Langur monkeys fresco on Akrotiri, Greece, 2nd m. BCE are Indus Script hieroglyphs, signify Meluhha ploughs, anchors

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    Rebus Meluhha readings of Indian sprachbund, 'speech union': lãgurlag˚ m. ʻ monkey ʼ(Punjabi) lāṅguṛanā˚ ʻ tail ʼ(Pali.Oriya);  Rebus: lã̄gal 'plough' (Bihari) negili ʻ anchor ʼ(Md.) nã̄gal 'plough' (H. Marathi)

    Hieroglyphs: langur, tail: lāṅgūlá (lāṅgula -- Pañcat., laṅgula -- lex.) n. ʻ tail ʼ ŚāṅkhŚr., adj. ʻ having a tail ʼ MBh., ʻ penis ʼ lex. 2. *lāṅguṭa -- . 3. *lāṅguṭṭa -- . 4. *lāṅguṭṭha -- . 5. *lēṅgula -- . 6. *lēṅguṭṭa -- . [Cf. lañja -- 2. -- Variety of form attests non -- Aryan origin: PMWS 112 (with lakuṭa -- ) ← Mu., J. Przyluski BSL 73, 119 ← Austro<-> as.]1. Pa. laṅgula -- , na˚ n. ʻ tail ʼ, Pk. laṁgūla -- , ˚gōla -- , ṇaṁgūla -- , ˚gōla -- n.; Paš. laṅgūn n. ʻ penis ʼ; K. laṅgūr m. ʻ the langur monkey Semnopithecus schistaceus ʼ; P. lãgurlag˚ m. ʻ monkey ʼ; Ku. lãgūr ʻ long -- tailed monkey ʼ; N. laṅgur ʻ monkey ʼ; B. lāṅgul ʻ tail ʼ, Or. laṅgūḷalāṅguḷa; H. lagūl˚ūr m. ʻ tail ʼ, laṅgūr m. ʻ longtailed black -- faced monkey ʼ; Marw. lagul ʻ penis ʼ; G. lãgur˚ul (l?) m. ʻ tail, monkey ʼ, lãguriyũ n. ʻ tail ʼ; Ko. māṅguli ʻ penis ʼ (m -- from māṅgo ʻ id. ʼ < mātaṅga -- ?); Si. nagula ʻ tail ʼ, Md. nagū.2. Or. lāṅguṛanā˚ ʻ tail ʼ, nāuṛa ʻ sting of bee or scorpion ʼ (< *nāṅuṛa?); Mth. lã̄gaṛnāgṛi ʻ tail ʼ; M. nã̄goḍānã̄gāḍānã̄gḍānã̄gā m. ʻ scorpion's tail ʼ.3. Sh.jij. laṅuṭi ʻ tail ʼ, Si. nan̆guṭanag˚nakuṭa. -<-> X lamba -- 1: Phal. lamḗṭi, Sh.koh. lamŭṭo m., gur. lamōṭṷ m.4. Pa. naṅguṭṭha -- n. ʻ tail ʼ.5. A. negur ʻ tail ʼ, B. leṅguṛ.6. Aw.lakh. nẽgulā ʻ the only boy amongst the girls fed on 9th day of Āśvin in honour of Devī ʼ.Addenda: lāṅgūlá -- [T. Burrow BSOAS xxxviii 65, comparing lāṅgula -- ~ Pa. nȧguṭṭha -- with similar aṅgúli -- ~ aṅgúṣṭha -- , derives < IE. *loṅgulo -- (√leṅg ʻ bend, swing ʼ IEW 676)]1. Md. nagū (nagulek) ʻ tail ʼ (negili ʻ anchor ʼ?).(CDIAL 11009)

    lāṅgalin ʻ furnished with a plough ʼ MBh., lāṅgalika- ʻ relating to a plough ʼ lex. [lāˊṅgala -- ]

    B. lāṅgaliyā ʻ ploughman ʼ.(CDIAL 11008) lāˊṅgala n. ʻ plough ʼ RV. [→ Ir. dial of Lar in South Persia liṅgṓr ʻ plough ʼ Morgenstierne. -- Initial n -- in all Drav. forms (DED 2368); PMWS 127 derives both IA. and Drav. words from Mu. sources]Pa. naṅgala -- n. ʻ plough ʼ, Pk. laṁgala -- , ṇa˚ṇaṁgara<-> n. (ṇaṁgala -- n.m. also ʻ beak ʼ); WPah.bhad. nã̄ṅgal n. ʻ wooden sole of plough ʼ; B. lāṅalnā˚ ʻ plough ʼ, Or. (Sambhalpur) nã̄gar, Bi.mag. lã̄gal; Mth. nã̄gano ʻ handle of plough ʼ; H. nã̄galnāgal˚ar m. ʻ plough ʼ, M. nã̄gar˚gornāgār˚gor m., Si. nan̆gulnagalanagula. -- Gy. eur. nanari ʻ comb ʼ (LM 357) very doubtful.Addenda: lāṅgala -- : A. lāṅgal ʻ plough ʼ AFD 237.(CDIAL 11006) Ta. ñāñcil, nāñcil plough. Ma. ñēṅṅōl, nēññil plough-shaft. Ko. ne·lg plough. Ka. nēgal, nēgil, nēgila id. Koḍ. ne·ŋgi id. Tu. nāyerů id. 

    Kor. (T.) nēveri id. Te. nã̄gali, nã̄gelu, nã̄gēlu id. Kol. na·ŋgli, (Kin.) nāŋeli id. Nk. nāŋgar id. Nk. (Ch.) nāŋgar id. Pa. nã̄gil id. Ga. (Oll.) nāŋgal, (S.) nāngal id. Go. (W.) nāṅgēl, (A. SR.) nāngyal, (G. Mu. M. Ko.) nāŋgel, (Y.) nāŋgal, (Ma.) nāŋgili (pl. nāŋgisku) id. (Voc. 1956); (ASu.) nāynāl, (Koya Su.) nāṅēl, nāyṅēl id. Konḍa nāŋgel id. Pe. nāŋgel id. Manḍ. nēŋgel id. Kui nāngeli id. 

    Kuwi (F.) nangelli ploughshare; (Isr.) nāŋgeli plough. / Cf. Skt. lāṅgala-, Pali naṅgala- plough; Mar. nã̄gar, H. nã̄gal, Beng. nāṅgal id., etc.; Turner, CDIAL, no. 11006.(DEDR 2907)

    A Barrel of Bronze Age Monkeys 

    March/April 2020

    Digs Greece Akrotiri Monkeys
    (Photo Archive of Thera Akrotiri Excavations)

    Fresco, Akrotiri, Greece

    Scholars have longed believed that a Bronze Age Aegean painting of a troop of monkeys depicts stylized exotic primates cavorting about a rocky landscape. The fresco adorns a room in a two-story complex at the second-millennium B.C. settlement of Akrotiri on the Greek island of Thera. No monkeys are native to the region, and the depictions were thought to have been made by painters following Egyptian stylistic conventions, which often rendered animal species as abstract types. Now, a team led by University of Pennsylvania archaeologist Marie Nicole Pareja that includes primatologists and a taxonomic illustrator has concluded that the Akrotiri monkeys are, in fact, accurate depictions of langur monkeys, whose natural range is the Indus River Valley, some 4,000 miles away
    The researchers observed that the Akrotiri monkeys have S- or C-shaped tails, just as langurs do. Pareja believes this key detail shows that the artists who created the fresco must have seen the primates with their own eyes. “We think they had direct contact with the langurs,” says Pareja. “Textual sources suggest Mesopotamians imported critters from the Indus Valley, so it’s possible the painters encountered the langurs there, or elsewhere in the Near East.”https://www.archaeology.org/issues/372-2003/digs/8434-digs-greece-akrotiri-monkeys

    Pariyatra of Sri Balarama along River Sarasvati

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    Source: Mahabharata S'alya parva Section 35-60:

    The tirthasthanas visited by Sri Balarama, starting from Dwaraka (Mul Dwaraka), are chronologically detailed in the Great Epic:


    Starts from Dwaraka…Visits…


    Prabhasa

    Camasodbheda

    Udapana

    Vinasana

    Subhumika

    Gargasrot

    Sankha (with a gigantic tree, called Mohasankha)

    Dwaita lake

    Nagadhanwana

    Naimisha forest where Sarasvati takes eastward direction

    Samantapanchaka

    Mandakini stream (where Sarasvati flows again in westerly direction)

    Sapta-Saraswat (where the great ascetic Mankanaka had performed his penances)

    Seven streams join to form Sapta-Sarasvati: Suprava, Kanchanakshi, Visala, Manorama, Oghavati, Surenu, and Vimalodaka

    Usanas (also called Kapalamocana)

    Lokaloka mountain

    Vasishth Asrama  

    Dalvya Vaka Asrama

    Yayati kshetra

    Vasishthapravaaha

    Aruna (branch of Sarasvati)

    Soma tirtha

    Himavat

    Taijasa tirtha

    Vadarapachana

    Sakta tirtha

    Indra tirtha

    Aditya tirtha

    Sarasvata Muni tirtha

    Samantapancaka Asrama

    Prakshaprasravana tirtha

    Karavapana tirtha

    Mitra-Varuna Asrama

    Kurukshetra (watches the Gada yuddha between Bhima and Duryodhana)

    Returns to Dwaraka


    Chapter 35: Janamejaya said, "On the eve of the great battle (between the Kurus and the Pandus), the lord Rama, with Keshava's leave, had gone away (from Dwaraka) accompanied by many of the Vrishnis. He had said unto Keshava, 'I will render aid neither unto the son of Dhritarashtra nor unto the sons of Pandu, but will go whithersoever I like!' Having said these words, Rama, that resister of foes, had gone away. It behoveth thee, O Brahmana, to tell me everything about his return! Tell me in detail how Rama came to that spot, how he witnessed the battle. In my opinion thou art well-skilled in narration!"

    Valadeva first proceeded to the tirtha called Prabhasa…

    Vaishampayana said, "After the high-souled Pandavas had taken up their post at Upaplavya, they despatched the slayer of Madhu to Dhritarashtra's presence, for the object of peace, O mighty-armed one, and for the good of all creatures. Having gone to Hastinapura and met Dhritarashtra, Keshava spoke words of true and especially beneficial import. The king, however, as I have told thee before, listened not to those counsels. Unable to obtain peace, the mighty-armed Krishna, that foremost of men, came back, O monarch, to Upaplavya. Dismissed by Dhritarashtra's son, Krishna returned (to the Pandava camp), and upon the failure of his mission, O tiger among kings, said these words unto the Pandavas, 'Urged by Fate, the Kauravas are for disregarding my words! Come, ye sons of Pandu, with me (to the field of battle), setting out under the constellation Pushya!' After this, while the troops (of both sides) were being mustered and arrayed, the high-souled son of Rohini, that foremost of all persons endued with might, addressed his brother Krishna, saying, 'O mighty-armed one, O slayer of Madhu, let us render assistance to the Kurus!' Krishna, however, did not listen to those words of his. With heart filled with rage (at this), that illustrious son of Yadu's race, the wielder of the plough then set out on a pilgrimage to the Sarasvati.

    Accompanied by all the Yadavas, he set out under the conjunction of the asterism called Maitra.

    The Bhoja chief (Kritavarma), however, adopted the side of Duryodhana. Accompanied by Yuyudhana, Vasudeva adopted that of the Pandavas. After the heroic son of Rohini had set out under the constellation Pushya, the slayer of Madhu, placing the Pandavas in his van, proceeded against the Kurus. While proceeding, Rama ordered his servants on the way, saying, 'Bring all things that are necessary for a pilgrimage, that is, every article of use! Bring the (sacred) fire that is at Dwaraka, and our priests. Bring gold, silver, kine, robes, steeds, elephants, cars, mules, camels, and other draft cattle! Bring all these necessaries for a trip to the sacred waters, and proceed with great speed towards the Sarasvati! Bring also some priests to be especially employed, and hundreds of foremost of Brahmanas!' Having given these orders to the servants, the mighty Valadeva set out on a pilgrimage at that time of great calamity to the Kurus. Setting out towards the Sarasvati, he visited all the sacred places along her course, accompanied by priests, friends, and many foremost of Brahmanas, as also with cars and elephants and steeds and servants, O bull of Bharata's race, and with many vehicles drawn by kine and mules and camels. Diverse kinds of necessaries of life were given away in large measure and in diverse countries unto the weary and worn, children and the old, in response, O king, to solicitations. Everywhere, O king, Brahmanas were promptly gratified with whatever viands they desired. At the command of Rohini's son, men at different stages of the journey stored food and drink in large quantities. Costly garments and bedsteads and coverlets were given for the gratification of Brahmanas, desirous of ease and comfort. Whatever Brahmana or Kshatriya solicited whatever thing, that O Bharata, it was seen to be ungrudgingly given to him. All who formed the party proceeded with great happiness and lived happily. The people (of Valarama's train) gave away vehicles to persons desirous of making journeys, drinks to them that were thirsty, and savoury viands to them that were hungry, as also robes and ornaments, O bull of Bharata's race, to many! The road, O king, along which the party proceeded, looked resplendent, O hero, and was highly comfortable for all, and resembled heaven itself. There were rejoicings everywhere upon it, and savoury viands were procurable everywhere. There were shops and stalls and diverse objects exposed for sale. The whole way was, besides, crowded with human beings. And it was adorned with various kinds of trees and creatures, and various kinds of gems. The high-souled Valadeva, observant of rigid vows, gave away unto the Brahmanas much wealth and plentiful sacrificial presents, O king, in diverse sacred spots. That chief of Yadu's race also gave away thousands of milch kine covered with excellent cloths and having their horns cased in gold, many steeds belonging to different countries, many vehicles, and many beautiful slaves. Even thus did the high-souled Rama give away wealth in diverse excellent tirthas on the Sarasvati. In course of his wanderings, that hero of unrivalled power and magnanimous conduct at last came to Kurukshetra."

    Janamejaya said, "Tell me, O foremost of men, the features, the origin, and the merits of the several tirthas on the Sarasvati and the ordinances to be observed while sojourning there! Tell me these, in their order, O illustrious one! My curiosity is irrepressible, O foremost of all persons acquainted with Brahma!"

    Vaishampayana said, "The subject of the features and origin of all these tirthas, O king, is very large. I shall, however, describe them to thee. Listen to that sacred account in its entirety, O king! Accompanied by his priests and friends, Valadeva first proceeded to the tirtha called Prabhasa. There, the Lord of the constellations (Soma), who had been affected with phthisis, became freed from his curse. Regaining energy there, O king, he now illuminates the universe. And because that foremost of tirthas on earth had formerly contributed to invest Soma with splendour (after he had lost it), it is, therefore, called Prabhasa."

    …After this (visiting Prabhasa), the mighty Baladeva of undecaying glory proceeded to Camasodbheda, that is, to that tirtha which is called by that name. Giving away many costly gifts at that place, the hero having the plough for his weapon passed one night there and performed his ablutions duly. The elder brother of Keshava then proceeded quickly to Udapana.Although the Sarasvati seems to be lost there, yet persons crowned with ascetic success, in consequence of their obtaining great merits and great blessedness at that spot, and owing also to the coolness of the herbs and of the land there, know that the river has an invisible current, O monarch, through the bowels of the earth there."Vaishampayana said, "Baladeva (as already said), proceeded next to the tirtha called Udapana in the Sarasvati, that had formerly been the residence, O king, of the illustrious (ascetic) Trita. Having given away much wealth and worshipped the Brahmanas, the hero having the plough for his weapon bathed there and became filled with joy. Devoted to righteousness, the great ascetic Trita had lived there. While in a hole, that high-souled one had drunk the Soma juice… 

    Of immeasurable prowess, Valadeva touched the waters of Udapana. And he gave away diverse kinds of wealth there and worshipped many Brahmanas.

    Beholding Udapana and applauding it repeatedly, Valadeva next proceeded to Vinasana which also was on the Sarasvati…

    Then Valadeva, O king, proceeded to Vinasana where the Sarasvati hath become invisible in consequence of her contempt for Sudras and Abhiras. And since the Sarasvati, in consequence of such contempt, is lost at that spot, the Rishis, for that reason, O chief of the Bharatas, always name the place as Vinasana. Having bathed in that tirtha of the Sarasvati, the mighty Baladeva then proceeded to Subhumika, situated on the excellent bank of the same river…

    proceeded to the famous tirtha called Gargasrota…

    then proceeded to the tirtha called Sankha...

    beheld a gigantic tree, called Mohasankha…

    proceeded to the Dwaita lake…

    Baladeva then, O king, proceeded along the southern bank of the Sarasvati. The mighty-armed and illustrious Rama of virtuous soul and unfading glory then proceeded to the tirtha called Nagadhanwana…

    Baladeva then set out with face towards the east and reached, one after another, hundreds and thousands of famous tirthas that occurred at every step. Bathing in all those tirthas, and observing fasts and other vows as directed by the Rishis, and giving away wealth in profusion, and saluting all the ascetics who had taken up their residence there, Baladeva once more set out, along the way that those ascetics pointed out to him, for reaching that spot where the Sarasvati turns in an eastward direction, like torrents of rain bent by the action of the wind. The river took that course for beholding the high-souled Rishis dwelling in the forest of Naimisha. Always smeared with white sandalpaste, Vala, having the plough for his weapon, beholding that foremost of rivers change her course, became, O king, filled with wonder…

    Janamejaya said, "Why, O Brahmana, did the Sarasvati bend her course there in an easternly direction? O best of Adhvaryus, it behoveth thee to tell me everything relating to this! For what reason was that daughter of the Yadus filled with wonder? Why, indeed, did that foremost of rivers thus alter her course?"

    Vaishampayana said, "Formerly, in the Krita age, O king, the ascetics dwelling in Naimisha were engaged in a grand sacrifice extending for twelve years. Many were the Rishis, O king, that came to that sacrifice. Passing their days, according to due rites, in the performance of that sacrifice, those highly blessed ones, after the completion of that twelve years' sacrifice at Naimisha, set out in large number for visiting the tirthas. In consequence of the number of the Rishis, O king, the tirthas on the southern banks of the Sarasvati all looked like towns and cities. Those foremost of Brahmanas, O tiger among men, in consequence of their eagerness for enjoying the merits of tirthas, took up their abodes on the bank of the river up to the site of Samantapanchaka...

    the heavenly stream called Mandakini.,,

    the Sarasvati, that foremost of rivers, once more flowed in a westerly direction.., Even thus those receptacles of water, O king, were formed in Naimisha. There, at Kurukshetra, O foremost of Kuru's care, do thou perform grand sacrifices and rites! As he beheld those many receptacles of water and seeing that foremost of rivers turn her course, wonder filled the heart of the high-souled Rama. Bathing in those tirthas duly and giving away wealth and diverse articles of enjoyment unto the Brahmanas, that delighter of Yadu's race also gave away diverse kinds of food and diverse desirable articles unto them. Worshipped by those regenerate ones, Vala, O king, then set out from that foremost of all tirthas on the Sarasvati (Sapta-Sarasvat). Numerous feathery creatures have their home there. And it abounded with Vadari, Inguda, Ksamarya, Plaksha, Aswattha, Vibhitaka, Kakkola, Palasa, Karira, Pilu, and diverse other kinds of trees that grow on the banks of the Sarasvati. And it was adorned with forest of Karushakas, Vilwas, and Amratakas, and Atimuktas and Kashandas and Parijatas. Agreeable to the sight and most charming, it abounded with forests of plantains. And it was resorted to by diverse tribes of ascetics, some living on air, some on water, some on fruit, some on leaves, some on raw grain which they husked with the aid only of stones, and some that were called Vaneyas. And it resounded with the chanting of the Vedas, and teemed with diverse kinds of animals. And it was the favourite abode of men without malice and devoted to righteousness. Valadeva, having the plough for his weapon, arrived at that tirtha called Sapta-Saraswat, where the great ascetic Mankanaka had performed his penances and became crowned with success…

    Vaishampayana said, "O king, the seven Sarasvatis cover this universe! Whithersoever the Sarasvati was summoned by persons of great energy, thither she made her appearance. These are the seven forms of the Sarasvati: Suprava, Kanchanakshi, Visala, Manorama, Oghavati, Surenu, and Vimalodaka … 

    the highly blessed and sacred Sarasvati, for rendering assistance, O king, to those high-souled Munis assembled together, made her appearance at Naimisha and came to be called Kanchanakshi. That foremost of rivers, worshipped by all, thus came there, O Bharata! While (king) Gaya was engaged in the performance of a great sacrifice at Gaya, the foremost of rivers, Sarasvati, summoned at Gaya's sacrifice (made her appearance there). The Rishis of rigid vows that were there, named this form of hers at Gaya as Visala. That river of swift current flows from the sides of the Himavat…

    Summoned, O monarch, by the high-souled Vasishtha (who assisted Kuru in his sacrifice), the Sarasvati, full of celestial water appeared at Kurukshetra under the name of Oghavati. Daksha at one time performed a sacrifice at the source of Ganga. The Sarasvati appeared there under the name of the fast-flowing Surenu. Once again, while Brahman was engaged in a sacrifice on the sacred forest of the Himavat mountains, the adorable Sarasvati, summoned (by him), appeared there. All these seven forms then came and joined together in that tirtha where Baladeva came. And because the seven mingled together at that spot, therefore is that tirtha known on Earth by the name of Sapta Sarasvati. Thus have I told thee of the seven Sarasvatis, according to their names. I have also told thee of the sacred tirtha called Sapta Saraswat…

    Vaishampayana said, "Having passed one night more, Rama, having the plough for his weapon, worshipped the dwellers of that tirtha and showed his regard for Mankanaka… Baladeva then went to the tirtha known by the name of Usanas. It is also called Kapalamochana…Janamejaya said, "Why is it called Kapalamochana, where the great Muni became freed (from the Rakshasa's head)? For what reason and how did that head stick unto him?"…

    The righteoussouled Baladeva, touching the water of that tirtha and bathing in it, gave considerable wealth unto the Brahmanas, being devoted to them. Possessed of great might and great prowess Baladeva then proceeded to that tirtha where the adorable Grandsire had created the mountains called Lokaloka, where that foremost of Rishis, Arshtishena of rigid vows, O thou of Kuru's race, had by austere penances acquired the status of Brahmanhood, where the royal sage Sindhudwipa, and the great ascetic Devapi, and the adorable and illustrious Muni Vishvamitra of austere penances and fierce energy, had all acquired a similar status…

    Having proceeded far on his way, he reached the asylum of Vasishtha…  Then, O king, Rama proceeded to the asylum of Vaka which was not very distant from where he was, that asylum in which, as heard by us, Dalvya Vaka had practised the austerest of penances…

    Vaishampayana said, "The delighter of the Yadus then proceeded to the asylum (of Vaka) which resounded with the chanting of the Vedas…

    Rama then proceeded, O king, to the tirtha called Yayata. There, O monarch, at the sacrifice of the high-souled Yayati, the son of Nahusha, the Sarasvati produced milk and clarified butter. That tiger among men, king Yayati, having performed a sacrifice there, went cheerfully to heaven and obtained many regions of blessedness. Once again, O lord, king Yayati performed a sacrifice there. Beholding his great magnanimity of soul and his immutable devotion to herself, the river Sarasvati gave unto the Brahamanas (invited to that sacrifice) everything for which each of them cherished only a wish in his heart. That foremost of rivers gave unto each where he was, amongst those that were invited to the sacrifice, houses and beds and food of the six different kinds of taste, and diverse other kinds of things. The Brahmanas regarded those valuable gifts as made to them by the king. Cheerfully they praised the monarch and bestowed their auspicious blessings upon him. The gods and the Gandharvas were all pleased with the profusion of articles in that sacrifice. As regards human beings, they were filled with wonder at sight of that profusion. The illustrious Baladeva, of soul subdued and restrained and cleansed, having the palmyra on his banner, distinguished by great righteousness, and ever giving away the most valuable things, then proceeded to that tirtha of fierce current called Vasishthapavaha…

    that foremost of rivers caused her body, O bull among men, to assume a new shape called Aruna. Bathing in that new river (a branch of the Sarasvati)…

    he then proceeded to the great tirtha of Soma. There, in days of yore, Soma himself, O king of kings, had performed the Rajasuya sacrifice…

    Then the gods headed by Brahman, taking that youth with them, together came to Himavat. The spot they selected was the bank of the sacred and divine Sarasvati, that foremost of rivers, taking her rise from Himavat, that Sarasvati which, at Samanta-panchaka, is celebrated over the three worlds. There, on the sacred bank, possessing every merit, of the Sarasvati, the gods and the Gandharvas took their seats with hearts well-pleased in consequence of the gratification of all their desires…

    I have thus told thee, O king, everything about the installation of Kartikeya. Listen now to the history of the sacredness of that foremost of tirthas on the Sarasvati. That foremost of tirthas, O monarch, after the enemies of the gods had been slain, became a second heaven. The puissant son of Agni gave unto each of the foremost ones among the celestials diverse kinds of dominion and affluence and at last the sovereignty of the three worlds. Even thus, O monarch, was that adorable exterminator of the daityas installed by the gods as their generalissimo. That other tirtha, O bull of Bharata's race, where in days of yore Varuna the lord of waters had been installed by the celestials, is known by the name of Taijasa. Having bathed in that tirtha and adored Skanda, Rama gave unto the brahmanas gold and clothes and ornaments and other things. Passing one night there, that slayer of hostile heroes, Madhava, praising that foremost of tirthas and touching its water, became cheerful and happy. I have now told thee everything about which thou hadst enquired, how the divine Skanda was installed by the assembled gods!...

    He also obtained for a vehicle a well-equipped and celestial car, fleet as thought, as also all the affluence of a god. Bathing in that tirtha and giving away much wealth, Vala using white unguents thence proceeded quickly to another tirtha. Populous with all kinds of creatures, that tirtha is known by the name Vadarapachana. There the fruits of every season are always to be found and flowers and fruits of every kind are always abundant… Rama (as already said) then proceeded to the tirtha called Vadarapachana where dwelt many ascetics and Siddhas…

    That foremost one among the Yadus, Baladeva of great dignity, having bathed in that tirtha and given away much wealth unto many foremost of Brahmanas, then proceeded, with soul well-fixed on meditation, to the tirtha of Sakta…

    The mighty chief of the Yadus, having proceeded to Indra's tirtha, bathed there according to due rites and gave away wealth and gems unto the Brahmanas...

    then proceeded to the tirtha called Aditya. There, O best of kings, the adorable Surya of great splendour, having performed a sacrifice, obtained the sovereignty of all luminous bodies (in the universe) and acquired also his great energy. There, in that tirtha situated on the bank of that river, all the gods with Vasava at their head, the Viswedevas, the Maruts, the Gandharvas, the Apsaras, the Island-born (Vyasa), Suka, Krishna the slayer of Madhu, the Yakshas, the Rakshasas, and the Pisachas,..

    Bathing there and giving away wealth unto the Brahmanas, the high-souled wielder of the plough, of noble deeds, earned great merit and then proceeded to the tirtha of Soma… There, in that tirtha, O Bharata, where the Lord of stars had in former days performed the rajasuya sacrifice, a great battle was fought in which Taraka was the root of the evil. Bathing in that tirtha and making many presents, the virtuous Bala of cleansed soul proceeded to the tirtha of the muni named Sarasvata. There, during a drought extending for twelve years, the sage Sarasvata, in former days, taught the Vedas unto many foremost of brahmanas… The mighty son of Rohini, and elder brother of Keshava, having given away wealth in that tirtha, then joyfully proceeded to another place where lived (in days of yore) an old lady without having passed through the ceremony of marriage…

    Then he of Madhu's race, having come out of the environs of Samantapanchaka, enquired of the rishis about the results of the battle at Kurukshetra. Asked by that lion of Yadu's race about the results of the battle at Kurukshetra, those high-souled ones told him everything as it had happened…

    Baladeva entered that asylum. Bidding farewell to the Rishis, Baladeva of unfading glory went through the performance of all the rites and ceremonies of the evening twilight on the side of Himavat and then began his ascent of the mountain. The mighty Balarama having the device of the palmyra on his banner had not proceeded far in his ascent when he beheld a sacred and goodly tirtha and wondered at the sight. Beholding the glory of the Sarasvati, as also the tirtha called Plakshaprasravana, Vala next reached another excellent and foremost of tirthas called Karavapana. The hero of the plough, of great strength, having made many presents there, bathed in the cool, clear, sacred, and sin-cleansing water (of that tirtha). Passing one night there with the ascetics and the Brahmanas, Rama then proceeded to the sacred asylum of the Mitra-Varunas. From Karavapana he proceeded to that spot on the Yamuna where in days of yore Indra and Agni and Aryaman had obtained great happiness…

    He then descended from that prince of mountains and that fair hermitage called Plakshaprasravana. Having listened to the discourse of the sages about the great merits of tirthas, Rama of unfading glory sang this verse in the midst of the Brahmanas, 'Where else is such happiness as that in a residence by the Sarasvati? Where also such merits as those in a residence by the Sarasvati? Men have departed for heaven, having approached the Sarasvati! All should ever remember the Sarasvati! Sarasvati is the most sacred of rivers! Sarasvati always bestows the greatest happiness on men! Men, after approaching the Sarasvati, will not have to grieve for their sins either here or hereafter!' Repeatedly casting his eyes with joy on the Sarasvati, that scorcher of foes then ascended an excellent car unto which were yoked goodly steeds. Journeying then on that car of great fleetness, Baladeva, that bull of Yadu's race, desirous of beholding the approaching encounter of his two disciples arrived on the field…

    Sanjaya continued, 'Hearing this fallacious discourse from Keshava, O king, Rama failed to dispel his wrath and became cheerful. He then said in that assembly, "Having unfairly slain king Suyodhana of righteous soul, the son of Pandu shall be reputed in the world as a crooked warrior! The righteous-souled Duryodhana, on the other hand, shall obtain eternal blessedness! Dhritarashtra's royal son, that ruler of men, who hath been struck down, is a fair warrior. Having made every arrangement for the Sacrifice of battle and having undergone the initiatory ceremonies on the field, and, lastly, having poured his life as a libation upon the fire represented by his foes, Duryodhana has fairly completed his sacrifice by the final ablutions represented by the attainment of glory!" Having said these words, the valiant son of Rohini, looking like the crest of a white cloud, ascended his car and proceeded towards Dwaraka. The Pancalas with the Vrishnis, as also the Pandavas, O monarch, became rather cheerless after Rama had set out for Dwaravati…  

    https://www.sacred-texts.com/hin/m09/m09035.htm


    Revisiting River Sarasvati fluvial activity based on discovery of ancient palaeo-channel in Nal, Thar desert

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    1Tilwara/Chak 2.    Marot/Fort Abbas 3.    Kalibangan 4.    Hissar 5.    Jayal/Katoati 6.    Chamu

    There is a possibility that the palaeo-channel identified at Nal quarry flowed down from Hissar. 
    This reconstruction of the ancient fluvial activity is confirmed by the naming of a river called Sarasvati joining at Siddhpur and flows even today as a monsoon-based river. The map on Figure 1 shows the Sarasvati river flowing parallel to Banas River into the Rann of Kutch. 




    LANDSAT image of palaeo-channels clearly indicate a bheda, a bifurcation of southward flowing channel from Sarasvati River palaeo-channel at Anupgarh. This channel may signify a channel of more ancient times which may explain the palaeo-channel discovered in Nal quarry.


    Location map of the Cholistan Desert. (A) Distribution of Indus sites with the location of the five major Indus cities during the urban period (ca. 2500 to 1900 BC). (B) Distribution of Indus sites in the Cholistan Desert, after Mughal (26, 47). (C) Inset showing characteristic fossilized sand dunes, mud flats (dahars), and water ponds (tobas). (D) The well-known mound of Ganweriwala, partially covered by a sand dune.

    Source: 
    https://www.researchgate.net/publication/343098080_Automated_detection_of_archaeological_mounds_using_machine-learning_classification_of_multisensor_and_multitemporal_satellite_data/download

    Upstream, this is identified as Sarsuti (Sarasvati) River as shown below in a reconstruction of palaeo-channel map ca. 5th to 2nd m. BCE showing Sarasvati channel from Chandigarh passing through Kunal, Banawali, Bhirrana.


    Two dramatic events relate to wesward shift of South-flowing Sutlej river which earlier joined Sarasvati River at Shatrana (50 kms. south of Patiala) and to eastward shift of Old Yamuna Palaeo-channel which flowed through Jind and Hissar. Both shifts were the result of plate tectonic events. The ancient channel flowing through Jind-Hissar-Suratgarh, Anupgarh perhaps flowd through the bifurcated channel at Anupgarh flowing southwards to Beriwala and Jaisalmer. The chronology of the fluvial changes in North-west Bharat are clearly relatable to these two migrations of Sutlej westwards and Old Yamuna channel eastwards.

    The research challenge is to identify the locations of tirthasthana visited by Sri Balarama in his pariyatra described in the Great Epic.

    Source: https://1.bp.blogspot.com/-KYsbOQrlUj4/UhLuoCnve3I/AAAAAAAAclQ/NFeziRPyfWQ/s1600/ScreenShot542.jpg


    At present, this Sarasvati River is a river in western India in Gujarat whose origin is Aravali hill. Its basin has a maximum length of 360 km. The total catchment area of the basin is 370 square kilometres (140 sq mi). The Mukeshwar dam is on the Saraswati River.










    Theorical identification of the Sarasvati River with the Ghaggar-Hakra River

    1 = ancient river
    2 = today's river
    3 = today's Thar desert
    4 = ancient shore
    5 = today's shore
    6 = today's town

    ‘Lost’ river that ran through Thar Desert 172,000 years ago found

    The findings, published in the journal Quaternary Science Reviews, represent the oldest directly dated phase of river activity at Nal Quarry in the central Thar Desert.By Press Trust of India | Posted by Deepali Sharma | New Delhi UPDATED ON OCT 21, 2020 03:18 PM IST
    The researchers of the study noted that the potential importance of ‘lost’ rivers for earlier inhabitants of the Thar Desert have been overlooked.(HT file photo)

    Researchers have found the evidence of a “lost” river that ran through the central Thar Desert, near Bikaner, as early as 172 thousand years ago, and may have been a life-line to human populations enabling them to inhabit the region.

    The findings, published in the journal Quaternary Science Reviews, represent the oldest directly dated phase of river activity at Nal Quarry in the central Thar Desert.

    The study by researchers from The Max Planck Institute for the Science of Human History in Germany, Anna University in Tamil Nadu, and IISER Kolkata indicates that Stone Age populations lived in a distinctly different Thar Desert landscape than we encounter today.

    This evidence indicates a river flowed with phases of activity dating to approximately up to 172 thousand years ago, nearby to Bikaner, Rajasthan, which is over 200 kilometres away from the nearest modern river.

    These findings predate evidence for activity in modern river courses across the Thar Desert as well as dried up course of the Ghaggar-Hakra River, the researchers said.

    The presence of a river running through the central Thar Desert would have offered a life-line to Paleolithic populations, and potentially an important corridor for migrations, they said.

    The researchers noted that the potential importance of ‘lost’ rivers for earlier inhabitants of the Thar Desert have been overlooked.

    “The Thar Desert has a rich prehistory, and we’ve been uncovering a wide range of evidence showing how Stone Age populations not only survived but thrived in these semi-arid landscapes,” said Jimbob Blinkhorn from The Max Planck Institute for the Science of Human History.

    “We know how important rivers can be to living in this region, but we have little detail on what river systems were like during key periods of prehistory,” Blinkhorn said.

    Studies of satellite imagery have shown a dense network of river channels crossing the Thar Desert, according to the researchers.

    “These studies can indicate where rivers and streams have flowed in the past, but they can’t tell us when,” explained Professor Hema Achyuthan of Anna University.

    “To demonstrate how old such channels are, we had to find evidence on the ground for river activity in the middle of the desert,” Achyuthan said.

    The team studied a deep deposit of river sands and gravels, which had been exposed by quarrying activity near the village of Nal.

    The researchers were able to document different phases of river activity by studying the different deposits.

    “We immediately saw evidence for a substantial and very active river system from the bottom of the fluvial deposits, which gradually decreased in power through time,” Achyuthan said.

    The researchers used a method called luminescence dating to understand when quartz grains in the river sands were buried.

    The results indicated that the strongest river activity at Nal occurred at approximately 172 and 140 thousand years ago, at a time when the monsoon was much weaker than today in the region.

    River activity continued at the site between 95 to 78 thousand years ago, after which only limited evidence for the presence of a river at the site, with evidence for a brief reactivation of the channel 26 thousand years ago, the study found.

    The river was flowing at its strongest during a phase of weak monsoon activity in the region, and may have been a life-line to human populations enabling them to inhabit the Thar Desert, the researchers said.

    The timeframe over which this river was active also overlaps with significant changes in human behaviour in the region, which have been linked with the earliest expansions of Homo sapiens from Africa into India, they said.

    “This river flowed at a critical timeframe for understanding human evolution in the Thar Desert, across South Asia and beyond,” said Blinkhorn.

    “This suggests a landscape in which the earliest members of our own species, Homo sapiens, first encountered the monsoons and crossed the Thar Desert may have been very different to the landscape we can see today,” he added.

    https://www.hindustantimes.com/india-news/lost-river-that-ran-through-thar-desert-172-000-years-ago-found/story-RCuBibrYEGcJsL9QmSC06N.html

    Oldest securely dated evidence for a river flowing through the Thar Desert, Western India

    Date:
    October 19, 2020
    Source:
    Max Planck Institute for the Science of Human History
    Summary:
    Using luminescence dating of ancient river sediments, a new study presents evidence for river activity at Nal Quarry in the central Thar Desert starting from approx. 173 thousand years ago. These findings represent the oldest directly dated phase of river activity in the region and indicate Stone Age populations lived in a distinctly different Thar Desert landscape than we encounter today.
    FULL STORY

    Situated at the threshold of the South Asian monsoon, the Thar Desert is an important region for understanding how past environmental change impacted patterns of human migration and adaptation to new habitats. Recent research highlighting the role of the Thar Desert in human prehistory has indicated that humans spread eastwards into the region starting from 114 thousand years ago during a phase of enhanced monsoonal rainfall, when the desert was transformed into lush grasslands. However, more recent phases of sand dune activity have obscured these ancient landscapes inhabited by earlier human populations.

    In a new study published in Quaternary Science Reviews, researchers from The Max Planck Institute for the Science of Human History (MPI-SHH), Anna University, and the Indian Institute of Science, Education and Research (IISER) Kolkata document evidence for river activity in the central Thar Desert. This evidence indicates a river flowed with phases of activity dating to approx. 172, 140, 95 and 78 thousand years ago, nearby to Bikaner, which is over 200 km away from the nearest modern river. These findings predate evidence for activity in modern river courses across the Thar Desert as well as dried up course of the Ghaggar-Hakra River. The presence of a river running through the central Thar Desert would have offered a life-line to Palaeolithic populations, and potentially an important corridor for migrations.

    Lost Rivers of the Thar Desert

    Located at the threshold of monsoonal Asia, the Thar Desert marks the eastern extent of the desert belt that stretches westwards across Arabia and the Sahara. While this desert belt is typically thought of as inhospitable to early humans, it is becoming increasingly clear that during humid phases in the past human populations have prospered in these landscapes. This is perhaps best known in western South Asia from studying the Indus Civilisation (also known as the Harappan Civilisation) which flourished at the margins of the Thar Desert along the course of the now-seasonal Ghaggar-Hakra River between 3200-1500 BCE, and is thought to have inspired the mythological Saraswati River mentioned in the Rig Veda.

    Yet the potential importance of 'lost' rivers for earlier inhabitants of the Thar Desert have been overlooked. "The Thar Desert has a rich prehistory, and we've been uncovering a wide range of evidence showing how Stone Age populations not only survived but thrived in these semi-arid landscapes," says Jimbob Blinkhorn of MPISHH. "We know how important rivers can be to living in this region, but we have little detail on what river systems were like during key periods of prehistory."

    Studies of satellite imagery have shown a dense network of river channels crossing the Thar Desert. "These studies can indicate where rivers and streams have flown in the past, but they can't tell us when" explains Prof Hema Achyuthan of Anna University, Chennai. "To demonstrate how old such channels are, we had to find evidence on the ground for river activity in the middle of the desert."

    Nal Quarry

    A deep deposit of river sands and gravels was studied by the team, which had been exposed by quarrying activity near the village of Nal, just outside of Bikaner. By studying the different deposits, the researchers were able to document different phases of river activity. "We immediately saw evidence for a substantial and very active river system from the bottom of the fluvial deposits, which gradually decreased in power through time" explained Achyuthan. "Standing in the middle of the desert, the question we had to answer was 'How old was this river?'."

    The researchers used a method called luminescence dating to understand when quartz grains in the river sands were buried. The results indicated that the strongest river activity at Nal occurred at approx. 172 and 140 thousand years ago, at a time when the monsoon was much weaker than today in the region. River activity continued at the site between 95 to 78 thousand years ago, after which only limited evidence for the presence of a river at the site, with evidence for a brief reactivation of the channel 26 thousand years ago.

    A life-line in the desert

    The age of this river flowing in the middle of the desert is of particular interest. The river was flowing at its strongest during a phase of weak monsoonal activity in the region, and may have been a life-line to human populations enabling them to inhabit the Thar Desert. The timeframe over which this river was active also overlaps with significant changes in human behaviour in the region, which have been linked with the earliest expansions of Homo sapiens from Africa into India. "This river flowed at a critical timeframe for understanding human evolution in the Thar Desert, across South Asia and beyond" says Blinkhorn, adding "This suggests landscape in which the earliest members of our own species, Homo sapiens, first encountered the monsoons and crossed the Thar Desert may have been very different to the landscape we can see today."

    The next phase of research is to demonstrate where the river flowed from. Studies of satellite images have suggested a potential connection with a Himalayan source, such as the Sutlej. "We can't demonstrate where the river flowed from at present" says Blinkhorn, adding "but the Indira Ghandi Canal, sourced from the Sutlej River, gives us some insight into what happens when a river flows through the centre of the Thar Desert -- plants and wildlife flourish, providing ideal conditions for early human populations."


    Story Source:

    Materials provided by Max Planck Institute for the Science of Human HistoryNote: Content may be edited for style and length.


    Journal Reference:

    1. James Blinkhorn, Hema Achyuthan, Manoj Jaiswal, Atul Kumar Singh. The first dated evidence for Middle-Late Pleistocene fluvial activity in the central Thar DesertQuaternary Science Reviews, 2020; 250: 106656 DOI: 10.1016/j.quascirev.2020.106656
    Oldest securely dated evidence for a river flowing through the Thar Desert, Western India -- ScienceDaily














    Leopard, ibex Indus Script hieroglyphs on ancient Iranian artefacts signify hard alloy Meluhha seafaring merchants

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    https://tinyurl.com/s8g2gxpl

    Thanks courtesy a Twitter thread with exquisite catalogue of images, I present below Indus Script hieroglyphs read rebus in Meluhha signifying catalogues of metalwork.

     



    Late Uruk/Jemdet Nasr Period seal, dated to 3200-3000 BCE

    Source: http://oldeuropeanculture.blogspot.com/2020/08/ibex-and-leopard.html

    Hieroglyph: karaḍa 'leopard'(Pkt.) Kol. keḍiak tiger. Nk. khaṛeyak panther. Go. (A.) khaṛyal

     tiger; (Haig) kariyāl panther (Voc. 999). Kui kṛāḍi, krānḍi tiger, leopard, hyena. Kuwi (F.) kṛani tiger; (S.) klā'ni tiger, leopard; (Su. P. Isr.) kṛaˀ ni (pl. -ŋa) tiger. / Cf. Pkt. (DNMkaraḍa- id. (DEDR 1132) rebus करडा karaḍā 'hard alloy' करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 

    Hieroglyph: mẽḍhā m. 'markhor'.(CDIAL 10310) Rebus: mẽḍh 'iron' (Mu.), med 'copper' (Slavic languages) 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) Rebus: meḍho 'helper of merchant' 

    मेढ (p. 662) [ mēḍha ] 'polarstar'' Rebus: mẽṛhẽt, meḍ 'iron' (Ho.Munda); medhā, 'yajña, dhanam' (Naighantuka)

    Hieroglyph 'zigzag lines' water: kāṇḍa 'flowing water' Rebus: kāṇḍā 'metalware' 

    Hieroglyph: vaTTa, vrtta 'circle' Rebus: vr̥tti f. ʻ mode of life, conduct ʼ Gr̥Śr., ʻ business ʼ MBh., ʻ wages ʼ Pañcav. [√vr̥t1]Pa. vutti -- f. ʻ practice, usage ʼ; Pk. vatti -- , vitti -- , vutti<-> f. ʻ life, livelihood'

    Hieroglyph: dot: dhã̄ī 'strand' rebus: dhatu 'mineral ore'

    arka 'sunrays of sun' rebus: arka 'copper, gold' eraka 'moltencast, metal infusion'.

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

    Image result for bharatkalyan97 currycomb Seal excavated in 2009 at Kanmer in the Kutch. 
    khareḍo = a currycomb (Gujarati) खरारा [ kharārā ] m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: 1. करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 2. kharādī ‘ turner’ (Gujarati)Seal m 290 Mohenjo-daroIndus Script epigraph deciphered: kol 'working in iron' + pattar 'goldsmith guild' + ṭāṅka ʻleg, thighʼ (Oriya) PLUS khar 'ass, onager' (Kashmiri) PLUS  kharedo = a currycomb (Gujarati) deciphered as: ṭaṅka 'mint' PLUS khār खार् 'blacksmith' PLUS kharādī ‘ turner’ (Gujarati) Tiger PLUS (trough -- broken seal): kola 'tiger' Rebus; kolle 'blacksmith' kol 'working in iron' kole.l 'smithy, temple' kolimi 'smithy, forge' PLUS pattar 'trough' Rebus: pattar 'guild of goldsmiths'.

     Hieroglyph: goat: melh, mr̤eka 'goat or antelope' rebus: milakkhu 'copper' 

    Hieroglyph: khond 'square' rebus: koṇḍa 'fire trench with live coals' ; agnikunda 'sacred fire-altar'

    Hieroglyph: sattva 'svastika' glyph Rebus: sattu, satavu, satuvu 'pewter' (Kannada) సత్తుతపెల a vessel made of pewter ज&above;स्ति&below; । त्रपुधातुविशेषनिर्मितम्  jasth जस्थ । त्रपु m. (sg. dat. jastas जस्तस्), zinc, spelter; pewter. 
    + hieroglyph: konda 'fire trench with live coals' agnikunda 'sacred fire-altar'
    Hieroglyph: sprout: kor̤u 'sprout' rebus: kor̤u 'bar of metal' (processed further in the forge to produce equipments) 
    सांगड sāṅgaḍa 'combination of parts' sangara 'collection'; jangada 'catamaran, sewn boat';  sã̄go ʻ(seafaring traders') caravan. Caravan of products;
    dula 'pair' rebus: dul 'metal casting'
    kolom 'three' rebus: kolimi 'smithy, forge'
    Hieroglyph: procession: utsava bera 'barter procession on a festival day'
    Hieroglyph: twisted tail: meDha 'twist' rebus: medhA 'dhanam, wealth', meD 'iron'.
    Hieroglyph: tail: xoli 'tail' rebus:kol 'working in iron'
    Hieroglhyph: tiger: kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'

    Ibex, star, currycombs
    Ibex, rectangle with divisions of squares
    Ibex coming out of flowing water, + hieroglyph


    Ibex, Svastika







    Ibex, sun's rays, dotted circles
    Ibex, star, sprout.
    Ibex, flowing water
    Ibexes, flowing water
    Group of four ibexes as composite animals



    Group or procession of three ibexes






    Vessel, Tepe Hissar, leopard, ibex, flowing lines
    Two bowls, Tepe Hissar, ca. 4500 to 4000 BCE; one with Bezoar goats and one with leopards. A third vase shows flowing lines signifying flowing water

    Bowl, Tepe Hissar. Ibex, star, currycomb
    Bowl, Tepe Hissar. Ibex, star, currycomb


    Sun, ibex sherd, Sprout. Tepe Hissar


    Sickle knife with a goat horn handle from Central Asia. This indicates association of goat with metalwork.


    http://oldeuropeanculture.blogspot.com/2020/08/a-vessel-from-tepe-hissar.html

    , dotted circle, pellets, twisted tail

    Source: https://twitter.com/serbiaireland/status/1358444029269192711/photo/1 Gabriella Brusa-Zappellini, Italian Archaeologist, has posted excerpts from this book. The cover page shows zigzag lines -- symbols of flowing water to circumscript an ibex or goat.

     

    https://tinyurl.com/y839vua8
    Marble , Sarasvati Civilization ( Photo - )
    Punjabi. mẽḍhā m. 'markhor'.(CDIAL 10310) Rebus: mẽḍh 'iron' (Mu.), med 'copper' (Slavic languages) 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) Rebus: meḍho 'helper of merchant'. (See embedded text -- Deśīnāmamālā of Hemacandra).
    Deśīnāmamālā Glossary, p. 71 The early meaning of the lexeme meḍh can be traced from the semantics recorded in the following lexemes of Indian linguistic area; as Pischel notes, the word meḍh can be identified as susbtratum semantic for 'helper/assistant of merchant): MBh. [mēṭha -- 1, mēṇḍa -- 3 m. ʻ elephant -- keeper ʼ lex., Pa. hatthimeṇḍa -- m. ʻ elephant -- driver ʼ, Pk. meṁṭha -- , miṁṭha -- , miṁṭhala -- , mahāmettha -- (note final -- th in P. below), metthapurisa -- m. (Pischel PkGr 202) may point to a non -- Aryan word for ʻ elephant -- driver ʼ which became associated with mahāmātra -- : EWA ii 611. -- mahā -- , māˊtrā -- ] (CDIAL 9950). meṇḍa, मेण्ठः मेण्डः An elephant-keeper (Apte. lex.) a groom, elephant -- driver in cpd. hatthi˚ elephants' keeper J iii.431; v.287; vi.489. (Pali). 
    A. semantics 'iron': meḍ ‘iron’ (Ho)meṛed (Mundari);mẽṛed iron; enga meṛed soft iron; sanḍi meṛed hard iron; ispāt meṛed steel; dul meṛed cast iron; i meṛed rusty iron, also the iron of which weights are cast; bica meṛed iron extracted from stone ore; bali meṛed iron extracted from sand ore; meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.)

    B. semantics 'ram or markhor': A variety of forms एड, ēḍa, mēḍa, mēṣá -- point to collision with Aryn mḗḍhra (providing a form bhēḍra), Austro-Asiatic mēḍa and Dravidian ēḍa: 

    menda(A) {N} ``^sheep''. *Des.menda(GM) `sheep'. #21810. me~Da o~?-Doi {N} ``^lamb''. |me~Da `^sheep'. @N0747. #6052. gadra me~Da {N} ``^ram, ^male ^sheep''. |me~Da `sheep'. @N0745. #7240. me~Da {N} ``^sheep''. *De. menda (GM). @N0744. #14741.
    me~Da o?~-Doi {N} ``^lamb''. |o~?-Doi `young of an animal'. @N0747. #14750.
    gadra me~Da {N} ``^ram''. |gadra `male of sheep or goat'. @N0745. #14762.
    peti me~Da {N} ``^ewe (without young)''. |peti `young female of sheep or goat'. @N0746. #14772.me~Da o~?-Doi {N} ``^lamb''. |me~Da `^sheep'. @N0747. #6053.peti me~Da {N} ``^ewe (without young)''. |me~Da `sheep'. @N0746. #14773. menda(KMP) {N} ``^sheep [MP], ewe [K], ram, ^wether [P]''. Cf. merom `goat', boda `??'. *O.menda, B.mera, H.merha, Sk.lex, ~medhra, ~mendha, Sa.bheda `ram', ~bhidi `sheep', MuNbhera, MuHbera `ram', Mu., Kh bheri(AB) `sheep', H., O. bhera `ram', H. bhera `sheep'. %21781. #21611.
    menda kOnOn (P) {N} ``^lamb''. | konon `child'. *$Ho mindi hon . %21790. #21620.
    mendi (P) {N} ``^sheep''. *$Mu., Ho, Bh. mindi . %21800. #21630. meram (P),, merom (KMP) {N} ``^goat [MP], she-goat [K]''. Cf. menda `sheep'. *Kh., Sa., Mu., Ho merom , So. k+mmEd/-mEd , Nic. me ; cf. O., Bh. mera `goat'. %21821. #21651. meram kOnOn (P),, merom kOnOn (P) {N} ``^kid''. | konon `child'. merom (KMP),, meram (P) {N} ``^goat [MP], she-goat [K]''. Cf. menda `sheep'. *Kh., Sa., Mu., Ho merom , So. k+mmEd/-mEd , Nic. me ; cf. O., Bh. mera `goat'. %21851. #21681. bheri (D),, bheri (AB) {NA} ``^sheep [ABD]; ^bear [D]''. *@. ??VAR. #3251. menda ,, mendi {N} ``^sheep''. @7906. ??M|F masc|fem #19501. menda (B)F {N(M)} ``(male) ^sheep''. Fem. mendi . *Loan. @B21460,N760. #22531.Ju menda (KMP) {N} ``^sheep [MP], ewe [K], ram, ^wether [P]''. Cf. merom `goat', boda `??'. *O. menda , B. mera , H. merha , Sk. lex , ~ medhra , ~ mendha , Sa. bheda `ram', ~ bhidi `sheep', MuN bhera , MuH bera `ram', Mu., Kh. bheri (AB) `sheep', H., O. bhera `ram', H. bhera `sheep'.Ju meram (P),, merom (KMP) {N} ``^goat [MP], she-goat [K]''. Cf. menda `sheep'. *Kh., Sa., Mu., Ho merom , So. k+mmEd/-mEd , Nic. me ; cf. O., Bh. mera `goat'.Ju merego (P),, mergo (P),, mirigo (M) {N} ``^deer''. *Sa. mirgi jel `a certain kind of deer', H. mrgo `deer', antelope, O. mrgo , Sk. mrga . Ju merom (KMP),, meram (P) {N} ``^goat [MP], she-goat [K]''. Cf. menda `sheep'. *Kh., Sa., Mu., Ho merom , So. k+mmEd/-mEd , Nic. me ; cf. O., Bh. mera `goat'.Go menda (A) {N} ``^sheep''. *Des. menda (GM) `sheep'.Gu me~Da {N} ``^sheep''. *Des. menda (GM).Re menda (B)F {N(M)} ``(male) ^sheep''. Fem. mendi . *Loan.(Munda etyma. STAMPE-DM--MP.NEW.84, 20-Jun-85 13:32:53, Edit by STAMPE-D Pinnow Versuch and Munda's thesis combined).

    mēṭam (Ta.);[← Austro -- as. J. Przyluski BSL xxx 200: perh. Austro -- as. *mēḍra ~ bhēḍra collides with Aryan mḗḍhra -- 1 in mēṇḍhra -- m. ʻ penis ʼ BhP., ʻ ram ʼ lex. -- See also bhēḍa -- 1, mēṣá -- , ēḍa -- . -- The similarity between bhēḍa -- 1, bhēḍra -- , bhēṇḍa -- ʻ ram ʼ and *bhēḍa -- 2 ʻ defective ʼ is paralleled by that between mḗḍhra -- 1, mēṇḍha -- 1 ʻ ram ʼ and *mēṇḍa -- 1, *mēṇḍha -- 2 (s.v. *miḍḍa -- ) ʻ defective ʼ]

    ऐड coming from the sheep एड MBh. viii. इडिक्क [p= 164, Monier-Williams] A wild goat. इडविडा 1 A species of she-goat. mother of कुवेर VP. BhP. [Kuvera, Kubera is king of the yakshas and god of wealth (buried treasure, nidhi]. -2 The bleating of a goat; सो$पि चानुगतः स्त्रैणं कृपणस्तां प्रसादितुम् । कुर्वन्निडविडा- कारं नाशक्नोत्पथि सन्धितुम् ॥ Bhāg.9.19.9. इडा iḍā ला lā 3 An offering, libation (coming between प्रयाज and अनुयाज); अग्निश्चते योनिरिडा च देहः Mb.3.114.28. -4 Refreshing draught. -5 (Hence) Food. -6 (Fig.) Stream or flow of praise or worship personified as the goddess of sacred speech; इडोपहूताः क्रोशन्ति कुञ्जरास्त्वङ्कुशेरिताः Mb.12.98.26.(Apte lex.)

    Ta. yāṭu, āṭu goat, sheep; āṭṭ-āḷ shepherd. Ma. āṭu goat, sheep; āṭṭukāran shepherd. Ko. a·ṛ (obl. a·ṭ-) goat. To. o·ḍ id. Ka. āḍu id. Koḍ. a·ḍï id. Tu. ēḍů id. Te. ēḍika, (B.) ēṭa ram. Go. (Tr. Ph. W.) yēṭī, (Mu. S.) ēṭi she-goat (Voc. 376). Pe. ōḍa goat. Manḍ. ūḍe id. Kui ōḍa id. Kuwi (Mah. p. 110) o'ḍā, (Ḍ.) ōḍa id. Kur. ēṛā she-goat. Malt. éṛe id. Br. hēṭ id. / Cf. Skt. eḍa-, eḍaka-, eḍī- a kind of sheep(DEDR 5152)ēḍa m. ʻ a kind of sheep ʼ KātyŚr., ēḍī -- f., ēḍaka -- 1 m. ʻ a sheep or goat ʼ, aiḍa -- ʻ ovine ʼ MBh., aiḍaká m. ʻ a kind of sheep ʼ ŚBr., iḍikka -- f. ʻ wild goat ʼ lex. [← Drav. EWA i 126 with lit.]Pa. eḷaka -- m. ʻ ram, wild goat ʼ, °akā -- , °ikā -- , °ikī -- f.; Aś. eḍaka -- m. ʻ ram ʼ, °kā -- f. ʻ ewe ʼ, NiDoc. heḍ'i ʻ sheep (?) ʼ Burrow KharDoc 10 (cf. h -- in Brahui hēṭ ʻ she -- goat ʼ); Pk. ēla -- , °aya -- m. ʻ ram ʼ, ēliyā -- f., ēḍayā -- f., ēḍakka -- m., Paš. weg. ēṛāˊ, kuṛ. e_ṛṓ, ar. yeṛó, že° m. ʻ ram ʼ, weg. ēṛī, kuṛ. e_°, ar. ye° f. ʻ ewe ʼ; Shum. yēṛə, yeṛṓlik m. ʻ sheep ʼ, yeṛélik f., Gaw. ēṛa, yē° m., ēṛī, yē° f., Bshk. īr f., Tor. öi f. (less likely < ávi -- ), Mai. "'ī" Barth NTS xviii 123, Sv. yeṛo m., ēṛia f., Phal. yīṛo m., °ṛi f., Sh. jij. ḗṛi; S. eli -- pavharu m. ʻ goatherd ʼ; Si. eḷuvā ʻ goat ʼ; <-> X bhēḍra -- q.v.*kaiḍikā -- .(CDIAL 2512).
    mēṇḍha2 m. ʻ ram ʼ, ˚aka -- , mēṇḍa -- 4miṇḍha -- 2˚aka -- , mēṭha -- 2mēṇḍhra -- , 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. miṇḍmiṇ ʻ ram ʼ, miṇḍṓl m. ʻ yearling lamb, gimmer ʼ; P. mẽḍhā m., ˚ḍhī f., ludh. mīḍḍhāmī˜ḍhā m.; N. meṛhomeṛo ʻ ram for sacrifice ʼ; A. mersāg ʻ ram ʼ ( -- sāg < *chāgya -- ?), B. meṛā m., ˚ṛi f., Or. meṇḍhā˚ḍā m., ˚ḍhi f., H. meṛhmeṛhāmẽḍhā m., G. mẽḍhɔ, M. mẽḍhā m., Si. mäḍayā.
    2. Pk. meṁṭhī -- f. ʻ sheep ʼ; H. meṭhā m. ʻ ram ʼ.
    3. H. mejhukā m. ʻ ram ʼ.*mēṇḍharūpa -- , mēḍhraśr̥ṅgī -- .Addenda: mēṇḍha -- 2: A. also mer (phonet. mer) ʻ ram ʼ (CDIAL 10310)

    *mēṇḍharūpa ʻ like a ram ʼ. [mēṇḍha -- 2, rūpá -- ]Bi. mẽṛhwā ʻ a bullock with curved horns like a ram's ʼ; M. mẽḍhrū̃ n. ʻ sheep ʼ.(CDIAL 10311)mēṣá m. ʻ ram ʼ, °ṣīˊ -- f. ʻ ewe ʼ RV. 2. mēha -- 2, miha- m. lex. [mēha -- 2 infl. by mḗhati ʻ emits semen ʼ as poss. mēḍhra -- 2 ʻ ram ʼ (~ mēṇḍha -- 2) by mḗḍhra -- 1 ʻ penis ʼ?]1. Pk. mēsa -- m. ʻ sheep ʼ, Ash. mišalá; Kt. məṣe/l ʻ ram ʼ; Pr. məṣé ʻ ram, oorial ʼ; Kal. meṣ, meṣalák ʻ ram ʼ, H. mes m.; -- X bhēḍra -- q.v.2. K. myã̄ -- pūtu m. ʻ the young of sheep or goats ʼ; WPah.bhal. me\i f. ʻ wild goat ʼ; H. meh m. ʻ ram ʼ. (CDIAL 10334)*mēṣakuṭī -- ʻ hut for sheep ʼ [mēṣá -- , kuṭī -- ] or †*mēṣamaṭha -- ʻ fold for sheep ʼ. [mēṣá -- , maṭha -- 1]WPah.kṭg. mhōˋṛ m. ʻ shed for sheep at high altitudes ʼ or poss. rather < maṭha -- (CDIAL 10334a) meṣam (Skt.) miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (G.)(CDIAL 10120) miṇḍ ‘ram’ (Pktl.); mẽḍha (G.) cf. mēṣa = goat (Skt.lex.) மேடம்¹ mēṭam, n. < mēṣa. 1. Sheep, ram; ஆடு. (பிங்.) 2. Aries of the zodiac; ராசிமண்டலத்தின் முதற்பகுதி. (பிங்.) 3. The first solar month. See சித்திரை¹, 2. மேடமாமதி (கம்பரா. திருவவதா. 110) ēḍika. [Tel. of Tam ఆడు.] n. A ram (Telugu) मेंढा [ mēṇḍhā ] m (मेष S through H) A male sheep, a ram or tup. (Marathi) meṇḍa The Ved. (Sk.) word for ram is meṣa] 1. a ram D i.9; J iv.250, 353 (˚visāṇa -- dhanu, a bow consisting of a ram's horn). -- ˚patha Npl. "ram's road" Nd1 155=415. -- ˚yuddha ram fight D i.6. -- मेष [p= 833, Monier-Williams]m. ( √2. मिष्) a ram , sheep (in the older language applied also to a fleece or anything woollen) RV. &c. मेढ्रः [मिह्-ष्ट्रन्], मेढ्रकः mēḍhrakḥ, मेण्ढः mēṇḍhḥ मेण्ढकः mēṇḍhakḥ A ram (Apte.lexicon)bhēḍa1 m. ʻ sheep ʼ, bhaiḍaka -- ʻ of sheep ʼ lex. [bhēḍra- X ēḍa -- ?] Ash. biar ʻ she -- goat ʼ, Pr. byär, Bshk. bür; Tor. birāṭh ʻ he -- goat ʼ, Phal. bhīṛo: all with AO viii 300 doubtful. (CDIAL 9604). bhēḍra -- , bhēṇḍa -- m. ʻ ram ʼ lex. Ḍ. bēḍa f. ʻ sheep ʼ, K.ḍoḍ. bhĕḍă pl., L. bheḍ̠ f., awāṇ. bheḍ, bhiḍ, P. bheḍ, °ḍī f., °ḍā m.; WPah.bhal. (LSI) ḍhleḍḍ, (S. Varma) bheṛ, pl. °ṛã f. ʻ sheep and goats ʼ, bhad. bheḍḍ, cur. bhraḍḍ, bhēḍḍū, cam. bhēṛ, khaś. bhiḍṛu n. ʻ lamb ʼ; Ku. N. bheṛo ʻ ram ʼ, bheṛi ʻ ewe ʼ; A. bherā, bhẽrā ʻ sheep ʼ; B. bheṛ ʻ ram ʼ, °ṛā ʻ sheep ʼ, °ṛi ʻ ewe ʼ, Or. bheṛā, °ṛi, bhẽṛi; Bi. bhẽṛ ʻ sheep ʼ, °ṛā ʻ ram ʼ; Mth. bhẽṛo, °ṛī; Bhoj. bheṛā ʻ ram ʼ; Aw.lakh. bhẽṛī ʻ sheep ʼ; H. bheṛ, °ṛī f., °ṛā m., G. bheṛi f.; -- X mēṣá -- : Kho. beṣ ʻ young ewe ʼ BelvalkarVol 88. bhēḍra -- : WPah.kṭg. (kc.) bhèṛ m. ʻ sheep ʼ, bhèṛi f., J. bheḍ m. (CDIAL 9606) Note: It may not be mere coincidence that a temple of the ram-god was found in Mendes (ca. 4th millennium BCE). The word, Mendes is read as: mend + ayo (ram + fish) rebus: iron (metal) merchant. Worshipping ancestors, the Mendes might have signified the memory of the metalwork and trade in metalwork of ancestors. See more on Mendes: http://www.personal.psu.edu/users/d/b/dbr3/mendes.htmlExcavations at Tel er-Rub'a (Ancient Mendes)
    http://en.wikipedia.org/wiki/MendesOn the ram deity of Mendes: 'The chief deities of Mendes were the ram deity Banebdjedet (lit. Ba of the Lord of Djedet), who was the Ba of Osiris, and his consort, the fish goddess Hatmehit. With their child Har-pa-khered ("Horus the Child"), they formed the triad of Mendes. The ram deity of Mendes was described by Herodotus in his History[1] as being represented with the head and fleece of a goat: “...whereas anyone with a sanctuary of Mendes or who comes from the province of Mendes, will have nothing to do with (sacrificing) goats, but uses sheep as his sacrificial animals... They say that Heracles’ overriding desire was to see Zeus, but Zeus was refusing to let him do so. Eventually, as a result of Heracles’ pleading, Zeus came up with a plan. He skinned a ram and cut off his head, then he held the head in front of himself, wore the fleece, and showed himself to Heracles like that. That is why the Egyptian statues of Zeus have a ram’s head, is why rams are sacred to the Thebans, and they do not use them as sacrificial animals. However there is just one day of the year—the day of the festival of Zeus--when they chop up a single ram, skin it, dress the statue of Zeus in the way mentioned, and then bring the statue of Heracles up close to the statue of Zeus. Then everyone around the sanctuary mourns the death of the ram and finally they bury it in a sacred tomb.” Presumably following Herodotus' description, the occultist Eliphas Levi in his Dogme et Rituel de la Haute Magie (1855) called his goat-headed conception of Baphomet the "Baphomet of Mendes"'

     


    Tablets.Ivory objects. Mohenjo-daro.

    Hieroglyph: vaTTa, vrtta 'circle' Rebus: vr̥tti f. ʻ mode of life, conduct ʼ Gr̥Śr., ʻ business ʼ MBh., ʻ wages ʼ Pañcav. [√vr̥t1]Pa. vutti -- f. ʻ practice, usage ʼ; Pk. vatti -- , vitti -- , vutti<-> f. ʻ life, livelihood ʼ; Gy. eur. buti f. ʻ work ʼ; K. brath, dat. brüċü f. ʻ trade, profession ʼ; P. buttī f. ʻ compulsory labour, unrewarded service of Brahmans and barbers ʼ; Ku. buti ʻ daily labour, wages ʼ, hāt -- but˚ti ʻ domestic work ʼ; Or. butā ʻ work in hand, business ʼ, buti ʻ servant ʼ; H. buttī f. ʻ means of subsistence ʼ, bīṭbīt f. ʻ grazing fee charged by herdsmen ʼ; Si. väṭi ʻ state, condition ʼ SigGr ii 462.(CDIAL 12070)

    Hieroglyph: Aquatic bird

    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.

     

    https://tinyurl.com/yxpnn4vv

    This is an addendum to: Itihāsa. Historical hoax of St. Thomas and the dubious 'Taxila Cross' -- B.S. Harishankar. Indus Script Cipher debunks the hoax https://tinyurl.com/y5z6w4eq
    Taxila cross at Lahore Cathedral, Pakistan

    “The taxila cross at Lahore Cathedral, Pakistan. There hangs on one of the walls of the Lahore Cathedral, a small framed cross. This is the famous Taxila Cross found just outside the ruins of Sirkap in 1935. This was a time when a book titled The Acts of Saint Thomas was well known. Discovered in 1822 in Syria, the book told of how St Thomas, having been assigned by Christ to preach the Gospel to the Indians, arrived by boat in the capital of King Gondophares.”

     

    Image result for taxila cross 'Taxila cross' "In Lahore Cathedral, there hangs on the wall, at the upper end of the nave in the recess to the right, a small cross in a glass frame. The inscription below records that it was found in 1935 and donated to the church by Mrs Cuthbert King (Mr King then being the Deputy Commissioner at Rawalpindi). Nothing surprising about a cross in a church, except that this particular relic goes by the name of the Taxila Cross. Because it was found just outside the fortification wall of Sirkap (one of the ruined cities of Taxila), it is taken by believers as a sign of the arrival of Christianity in our part of the world at the time that Sirkap lived."http://odysseuslahori.blogspot.com/2014/07/TaxilaCross.html

     

    Image result for geometric seals indus valleyStamp seals from the Late period levels. Such seals appear to be products of the waning years of the Indus civilization. After Figure in George F. Dales, 1965, Civilisation and floods in the Indus Valley, Expedition, Vol. 7, Issue 4. https://www.penn.museum/sites/expedition/civilization-and-floods-in-the-indus-valley/

     

    It is clear that the 'Taxila Cross' is a hoax. A + symbol, together with svastika symbol are hieroglyphs of Indus Script. The + symbol signifies a fire-altar with the indications of dotted circles on four corners which signify dhã̄ī 'strand' rebus: dhatu 'mineral ore'.

    Svastika symbol signifies hieroglyph sattva 'svastika symbol' rebus: sattva, jasta 'pewter, zinc'.


    Another example of Indus Script seal is presented with a decipherment.

     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 -- (ī ‘round pebble);goTa 'laterite (ferrite ore)A (गोटा) ā Spherical or spheroidal, pebble-form. (Marathi) goTa 'laterite ferrite ore'.

    Rebus: khoā ʻalloyedʼ (metal) (Marathi) खोट [khōṭa] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge (Marathi). P. kho  m. ʻalloyʼ  *khaḍḍa ʻ hole, pit ʼ. [Cf. *gaḍḍa -- and list s.v. kartá -- 1]Pk. khaḍḍā -- f. ʻ hole, mine, cave ʼ, ˚ḍaga -- m. ʻ one who digs a hole ʼ, ˚ḍōlaya -- m. ʻ hole ʼ; Bshk. (Biddulph) "kād" (= khaḍ?) ʻ valley ʼ; K. khŏḍ m. ʻ pit ʼ, &obrevdotdot; f. ʻ small pit ʼ, khoḍu m. ʻ vulva ʼ; S. khaḍ̠a f. ʻ pit ʼ; L. khaḍḍ f. ʻ pit, cavern, ravine ʼ; P. khaḍḍ f. ʻ pit, ravine ʼ, ˚ḍī f. ʻ hole for a weaver's feet ʼ (→ Ku. khaḍḍ, N. khaḍ; H. khaḍkhaḍḍā m. ʻ pit, low ground, notch ʼ; Or. khãḍi ʻ edge of a deep pit ʼ; M. khaḍḍā m. ʻ rough hole, pit ʼ); WPah. khaś. khaḍḍā ʻ stream ʼ; N. khāṛo ʻ pit, bog ʼ, khāṛi ʻ creek ʼ, khāṛal ʻ hole (in ground or stone) ʼ. -- Altern. < *khāḍa -- : Gy. gr. xar f. ʻ hole ʼ; Ku. khāṛ ʻ pit ʼ; B. khāṛī ʻ creek, inlet ʼ, khāṛal ʻ pit, ditch ʼ; H. khāṛī f. ʻ creek, inlet ʼ, khaṛ -- har˚al m. ʻ hole ʼ; Marw. khāṛo m. ʻ hole ʼ; M. khāḍ f. ʻ hole, creek ʼ, ˚ḍā m. ʻ hole ʼ, ˚ḍī f. ʻ creek, inlet ʼ.
    khaḍḍukā -- see khaṭū -- .Addenda: *khaḍḍa -- : S.kcch. khaḍḍ f. ʻ pit ʼ; WPah.kṭg. kháḍ m. ʻ hole in the earth, ravine ʼ, poet. khāḍ (obl. -- o) f. ʻ small stream ʼ, J. khāḍ f.(CDIAL 3931) 

    Hieroglyph: + symbol: कण्ड a joint (= पर्वन्) (Monier-Williams) Rebus: kanda 'fire-altar' (Santali)khãḍi ʻ edge of a deep pit ʼ(Oriya)

    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. kho m. ʻalloyʼgoTa 'laterite (ferrite ore); 2. khaṇḍā ‘tools, pots and pans and metal-ware’; 3. kaṇḍ ‘furnace, fire-altar, consecrated fire’. (CDIAL 3790)

    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. khof ʻalloy, impurityʼ, °ā ʻalloyedʼ, awāṇ. khoā  ʻforgedʼ; P. kho m. ʻbase, alloyʼ  M.khoā  ʻalloyedʼ (CDIAL 3931) Rebus 3: kōṭhī ] f (कोष्ट S) A granary, garner, storehouse, warehouse, treasury, factory, bank. khoā 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.

    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/
    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 vaa 'string' rebus: dhāva '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.
    Image result for pedestal sivalinga mohenjodaro
    Image result for mohenjodaro linga
    1. A finely polished pedestal.  Dark red stone. Trefoils. (DK 4480, After Mackay 1938: I, 412; II, pl. 107:35; Parpola, 1994, p. 218.) National Museum, Karachi. Stone base for Sivalinga.Tre-foil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone.
    2. Two decorated bases and a lingam, Mohenjodaro. Trefoil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone; National Museum of Pakistan, Karachi; After Mackay 1938: I, 411; II, pl. 107:35; Parpola, 1994, p. 218. "In an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I" 

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



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

    I submit that the trefoil symbol decorating the base of the linga signifies a smithy, a temple. Hieroglyph: kole.l 'temple' rebus: kole.l 'smithy, forge' (Kota language)

    The + symbol on seal m0352 signifies kanda 'fire-altar' (Santali)

     (Kashmiri) कुण्ड a round hole in the ground (for receiving and preserving water or fire cf. अग्नि-कुण्ड) , pit , well , spring or basin of water (especially consecrated to some holy purpose or person) MBh. R. &c (Monier-Williams)अग्निः   agniḥ-कुण्डम [अग्नेराधानार्थं कुण्डम्] an enclosed space for keeping the fire, a fire-vessel. (Apte)


    Bhimbetka: An archeological extravaganza of rock arts from the paleolithic era!

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     Updated: Feb 13, 2021 1:56 PM

    There are widespread evidences of the presence of earliest human ancestor in the form of paleolithic tools from across India, some of which date back to 160000 years ago (from Didwana in Rajasthan).

    BhimbetkaThe rock art content in Bhimbetka is filled with various aspects of life from prehistoric times to later periods, through depictions of hunting scenes and religious symbols. (Images by Priyank Gupta)

    By Monidipa Dey,

    Bhimbetka rock caves: There are widespread evidences of the presence of earliest human ancestor in the form of paleolithic tools from across India, some of which date back to 160000 years ago (from Didwana in Rajasthan). However, most of these sites are secondary in nature, wherein it cannot be verified correctly as to where the tools were made and used. It is only on rare occasions that one comes upon a primary site, and Bhimbetka is unique because it is one such primary site.

    Located in the rocky Vindhyan range in Madhya Pradesh the site is spread across seven low hills of Bineka, Bhonrawali, Bhimbetka, Lakha Juar (East and West), Muni Baba ki Pahari, and Jaora. The caves here hold rock paintings and various archaeological evidences that start from the Palaeolithic and Mesolithic eras and continue unbroken until the medieval period. Since these rock caves were in constant use many paintings show superimposition on older ones. There are also later period inscriptions from 2nd c. BCE and 7th c. CE, and paintings from the medieval era.

    The first person to mention these caves was a British official named W. Kincaid in 1888, who had heard of them from the local tribes. However, the caves were discovered much later in 1957 by Dr Vishnu Shridhar Wakankar, an archaeologist who found the rock formations from a distance appearing similar to those he had seen in France and Spain, and he went to explore the place out of curiosity. After the discovery he published many research papers on it, and soon many other archaeologists along with Wakankar led numerous archaeological excavations in the rock shelters and caves. The rock art especially was researched in great details by Yashodar Mathpal.

    The rock art content in Bhimbetka is filled with various aspects of life from prehistoric times to later periods, through depictions of hunting scenes and religious symbols. These paintings depict various figures of humans and animals, scenarios of wars, hunting, folk dancing and music, family scenes and ritualistic ones (ritual dancers and bull riders), mother goddesses, nature, ornamental motifs, and various mythological depictions, such as an animal with the combined features of elephant, ox, and boar. Interestingly nine of the hunting scenes depict women as hunters. The battle scenes of a late period include warriors on horses and elephants, and soldiers are shown armed with bows and arrows, daggers, swords, shields, spears, and battle-axes. Dancers (men and women) are seen dancing together either in circles or rows, or arm in arm often along with drummers and other musicians. Religious scenes depict Ganesh and Shiva and religious symbols are prominently seen in form of tridents, swastikas, and the sacred bull.

    There are many inscriptions in the Bhimbetka rock caves and shelters which are associated with the sadhus that have lived here from the early historic times, with the script ranging from Ashoka Brahmi lipi, to Gupta and post Gupta scripts, and the early Nagri script.

    Even today many of the rock shelters at Bhimbetka serve as functional temple sites for devi Durga, and some of the caves with paintings are held in great reverence by the neighbouring villagers, including the Gond and Korku tribes, who visit these places on special occasions to perform their pujas.

    How to visit Bhimbetka: Bhimbetka, which is an UNESCO heritage site, is around 70 km from Bhopal and takes around an hour or so in a car or a bike. The rock shelters are 5 km away from the road and the ticket counter; hence it is advisable to go in a vehicle. Best time for travel is during the winter season (October to February).

    (The author is a well-known travel and heritage writer. Views expressed are personal and do not reflect the official position or policy of Financial Express Online.)

    Bhimbetka: An archeological extravaganza of rock arts from the paleolithic era! - The Financial Express

    Lion as Indus Script hieroglyph; sīhah 'lion' rebus Sihā to enter accountbook ledger entries (Oriya)

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    ହେକାଇତି Hekāiti ପ୍ରାଦେ (ୟାଜପୁର) ବି— ଜବରଦସ୍ତି—(ଦେଖ) Jabardasti  ଜବର୍ଦସ୍ତ୍— Jabar-dast [
    synonym(s): জবরদস্ত जबरदस्त] ବୈଦେ. ବିଣ. (ଫା. ଜବ୍ରଦସ୍ତ)— 1। ବଳବାନ; ବଳୁଆ; କ୍ଷମତାଶୀଳ— 1. Powerful; strong. 2। ଅଟଳ; ଦୃଢ଼—2. Firm. 3। ଜୁଲମ୍ବାଜ୍—3. Oppressive. 4। ବଳପ୍ରଯଗକାରୀ—4. Using force. 5। ଦୁର୍ଦ୍ଦମନୀଯ—5. Invincible.
       ଜବର୍ଦସ୍ତି— Jabar-dasti [synonym(s): জবরদত্তী जबरदस्ती] ବୈଦେ. ବି. (ଫା)— 1। ଜୁଲମ୍; ପୀଡ଼ନ; ଅତ୍ଯାଚାର— 1. Oppression. 2। ଜୋର୍ ବା ବଳପ୍ରୋଯଗ—2. Use of force. 3। ବାଧ୍ଯ କରିବା—3. Compulsion. 4। ଅନ୍ୟାୟ—4. Injustice.
       ଜବର୍ଦାର୍— Jabar-dār ବୈଦେ. ବିଣ. (ଫା)— ଜବର୍ଦସ୍ତ (ଦେଖ) Jabar-dast (See)
       ଜବର୍ଦାରୀ— Jabar-dārī ବୈଦେ. ବି. (ଫା)— ଜବର୍ଦସ୍ତି (ଦେଖ) Jabardasti (See) ଜବରଅଠା ସିହା— Jabar aṭhā siha ଦେ. ବି— (ଜମିଦାରୀ ଓ ମହାଜନୀ ସିରସ୍ତାରେ) ୟେଉଁ ହିସାବ ବହି ବା ସିହାରେ ଦୈନିକ ସମସ୍ତ ଆଯ ଚଢ଼ି ଥାଏ ଓ ପ୍ରତ୍ଯୋକ ହିସାବରେ ବିବରଣ ଲେଖାୟାଇ ଥାଏ—A consolidated account book of daily receipts in zamindari and mohājani business. ସିହା ଉଆସିଲ୍ ବାକି— Sihā uāsilbāki [synonym(s): সিহা ওয়াসিল বাকি हा वसूल बाँकी] (ସିହା ବାସିଲ୍ [ଲି] ବାକି—ଅନ୍ୟରୂପ) ଦେ. ବି (ଜମିଦାରୀ ସିରସ୍ତା)— ଜମି— ଦାରୀ— କାଗଜବିଶେଷ—A Zemindary account showing the current years account of every tenant and respective due after deducting the payments made by the tenant. [ଦ୍ର— ବର୍ଷକ ମଧ୍ୟରେ ପ୍ରଜା ୟେତେ ଖଜଣା ଦେଇଥାଏ, ଏଥିରେ ତାହା ଲେଖା ୟାଇ ଗତ ବର୍ଷର ହିସାବ ଗଡ଼ାଣ କରାୟାଇ ସନ ଆଖରକୁ ଉକ୍ତ ପ୍ରଜା ଉପରେ କେତେ ବାକି ରହିଲା, ତାହା ଦେଖାଇ ଦିଆୟାଏ।]
       ସିହା ଉଆସିଲି ବାକି— Sihā uāsilibāki [synonym(s): সিহা ওয়াসিল বাকি हा वसूल बाँकी] (ସିହା ବାସିଲ୍ [ଲି] ବାକି—ଅନ୍ୟରୂପ) ଦେ. ବି (ଜମିଦାରୀ ସିରସ୍ତା)— ଜମି— ଦାରୀ— କାଗଜବିଶେଷ—A Zemindary account showing the current years account of every tenant and respective due after deducting the payments made by the tenant. [ଦ୍ର— ବର୍ଷକ ମଧ୍ୟରେ ପ୍ରଜା ୟେତେ ଖଜଣା ଦେଇଥାଏ, ଏଥିରେ ତାହା ଲେଖା ୟାଇ ଗତ ବର୍ଷର ହିସାବ ଗଡ଼ାଣ କରାୟାଇ ସନ ଆଖରକୁ ଉକ୍ତ ପ୍ରଜା ଉପରେ କେତେ ବାକି ରହିଲା, ତାହା ଦେଖାଇ ଦିଆୟାଏ।]
       ସିହା କରିବା— Sihā karibā [synonym(s): সিহা করা सेहा करना] (ସିହା ଚଢ଼ା[ଢ଼େ]ଇବା—ଅନ୍ୟରୂପ) ଦେ. କ୍ରି— 1। ହିସାବ ବହିରେ ଜମା ଖରଚ ଲେଖିବା— 1. To enter receipts and expenses in the account book. 2। ଜମା ଧନକୁ ହିସାବରେ ଲେଖିବା—2. To enter a receipt in the account book.
    Explains why a lion is shown in opposition to the 'one-horned young bull' on Lydia electrum coin 6th cent. BCE stater.

    Hieroglyph: khonda 'young bull' rebus: konda 'fire trench with live coals' rebus: agnikunda 'fire altar'
    panja 'paw of feline' rebus: panja 'kiln, furnace'
    image.png
    Hieroglyph: siṁhá m. ʻ lion ʼ, siṁhīˊ -- f. RV.Pa. sīha -- m. ʻ lion ʼ, sīhī -- f., Dhp. siha m., Pk. siṁha -- , siṁgha -- , sīha -- m., sīhī -- f.; Wg.  ʻ tiger ʼ; K. sahsüh m. ʻ tiger, leopard ʼ; P. sī˜hsihã̄ m. ʻ lion ʼ, bhaṭ. sīh ʻ leopard ʼ; WPah.khaś. sīˋ ʻ leopard ʼ, cur. jaun. sīh ʻ lion ʼ; Ku. syū̃syū ʻ tiger ʼ; Mth. sī˜h ʻ lion ʼ, H. sī˜ghsīh m., OG. sīha m.; -- Si. siha ← Pa. -- L. śĩh, khet. śī ʻ tiger ʼ with ś -- from Pers. lw. śer ʻ tiger ʼ. -- Pa. sīhinī<-> f. ʻ lioness ʼ; K. sīmiñ f. ʻ tigress, leopard ʼ; P. sīhaṇī f. ʻ tigress ʼ; WPah.bhal. se_hiṇi f. ʻ leopard withcubs ʼ, jaun. sī˜haṇ ʻ tigress ʼ; H. sĩghnī f. ʻ lioness ʼ.Addenda: siṁhá -- : WPah.kṭg. sīˊ m. ʻ lion, leopard, brave man ʼ, sĩˊəṇsī˜ṇ (with high level tone) f. ʻ lioness ʼ (also sī˜ṇ Him.I 214 misprint with i?).(CDIAL 13384) Rebus: Sihā entries of receipts and expenses in account book (Oriya)

    Exquisite sequel of Sarasvati Palaeochannels from Space to Ground -- Bidyut Bhadra, ISRO (Feb. 2021)

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